"Stiletto Sisters: Vendetta" - screenplay by Derek Paterson.
This is an excerpt (first 20 pages) of a completed screenplay.
"Stiletto Sisters: Vendetta" - screenplay by Derek Paterson.
FADE IN:
EXT. WOODLAND CLEARING - NIGHT
Shovels SCRAPE into earth and men PANT with effort.
"BIG LOU" SOLAZZI, 40s, ruggedly handsome, leans against his
car smoking as EDDIE and VITO, 30s, dig a waist-deep hole.
Big Lou throws down his cigarette and moves to the back of
the car. He opens the trunk. A WOMAN (40s) and a MAN (20s)
lie in the trunk, wrists and ankles bound, gags covering
their mouths. They stare up at Big Lou, afraid.
BIG LOU
I only got to look at you two
lovebirds to know you were made for
each other. That's good. Because
you're gonna spend eternity together.
The Man struggles but it's no good. The Woman closes her
eyes and sobs.
BIG LOU
Eddie! Vito! Come on over here!
Eddie and Vito climb out the hole and come running.
BIG LOU
Him first. Don't bother being gentle.
They lift the Man out of the trunk. The Man struggles and
they drop him, but they pick him up again and carry him to
the hole. One-two-HEAVE and he disappears.
EDDIE
Fuck you!
The Woman stares up at Big Lou, pleading with her eyes. He
shows no emotion as Eddie and Vito lift her out and carry
her to the hole. One-two-HEAVE and she's gone. Muffled
YELPS from the bottom of the hole.
VITO
I bet that's the best fuck they ever
had!
They laugh. Big Lou comes up behind them, puts a gun to
Eddie's head. BANG! Eddie topples into the hole. Vito
stares dumbly at the smoking gun. BANG! Vito falls in.
Big Lou picks up a shovel. Feeble MOANS come from the bottom
of the hole. Tears run down Big Lou's cheeks as he fills
the grave with earth.
FADE TO BLACK:
The gut-shaking RUMBLE of a powerful sports car engine.
Title: FIVE YEARS LATER.
FADE IN:
EXT. ROAD TO SOLAZZI ESTATE - DAY
A gleaming Dodge Viper screeches to a stop on a tree-lined
road leading to a big house.
INT./EXT. ROSETTA'S CAR - DAY
At the wheel, ROSETTA SOLAZZI, 20s, an Italian-American beauty
who could cause a major traffic accident just by smiling.
She wears black dress, hat, sunglasses.
She studies the house for a time... and seems to make her
mind up. She puts the Viper into gear and burns rubber making
a U-turn, heading away from the house.
She's barely gone a hundred yards before she SKIDS to a stop.
ROSETTA
Fuck it!
She spins the Viper around and ZOOMS back to the house.
EXT. SOLAZZI ESTATE - MAIN GATES - DAY
Crowded with REPORTERS and TELEVISION CAMERAS. Behind the
closed iron gates, scowling SECURITY GUARDS in suits.
The swarm of reporters turns as Rosetta's Viper comes ROARING
into view. She hits the brakes hard. They scatter like
startled birds, then flock back to her car snapping photos
from every angle.
Rosetta punches her horn, warning them to get the hell out
her way! She leans out her window and tries to catch the
eye of the GUARD on the other side of the main gate.
The Guard recognizes her and windmills his arm. The gates
open. Rosetta nudges her Viper through and the gates close
again, trapping the reporters outside. The Guard talks into
his cell phone as he watches the Viper head for the house.
EXT. SOLAZZI HOUSE - DAY
A hearse stands empty and waiting at the head of a row of
black cars. Eight UNDERTAKERS wait by the hearse in black
suits with RED ROSES in their lapels. DRIVERS smoke and
talk among themselves. They watch as Rosetta drives by.
Rosetta parks, gets out, smooths down her dress, fixes her
hat. She looks at the entrance -- then heads for the rear
of the house.
The Undertakers take notice when NICO, 20s, appears at the
front door. He nods to the Undertakers. Two of the
Undertakers move to join Nico and go inside.
EXT. SOLAZZI HOUSE - REAR - DAY
Rosetta takes off her sunglasses and stares at the house.
INT. KITCHEN - SOLAZZI HOUSE - DAY
Rosetta peers in through the window. She tries the door,
it's unlocked. She enters. She passes through the empty
kitchen, reaches a stairway leading up. Muted VOICES from
upstairs. Rosetta starts climbing.
INT. DOWNSTAIRS HALLWAY - SOLAZZI HOUSE - DAY
Rosetta stops near the Living Room which is crowded with men
and women dressed in black.
MOURNER (O.S.)
What can anyone say about Big Lou
Solazzi? This was a man who loved
his family and his friends. A man
who took care of those who loved
him, or needed his help. You know
he gave to charities, to orphanages.
His generosity knew no limits...
Rosetta frowns, not happy. She heads for the stairway.
INT. UPSTAIRS HALLWAY - SOLAZZI HOUSE - DAY
Rosetta climbs up. She walks along the hallway, looking at
each doorway. Remembering...
INT. ROSETTA'S BEDROOM - SOLAZZI HOUSE - DAY
A girl's room. Dolls and ornaments displayed on shelves. A
crystal lamp on a bedside table tinkles as Rosetta enters.
