Mobsters Page #20

IN THE BEDROOM:

The light of dawn seeps through the curtains. Charlie enters

from the bath and crosses to the bed, where Gay lay sleeping.

Charlie leans across the bed and busses her cheek. She wakes

up, mildly irritated, and pulls the covers up over her head

to shut out the light.

IN THE KITCHEN:

Charlie measures spoonfuls of ground coffee into the pot,

and turns on the burner. Pulling a tray out of a cabinet, he

sets two cups, two saucers, and a covered sugar bowl on it.

IN THE HALLWAY:

The Second Bodyguard stands with his shoulder against the

wall, facing toward the apartment door, filing his nails.

The First Bodyguard still sleeps by the door.

CLOSE - ON THE SECOND BODYGUARD

As he digs under one of his nails with the file, intent on

the job. A shadow looms. A hand clasps over his mouth from

behind. His body goes rigid. The tip of a knife BURSTS from

under his larynx. As he struggles, the knife ROTATES 180

degrees in his neck. Blood gurgles out of his mouth as his

eyes roll back in his head. He slides along the wall to the

floor.

MAD DOG COLL:

stoops to wipe his bloody hands on the dead man's tuxedo.

CLOSE - ON THE FACE OF THE FIRST BODYGUARD

who seems to stir awake, then doze off again, then finally

rouse himself to consciousness. As his eyes blink open, a

knife comes crashing into the top of his skull, freezing his

bemused expression for eternity. He slumps over in his chair,

the knife still planted in his head. Coll fishes the keys to

the apartment from the man's pocket.

IN THE KITCHEN:

Charlie lifts the coffee pot off of the stove AT THE FRONT

DOOR - COLL ENTERS THE APARTMENT

Closing the door behind himself, and moving toward the

bedroom.

IN THE KITCHEN:

Charlie pours the coffee into the cups, and lifts the tray.

IN THE BEDROOM - COLL PULLS A PISTOL FROM HIS JACKET

and he moves toward the covered figure on the bed.

CHARLIE:

moves through the living room with the tray. As he reaches

the hallway that leads to the bedroom, he lifts the cover of

the sugar bowl. It's empty. Muttering to himself, Charlie

turns back toward the kitchen.

IN THE BEDROOM:

Coll wraps a pillow around his pistol. Lowers it to Gay's

head.

IN THE KITCHEN:

Charlie holds the sugar bowl as he searches for the sugar.

At the sound of the muffled shot, he drops the sugar bowl

and it shatters on the floor.

IN THE BEDROOM:

Coll reacts to the crash of the sugar bowl. Runs from the

room.

CHARLIE RUNS TO THE LIVING ROOM

As Coll disappears through the front door.

AT THE DOOR - CHARLIE

Stands over the dead bodyguards. He can hear the sound of

footsteps racing down the stairway. He turns back and looks

down the hall toward the bedroom. His face filled with dread.

CUT TO:

ENTRANCE TO LUCIANO'S BUILDING - DAY

Onlookers and reporters crowd around the entrance as three

covered stretchers are loaded into the back of a hearse at

the curb. The NYPD Captain who ran interference after

Masseria's murder emerges with a consoling arm around

Costello's shoulder.

CAPTAIN:

Whatever the department can do, Frank.

Let me know.

FRANK:

Just let the press boys think

Charlie's ridin' the hearse.

CUT TO:

INT:
CHARLIE'S STUDY - DAY

Charlie sits at a desk, with the telephone book open before

him. He dials a number. His voice as lifeless as a recording.

FIRST OPERATOR:

(ON PHONE)

Park Terrace Hotel.

LUCIANO:

Herman Coll, please.

FIRST OPERATOR:

(ON PHONE)

I'm sorry, but we have no Mr. Coll

registered, sir.

Charlie hangs up. Dials the next number out of the book.

SECOND OPERATOR:

(ON PHONE)

Pennsylvania Hotel.

LUCIANO:

Herman Coll, please.

SECOND OPERATOR:

(ON PHONE)

I don't find a Mr. Coll in our

registry, are you sure...

Charlie hangs up. Dials the next number listed.

THIRD OPERATOR:

(ON PHONE)

Post Hotel.

LUCIANO:

Herman Coll, please.

THIRD OPERATOR:

(ON PHONE)

One moment please... That number is

busy. Would you care to hold?

Charlie hangs up without replying. Opens a drawer in the

desk and pulls out a pistol.

CUT TO:

INT:
ROOM AT POST HOTEL - DAY

Coll paces with the phone in his hand, his luggage packed

and ready for a quick departure.

MAD DOG COLL:

I don't care if he's in the crapper

with the trots, I got information

he's gonna wanna hear.

After a moment, Maranzano comes on the line.

MARANZANO:

(ON PHONE)

Yes?

MAD DOG COLL:

I'm comin' for my twenty thousand.

MARANZANO:

(ON PHONE)

Luciano is dead?

MAD DOG COLL:

Open a window. Every newsboy in town's

screamin' about it.

CUT TO:

INT:
MARANZANO'S INNER OFFICE - DAY

Maranzano hangs up the phone, and turns to the bar behind

his desk. Fishing a bottle of fifty year old brandy from the

back, he pours himself a measure. Holding the snifter up to

his nose, he savors the smell of victory, then downs the

brandy.

CUT TO:

INT:
ANOTHER HOTEL ROOM - DAY

Three men with pronounced Semitic features change into

conservative business attire. One opens a leather briefcase

filled with gleaming knifes.

IN THE BATHROOM - MEYER LANSKY

applies a false moustache to his upper lip. Slips wire-rimmed

glasses over his ears. Looking as menacing as an undertaker.

CUT TO:

INT:
POST HOTEL LOBBY - DAY

Coll steps off an elevator and crosses the lobby, smiling to

himself as he passes a man hidden behind a newspaper headlined

"LUCIANO'S LUCK RUNS OUT" over a photo of Charlie. As Coll

exits, the newspaper lowers to reveal a grim-faced Luciano.

CUT TO:

EXT:
ON THE STREET - DAY

Coll heads into a department store.

INT:
STORE MEN'S DEPARTMENT - DAY

A salesman carrying two suits accompanies Coll to a changing

booth. Coll disappears behind the curtain. Inside the booth

Coll frowns as he tries on a jacket. The sleeves are two

short. He calls out for the salesman.

MAD DOG COLL:

Bring me a 42.

The curtain snaps open. Luciano jams a gun under Coll's chin

and squeezes inside the booth with him.

LUCIANO:

What about a .45?

Coll blinks, not believing his eyes.

LUCIANO:

Just goes ta show, Mad Dog. Don't

believe everything ya read in the

newspapers.

"Mad Dog" suddenly looks like a rabbit caught in the

headlights on an oncoming car.

LUCIANO:

Even scum like you ain't supposed ta

hit a guy at home. Where the people

he cares about find refuge from this

f***ed up world. But then you always

said the rules didn't apply ta Mad

Dog Coll.

LUCIANO PUSHES COLL THROUGH THE LADIES' DEPARTMENT

His gun jammed into Coll's back. They pass a pair of older

matrons at the lingerie counter. Coll grabs one of the matrons

by her strand of pearls and spins her around, shoving her

screaming into Charlie's path. Coming up flush on Charlie's

gun, she dissolves into hysterics.

COLL RUNS THROUGH THE LADIES' DEPARTMENT

Knocking merchandise and mannequins into Charlie's path.

Screaming women scatter, as Charlie tackles Coll, catching

him around the ankles. Charlie loses his gun, and it slides

across the slick floor. Coll crashes into a jewelry display

counter, shattering the glass. An alarm RINGS.

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