Road To Perdition Page #3

Synopsis: 1931. Mike Sullivan and Connor Rooney are two henchmen of elderly Chicago-based Irish-American mobster John Rooney, Connor's father. In many respects, John treats Mike more as his son, who he raised as his own after Mike was orphaned, than the volatile Connor, who nonetheless sees himself as the heir apparent to the family business. One evening, Mike's eldest son, twelve year old Michael Sullivan Jr., who has no idea what his father does for a living, witnesses Connor and his father gun down an associate and his men, the situation gone wrong initiated from an action by Connor. Caught witnessing the incident, Michael is sworn to secrecy about what he saw. Regardless, Connor, not wanting any loose ends, makes an attempt to kill Mike, his wife and their two sons. Mike and the surviving members of his family know that they need to go on the run as Connor, who has gone into hiding, will be protected through mob loyalty, especially by John, who cannot turn on his own flesh and blood. Still,
Genre: Crime, Drama, Thriller
Director(s): Sam Mendes
Production: DreamWorks SKG
  Won 1 Oscar. Another 22 wins & 79 nominations.
 
IMDB:
7.7
Metacritic:
72
Rotten Tomatoes:
81%
R
Year:
2002
117 min
$104,054,514
Website
1,758 Views


It's beautiful.

You remember?

The place with the dog.

-Hello?

-Sarah.

Mike. Oh, thank God.

I want you to know we're okay.

Where are you?

We're on our way to your place,

if that's all right.

Of course.

I'll be back there in two days.

How's Michael?

He's all right.

How was it?

Oh, Mike...

Hello?

We'll see you soon.

-Hello, operator?

-Yes, sir.

I was just cut off,

could you reconnect me?

You hungry?

No.

Might not be another diner for a while,

so you should eat.

I'm not hungry.

I just wanna read.

-Slow night, huh?

-You kidding? This is busy.

-What can I get you?

-You got a special?

Everything's special.

-Is that so?

-Everything except the food.

Everything except the food?

-You ought to be on the stage.

-Don't I know it.

Give me some of that honey-dipped

fried chicken and a black coffee.

Duck soup.

Don't mind me, sir.

It's a free country.

Used to be, anyhow.

No, thank you, sir.

Is that your profession

or your pleasure?

Both, I guess.

To be paid to do what you love...

Ain't that the dream?

I guess so.

Yourself?

I'm a salesman.

Machine parts.

Machine parts.

-That's wonderful.

-I assure you, it is not.

-So who do you work for?

-Can you keep a secret?

I'm press.

Which paper?

All over.

I'm something of a rarity.

How's that?

I shoot the dead.

Dead bodies, that is.

I don't kill them.

I should hope not.

Always fascinated me,

the look of them, you know?

-You ever seen one?

-Yeah.

Sorry for you.

Terrible thing.

But it sure makes you feel alive,

don't it?

I'll drink to that.

Stuff makes you sweat, huh?

Yeah, piss too.

Excuse me, ma'am,

can you help me out here?

Just through here.

Hey!

Look out, there.

-Thanks, Ruby.

-Good night.

Forgot to leave a tip.

-Get down.

-Why? What's going on?

Get down!

Hey, what do you think you're...?

Get out of the car.

Get out of the car!

When I say get down, you get down.

Don't ask questions. When I say we're

stopping to eat, you stay with me.

You listen to me from now on,

or you start taking care of yourself.

I can take care of myself fine!

You never wanted me along anyway.

-You think it's my fault this happened.

-Stop it.

It was not your fault!

None of this is your fault.

-Just take me to Aunt Sarah's.

-I can't take you there.

Not now.

-Why?

-He knows that's where we're going.

So, what are you gonna do?

Something I can't do alone.

You have to listen to me now, okay?

Or else both of us are dead.

I have to make Capone give up Connor.

There's one thing Chicago loves

more than anything...

...and that's their money.

They've got it in banks all over the

state. We have to find it and take it.

-Are you gonna help me?

-Yes.

Then I have to teach you something.

-You know what the clutch is?

-Sure I know what the clutch is.

-What is the clutch?

-The clutch, it... It clutches.

Right, it clutches.

Which of those pedals is the clutch?

That's the gas.

Gas. I'll show you.

There. Right there, see?

There's the clutch,

and it does the clutching.

Let's go again.

