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"Taste Of Evil" - screenplay by Derek Paterson
This is an excerpt (first 20 pages) of a completed screenplay.
"Taste Of Evil" - screenplay by Derek Paterson.
FADE IN:
INT. LOUIS' BEDROOM - NIGHT
Moonlight shines through open windows, curtains stir in the
night breeze.
LOUIS, 20, Black, lies asleep in bed. A tattoo appears to
decorate his neck and continue over his shoulder. As
moonlight plays over his skin the "tattoo" is revealed to be
ridged scars, forming a swirling whirlpool pattern.
INT. HALLWAY - VAZZINI HOUSE - DAY
Two BOYS, one African-American, the other Italian-American,
both 8 years old, run laughing along the hallway, playing
tag.
A door up ahead opens and they skid to a stop just in time
to avoid colliding with an Italian-American man whom we will
know later as FORTUNA, 50. The boys solemnly look up at at
Fortuna. He smiles at them.
FORTUNA
You better go play outside, boys.
Your dad's taking care of some
business here.
The boys turn and head back the way they came. The African-
American boy looks back over his shoulder. Fortuna grins at
him. The boy grins back.
INT. LOUIS' BEDROOM - NIGHT
Louis turns over, still asleep.
An ethereal figure floats across the bedroom toward Louis.
She's an Italian-American beauty with streaked blonde hair.
MARIA, 20, sits on the bed and reaches out to touch Louis'
forearm.
He awakens instantly and pushes himself up onto one elbow,
staring at Maria in disbelief.
Maria smiles and gently strokes his face. Louis takes her
hand, kisses it, presses it against his cheek.
LOUIS
You're cold.
MARIA
Shhh. It doesn't matter. Listen to
me. Don't go back. Promise me you
won't go back.
LOUIS
Go back where?
She shakes her head.
LOUIS
Go back where?
She frowns and draws back from him. He reaches for her but
can't touch her. She pushes at the air around her as if
unseen walls are closing in. Her breathing becomes harsh
and she chokes, splutters, gasps.
The telephone RINGS and Louis turns his head to look at it.
When he turns back Maria is gone.
Louis sits up, looks around the room in panic. He leaps out
of bed and runs to the door, wrenches it open, looks up and
down the hallway. His shoulders slump. Maria's not there.
The telephone continues to RING. Louis picks up the receiver
and listens. A man's deep voice MUTTERS, we don't hear what's
said but Louis shows surprise, then shocked realization.
EXT. NEW YORK SKYLINE - DAY
Skies the color of molten lead. Shadows lengthen menacingly
as the dimly perceived sun drops toward the horizon.
INT. FRANKIE'S SEDAN (MOVING) - DAY
Driven by FRANKIE RIZZO, 50s, a granite-faced enforcer for
the Five Families. Lips that rarely smile, eyes like black
marbles. A bulge under his left armpit.
The further Frankie drives the more empty and darker the
streets become. There's less traffic -- less people -- more
shadows.
Frankie glances to his left. An old BLACK WOMAN wearing a
coat and shawl hunches over as she hurries into a doorway
and disappears.
Frankie glances to his right. A group of young Black GANG
MEMBERS stand on a street corner. They stare at Frankie's
car, their heads turn as it goes by.
Frankie blinks. The world turns B/W with a fuzzy electric
edge. One of the Gang Members now has a grinning skull face,
stripped of flesh. Frankie blinks again. The world returns
to normal. The Gang Member glares back at Frankie.
Frankie looks in his rearview. The street corner is empty,
no one's there.
EXT. NEW YORK SKYLINE - DAY/NIGHT
A bloody sunset wanes. Night falls over the city.
INT. FRANKIE'S SEDAN (MOVING) - NIGHT
New Jersey road signs flash by. Most street lamps are out.
Most of the buildings he passes are boarded up. There are
no other cars on the road.
Frankie blinks. The street turns B/W with that same electic
fuzz. Frankie blinks again. Color and focus are restored.
He drives past a street lamp that has something tied to it,
dangling. It's a headless black rooster, wings spread wide.
Frankie blinks. The street lamp is just an ordinary street
lamp, without the dangling rooster.
EXT. VAZZINI HOUSE - NIGHT
A three-story brownstone. An ocean of light in an otherwise
dark and ominous street.
EXT. ELECTRIC GATES - NIGHT
Frankie's sedan stops. Two WISEGUYS examine him through the
gates. Their hands are inside their coats, ready to draw.