She takes off her hat, throws it on the bed. Walks around
the room, touching familiar things, enjoying them. She sits
down on the bed, leans back on her elbows and closes her
eyes. Remembering...
ROSETTA'S CHILDHOOD FLASHBACK:
The low POV of a young girl. Rosetta's MOTHER (the woman we
saw in the trunk of Big Lou's car in the opening scene, some
years younger here), bends down toward Rosetta, smiling.
MOTHER
Your hair's fine, honey. The car's
waiting to take you to school. Off
you go now.
Rosetta's twin sister MARIETTA stands in the doorway wearing
school uniform. Marietta scowls and taps her wristwatch.
BACK TO SCENE:
Instead of Marietta, LUCA SOLAZZI stands in the doorway.
60s, silver hair, he's still as strong as a bull.
LUCA
Rosetta. What the hell are you doing,
sneaking into the house like this?
ROSETTA
I got here late. I didn't want to
walk in while you were in the middle
of something, Uncle Luca.
LUCA
Late, early, who cares? You should
be downstairs saying goodbye to your
old man. Don't you have a kiss for
your uncle?
Rosetta springs up, kisses Luca on the cheek.
ROSETTA
It's good to see you again, Uncle
Luca.
LUCA
Same here, Rosetta. You look beat,
like you could use a drink. And I
don't mean coffee.
ROSETTA
I don't want to hold you back...
LUCA
Everyone's getting ready to leave
for the cemetery. We got a few
minutes. The priest ain't gonna
start without us, that's for sure.
Luca motions to the door. They exit together.
INT. UPSTAIRS HALLWAY - SOLAZZI HOUSE - DAY
As Rosetta passes a door, she pauses. Luca goes on ahead,
not knowing she's stopped.
ROSETTA'S TEENAGE FLASHBACK:
Rosetta (17) stares into the room from the hallway, her
expression sheer disbelief.
Her sister Marietta is being screwed from behind by what
appears to be Big Lou Solazzi (BLURRED so we can't be sure).
Colored pills lie scattered on the floor. The buck naked
couple are so high they don't notice Rosetta.
BACK TO SCENE:
Luca stops and looks back, puzzled.
LUCA
Rosetta?
Rosetta hurries after him.
INT. STUDY - SOLAZZI HOUSE - DAY
An impressive desk with a high-backed leather chair. Luca
ushers Rosetta to a guest chair.
LUCA
What's your poison?
ROSETTA
Not for me, Uncle Luca. Thanks
anyway.
Luca pours himself a Scotch. He sits down behind the desk.
Raises his glass in a toast.
LUCA
Here's to your pop, wherever he is.
ROSETTA'S ADULT FLASHBACK:
Her father, Big Lou, sits behind the desk in the exact same
pose as Luca, holding up a glass.
BIG LOU
Here's to your bitch of a mother,
wherever she is. Jesus, she didn't
even send you and Marietta a birthday
card. It's a crying shame.
BACK TO SCENE:
LUCA
The coffin's next door if you want
to, you know, say goodbye.
ROSETTA
I think I'll skip that part, Uncle
Luca. I came back for old time's
sake, you know? I'm just gonna leave
now, if it's okay with you.
LUCA
That's your choice, Rosetta, but I
can't say I'm not disappointed. I
know he would have wanted you and
Marietta to be at his funeral.
Luca takes a cigar from a box. He clips off the end and
lights it using a gold lighter. Rosetta watches his every
move. Luca blows smoke toward the ceiling.
LUCA
Your pop always did have good taste
when it came to cigars and booze.
Outside, people leave the house, heading back to their cars.
A KNOCK at the door. Nico enters. Lock-up-your-daughters
handsome. He stares admiringly at Rosetta.
LUCA
Jeez, Nicky, don't stand there with
your mouth hanging open. Ain't you
gonna say hello to your cousin
Rosetta?
NICO
Jesus. Is that really you, Rosetta?
ROSETTA
Hi Nico.
LUCA
What is it, Nicky?
Nico has trouble dragging his eyes off Rosetta.
NICO
Phone call for you, Uncle Luca.
It's Vacchio in L.A.
Something passes between Nico and Luca but Rosetta doesn't
see it, she's looking out the window.
LUCA
Why can't I take it in here?
NICO
Maybe Paulie don't know how to switch
the phone through to the study. You
get to Paulie's age, everything gets
cloudy.
LUCA
I'm Paulie's age, you punk.
NICO
I didn't mean no disrespect, Uncle
Luca.
Luca stubs his cigar out, gets up and heads for the door.
He stops beside Nico.
LUCA
Clean this up, huh?
Nico's smile vanishes. He looks at Rosetta. Luca nods, a
confirmation. Then he exits. Nico closes the door.
NICO
How you doing, Rosie?
ROSETTA
I'm doing fine, Nico. You?
Nico draws a gun from an underarm holster. He screws on a
fat black silencer.
NICO
Not so good. I wish I could say I'm
glad to see you, Rosie, but you caught
me on a bad day.
ROSETTA
Nico baby, you got a weird sense of
humor.
NICO
I ain't laughing, Rosie. No one
expected you or Marietta to show up.
