Hotel Cappadora: Pilot

7/30/2019 Hotel Cappadora: Pilot

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HOTEL CAPPADORA: PILOT

by

Bridget Cappel


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FADE IN:

INT. PIE TRUCK NIGHT

The back door to the truck opens revealing LUIGI LUCAPPADORA, a severe looking, fit, Italian man in his mid30s with dark hair and piercing blue eyes and his cousinTODD GENOVISSI, 30s, a slim, tall, pale Italian male with

dark hair and eyes. Both are well dressed. Lu wears aclassic black suit and a fedora. Todd is dressed similarly,though his suit is not quite as nice and his tie is the redand gold uniform colors of the Hotel Cappadora.

They stand on the boards of a dock as the water of LakeMichigan glistens in the moonlight behind them andilluminates the scene. Lu smokes a cigarette.

EXT. CHICAGO PIER ON LAKE MICHIGAN NIGHT

Lu and Todd are looking into the truck.

In the truck we see a plethora of BARRELS and CRATES, somestuffed with hay and dry moss with the necks of glass

BOTTLES peeking out of the top. In front of the crates liesa BODY wrapped in a burlap tarp and rope. A cinder block istied about its neck.

The two stare quizzically at the body. Todd scratches his

head.

LU(To Todd)

Grab his feet.

Todd grabs hold of the feet of the corpse and Lu holds thetorso.

LU

One, two, three, lift!

Lu and Todd haul the body from the back of the truck andcarry it down to the end of the pier, waddling as they godue to the weight of the corpse.

Lu and Todd stop with the corpse at the end of the pier.

TODDHeavy bastard, isnt he?


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Lu GRUNTS in response to Todd.

They set the body down at the edge of the pier and proceedto push it off the dock together. It makes a small, audibleSPLASH that sends ripples through the water and blurs thepath of the moonlight.

CORPSES POV

The body sinks to the bottom of the lake. From under thewater, Todd and Lu are looking over the dock, watching thebody disappear.

Lu flicks his cigarette into the water.

INT. TRUCK NIGHT

Lu opens the door to the drivers side of the truck andgets inside. Todd gets in the truck on the passengersside.

The two sit for a beat before Lu starts the truck.

TODDSo, whats next, boss?

LU

We get this booze back to the hotel. Myguests are thirsty.

EXT. PIER NIGHT

The engine of the truck RUMBLES as it sits near the pier.The side of the truck reads Frisbies Pies in large boldred font. It pulls away from the dock slowly.

INT. PIE TRUCKNIGHT

The two men drive along silently for a moment. Lu is

looking intense and introspective. Todd shifts in his seat,uncomfortable from the silence.

Todd begins to hum the melody to Parigi O Cara fromVerdis La Traviata.

LUWhats that?


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TODD

Whats what?

LU(mildly agitated)

What are you humming?

TODDI heard it on the radio the othernight. I think its Verdi. Amelita

Galli Curci was singing--I cant get it out of my head. You knowshe sings at the Chicago opera?

LUI hate opera.

(Beat)

TODD

I think I could have been an actor.

LU(mocking him)

Ha! You want to be an actor? Thats the

best thing Ive heard all day. Youre afunny guy T-

Before LU can finish his sentence, we hear the sharp PINGof a bullet ricocheting off Todds side of the truck.

LU (CONT)What the hell was that?

Todd quickly sticks his head out the window and looks

toward the back of the truck.

From Todds POV - The two are being pursued by a blackPackard with two men in the car. The man in the passengersside hangs out the window. He is holding a PISTOL aimed at

the truck.

Todd slips his head back inside the truck.


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TODDThey found us.

INT. HOTEL CAPPADORA ELEVATOR EARLIER THAT EVENING

SUPERTITLE: Chicago, IL. 1923.

Gold on the Ceiling by The Black Keys plays over theaction here.

Lu Cappadora stands alone, save for the ELEVATOR OPERATOR,in a beautifully decorated elevator, with gold wallpaper

and wine-red carpet. He is dressed to the nines in blackleather shoes and a slim fitting back suit with a whiteshirt and black tie.