One talks into his cellphone, and waves to the other guy who
operates the gate controls. The gates swing open.
EXT. VAZZINI HOUSE - NIGHT
Frankie pauses on the front steps and looks around, examining
the garden. Hiding in the bushes, behind trees, are more
WISEGUYS with machine pistols and rifles slung over their
shoulders. They watch him, alert and afraid.
INT. ENTRANCE HALL - VAZZINI HOUSE - NIGHT
Tasteful wood panelling, paintings, antique furniture, a
grandfather clock in the corner.
A house servant, DE VERE, opens the door to admit Frankie.
At that moment Fortuna, now 60s, hurries downstairs.
FORTUNA
Hey, Frankie. Frankie Two Bullets.
He greets Frankie with hugs and back pats, they're old
friends. Frankie almost smiles. Then Fortuna steps back
and loses his good humor.
FORTUNA
He's waiting for you.
INT. STUDY - VAZZINI HOUSE - DAY
DON VAZZINI, 70s, sits in a wheelchair by the fire looking
old and feeble, but only at first glance. His eyes say
there's still strength in this dangerous old man.
His manservant PIETRO stands behind his chair, a living statue
of unknown age.
Fortuna leads Frankie inside. Frankie steps up to Vazzini
and kisses his hand.
FRANKIE
Don Vazzini, I bring greetings and
best wishes from your old friends.
VAZZINI
I didn't know I still had any old
friends. Someone I don't know, calls
me and tells me someone I don't know
is sending you to talk to me. I ask
why. They say they don't know.
Vazzini indicates chairs. Frankie and Fortuna sit. Pietro
fetches a tray of drinks.
FRANKIE
Your health, Don Vazzini.
FORTUNA
I second that.
They drink.
VAZZINI
So tell me, what's this all about,
Frankie Two Bullets?
FRANKIE
Our friends in New York say they're
seeing too much blood. It's on the
TV, it's in the papers. That's a
valid concern, Don Vazzini, not a
criticism.
VAZZINI
Tell them to come on over here. See
what's on the streets. Bad enough
we got the Jamaican boys after you
kicked them out of N.Y.C. Now we
got those guys from Haiti, making
all kinds of trouble.
FORTUNA
Haitians.
VAZZINI
Whatever. You tell them to talk to
these boys, Frankie, and see what it
gets them. We're not talking a bullet
in the face. We're talking your
guts slit open and pulled out. We're
talking chickens and crazy men and
white girls snatched off the street
and never seen again. You pick up
that phone, Frankie Two Bullets, and
you tell our friends in New York
it's a killing ground over here.
FRANKIE
What are the cops doing?
VAZZINI
The cops, they're sucking their
thumbs. They don't do anything and
you know why? You want to know why?
They can't tell the spades apart!
You tell them go arrest a spade and
they'll bring in a dozen, two dozen,
more. None of them's the one you
want.
FORTUNA
The ethnic community is growing.
VAZZINI
Damn right it's growing, it's out of
control. The politicians let them
into the country so they can get
their votes and then they step back,
they step back and let the problem
explode because it's not on their
doorstep, it's not on their streets.
The spades ain't up in New England.
They're down here, crowding us.
FRANKIE
You can't talk to them? Work
something out?
VAZZINI
Tell him, Max. You tell him and
maybe he'll believe you.
FORTUNA
They're not hot on diplomacy, Frankie.
Sending someone to talk to them is a
suicide mission.
FRANKIE
You tried?
FORTUNA
I assure you, we tried. The bodies
turned up two days later. We got
this guy, this undertaker, he's an
artist, he can make anyone look so
good their own mothers wouldn't know
how they died. He couldn't do a
thing with these bodies. They were
hardly recognizable as humans any
more. The things the Hiatians did
to them, I can't tell you. The result
being, we couldn't let the spades
get away with it. So, we retaliated.
VAZZINI
Screw the cops, we washed our own
dirty laundry.
FORTUNA
Then they retaliated. No surprise
there. We ordered our friends in
the press to put a lid on the story
but it leaked out anyway. Someone
couldn't keep their big trap shut.
VAZZINI
We should'a made an example. Sewed
somebody's lips together.
FORTUNA
That would just have made things
worse. Frankie, the spades are on
every street corner selling crack to
kids. Go outside and walk two blocks
over. Their whores are crowding our
whores out of business -- those that
haven't already jumped on a bus and
skipped town. And who can blame
them? Not me, that's for sure.