You and your sister hated Big Lou's
guts, everybody knows that. Why did
you have to come back here, today of
all days? And looking good enough
to eat, too.
ROSETTA
Nico...?
NICO
Sorry Rosie, we're on a tight
schedule. You got to know, this
ain't nothing personal.
Nico extends his arm, taking careful aim at Rosetta. She
stares at him, shocked!
CUT TO BLACK:
BANG! A loud SHOT from an UNSILENCED pistol!
FADE IN:
EXT. BRUCE'S HOUSE - DAY
A desirable property set amid the wealth of Hollywood. The
kind of place tour buses pass by every day.
EXT. UPPER FLOOR BALCONY - BRUCE'S HOUSE - DAY
MARIETTA SOLAZZI, Rosetta's twin sister, lies on a couch,
sunbathing in a revealing bikini while reading a glossy
magazine.
BRUCE NEVADA, 30, square-jaw handsome, limps out of the house,
wincing at the pain from his leg. He wears an Army vest and
black jogging pants, and carries a large pink milkshake. He
sits down awkwardly.
MARIETTA
You should be strapped up.
BRUCE
And have some camera jockey take a
snap of me with a telephoto lens?
No way. Bruce Nevada isn't going to
appear in some gossip 'zine sporting
bandages, no sir.
MARIETTA
Bruce Nevada will need therapy if he
keeps talking about himself in the
third person.
BRUCE
I am who I am, and I'm not ashamed
to admit it.
He sips his 'shake.
BRUCE
Damn, this is good.
MARIETTA
You're due to start shooting next
month. How are you going to do that
if you don't look after your leg?
BRUCE
Don't worry, I'll be okay.
MARIETTA
You keep doing your own stunts you
won't be okay, you'll be dead.
BRUCE
I gotta do my own stunts. Who's
gonna believe in me if they know a
stand-in is jumping off a rooftop or
getting blown to pieces?
MARIETTA
So tell me what happens in this one?
BRUCE
It's a really hot science fiction
thriller. Here's the story: there
are aliens in the White House, running
the world. But my character, Bruce
Shard, a Secret Service agent, finds
out the President's a bughead and
decides to do something about it.
MARIETTA
That's it? That's the best script
Jody could find for you?
BRUCE
It's not as bad as it sounds. There
are depths I can explore with Shard
that I've been denied in my previous
movies. His girlfriend becomes one
of the bugheads and he has to kill
her. That's pretty heavy, you know?
I can take that and run with it.
Jody says he expects me to give much
more this time. He says I have a
well of untapped emotions.
He drinks more 'shake, wipes his lips and BURPS loudly.
MARIETTA
You sure have. What's the movie
called?
BRUCE
They're still using a working title,
"All The President's Bugs," but the
producers will probably change it.
Jody says Van Damme might be
interested. If he signs, the script
will be altered to write him in as
my partner. We'll kick some alien
butt together.
Bruce fires some punches at an invisible opponent, giving a
reasonable impersonation of a martial artist.
BRUCE
Listen, Jody wants me to look at
some script changes. I'm gonna head
on over to his place, okay?
MARIETTA
I know all about Jody and those big-
titted bunnies of his. You can look
all you want but if you touch, I'll
cut your dick off and stuff it down
your throat, Sicilian style.
Bruce chokes on his shake, sprays it everywhere.
BRUCE
Jesus!
MARIETTA
And tell Jody I was asking for him.
You should bring him over for dinner.
BRUCE
He doesn't like Italian food.
MARIETTA
You mean he doesn't like me.
BRUCE
I never said that. But you never
show him any respect.
MARIETTA
The day he tells me he's putting you
in a movie alongside Julia or Nicole
I'll show him plenty of respect,
believe me.
BRUCE
That guy who came to see you yesterday
looked pretty mean.
Marietta turns the pages of her glossy magazine.
MARIETTA
Here's something: "How to keep your
husband interested in ten easy
lessons." One, shave down below.
Two, always wear black lace underwear.
BRUCE
Who was he, what did he want?
MARIETTA
You will not believe what Number Ten
is. Is that even legal?
BRUCE
Don't try to change the subject.
MARIETTA
He was just a message boy, okay? I
told you to forget about him.
BRUCE
Message boy my ass. He was packing
heat. I saw the bulge under his
jacket. A real, honest-to-goodness
live Mafioso.
MARIETTA
Nobody says "Mafioso" any more. You
sound like a gangster in a "B" movie.
BRUCE
Why won't you tell me what it's about?
A wife shouldn't keep secrets from
her husband.
MARIETTA
When did we get married? I don't
even remember a proposal, never mind
walking down the aisle.
BRUCE
Jody thinks it would be bad for my
image. Most of my fan mail comes
from teenage girls. They all want
me for themselves.
He flexes a biceps.
BRUCE
Can't blame 'em, huh?
MARIETTA
Nope, can't blame 'em. What I want
to know is, what size is Jody's new
yacht and how much did he take from
your earnings to pay for it?
BRUCE
You're changing the subject again.
Who was that goddamn Mafioso, what
did he want?
MARIETTA
It's my business. Keep out of it.
BRUCE
You mean it's family business. So,
what did Daddy's message boy want?
Was he just delivering the morning
paper, or letting you know in advance
who's going to die of natural causes
next week?