He adjusts his tie with a smirk on his face as the door tothe elevator opens.

He nods to the elevator operator as he steps out into alively scene.

INT. THE CANTINA LOUNGE - EVENING

The lounge is found in the basement of the Hotel Cappadora.It is home to the only bar in the hotel, and the reason forLu Cappadoras power and success.

The lighting is low and the room is smoky. There are hotelguests in every inch of the room, all dressed in high-class1920s fashion. The big band plays JAZZ MUSIC from the stagein the background.

Lus POV- BOURBON is being poured into a TUMBLER,BARTENDERS are mixing drinks and sliding them across thebar, MEN are smoking expensive cigars, WOMEN and MEN arelaughing and drinking together, WAITERS wade through the

crowd, members of the BIG BAND play instruments on thestage, others play cards, and COUPLES dance together.

Lu makes his way through the room and we

FOLLOW as he shakes hands and greets guests.

Lu makes his way to a table near the front of the stagewhere the band is playing.


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A group of important guests are seated at the tableincluding PETE FALKE, early 40s, the boisterous, husky,mustachioed, owner and producer of a Hollywood film

company, three of his MALE COLLEAGUES, and a harem ofBEAUTIFUL WOMEN.

Falke is telling an enticing story, though we can not hearhim yet. The group leans in to listen intently, LAUGHING

periodically.

As Lu comes into earshot of the group, Falkes speechbegins to become audible.

FALKE(animated)

and Im this headstrong kid fresh outof school, right? And I just know that

Ive got something that this guy needsto hear about. Ive written him letterafter letter and never heard anythingback. So, I stand outside his door,building myself up in my head,straightening my papers and pushing my

glasses up my nose.

The ladies at the table GIGGLE.

FALKE (CONT)

I take a deep breath and storm up tothe door and push with all my might,thinking Im going to make this grandentrance and theres no way thisschmuck will be able to ignore me. The

door doesnt budge. I just about brokemy wrists.

They all LAUGH.FALKE (CONT)

Anyway, he must have heard all theracket I made and comes and opens the

door. I shove my script in his face andhe offers me a job cleaning up afterthe crew. Long story, short, I am now

the proud owner of Falke-BeckermanFilms.

The group breaks out into one final rousing LAUGH.


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LU

(placing his hand

on Falkes shoulder)Mr. Falke, I see that you all areenjoying yourselves.

FALKE

(standing andshaking Lus hand)

Well, if it isnt Lu Cappadora himself.You told me this place was swell, butyou forgot to mention these girls! Good

God, I dont think Ill ever leave!

LUHey, if I could keep you here I would.

Its men like you who keep me inbusiness. Howve you been? Have you hadenough to drink?

FALKEGreat, great! I think we are about to

order another round.

Falke makes smiles and nods at some members of the group toget their approval.

Lu waves to catch the attention of one of the WAITERS andsignals for him to bring another round of drinks to thetable.

LU

(to the waiter)Yes, you. Another round, please.

Lu turns his attention back to Falke.

FALKE (CONT)We were just discussing the benefits of

being passionate about ones line ofwork. Its how I got to be where I amtoday, and Im sure you know all about

having passion for your work, dont youLu?

LUI suppose you could say that.


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FALKE

Aw, hes just being modest. Hell, look

at this place. You cant tell me thatseeing this place so lively and yourguests so content doesnt fill you witha little bit of pride.

One of the women at the table chimes in.

WOMANMr. Cappadora, whats it like being aprofessional criminal?

FALKE(apologetic)

Hey, dont mid her Lu, shes just--

A WAITER approaches with a tray of drinks and distributesthem to the party.

LU(to Falke)

No, thats fine, let me answer.

(to the woman)The way I see it, Im no criminal.Those thugs in D.C., theyre thecriminals. They take from the peopletheir right to enjoy themselves. I

simply provide the people what they areentitled to.

(to the waiter)Thank you.

FALKESpoken like a true saint.

Falke picks up a drink and holds it in the air totoast.

FALKE (CONT)

To Mr. Lu Cappadora, may he foreverleave the people in good spirits.