FRANKIE
You could have asked for help.
FORTUNA
From who, Frankie? Who can we trust?
To a lot of guys we're just another
territory waiting to be diced up
once Don Vazzini pops his clogs, God
forbid that should ever happen.
VAZZINI
They've already made their agreements.
They're just waiting for me to die.
Well, you know what? I'm not gonna
die. Not until I'm good and ready.
FRANKIE
That's not true, Don Vazzini.
Nobody's waiting for you to die.
VAZZINI
Maybe that's why you're here. To
speed up the process. Huh?
FRANKIE
Don Vazzini, I swear to you on the
sacred blood of my father, who you
and me both loved, I don't have any
orders about that.
VAZZINI
But if you did, you'd put two bullets
into my brain out without a second
thought, wouldn't you Frankie?
FRANKIE
Let's not discuss such unpleasant
things, especially when there is no
need. I'm here to ask you, politely
and with all respect due, if there's
any way you can keep everything quiet
for a while. Until things blow over.
VAZZINI
Until things blow over. You hear
that, Max?
FORTUNA
Under other circumstances I'd regard
it as a very reasonable request...
FRANKIE
This isn't me asking. It's the
Families. It's La Commissione.
FORTUNA
Don Vazzini appreciates this. What
the Families must appreciate is that
we're fighting for survival.
VAZZINI
Tell him how many men we lost.
Fortuna takes a deep breath, reluctant...
FORTUNA
We've lost ten soldiers to the
Haitians. We don't dare leave the
house without protection. I don't
just mean a couple of guns. We're
driving around in armed convoys now.
We've pulled guys back in from the
neighboring districts. We know it
leaves them vulnerable, but that
can't be helped. We need them here.
FRANKIE
What about the Santinis?
FORTUNA
Don Santini sent a couple of his
guys over.
FRANKIE
Is that all?
VAZZINI
They're his best men. He didn't
just pick them out a hat.
FORTUNA
He'll send more when he can. He has
his own problems with the Jamaicans.
VAZZINI
A true friend. And he understands
only too well what's going on here.
FRANKIE
Then what answer can I take back to
La Commissione?
FORTUNA
Of course we will do everything we
can to keep this under wraps. But
you have to explain to the old men,
Frankie, you gotta tell them our
backs are to the wall and it's partly
their doing. They dumped their rotten
garbage on us.
FRANKIE
Then let them try to make amends.
Let them send you the extra muscle
you need.
FORTUNA
Won't that stir up exactly the kind
of trouble La Commissione wants us
to avoid?
FRANKIE
We're talking specialists. They'll
do things real quiet and clean up
the mess. Nobody has to know they're
here.
VAZZINI
You think I want crews from N.Y.C.
tramping all over my territory?
FRANKIE
It would be handled with delicacy,
Don Vazzini. No New York crews.
We'll pull in boys from Philly and
Boston. Neutral crews. As soon as
the job's done, they go back home.
They'll have no connection whatsoever
with your family. You'll be able to
deny everything.
VAZZINI
How does that make us look, huh?
Like we can't take care of our own
business.
FRANKIE
Nobody's saying that, Don Vazzini.
Nobody would even think such a thing.
You have a problem. Let's not deny
this. I'm offering you the only
possible solution.
FORTUNA
It's an elegant solution. Will you
allow us time to discuss it?
FRANKIE
I told them you'd need to think it
over. I'll come back tomorrow. You
can give me your answer then.
VAZZINI
You're going nowhere. You're my
guest.
FORTUNA
Give me a minute, I'll have someone
prepare a room.
Fortuna exits.
FRANKIE
I'm thankful for your hospitality,
Don Vazzini.
VAZZINI
You do look tired, Frankie, no
offense.
FRANKIE
The drive over here was kinda weird.
VAZZINI
What's weird about it?
FRANKIE
I think maybe I was falling asleep
at the wheel. Things didn't look
right. When I looked again,
everything was okay.
VAZZINI
You been hitting the sauce?
FRANKIE
This is the first drink I've had
since I don't know when.
VAZZINI
What happened, you get religion?
FRANKIE
Something like that.
VAZZINI
Fatigue, that's what it is. You
been working too hard. Now they got
you driving all over the country.
A KNOCK at the door. De Vere sticks his head in.
DE VERE
(upper class English
accent)
Dreadfully sorry to interrupt, sir.
Mr. Rizzo's room is ready.