Marietta throws her magazine down.
MARIETTA
For God's sake, Bruce, get a new
script.
She storms inside.
INT. BEDROOM - BRUCE'S HOUSE - DAY
Bruce follows Marietta inside. He grabs her wrist and spins
her around.
BRUCE
Don't walk away from me. And don't
get picky over names. I asked you a
question. What did he want? Are
you going to give me a straight
answer?
MARIETTA
No.
BRUCE
Baby, you gotta be kidding me. The
Mafia comes calling, packing hardware,
and I've got to pretend it didn't
happen? Pretend my girl's father
isn't a Mafia hood?
MARIETTA
Go to Hell, Bruce. But first, let
go of me.
BRUCE
Let go of me, or else? Isn't that
what you mean?
MARIETTA
That's exactly what I mean.
BRUCE
Let me guess. You'll phone Daddy
and he'll send a couple of his boys
over to measure me for concrete
overshoes, right?
MARIETTA
Jesus, it's like talking to somebody
from the 1930s. He's dead, you
asshole. That's what the guy came
to tell me. My father's dead.
Bruce lets go. Marietta rubs her wrist.
BRUCE
Why didn't you just tell me?
MARIETTA
Because it's like you said, it's
family business.
BRUCE
When's the funeral?
MARIETTA
Today. Now. I don't know. It
doesn't matter because I'm not going.
They can bury him without me.
BRUCE
You can't be serious.
MARIETTA
I am serious. I hated the bastard,
Bruce. You've no idea just how much
I hated him. Enough to have wanted
to kill him myself. Enough to want
to piss on his grave.
Bruce exits back out onto the balcony. Marietta leans back
against the wall, closes her eyes and sighs.
Bruce come back inside.
BRUCE
There's a car in the driveway. I
think it's the same guy, your message
boy. Maybe this time I'll tell him
to fuck off, hey?
Marietta pushes past him and goes out onto the balcony.
MARIETTA'S POV: a black sedan sits in the driveway.
Marietta comes back inside.
BRUCE
Hey, your family wouldn't get pissed
off with you just because you didn't
attend your old man's funeral, would
they?
A CRASH of breaking glass from downstairs.
BRUCE
What the hell was that?
He heads for the door but Marietta stops him.
MARIETTA
Stay here.
BRUCE
Like hell I will. I want to talk to
these guys. Who the fuck do they
think they are?
He tries to push past her. Marietta kicks him in the nuts.
Bruce groans and collapses, she jumps over him and runs into
the hallway.
INT. UPSTAIRS HALLWAY - BRUCE'S HOUSE - DAY
Marietta creeps toward the stairs. She reaches the top and
listens. Movement from below. She silently runs to the
other end of the hallway.
INT. EXERCISE ROOM - BRUCE'S HOUSE - DAY
Marietta runs to a locker, pulls out a sports bag. She tosses
out a crumpled tennis shirt, shorts, a pair of shoes. Finally
she pulls out a revolver.
She stands just inside the door and peeks out. A man stands
at the top of the stairs, looking the other way. BLONDIE, a
bronzed surfer, carries an Uzi.
Marietta pulls back as GIANCARLO VACCHIO climbs the stairs.
Mature, distinguished, a ruthless killer.
FRANKIE (O.S.)
Ain't nobody down here, Mr. Vacchio.
VACCHIO
Shut the fuck up, Frankie.
(to Blondie)
That way. She's with that actor,
the pussy. Find her.
BLONDIE
Sure thing, Mister Vacchio.
Blondie sets off toward the bedroom. FRANKIE climbs upstairs.
He's huge, bulging with muscles, a typical enforcer. Vacchio
points toward the exercise room.
VACCHIO
Frankie, check that way.
FRANKIE
Okay, boss.
Frankie enters like he's having a gentle stroll in the park
and comes face to face with Marietta. Tough to tell who's
more surprised. Frankie reaches inside his jacket--
FRANKIE
She's in here!
CUT TO BLACK:
THREE LOUD GUNSHOTS.
FADE IN:
EXT. TAGLIA HOUSE - DAY
Set amid green lawns. Electronic gates decide who comes in
and who leaves. An open-top sports car approaches the gates,
driven by CARLOS RIVA, early 30s, a handsome, manicured
professional accountant who always wears the sharpest suits.
The GUARD on gate duty recognizes Riva and opens the gates.
Riva waves to him and drives toward the house. A GARDENER
rides a lawn mower nearby, trimming the grass.
EXT. TAGLIA HOUSE - ENTRANCE - DAY
Riva climbs the steps, carrying an envelope. The door is
opened by ALFREDO, an elderly house servant.
ALFREDO
Good afternoon, Mister Riva.
RIVA
Hey Alfredo, I'm believe I'm expected?
INT. ENTRANCE HALL - TAGLIA HOUSE - DAY
Riva is stopped by LUIGI, a huge guard, who frisks him.
INT. OUTSIDE TAGLIA'S STUDY - DAY
Alfredo knocks the door, pauses, then opens the door for
Riva to enter.
INT. STUDY - TAGLIA HOUSE - DAY
Sitting behind his desk, DON TAGLIA, 60s, tough as old boots.