Everyone cheers and CLINKS glasses.


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FALKEYou have an excellent band, Lu. Infact, all of your entertainment is

superb. Particularly that singer.

LUAh, yes. Jay Jay Sinclaire.

FALKEThats the one. I would really love toput her in one of my movies. Perhapsyou could introduce us

LU(turning towardthe stage)

Speak of the devil

Everyone in the group turns their attention toward thestage as the band begins to play a new tune.

LOUNGE STAGE

JACQUELINE JAY JAY SINCLAIRE, the hotel lounge singer andmain source of entertainment, enters the stage and beginsto sing a ballad, Crazy Blues.

She is in her mid 20s and has long, dark auburn hair, greeneyes, a sultry expression, and a curvy hourglass figure.Jay Jay is everything that is classy and sexy. She wears aform-fitting, long, emerald green evening gown.

We FOLLOW as she sings and strides about the stage.

JAY JAY(singing)

I cant sleep at night. I cant eat a

bite, cause the man I love, he donttreat me right.

Jay Jay makes her way down the stairs that lead to thestage and into the audience. She finds a table full of MEN

seated near the stage and proceeds to flirt with them all.


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JAY JAY(singing)

He makes me feel so blue. I dont know

what to do. Sometimes I sit and sighand then begin to cry cause my bestfriend said his last goodbye.

She sits on the lap of one of the men and continues to

sing. The man is thoroughly entranced. He cant take hiseyes off of her.

JAY JAY(singing)

Now I can read his letters. I surecant read his mind. I thought heslovin me. Hes leavin all the time.Now I see that my poor love was blind.

As she sings, Jay Jay slyly slips her hand into the manssuit jacket and pulls out some cash without him seeing.

JAY JAY(singing)

Now I got the crazy blues since my babywent away. I aint got no time to lose.I must find him today.

She gets up to walk away and nonchalantly slips the money

between her breasts.

JAY JAY(singing)

Now the doctors gonna do all that he

can. But what youre gonna need is anundertaker man. I aint had nothin butbad news. Now I got the crazy blues.

She finishes her song and the room goes wild with APPLAUSE.Jay Jay bows to the audience.

She then spots Lu, who is seated with Falke and the othersacross the way.

In an attempt to avoid Lu, she makes her way swiftly acrossthe floor to exit the lounge, though she must pass histable to do so. She avoids making eye contact.


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From the stage, the BAND LEADER announces the next act.

Lu watches Jay Jay from his seat with Falke and the others.

LU(standing)

If you would please excuse me for amoment, ladies, gentlemen. Enjoy your

drinks.

Lu leaves the table and walks toward Jay Jay to stop her inher tracks.

She increases her speed slightly.

He gets in Jay Jays way, forcing her to stop and talk tohim.

JAY JAY(annoyed)

Can I help you?

LU

(patronizingly)Jay Jay, baby, why so hostile? I justwant to talk.

He takes her in his arms and they begin to dance slowly.

JAY JAYLast time I checked, this was my dinnerbreak. So, if you dont mind, Ill begoing now.

She tries to pull away, but Lu pulls her closer.

LUNot so fast sweetheart. I think you

have something that belongs to me.

JAY JAY(coyly)

I dont know what you could possibly be

talking about.

LUOh, I see. Are you upset about lastnight? I tell you what, Ill make it up


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to you. Ill meet you in your room, sayten oclock? You can wear that littlething I like

JAY JAY(irritated)

Youre disgusting.

She tries to leave once more, but Lu tightens his grip onher hand and her waist.

Jay Jay narrows her eyes at him.

LUYou know what I love about you Jay?

JAY JAY

Whats that?

LUYoure a strong woman. You got guts.Youre not afraid to tell people whatyou think. I think its what makes you

so irresistible.

JAY JAY(sarcastically)

You dont say.

Lu tucks her hair behind her ear and caresses her cheek.

LU(smirking and

leaning closer)What do you say, Jay? Will that be cashor check?

JAY JAY

(getting close tohis face as if

to kiss him)Sorry Lu, the banks closed.

She pulls the cash out of her cleavage and sticks it inLus chest pocket, turns, and makes her way toward theelevator.