Vazzini acknowledges with a wave, De Vere exits.
FRANKIE
He works fast.
DE VERE
Nah, we keep plenty of guest rooms
ready, all he had to do was turn
down the sheets. Go get some rest,
Frankie. We'll talk in the morning.
You'll feel better then.
Frankie kisses Don Vazzini's hand, and exits.
INT. ENTRANCE HALL - VAZZINI HOUSE - DAY
Frankie follows De Vere upstairs.
Fortuna stands at the bottom of the stairs watching Frankie,
his expression unreadable.
INT. UPSTAIRS HALLWAY - VAZZINI HOUSE - NIGHT
De Vere leads Frankie along a straight hallway with doors
along either side. The hallway goes on for quite a
distance... more than it should. Frankie looks back and
ahead, trying to figure the hallway's length.
De Vere stops at a door, opens it to reveal a bedroom.
DE VERE
I've taken the liberty of estimating
your size, sir. I believe the house
coat and the new underwear I've laid
out should fit you nicely. You'll
find fresh towels and a toothbrush
in the bathroom.
FRANKIE
What did they do, fly you over from
England?
DE VERE
I served the British ambassador in
Washington for a number of years,
sir. Mr. Vazzini was kind enough to
offer me a position in his household
when the ambassador retired.
FRANKIE
I can never figure you English out.
The real guys talk like faggots and
the faggots talk like real guys.
Which are you?
DE VERE
I dare say I've never really thought
about it, sir. Somewhere in the
middle, I expect, like most
Englishmen. Will you be needing
anything else, sir? A nightcap,
perhaps?
FRANKIE
I'll be okay.
DE VERE
Breakfast is usually served at eight.
Would you like a wake-up call at
seven-thirty?
FRANKIE
Yeah, that would be good.
He enters the bedroom and shuts the door.
INT. FRANKIE'S BEDROOM - VAZZINI HOUSE - NIGHT
Frankie locks the door.
INT. UPSTAIRS HALLWAY - VAZZINI HOUSE - NIGHT
De Vere hears the CLICK. He shrugs and walks away.
EXT. VAZZINI HOUSE - NIGHT
Searchlights stab through pitch darkness. Wiseguys on guard
duty stamp their feet and rub their hands. It's gonna be a
long night.
INT. FRANKIE'S BEDROOM - VAZZINI HOUSE - NIGHT
Frankie sits up in bed, wearing glasses and reading a book.
INT. ENTRANCE HALL - VAZZINI HOUSE - NIGHT
The grandfather clock CHIMES twelve times.
INT. UPSTAIRS HALLWAY - VAZZINI HOUSE - NIGHT
Starting at the far end, lights in the hallway dim and then
go out one by one. Darkness spreads up the hallway.
INT. FRANKIE'S BEDROOM - VAZZINI HOUSE - NIGHT
A sliver of light from the hallway is visible under the door.
The light vanishes.
Frankie doesn't seem to notice, he turns another page.
The key, in the lock, works itself loose and falls onto the
carpet without a sound.
The door silently swings open revealing an utterly dark
hallway.
Light around the doorway is blotted out by a shadow that
slowly spreads across the floor, walls and ceiling like an
oil spill moving in three dimensions.
Frankie puts down his book and peers curiously over the top
of his spectacles.
The shadow spreads further into the room. Something moves
within its depths, oil within oil, taking form, becoming a
grinning alligator face with huge black teeth and glowing
yellow eye slits.
Frankie throws the blankets aside, he's still wearing his
pants and shoes. He hops out of bed with a gun in each hand
and LETS RIP with everything he's got, pouring bullets into
the shadow.
Frankie's guns click empty. He stares in disbelief. The
shadow reaches him, wraps itself around him, crushes him.
Frankie arches his back and SCREAMS. His back SNAPS and he
relaxes, dead.
The shadow throws Frankie onto the bed. Frankie stares up
at the ceiling with unseeing eyes.
The shadow forms a clawed hand that draws back, then thrusts
deep into Frankie's chest with a horrible wet sound.
BLACKNESS.
FADE IN:
EXT. CEMETERY - DAY
An overcast sky. Leaves drift from tree branches. Headstones
sprout from beneath a thick carpet of leaves. In a private
plot surrounded by iron railings, Louis kneels down beside a
stone, wearing black coat and leather gloves.
He brushes leaves away to reveal the name on the stone:
MARIA BARBARA VAZZINI. He bows his head in silent tribute,
closes his eyes, and sighs deeply.