With him, IRON MIKE RUSSO, same age, even tougher, looks
sour as Riva comes in.
TAGLIA
Carlos. Come in, sit down.
Riva sits down beside Russo who isn't a big fan.
TAGLIA
I'd offer you a drink, only this
ain't no friendly meeting. Let's
get down to business. Show me what
you got?
Riva opens the envelope, pulls out a computer print-out.
He's about to place it on the desk but Russo snatches it and
starts reading.
Riva examines the photographs hanging on the walls. Thickset
men smile and shake hands. A who's who of organized crime.
Russo looks up at Taglia, and nods.
TAGLIA
You're sure about this? You're
absolutely sure Jules Capella has
betrayed me?
RIVA
Each of the transfers is recorded
there. There's no mistake. It all
adds up to 160 million dollars.
TAGLIA
The little prick. Being married to
my daughter wasn't enough for him.
Being on my payroll wasn't enough
for him. He had to have more.
(to Russo)
Mike, find out where that no-good
weasel son-in-law of mine is hiding.
RIVA
I can tell you where he is, Mr.
Taglia. He booked two seats on a
plane to South Africa, scheduled to
take off from JFK at 21-hundred hours
tonight. He's in a room in the JFK
Hilton registered under the name of
Calvetti.
RUSSO
How the fuck do you know that?
RIVA
A friend of mine has been on Capella's
tail since yesterday.
Russo's fit to explode but Taglia makes a calming gesture.
TAGLIA
Two seats?
RIVA
He's traveling with a woman named
O'Rourke, his personal assistant.
The office manager says Miss O'Rourke
has yet to turn up for an honest
day's work.
RUSSO
Who's the guy that's watching him?
RIVA
I didn't give him any details, just
Capella's description. I pay cash,
he doesn't ask questions.
RUSSO
Fuck not asking questions, you're an
accountant, not a secret fucking
agent. You should have turned this
over to me instead of sticking your
fucking nose into--
But Taglia holds up his hand, demanding silence.
TAGLIA
Yeah, that sounds like Jules, all
right. Stealing my money isn't
enough, the prick also has to betray
my daughter. Mike, what can you do
about this?
RUSSO
I can have my people there in ten
minutes.
Taglia nods. Russo gets up and exits.
TAGLIA
What about my money?
RIVA
Capella converted the 160 million to
bearer bonds, which are good anywhere
in the world. My guy at the airport
said he's carrying a locked attaché
case. I'd say it's a good bet the
bonds are in that case. He wouldn't
want to let them out of his sight.
Russo comes back into the study and sits down.
RUSSO
My people are on their way. They
know what to do.
TAGLIA
(to Riva)
How the fuck did you find out Jules
was shafting me?
RIVA
I like to check the accounts to ensure
everything's transferred on schedule.
Even a day's delay can lose you
considerable interest. But the
numbers didn't balance. I couldn't
see how Capella had done it, so I
called in some people I know. They
hacked into his office computer
system. He had everything encrypted
and password-protected, but these
guys are pros. Capella had set up a
string of bogus client identities
that allowed him to transfer the
money to himself.
RUSSO
You're using people we don't know.
I don't like that, not when Don
Taglia's money is involved. Who the
fuck are these guys?
RIVA
A couple of friends I met among the
sand dunes. They were with the Agency
back then, breaking Iraqi military
codes as quickly as Baghdad changed
them. Now they're security
consultants working for banks and
the stock exchange.
RUSSO
Tell me, Riva, are you ever going to
have one conversation in your entire
life where you forget to mention
your heroic role in Saddam's downfall?
TAGLIA
Calm down, Mike. Carlos wasn't
blowing his own trumpet. You asked
him, remember?
Taglia gets up and comes around his desk.
TAGLIA
Carlos, thank you for letting us
know about this. We'll handle things
from here.
RIVA
Sure thing, Mister Taglia.
Taglia escorts Riva to the door.
TAGLIA
Expect to find a "thank-you" in the
mail soon.
RIVA
That's not necessary, Mister Taglia.
You already pay me. This is just
part of the service.
Taglia nods and smiles, pleased with this answer.
INT. ENTRANCE HALL - TAGLIA HOUSE - DAY
Alfredo opens the front door for Riva.
ALFREDO
You have a nice day, Mister Riva.
RIVA
Thanks, Alfredo, I believe I will.
INT./EXT. RIVA'S CAR (MOVING) - DAY
Riva puts on sunglasses, starts the engine and drives toward
the gates. There's no sign of the Guard. Riva has to stop.
The Gardener riding the lawn mower weaves all over the place.
That's because he's watching the house and talking into a
radio microphone inside his collar.
Riva pulls out his phone, speed-dials a number.
RIVA (into phone)
Alfredo, it's Riva. Give me Luigi.
(he listens)
Give me Luigi, dammit, right now!
(he listens)
Luigi, it's Riva. You got trouble
out here. Tell Mike Russo what I
just said, you hear me?
Four MEN wearing black commando gear drop over the garden
wall. They disappear among the bushes, then reappear moments
later, running toward the house.
A black van SCREECHES to a stop outside the gates. A window
rolls down and a large caliber RIFLE BARREL protrudes.
Riva's eyes WIDEN. He throws himself down and covers his
head as the rifle BOOMS! shattering the windshield. BOOM!