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Lu smiles, laughs to himself, and watches her hips swing asshe goes.

LU(calling after her)

Ill see you tonight.

He takes a cigarette out from inside his jacket, puts it in

his mouth, and lights it.

EXT. HOTEL ENTRANCE EVENING

An expensive town car pulls up to the curb at the entrance

of the Cappadora Hotel. The DOORMAN rushes to the door ofthe town car and opens it.

SAL PAGLIANI, a plump, sweaty Irish-Italian man in his mid

40s, and his wife MRS. PAGLIANI, an average build, mousyhaired woman in her early 40s step out of the vehicle.

Mrs. Pagliani nags her husband.

MRS. PAGLIANI

I just know how you are when you wearthat grey jacket. You always manage toget something on it, and then I spendmy night trying to get it out. Yourenot wearing it.

MR. PAGLIANIJesus! Would you lay off Lauretta? Weaint even inside the building.

Mr. Pagliani SNAPS at CHARLES WALKER, a bellhop at thehotel who is waiting nearby with a luggage cart. Charles isa young, black male in his late 20s with an attractive faceand a charming smile. He wears the standard red and goldhotel uniform and cap that the rest of the lobby staff

wear.

MR. PAGLIANIHey, boy! Yeah, you. We got bags in thetrunk.

Charles rushes over with his luggage cart and begins toload the bags from the trunk onto the cart.

Pagliani hands Charles a small tip.


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CHARLES

(very grateful)

Thank you, sir.

MR. PAGLIANIYeah, dont worry about it.

Mr. and Mrs. Pagliani enter the building.

INT. HOTEL LOBBY EVENING

At the front desk, KITTY HART, a petite young woman in her

early 20s with short, bottle-blonde hair, too much make-up,and a screechy Jersey accent, leans on the desk and flipsthrough a copy of Photoplaymagazine. She wears a blackuniform dress with gold and red accents. Her colleague,

Todd Genovissi, dressed in a suit with a gold and reduniform tie, finishes a conversation on the phone with aguest.

TODD(on the phone)

Certainly.-- Yes, of course.-- We canhave that right up to you.

Mr. and Mrs. Pagliani approach the desk, but Kitty pays noattention and continues to flip through her magazine and

twirl her hair between her fingers.

Mr. Pagliani CLEARS HIS THROAT to get her attention.

Todd notices the couple and smiles at them, but is unable

to greet them while he is still on the phone.

TODD(on the phone)

Yes, please let us know if there is

anything more we can do for you.

He stomps down hard on Kittys foot.

KITTY(yelping in pain)


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Ow! Thats my foot! Watch what youredoing.

She finally notices Mr. and Mrs. Pagliani and responds in aroutine manner.

KITTYOh! Hello, welcome to the Hotel

Cappadora. Do you have a reservation?

TODD(On the phone)

Take care.

Todd hangs up the phone and interrupts Kitty, addressingMr. and Mrs. Pagliani.

TODDMr. and Mrs. Pagliani! It is a pleasureto have you here again. Just a momentand I will look up your reservation.

He goes to get the reservation book and flips through it,

looking up their name.

TODDHere you are. Pagliani, Suite 428.

Kitty gets the key to the room off of the key rack her andhands it to Mr. Pagliani.

MR. PAGLIANI

(To Kitty)Thank you.

TODDWe will have your bags right up to you.

Enjoy your stay.

Mr. and Mrs. Pagliani leave the desk and head toward theelevator.

Todd grabs Kittys magazine and waves it in her face.

TODDDamn it, Kitty! I cant run this deskby myself!


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Todd tosses her magazine into the wastebasket under thedesk.

KITTYMy Photoplay! I was reading that!

TODD

You can drool over you celebritiesafter you sort that mail.

He gestures to a large bag of mail sitting in the cornerbehind the desk.

Kitty SIGHS dramatically and goes to pick up a handful ofletters from the pile.

Todd returns to the reservation book and flips through it,making notes and scheduling appointments.

Charles enters the hotel, dragging the luggage cart withhim. He walks up to the front desk.