Several pairs of feet move rapidly through the leaves.
Louis opens his eyes, aware. His hand slips inside his coat
but it's too late -- a gun is pressed against the back of
his head. CLICK, the hammer is thumbed back.
STEFANO
Get up, you son of a bitch.
Louis slowly stands up. Four WISEGUYS surround him. The
man pressing the gun against his head is STEFANO, 40, a
ruthless crew boss.
STEFANO
How'd you get in here? Gate's locked.
LOUIS
I opened it.
Stefano hits Louis on the head. Louis staggers and Stefano
reaches inside his coat, snatches Louis' gun.
STEFANO
Let's go.
He pushes Louis through the open gate. The other Wiseguys
form up around Louis. Stefano waves -- a black hearse moves
out from behind some trees and heads their way.
LOUIS
There's something you should know.
STEFANO
Yeah?
WHAM! Stefano hits him and Louis collapses.
The hearse rolls up and stops beside Louis. Stefano opens
the rear door. The Wiseguys lift Louis, slide him inside.
Stefano slams the door and the hearse moves off.
INT. COFFIN - DAY
BLACKNESS. Rapid breathing. Frantic movement, as the
coffin's occupant seeks a way out. Punching, kicking, knees,
elbows. Muffled by the coffin's soft interior.
The upper half of the coffin lid abruptly opens. Louis
shields his eyes against harsh lights.
Fortuna leans over and looks down at Louis.
FORTUNA
We could have avoided this if you'd
simply called ahead.
INT. FURNACE ROOM - FUNERAL HOME - DAY
Louis climbs out of the coffin which lies on a conveyor belt
that leads into a furnace. Louis touches the furnace door
and frowns at Fortuna.
FORTUNA
It's not working. The engineer says
he's waiting for a new part to arrive.
That's the only reason you're still
alive. Of course, you would have
suffocated inside the coffin.
LOUIS
Of course.
FORTUNA
Mind telling me what you were doing?
Louis rubs the back of his head and winces.
LOUIS
How's the old man?
FORTUNA
Old, and tired, and unforgiving.
Will you answer my question?
LOUIS
I had to pay my respects.
FORTUNA
One of us is nuts. I don't think
it's me. Come on.
He exits, Louis follows him.
EXT. FUNERAL HOME - DAY
A black sedan sits waiting, Fortuna and Louis climb in back.
INT. FORTUNA'S SEDAN (MOVING) - DAY
FORTUNA
Tell me one thing. Did you volunteer
for this, or were you sent?
LOUIS
Does it matter?
FORTUNA
Maybe not. Either way, he's gonna
be pissed as hell when you walk in.
LOUIS
Good.
FORTUNA
I might not be able to stop him from
killing you.
LOUIS
Don't even try.
Fortuna puts his hand over Louis's.
FORTUNA
You're talking as if this is all a
game to you. It isn't.
Louis looks out the window. He blinks. The world outside
turns fuzzy electric B/W. He blinks again. It returns to
normal.
LOUIS
I know.
INT. HALLWAY - VAZZINI HOUSE - DAY
De Vere opens the door to admit Fortuna and Louis.
FORTUNA
This is Mr. Rolande. Please prepare
one of the guest rooms for him.
DE VERE
Does Mr. Rolande have any luggage?
LOUIS
It's in my car at the cemetery.
DE VERE
If you would be so kind as to give
me your keys, sir, I'll have your
car brought here and your luggage
taken to your room.
Louis fishes into his coat pocket, gives De Vere the keys.
DE VERE
Thank you, sir.
Fortuna leads Louis along the hallway.
De Vere closes and locks the door. He suddenly turns and
looks upstairs at the landing above. There's no one there.
Yet De Vere continues to stare for long seconds, before he
hurries through another doorway.
INT. HALLWAY OUTSIDE STUDY - VAZZINI HOUSE - DAY
Fortuna knocks on the door.
FORTUNA
Wait here.
Louis shrugs.
INT. STUDY - VAZZINI HOUSE - DAY
Fortuna enters. Vazzini sits gazing out a window that
overlooks a garden, Pietro stands beside him. Fortuna
gestures for Pietro to leave, and he does.
FORTUNA
They sent another guy.
VAZZINI
Anyone we know?
FORTUNA
Unfortunately, yes.
Vazzini turns his chair round.
VAZZINI
I'm in no mood for clever talk, Max.
