The Italian Job Page #11

CHARLIE:

I got us spots for three cars on a car

carrier and five first class seats.

Train 59 from Union Station to New

Orleans.

HALF-EAR

That's N'Or'lins, Yankee.

CHARLIE:

What's the word on Rockefeller?

LYLE:

The Traffic Control Center is on the top

floor of a building on Olympic and Grand.

They get their data from pavement loop

detectors and video image vehicle

detectors. That info is fused together

by specially designed algorithms to

predict traffic conditions and control

the traffic lights. So all I have to do

now is change the data by creating my own

algorithm.

CHARLIE:

What can I do to help?

LYLE:

I need to hard-wire into the mainframes.

EXT. TRAFFIC CONTROL CENTER -NIGHT

Housed in a towering building on the corner of Olympic and

Grand in the heart of downtown L.A. OUR VIEW RISES UP to the

rooftop, where WE FIND Charlie and Lyle.

OUR VIEW MOVES IN CLOSER on Charlie, who adroitly picks the

lock to an access door and they climb down a short set of

steps into the ~

INT. MAINTENANCE ROOM -CONTINUOUS SHOT

From an equipment bag, Charlie pulls out a silent power drill

and uses it to remove an access panel from the AC vent.

INT. AIR-CONDITIONING VENT -NIGHT

Charlie leads, crawling through this tight space, his path

illuminated by the thin beam of a penlight.

INT. TRAFFIC CONTROL ROOM -NIGHT

A high-tech setting with a half-dozen workers overseeing the

large traffic information monitors that display multiple

images.

OUR CAMERA PUSHES IN on the wall of monitors and then

BLACKNESS as OUR VIEW CROSSES to the —

OTHER SIDE OF THE WALL

Where the 70" tall mainframe computers are housed and

running. We see that the AC vent to this room is now open

since Charlie and Lyle have already snuck inside.

They move fast. Charlie removes the rear panels of the

mainframes while Lyle adeptly hard-wires his laptop into the

computers. The laptop's screen lights up.

Charlie fits two false panels where the rear panels of the

mainframes used to be. Lyle pulls an innocent looking filing

box out of his equipment bag. He places the box on a nearby

shelf where it enjoys line-of-sight to the false panels.

He punches a key on his laptop and the false panels and the

filing box quietly clicks into action, communicating with his

laptop via infrared. His laptop now shows a guiltwork of

thumbnail views from the traffic information monitors.

Typing commands, Lyle is clearly operating on a higher

bandwidth than the rest us.

LYLE:

B4 X TTratio, where Bi are Fisher's

linear discriminant function

coefficients, SpdRat is the speed ratio,

and TTratio is the travel time ratio.

CHARLIE:

I have no idea what you're doing. Just

do it fast.

(CONTINUED)

CONTINUEDONTINUED:

There.

He hits the ENTER button.

LYLE (CONT'D)

We own this place.

CUT TO:

INT. THE PANTRY RESTAURANT -DOWNTOWN L.A. -DAY

Their motto:
"Never closed. Never without a customer!" The

place has the same decor as it did 75 years ago. It's also a

spot where everyone minds their own business. One of the OLD

TIME WAITERS leads OUR CAMERA to a table in the back where

Mashkov sits across from a LAPD HOMICIDE DETECTIVE. He

slides over an envelope of cash and a photograph of Karen.

MASHKOV:

$2000. And this is the new girl. Fresh

off the bus. One of Danya's guys picked

her up hitchhiking downtown.

The detective checks out the photo.

DETECTIVE:

Those tits'd make Dracula rise from his

coffin at high-noon.

MASHKOV:

They're all yours Saturday. You can do

whatever you want to her. Her name is

Karen. . .

DETECTIVE:

You're too generous.

MASHKOV:

I needed a fast answer.

DETECTIVE:

And I'm the Shell Answer Man. A guy who

works the counter at your cousin's shop

told me that someone named Skinny Pete

had been asking around about gold bricks

with the face of a Balinese girl on them.

Same gold bricks your cousin was buying.

MASHKOV:

You talked to this Skinny Pete?

(CONTINUED)

CONTINUED:

DETECTIVE:

I thought you'd want a shot at him first.

CUT TO:

INT. RENTED WAREHOUSE -DAY

Handsome Rob does some final tune-ups on the Minis.

Half-Ear loads a triple charger chemical grenade into a

launcher.

Charlie steps into the U-Haul which is parked in here...

INT. U-HAUL

Lyle is fixing glitches on his computer program. Stella is

doing her nails. Charlie looks at her.

STELLA:

You want the safe cracked, don't you?

CHARLIE:

Yeah.

STELLA:

Then I have to have perfect nails.

Square tips have a more even surface

area. Better grip, no slipping.

CHARLIE:

Are you making this sh*t up?

STELLA:

I just let you in on a valuable trade

secret.

LYLE:

Charlie.

CHARLIE:

Yeah?

LYLE:

Steve called to confirm a 7:30

reservation at Agp's. And as for your

getaway, not even Rockefeller had it so

good.

CUT TO:

INT. STEVE'S BEDROOM -NIGHT

He's getting dressed for his date. We can tell by the way he

preens in front of the three sided full length mirror,

adorning himself in the most expensive fashion, that he is a

vain and arrogant man.

EXT. RENTED WAREHOUSE -NIGHT

The three Minis pull out of the warehouse and head off down

the road. The U-Haul follows.

INT. CHARLIE'S MINI (MOVING) -NIGHT

Leading the pack. He wears a headset and mic.

CHARLIE:

Radio check.

INT. HANDSOME ROB'S MINI (MOVING) -NIGHT

He drives, Half-Ear in the passenger seat.

HANDSOME ROB:

Got cha, boss.

INT. STELLA'S MINI (MOVING) -NIGHT

She follows behind Handsome Rob's Mini.

STELLA:

Loud and clear.

INT. U-HAUL (MOVING) -NIGHT

Lyle drives. His Vespa is parked in the cargo bay with his

equipment.

LYLE:

Check.

CUT TO:

EXT. STEVE'S DRIVEWAY -NIGHT

Looking sharp, Steve gets into his Ferrari.

EXT. OPORTO DRIVE -NIGHT

The U-Haul is idling on the side of the street about a mile

down from Steve's house. The Vespa is parked behind it.

(CONTINUED)

CONTINUED:

From up ahead, we see the Ferrari cruising down the winding

road. As it passes by.

INT. U-HAUL

Lyle speaks into his headset:

LYLE:

For those about to rock, we salute you.

EXT. OPORTO DRIVE -NIGHT

From side streets, the Minis converge on the road and head up

towards Steve's house.

INT. CHARLIE'S MINI (MOVING) -NIGHT

He can feel the adrenaline already starting to course through

is body.

CHARLIE:

This is it, guys. Moment of truth.

He takes a sharp curve...and the moment that Steve's house

should come into view. . .he hits the brakes, his expression

turning to complete surprise.

HIS POV:

The neighbor across the street from Steve is having the

biggest party in town. The road is filled with parked cars

and arriving guests. Ain't no way they're blowing the gate,

launching chemical grenades or in any way robbing Steve's

house in the midst of this.

CHARLIE'S FACE

As he takes this in, there's a KNOCK on the window. He

turns. Sees a uniformed VALET. Rolls down the window.

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