CHARLESExcuse me, Mr. Genovissi? Could youtell me which room you sent that coupleto?

Kitty overhears his question and saunters back toward thecounter. She replies before Todd has a chance to speak.

KITTY(Flirtatiously)

Whats it to you?

Todd reprimands Kitty once more for getting in everyonesbusiness, but Charles tunes them out. His gaze shiftstoward the opening elevator doors.

CHARLESS POV - Jay Jay Sinclair exits the elevator and

makes her way across the lobby floor gracefully. His eyesfollow her as she walks, looking her over from head to toe.

CHARLES(To himself)

Gorgeous.


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Charles is brought back to reality by the sound of Toddsvoice.

TODD(Frustrated)

Charles? Charles! Did you hear what Isaid? Take the bags to room 428.

CHARLES(Still in aslight trance)

Room 428. Yes, sir. Thank you.

Without hesitation, Charles begins to push the heavyluggage cart toward the elevator. He moves so swiftly thathe does not notice a HOTEL GUEST standing in his line of

motion.

Charles runs the cart directly into the guest, knocking himoff his feet and several bags to the ground.

Charles hurries to help the guest back to his feet and

apologizes sincerely.

CHARLES(Grabbing the

man by the arm)

Sir! I am so sorry! Are you hurt?

HOTEL GUEST(Rising and

shaking Charles off)

Unhand me this instant! You need towatch where youre going, boy! Youshould be fired for this!

The angry guest storms off and Charles hangs his head low

as he picks the bags up from the floor.

From the desk, Kitty is LAUGHING hysterically and Toddglares at Charles in disapproval.

Charles hurriedly gets into the elevator with the luggagecart.

INT. CANTINA LOUNGE - NIGHT


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Lu sits alone at a small table in the corner of the loungenear the stage. He smokes an EXPENSIVE CIGAR and sips aGLASS OF BOURBON. The energy at the lounge is still lively

with guests, but not as energized as before.

Lu is focused on the stage where the band plays. ABURLESQUE DANCER, clad in a skimpy, sequin and fringeoutfit, does a sexy routine with a pair of feathered fans.

Lu watches her as she dances about the stage, puffing onhis cigar and sipping from his glass occasionally. Headorns a stern, pensive expression with narrowed eyes andpursed lips.

A WAITER approaches Lu from the side, breaking hisconcentration.

WAITERExcuse me, Mr. Cappadora. I dont meanto bother you, but Oscar would like tohave a word with you at the bar.

LU

Sure, sure. Let him know that I willspeak with him when his shift ends. Wehave people to serve.

WAITER

Well, thats just it, sir. I thinkthere is a problem with the liquor.

LU(Suspiciously)

What kind of problem?

WAITER(Shrugging his shoulders)Im just the messenger, Mr. Cappadora.

He told me to find you and have youcome to the bar.

Lu rises from the table taking his drink and cigar with himand MUTTERS under his breath as he walks past the waiter

toward the bar.

The bartender, OCSAR, 40s, with balding hair and a faceshowing the subtle signs of aging, stands behind the barand cleans a glass with a rag. He wears a white vest over a


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white shirt with a black bowtie. His uniform is that of theother bartenders.

LUOscar, I hope what youve got to say isimportant enough to interrupt myenjoyment of this cigar.

Oscar sets the glass down and scratches the stubble on hischin.

OSCAR(Hesitantly)

Sorry boss, but I got some bad news.Well, we were supposed to receive thatnew shipment earlier today, and itnever showed.

LUFrom Paglianis guys?

OSCARYeah, thats the one. Look, Lu, were

running short on supplies, what withFalkes whole crew here for the weekand all these guests. I dont think wewill make it last much longer thantonight.

Oscar gestures toward the bottles of liquor hidden behindthe bar, many of which only have a quarter to a half of abottle left.

Lu takes a large gulp of his drink and furrows his brow.

LUWhen things like this happen, I need toknow right when they happen, got that?

Nobody gets my orders here late,understand?

OSCARIm sorry Lu, I just figured

LU(Cutting him off)


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In the mean time, you cut the drinkswith water and soda. Im going to getto the bottom of this.