Let's have it straight. Has he come
to whack me, or not?
FORTUNA
I don't think so.
VAZZINI
You fill me with confidence.
FORTUNA
Take a deep breath.
Fortuna opens the door wide to reveal Louis. A spectrum of
emotions wracks Vazzini -- confusion, shock, anger. Louis's
expression is flat and unreadable.
VAZZINI
What the fuck is he doing in my house!
Get him out of here, Max!
FORTUNA
Don Vazzini--
VAZZINI
Get me a gun. Get me a gun.
FORTUNA
I can't, Don Vazzini. La Commissione
sent him. He's the guy.
Vazzini breathes hard and clutches his chest.
VAZZINI
When did the Families ever send a
spade to do their dirty work? Huh?
When did they ever send a spade?
LOUIS
I'm not here to kill you. Though
God knows, the very thought gives me
pleasure.
Vazzini rolls himself over to a desk and opens a drawer.
Louis quickly crosses the room and grabs his hand, stopping
Vazzini from pulling out a gun. Louis slams the drawer shut.
LOUIS
I said I'm not here to kill you.
VAZZINI
Why should I believe you? You already
murdered my Maria.
Louis recoils as if he's been struck.
LOUIS
You twisted old son of a bitch.
VAZZINI
If you said that to me before I lost
the use of my legs, I'd kill you
myself. You'd scream for mercy.
You'd beg for death.
LOUIS
I'd bite my own tongue off before I
asked you for anything.
FORTUNA
Louis, this isn't helping things.
Don Vazzini, I implore you to calm
down. This man cannot be harmed.
Not here. Not by you. You know the
consequences. Having one of them
die on the premises is bad enough.
But two...
VAZZINI
Am I being punished? Frankie Two
Bullets goes and gets himself whacked
in my house, so they send this?
Vazzini rolls himself back to the window.
VAZZINI
Call these guys, Max. Call them and
tell them to send someone else.
FORTUNA
I don't think they'll listen to me.
I don't think we have choices any
more.
LOUIS
What did you do with his body?
FORTUNA
It's on ice at the funeral home. We
figured whoever La Commissione sent,
would want to see it. To corroborate
our story.
LOUIS
Why didn't you show me when we were
there?
FORTUNA
I didn't think you'd want to stick
around. Seeing as how you were nearly
a stiff yourself.
VAZZINI
Take him, Max. Take him and show
him what we're up against. Let him
see for himself. And then let's see
what he thinks he can do.
Louis stares at Vazzini's back for long seconds, then follows
Fortuna out.
EXT. FUNERAL HOME - DAY
Fortuna's sedan sits outside.
INT. COLD ROOM - FUNERAL HOME - DAY
Louis and Fortuna watch as an Undertaker opens a hatch and
slides out a shelf containing a body under a white sheet.
Fortuna nods and the Undertaker pulls back the sheet to reveal
Frankie's very pale face.
LOUIS
How'd he die?
FORTUNA
It's possible he bled to death.
LOUIS
Was he shot?
FORTUNA
No, he wasn't shot.
Louis pulls the sheet down further revealing Frankie's torso,
ripped to pieces as if he was attacked by a wild animal.
Louis sucks in a deep breath. Fortuna closes his eyes and
turns away.
FORTUNA
It's typically Haitian. We've found
several... victims in the same
condition. Sometimes symbols are
carved into the flesh. Sometimes
the eyes and tongue are removed.
There's no predicting what these
sick fuckers will do.
LOUIS
How could they get past your security
and into the house?
FORTUNA
I don't know, and that's the truth.
Louis covers the body, leaving the head exposed.
LOUIS
I'd like to request a few moments
with Frankie. Just, you know, so I
can say goodbye.
FORTUNA
Certainly.
Fortuna and the Undertaker exit. The door swings shut.
Louis bends over Frankie and pulls his eyelids open. Louis
tugs at a chain he wears around his neck until a silver amulet
attached to the chain is revealed. The amulet is a roughcut
skull with black stone eyes.
LOUIS
You remember when you gave me this?
The first time you showed me how to
use it?
Louis takes off a glove and uses the amulet to slash a red
line across his own palm. Blood wells and drips.
LOUIS
Never thought I'd have to use it on
you. Forgive me.
He grips Frankie's face, opens his mouth and lets blood from
his hand run into Frankie's mouth. Louis leans forward so
they're eye to eye.
LOUIS
Tell me what happened, old friend.