His car bucks up and down like a rodeo bull. BOOM! BOOM!
BOOM!
CUT TO BLACK:
The SHOOTING continues, loud and close. Then slowly fades...
JET ENGINES.
FADE IN:
EXT. JFK INTERNATIONAL AIRPORT - DAY
Planes land and take off from the world's busiest airport.
INT. HOTEL ROOM - DAY
The toilet adjoining the bedroom FLUSHES. The door opens
and JULES CAPELLA, 40s, emerges from the bathroom. He limps
to a chair by the window. He carefully sits down, grunting
with discomfort.
GERI O'ROURKE, 20s, lies upon the king-sized bed, naked but
for wisps of black lace underwear. She's high as a kite on
coke and horny as hell, bringing herself off.
CAPELLA
I got no crap left in me and I'm
still crapping.
GERI
Come to bed, Jules. I need you.
CAPELLA
Not now, honey. I got things to
think about.
Geri gasps and pants her way to heaven.
CAPELLA
Just wait until we get to Cape Town,
baby. You'll be begging me for mercy,
I guarantee it.
GERI
I can't wait that long, I'm red hot.
CAPELLA
Just another few hours, baby, and
we'll be leaving our troubles behind
forever. Hey, I tell you, if Mike
Russo and his boys ever show up, the
South Africans will bury them in
unmarked graves. They don't take no
shit from nobody.
GERI
Jules, honey!
CAPELLA
Ain't gonna happen, sweetie. My
gut's killing me. Just keep doing
what you're doing. If it helps,
think about me.
GERI
I am, Jules, I am!
The door opens, four grim-looking MEN enter. Capella's too
scared to move or say anything. One guy checks the bathroom.
He comes out waving his hand under his nose.
They watch Geri bring herself off. Her eyes are screwed
shut, she's concentrating so much she doesn't even notice
them.
TOMMY KNEECAPS gestures to one of his men. The guy puts a
pillow over Geri's head and fires two muffled shots into the
pillow. Geri slowly relaxes. Feathers fly everywhere.
CAPELLA
What did you have to go and do that
for?
TOMMY KNEECAPS
Hey, at least she died happy.
His men chuckle. One of them finds the attaché case. He
shows the contents to Tommy Kneecaps. Piles of bearer bonds
with stylish seals and watermarks.
TOMMY KNEECAPS
Take good care of it. You lose it,
you get to tell Iron Mike.
Henchman #1 closes the case and tucks it under his arm.
CAPELLA
What happens now?
TOMMY KNEECAPS
Someone wants to talk to you about
the very bad thing you did.
His men chuckle again. Capella wistfully watches a plane
take off. Two guys grab him and pull him out the chair.
FADE TO BLACK:
BANG! The shot from an unsilenced pistol echoes and fades.
FADE IN:
INT. STUDY - SOLAZZI HOUSE - DAY
Nico's pistol wavers. He staggers, falls back against the
door and slides down.
Rosetta takes her hand out of her purse. She's holding a
smoking pistol. She fired it from inside her purse!
NICO
Jesus, Rosie, ya shot me.
Rosetta opens his jacket, his shirt is bright red with blood.
NICO
Is it bad?
ROSETTA
Nico baby, why'd you do it? Why'd
you try to pop me?
NICO
Orders...
Nico dies. Rosetta stares at him, crushed with grief. She
grabs his silenced gun, presses her ear against the door.
INT. ENTRANCE HALL - SOLAZZI HOUSE - DAY
Rosetta peeks out, looks left and right. Empty. She creeps
along the hallway... stops at a door, turns the handle, opens
the door... looks into the room.
INSERT: Four OLD MEN sit upright in chairs. They've all
been shot through the head. They all look very surprised.
VOICES and LAUGHTER from downstairs get Rosetta's attention.
INT. KITCHEN DINING AREA - SOLAZZI HOUSE - DAY
Luca sits in a chair holding a bloody handkerchief to his
head. Two UNDERTAKERS stand over him, laughing.
LUCA
You fucking punks. I'll cut off
your dicks and stuff them up your
asses.
The Undertakers laugh some more. One whacks Luca across the
face with his gun.
UNDERTAKER #1
Fuck you, you old bastard. One more
word out of you and we'll--
Rosetta comes downstairs and shoots Undertaker #1 between
the eyes, then pops #2 as he spins around. They fall dead.
Luca stares at them, shocked.
LUCA
Mama fucking mia.
ROSETTA
You okay, Uncle Luca?
LUCA
I'll never be okay again. Where'd
you learn to shoot like that, Rosetta?
And where's Nico?
Footsteps from upstairs. Rosetta stands just out of sight.
The feet and legs of TWO UNDERTAKERS appear. Rosetta shoots
them in the legs! They tumble downstairs, screaming.
Rosetta steps over them and puts a bullet into each of their
heads. She stares at their bodies, remembering...
EXT. ARAB DESERT CAMP - NIGHT (ROSETTA'S FLASHBACK)
Israeli COMMANDOS launch an attack. The SENTRIES don't stand
a chance, they're cut down by a hail of bullets. Half-asleep
Arab SOLDIERS emerging from the tents suffer the same fate.