OSCARYes, sir.

Lu puts his cigar out on the ashtray at the bar and walks

away purposefully toward the elevator, leaving the cigarand drink behind.

INT. HOTEL LOBBY NIGHT

The elevator doors open to the lobby floor and Lu exits,making his way toward the front desk where Kitty and Toddare working.

Kitty is picking a pile of room keys up off the floor andreplacing them in their correct spots on the rack.

Todd is on the phone.

LU

I need to talk to you, right now.

Todd makes eye contact with Lu and nods as he finishes uphis conversation.

TODD

(On the phone)Yes, Ill let the maintenance staffknow right away.-- Goodbye.

LU

(Commanding)Now, Todd.

He hangs up the phone.

TODD(To Lu)

Is everything ok?

LU

No, its not.

TODDWhat happened?


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LU

Come with me.

TODD(To Kitty)

Kitty, take care of the desk.

Lu steps behind the desk and Todd follows him into theoffice connected to the front desk area. Lu shuts the doorbehind them.

INT. LOBBY OFFICE NIGHT

TODDWhats the problem boss?

LUMy booze. It never got here.

TODDWhat do you mean?

LUI mean my shipment from Paglianis guyswas supposed to arrive today, and Oscartells me that it never showed. Nowtheyre running low downstairs.

He pauses for a moment and runs his hand across hisforehead, massaging his temple.

LU (cont)

Do you have any idea what will happento my business if I dont get thatliquor?

TODD

What do you suppose happened to it?

LUWell it didnt get lost, thats forsure.

TODD


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I bet you Pagliani has something to dowith it.

LUI bet youre right. I just thought heknew better than to screw me. Did hecheck in today?

TODDYeah, not too long ago. Suite 428.

LUThat sap even has the nerve to show up

to my establishment. What do you say wepay him a visit?

Todd smirks and he straightens his tie and jacket. He opens

the door to the office and shouts to Kitty.

TODDHey, Kitty. Im taking my break.

INT. FOURTH FLOOR HALLWAY NIGHT

A group of black CLEANING STAFF WOMEN dressed in black,tea-length dresses and white aprons, chatters and smokescigarettes in the hallway of the fourth floor. They lean on

the walls and on laundry carts and pass a bottle of ginaround which they sip from.

MAID 1and hes acting all sorry-like. So, I

said to him, you know what I said?

MAID 2Whats that honey?

MAID 1(With attitude)

I said if you cant keep your eyes fromwandering on to other women, Im gonbe wandering out that door, and I aint

never comin back.

They all bust out in laugher.

MAID 2


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If I were you, Id wander right outthat door and into the arms of thatbellhop, Charles Walker. Now that is a

fine man.

They all agree in a chorus of head nods and Mmhmms.

As the cleaning women laugh and joke with one another, we

hear the DING of the elevators arrival on the fourthfloor, then the dampened rumble of FOOTSTEPS on carpet.

LU and TODD swing around the corner to the hallway whereall of the women are standing and chatting.

Immediately the women silence themselves and hide theircigarettes and the bottle of gin. Some disappear intovacant rooms, others fold towels or stuff dirty sheets into

the laundry baskets.

Lu and Todd stride past and we

FOLLOW the two down the hallway as they make their way toroom 428.

They stop in front of the door to the suite.

Lu and Todd both pull PISTOLS out from inside their suitjackets. Lu adjusts his tie with his free hand.

Lu CLEARS HIS THROAT and KNOCKS on the door.

From inside the room the voice of Mr. Pagliani responds.

PAGLIANI (O.S.)Who is it?

LURoom Service.

From inside the room Paglianis footsteps are heard as he

approaches the door.

PAGLIANI (O.S.)

You must have the wrong room, I didntorder any room service.

Pagliani opens the door and both Lu and Todd aim their gunsat him and push him back into the room.


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The door shuts behind them and locks with a clear CLICK.

INT. SUITE 428 NIGHT

The suite is relatively large and decorated with gaudysplashes of gold, red, green, and champagne on thefurniture and walls. There are two beds separated by a

nightstand with a small lamp on it, a vanity in the cornernear the window, and a small loveseat across from the beds.