INT. FRANKIE'S BEDROOM - VAZZINI HOUSE - NIGHT
Frankie's POV in fuzzy electric B/W. The door opens and the
shadow enters the room, spreading toward POV, blacking out
POV. Out of the blackness comes the grinning alligator face
with glowing slit eyes.
INT. COLD ROOM - FUNERAL HOME - DAY
Louis reels away from Frankie and has to steady himself
against a wall. He sucks in deep breaths until he recovers
some of his strength.
He staggers back to Frankie and pulls the sheet down,
revealing Frankie's torso. Louis extends his hands and moves
them in slow circles above Frankie's chest, like some faith
healer at work.
VOICES from outside. Louis pulls the sheet back up covering
Frankie's body and head. He pulls on his glove. He tucks
his amulet back down inside his shirt. Fortuna opens the
door, peeks in.
LOUIS
It's okay.
Fortuna enters.
FORTUNA
Are you done? Something's come up.
LOUIS
I'm done.
Louis exits. Fortuna waits a second and stares suspiciously
at Frankie's body. Then he follows Louis out.
INT. ENTRANCE HALL - VAZZINI HOUSE - DAY
De Vere opens the door for Louis and Fortuna.
DE VERE
Mr. Vazzini is waiting for you in
his study.
INT. STUDY - VAZZINI HOUSE - DAY
Vazzini holds council with PANELLI, 40, and DELLTORO, 25,
who both look round as Fortuna and Louis enter. Panelli is
curious about Louis. Delltoro is downright hostile and
doesn't stop glaring at Louis.
VAZZINI
Don't bring him in here.
FORTUNA
I thought he might be able to help
us, Don Vazzini.
VAZZINI
Help, how? He's here to bury me.
Louis goes to the drinks cabinet, pours himself a bourbon
and throws it back.
VAZZINI
Like he owns the place.
LOUIS
One word from me and your family is
fucked. I don't report in, your
family is fucked. If that's too
complicated for you, tell me and
I'll draw you pictures.
He pours a second drink, swallows it in one.
VAZZINI
I curse the day I took you in and
treated you like my own blood.
LOUIS
And I curse the day my father took a
bullet for you, you wop son of a
bitch.
VAZZINI
Goddamn spade motherfucker.
FORTUNA
Everyone, stop. Stop. Don Vazzini,
Marco is missing. At this moment,
nothing else is important.
Louis reacts with surprise. Fortuna turns to Panelli.
PANELLI
We were just telling Don Vazzini.
He paid a visit to the Laguna last
night. Nobody knows where he went
after that.
FORTUNA
You checked the place out?
DELLTORO
From top to bottom.
LOUIS
With everything that's going on, you
let him go to a whorehouse?
FORTUNA
There's collections to be made. We
still have a business to run.
LOUIS
That's what he was doing, making a
collection?
Nobody answers.
VAZZINI
Well? What was he doing?
Fortuna and Panelli stare at the floor.
VAZZINI
I told him not to get involved with
no whore.
LOUIS
Let's go talk to the whore.
VAZZINI
This is none of your business.
Louis takes out his wallet, casually flips it opens like a
cop's ID badge. It's the Ace of Spades, a special kind of
badge. Panelli whistles softly in appreciation.
LOUIS
This says otherwise.
VAZZINI
The ace of spades, for a spade!
FORTUNA
Don Vazzini, please--
PANELLI
We'll take him there, Don Vazzini.
VAZZINI
Never mind him. You got to find
Marco. You got to bring him back
here to me.
PANELLI
We will, Don Vazzini.
Panelli heads for the door, opens it and invites Louis to go
ahead. Louis bangs his glass down and exits. Panelli and
Delltoro follow him out and close the door.
FORTUNA
That went surprisingly well.
VAZZINI
You really think he can find Marco?
FORTUNA
I wouldn't have suggested this
otherwise.
VAZZINI
If those Haitian fucks have harmed
one hair on Marco's head, I swear,
this town will run red with their
blood.
Fortuna pours himself a drink and throws it back.
FORTUNA
We'll know soon enough.
VAZZINI
That's all you got to say? "We'll
know soon enough"?
FORTUNA
Waiting is the hardest part.
INT. PANELLI'S SEDAN (MOVING) - DAY
Louis and Panelli sit in back. The DRIVER and the front
seat PASSENGER are grim-looking Wiseguys. The streets flash
by. Panelli glances curiously at Louis.