Rosetta is part of the attacking force. She shoots a SENTRY
fumbling for his rifle. She turns and shoots an Arab SOLDIER
stumbling out of his tent. Her gun's empty, she ejects the
magazine and fishes a fresh magazine from her belt.
A tent flap opens behind her. Rosetta flicks her wrist and
a knife SPRINGS into her hand. She spins and throws -- and
then sees her target. It's a young Arab BOY. He drops his
rifle and falls dead. Rosetta stares in horror. An Israeli
OFFICER joins her.
ISRAELI OFFICER
Good. It saves us the trouble of
killing him when he is a man.
He pushes Rosetta on. They leave the dead boy behind but
Rosetta looks back, shocked by what she's done.
BACK TO SCENE:
Rosetta throws Nico's gun away and helps Luca to stand.
ROSETTA
We gotta leave, Uncle Luca. Out the
back way. My car's outside.
EXT. SOLAZZI HOUSE - DAY
Rosetta helps Luca toward her car, he's unsteady on his legs.
LUCA
Where's Nico, dammit?
ROSETTA
Nico's dead.
LUCA
Dead? What the fuck do you mean,
he's dead?
ROSETTA
Nico was with them! As soon as you
left Papa's study Nico tried to shoot
me. I got him first.
LUCA
Jesus, I don't believe it...
ROSETTA
You better believe it, because we're
not out of this yet.
A bunch of UNDERTAKERS exit the house. They see Rosetta and
Luca and move in her direction.
ROSETTA
Can you still hotwire a car, Uncle
Luca?
LUCA
What the hell kind of question is
that? Of course I can still--
She points to a nearby sedan.
ROSETTA
Get in. I'm going to make them follow
me. When they do, you jump the engine
and get the hell out of here.
LUCA
Rosetta, you can't just--
ROSETTA
Just do it, Uncle Luca. Remember,
Nico was in on this! Your own nephew,
Uncle Peppe's son. Only call upon
people you absolutely know you can
trust.
Rosetta pushes him toward the sedan. Luca opens the door,
climbs in and lies down so no one can see him.
INT./EXT. ROSETTA'S CAR - DAY
Rosetta starts the engine, glances in the rear window. The
Undertakers are closing in, drawing their guns.
She REVERSES at full speed, scattering the Undertakers.
Rosetta takes off down the driveway, leaning on her horn for
MOURNERS to get out her way. They jump for their lives!
EXT. SOLAZZI ESTATE - MAIN GATES - DAY
The Guards open the gates and shout at the Reporters to move
aside. Rosetta comes flying through the gates, screeches
into the turn and powers away! The Reporters surge after
her, cameras clicking.
Seconds later a black sedan screams in pursuit of Rosetta.
Two Reporters are knocked down! The sedan doesn't stop, it
roars after Rosetta. The chase is on!
INT./EXT. ROSETTA'S CAR (MOVING) - DAY
Rosetta drives for her life. She glances in the rearview.
The black sedan is on her tail. She puts the pedal to the
metal, increasing the distance between them, but the sedan
stays on her tail.
LOOKING AHEAD: the unmistakable skyline of NYC.
Rosetta fumbles for her phone. She thumbs in a number.
It's rejected. She tries again. Another failure.
Exasperated, she tries again. Third time lucky!
SURLY VOICE
Yeah, what the fuck do you want?
ROSETTA (into phone)
I want a double fucking cheeseburger
with double fries, the biggest fucking
shake you've got, and I want them
now, asshole!
The voice on the phone SQUAWKS with pleasure!
FADE TO BLACK:
THREE LOUD SHOTS.
FADE IN:
INT. EXERCISE ROOM - BRUCE'S HOUSE - DAY
Frankie's face twists in agony. He holds his crotch with
both hands. Blood oozes between his fingers. He lets out a
WHOOSH of air and topples sideways like a felled tree.
INT. UPSTAIRS HALLWAY - BRUCE'S HOUSE - DAY
Marietta steps into view. Vacchio sees her, panics and runs
back downstairs. Blondie comes running from the other end
of the hallway. Marietta SHOOTS, Blondie's machine gun blasts
holes in the hallway ceiling as he falls dead.
INT. BEDROOM - BRUCE'S HOUSE - DAY
Marietta stands in the doorway looking down at Bruce, dead
on the floor.
INT. DOWNSTAIRS - BRUCE'S HOUSE - DAY
Marietta drops down from above, startling Vacchio. He reaches
inside his jacket. Marietta whacks him across the head with
her revolver. Vacchio hits the floor, unconscious.
FADE TO BLACK:
We enjoy a moment of peace with Vacchio...
FADE IN:
INT. LIVING ROOM - BRUCE'S HOUSE - DAY
Vacchio awakens to find himself on the floor, his wrists and
ankles tied with electrical cable. He struggles. No good.
Marietta lounges on one of the leather chairs, still wearing
her bikini. Vacchio looks her over with interest.
VACCHIO
You're looking good, Marietta. You're
all grown up now.
Marietta sticks the barrel of the revolver against his knee.
Thumbs back the hammer.
MARIETTA
I want to know who gave the order.
He grins up at her. Doesn't believe she'll do it.
BANG! Vacchio SCREAMS.