Release gas, clutch,

shift gear, hit gas...

Shift.

-Can I make one suggestion?

-No.

I'm doing this.

Hey, 45 miles an hour,

that's a little fast.

Look out for the tractor, Mike.

Michael, look out for the tractor.

Watch out for the tractor.

Watch out for the tractor!

-We made it.

-Oh, yeah, yeah, we made it.

No more excuses. I've told you once,

now I'm telling you again...

-I'm looking for a Mr. McDougal.

-Just one moment.

Well, this is a pleasant surprise.

I wasn't expecting another

deposit until the end of the month.

Actually, I'm making a withdrawal.

I want dirty money only.

Everything you're holding for Capone

that's off the books. Open the safe.

You're insane.

You know they'll find out who you are.

The name's Sullivan.

You want me to spell it?

Open the box.

They'll kill you. They're animals.

You don't say. Put it in.

That's for you.

Call it a handling charge.

Tell Chicago I took it.

But if I read about this in the papers,

if I read about the savings of farmers...

...being wiped out by a heartless

bank robber, I won't be happy.

Good afternoon.

You really trust me not to say

anything?

Always trust a bank manager.

There's no rush.

-Coffee?

-Thank you.

So, what brings you guys

to the middle of nowhere?

We're bank robbers.

We're just passing through.

So when do I get my share

of the money?

Well, how much do you want?

Two hundred dollars.

Okay. Deal.

-Could I have had more?

-You'll never know.

Come on, come on.

How much did they take?

How much?

Okay, answer me this:

What are we paying you for?

-Where's my father?

-What's this?

Why is no one talking to me?

I feel like a f***ing prisoner.

I told you. You are not a prisoner.

You are being protected.

-This is what your father wants.

-I can look after myself.

No, you can't. This is the point.

You're a big baby who doesn't know

his thumb from his dick.

F*** you.

The only reason you're still alive

is because you're John Rooney's son.

You're being a little

shortsighted here, Frank.

My father is an old man.

I am the future.

So don't you ever talk to me

that way again.

Maguire, do what you have to.

Find them.

I'm sorry, Mr. Sullivan,

there is no money.

No... I can get you money, I just...

It won't be Chicago's.

They took it all out two days ago.

-Who authorized it?

-The accountant.

What's his name?

This is Mr. Rance in the bridal suite.

Before you proffer your congratulations,

there's no Mrs. Rance with me...

...and I'm all the better for it.

Listen carefully...

...because I am in no mood.

I'm going to say this only once.

I would like a boiled egg,

and I want it runny.

Pa, can we sleep in a motel room

tonight instead of the car?

Yeah, that would be nice.

How many more days

you gonna want me, mister?

Can't we close the curtains,

even for a little while?

I can't get no sleep

with all that light.

You see anything,

you hit that horn twice.

Don't get out of the car,

no matter what.

Bye.

-Ready?

-I'm ready.

Yes, sir. Right away, sir.

Runny.

It's open.

Top marks for speed,

no marks for cookery.

What, may I ask, do you call this?

Put it down.

-Mr. Sullivan.

-Mr. Rance.

How did you find me?

This is the best hotel in the area.

And you are so very particular.

Yes, indeed, Mr. Sullivan.

May I ask you to lower your weapon.

Thank you.

Now, what do you want?

Information.

I can't give you the files.

All right, all right.

They're in the next room.

-In here.

-Bring it in.

I can't see.

What will you accomplish by

interfering with our business?

-This has nothing to do with business.

-It's all business. You fail to grasp that.

And in business, you must

have something to trade.

And you, Mr. Sullivan,

have nothing to trade.

Especially not for anyone

as valuable as Connor Rooney.

I don't understand.

Opening bell on Wall Street.

Come on, open it.

Which one is it?

No, no, not it.

Tried that one already.

Rate this script:0.0 / 0 votes

David Self

David Christopher Self (born January 8, 1970) is an American screenwriter best known as the author of the screenplays for the films The Haunting, Road to Perdition, and The Wolfman. more…

All David Self scripts | David Self Scripts

1 fan

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Road To Perdition" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/road_to_perdition_17022>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the main function of a screenplay treatment?
    A To give a scene-by-scene breakdown
    B To detail the character backstories
    C To provide a summary of the screenplay
    D To list all dialogue in the film