LOUIS
You got something to say, say it.
PANELLI
You're the guy.
LOUIS
Yeah, I'm the Black wop. I guess
maybe they got a few other names for
me, too.
Panelli chuckles.
PANELLI
Nobody's going to say them to your
face, that's for sure. Not with
that Ace of Spaces in your pocket.
How many guys you got to knock off
before they give you one of those?
LOUIS
Too many. So what about you? Pistol
Pete Panelli. Don Santini's right-
hand man.
PANELLI
Jesus, that's not good.
LOUIS
Relax. They briefed me before I
left N.Y.C. Told me I'm gonna rub
shoulders with some Santini guys.
PANELLI
For a second there you had me pissing
my pants.
LOUIS
I said relax. The Laguna used to be
a pretty classy place.
PANELLI
Times change.
LOUIS
Tell me about it.
EXT. LAGUNA NIGHTCLUB - NIGHT
A trashy neon lap dancing joint, and more.
INT. ENTRANCE HALL - LAGUNA NIGHTCLUB - NIGHT
Dark and claustrophobic. Dance music POUNDS. Panelli's men
enter first, pushing GIRLS out of the way. Louis and Panelli
follow them inside.
INT. OFFICE - LAGUNA NIGHTCLUB - NIGHT
JANICE, 30s, a tired, once-beautiful blonde, opens the door
for Panelli. She stares at Louis -- then turns her back on
him. She lights a cigarette, blows smoke at the ceiling.
Panelli closes the door, lowering the music volume.
PANELLI
Has he shown up?
JANICE
Who's your friend?
PANELLI
Has Marco shown up.
JANICE
Of course he hasn't. I would've
called.
LOUIS
Did he come here on his own?
Janice glances uncertainly at Panelli.
PANELLI
Answer him.
JANICE
He had his guys with him. The Happy
Brothers.
Louis looks at Panelli for confirmation.
PANELLI
His bodyguards are missing, too.
LOUIS
When did they get here?
JANICE
Look, you guys already asked me...
Panelli's stare makes her nervous.
JANICE
Maybe around eleven. He went right
up to Alice's room.
PANELLI
(to Louis)
The girl said Marco was with her for
an hour.
JANICE
They weren't just sitting around and
talking, either. Alice can't walk
after he pays her a visit. He's a
stallion.
PANELLI
Cut it out.
LOUIS
Where's Alice?
JANICE
She's resting. She's upset. You
guys shout at her and slap her around
like it's her fault. She doesn't
know anything.
Panelli snatches her cigarette and grinds it out. He opens
the door admitting pulsing music. Janice exits, they follow
her out.
INT. STAIRWAY - LAGUNA NIGHTCLUB - NIGHT
MALE CUSTOMERS and GIRLS talk and socialize on the stairs.
Panelli's men push them roughly aside. No one complains.
Louis attracts more than a few curious glances.
INT. ALICE'S ROOM - LAGUNA NIGHTCLUB - NIGHT
Louis opens the door admitting light and noise. ALICE, 19,
Black, is a pathetic bundle curled in fetal position on her
bed. Her eyes are open but unfocused. A syringe sticks out
of her arm.
Janice cries out and pushes past Louis. She pulls the syringe
out and throws it across the room. She kneels beside Alice
and cradles her head, but Alice is beyond help.
PANELLI
Jesus H. Christ.
LOUIS
Who talked to her last?
PANELLI
I'll find out.
LOUIS
Did they scare her? I'm looking for
a reason.
PANELLI
Everybody knows she's Marco's girl.
They wouldn't have touched her.
LOUIS
Delltoro said you checked this place
from top to bottom.
PANELLI
That's right.
LOUIS
Rooms, halls, cupboards, attic,
cellar. You checked everywhere.
PANELLI
We checked everywhere.
LOUIS
What about next door?
PANELLI
Rented storage. Delltoro said it's
empty.
Janice cradles Alice and sobs.
PANELLI
Come on. Nothing we can do here.
Louis touches Janice's shoulder, she jerks in shock.
LOUIS
"Alice"?
JANICE
What? What? She's dead, isn't that
enough for you?
LOUIS
That's her name?
Janice blinks, confused and tortured.
JANICE
Her name's... Aleeza, I don't know,
maybe Aliza, we called her Alice...
LOUIS
Where's she from?
(beat)
I said where's she from?
JANICE
She said Jamaica. She told me she's
from Jamaica.
end excerpt
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