EXT. ROME, ITALY - DAY (MARIETTA'S FLASHBACK)
The city of romance, known also for its historical cruelty.
INT. WAREHOUSE - DAY
Two urban TERRORISTS drag an Italian POLICEMAN inside and
slam the door shut. The Cop's wrists and ankles are tied
and he's gagged. Other TERRORISTS gather to kick the shit
out of the Cop. A woman, ANNA, is the most violent.
A younger Marietta looks on while STEFANO checks the Cop's
wallet. He finds a photograph and gives it to Marietta.
INSERT: A young WIFE AND BABY smile for the camera.
STEFANO
We threaten to kill his family.
That will make him talk.
Stefano puts his gun against the Cop's knee. BLAM! The Cop
goes into pain spasm. The Terrorists laugh. Marietta
doesn't. She looks at the photo... the Cop... the photo...
Stefano unties the gag and whispers into the Cop's ear.
Asks him questions. He gets angry when the Cop doesn't
answer. Anna kicks the Cop in the guts. Still no answer.
Stefano beckons to Marietta. Bring the photo over, now!
Marietta refuses. Stefano and Anna exchange looks.
ANNA
(in Italian; subtitled)
I told you she was too soft.
STEFANO
(in Italian; subtitled)
I'll handle this.
Stefano snatches the photo from Marietta's trembling hand.
STEFANO
I told them you had courage. Told
them you supported our cause. Now
you make me lose face.
Anna lights a cigarette.
MARIETTA
If this is what the cause means,
then count me out.
STEFANO
He knows the Chief Judge's security
arrangements. We'll do whatever it
takes to get this information.
MARIETTA
Then do it without me. I'm through,
Stefano. I didn't sign up for this.
Emotions play across Stefano's face -- anger, understanding,
then finally regret. He tenderly touches her face. Wipes
away the tears rolling down her cheeks.
STEFANO
It's best that you go now.
Stefano joins Anna and shows the Cop the photo. The Cop
shakes his head, he won't talk. Anna stubs her burning
cigarette into his eye, he SCREAMS. Marietta winces in
sympathy. Stefano shows the Cop the photo again.
STEFANO
(in Italian; subtitled)
If you ever want to see them again,
you will tell us what we want to
know.
Marietta turns and walks away, not looking back.
BACK TO SCENE:
Vacchio writhes in agony, blood pours from his knee.
VACCHIO
You can't do this to me! I'm
Giancarlo Vacchio!
MARIETTA
Tell me who gave the order. A name
in exchange for your life.
He shakes his head -- refuses. BLAM! She shoots his ear
off! Vacchio SCREAMS and writhes.
Marietta opens a cigarette box and lights a cigarette. She
talks into Vacchio's other ear.
MARIETTA
Can you hear me, Giancarlo? Your
eardrum's ruptured, that's why it's
so painful. I don't know if the
doctors can save your hearing on
that side. One thing I do know...
it's going to be damn quiet in there
if I shoot your other ear off.
She holds the cigarette close to his eyes.
MARIETTA
And dark if I burn your eyes out.
Tell me, who gave the order?
Vacchio's a quivering wreck. His lips try to form words.
MARIETTA
Louder, Giancarlo. I can't hear
you.
She leans closer. Vacchio whispers a name (we don't hear
it). Marietta draws back, staring at him in disbelief. He
looks up at her, mutely pleading for his life. Marietta
sticks her revolver into his mouth.
MARIETTA
Say hello to Dad for me.
Vacchio's eyes WIDEN.
CUT TO BLACK:
A VERY LOUD SHOT. Fading... then blotted out by the BOOM-
BOOM-BOOM! of a heavy caliber rifle.
FADE IN:
EXT. TAGLIA HOUSE - DAY
Riva's car bucks wildly, the hood springs up, steam hisses
from the radiator, glass flies everywhere.
Above the deafening BOOMS and the IMPACT of heavy bullets,
maniacal LAUGHTER from the van.
Riva opens the glovebox revealing a gun in a leather holster.
He kicks his door open and rolls out.
He comes up onto one knee with his gun BLAZING. He scores
hits on the window. The sniper rifle points skyward and
falls silent.
Riva peers over the top of his car. The Gardener runs toward
the Taglia house carrying a machine-gun. He sees Riva and
SHOOTS. Riva SHOOTS back, punching the Gardener down.
A Commando opens fire on Riva, who crouches behind his car
as bullets BANG into and WHING off the metal.
The entrance explodes! The Commandos leap through the smoke,
their guns blazing.
Riva starts to get up but a pistol is thrust into the back
of his head. The VAN DRIVER has silently crept up! The
Driver's face is a mass of cuts from broken glass.
DRIVER
Drop the gun, dickhead.
Riva drops his gun.
DRIVER
You fucking prick. Who asked you to
stick your nose in?
The Driver thumbs back the hammer. Riva drops like a stone
and kicks backwards, taking the Driver's legs out from under
him. Riva chops the Driver's wrist, his gun spins away.
Riva wrestles him to the ground and gets his arms around the
Driver's head.
DRIVER
No, wait--!
Riva twist the guy's head. CRACK! The Driver slumps, dead.
Riva leans back against his car, gasping for breath. He
recovers his pistol and heads for the shattered front door.
06/05
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