Lu and Todd have their pistols aimed at Paglianis head.

Pagliani, dressed in a pair of slacks, an undershirt, and ahalf tucked-in, unbuttoned, white tuxedo shirt, stumblesbackward and falls onto the loveseat. He puts his hands upin front of his chest in defense. He has a shocked, fearful

expression on his face.

PAGLIANIWhoa! Fellas, whatd I do?

LU

You got something you want to tell meabout, Sal?

PAGLIANII dont know what youre talk

Before Pagliani can finish, Lu whips his gun acrossPAGLIANIs face, breaking his nose with a faint SNAP. Bloodspills out down his face and drips onto his whiteundershirt.

Pagliani lets out a sharp CRY. He kneels on the floor,doubled over in pain and his hands fly up to his face tocatch the blood.

PAGLIANIWhat the hell was that for?

LUDont play dumb with me Sal! Wheres my

booze?

PAGLIANI(stuttering)


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I--I-- Cant we talk this out likegentlemen?

Todd steps over to Pagliani and kicks him several times inthe abdomen.

Pagliani lays on the floor, curled up, holding his stomach,and crying.

Lu approaches Pagliani and kneels beside him, looking himin the eye. He lazily waves the pistol around as he talks.

LU

Listen Sal, weve been doing businesstogether for how long now? Two years?And in that time I feel that wevebuilt a bit of a trusting

relationship. You get me my alcoholand I get you your money. Thats theway it works. I got a business to run,and my business runs on you holding upyour end of the bargain.

PAGLIANII know, Lu. Just let me

Todd kicks Pagliani in the stomach again.

TODD(Interrupting him)

Nobody told you to speak.

LU

(Continuing)Tonight, my bartender tells me that myshipment, that was supposed to arrivethis afternoon, never showed, and Ithought to myself, This is strange.

My shipments are never late. I bet youmy old pal, Sal Pagliani, might know

something about this.(Menacingly)

So, Im going to ask you one last

time, Sal. Wheres my booze?

Lu puts the barrel of the gun to Paglianis temple.


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PAGLIANI(panicked)

Its just running a bit behind

schedule. There will be a truck here bytomorrow night, I swear!

Lu winds his arm back and delivers another blow of thepistol across Paglianis face, then returns the barrel of

the gun to him temple.

Pagliani WHIMPERS.

LU

Dont lie to me, Sal.

PAGLIANIAlright, Im sorry! Dont shoot! Its

my boss. He got another offer fromsomebody else--a Bianchi, FrankBianchi. I told him that was a badidea, that you would find out, but hewouldnt have it. Thats why I camehere! I wanted to tell you about it so

we could arrange for another shipment.Jesus, Lu, I swear to God.

LU(growing into a shout)

So you thought it would be a good ideato give Frank Bianchi my liquor? Youmust be real fucked up in the head.

Lu moves the barrel of the gun from Paglianis temple to

the inside of his mouth. Pagliani begins to cry again. Hiswhimpering is muffled by the gun barrel.

LU(to Todd)

I dont know whether to shoot thebastard now or make him a nice pair of

cement shoes.

TODD(sitting on the

loveseat)You know Im a fan of the quick andpainless.


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Lu and Todd LAUGH loudly.

Pagliani panics and begins the shout muffled pleas to Lu.

PAGLIANI(Muffled by the gun)

No! Please, please! Wait! Please wait!

I know where it is!

Lu removes the gun from Paglianis mouth.

PAGLIANI

I can tell you where the truck is. Iknow that its not out for deliverytil after midnight. Its in an oldwarehouse. South Harlem and Twenty-

second, past Cicero. I can take youthere.

TODDYou think hes telling the truth, boss?

Lu looks Pagliani sternly in the eye, trying to read him.

His thoughts are interrupted by the RATTLE of the hotelroom door, followed by three light KNOCKS.

All three men immediately turn their attention toward the

door.

The voice of Mrs. Pagliani comes from behind the door.

MRS. PAGLIANI (O.S.)

Sal, honey? Are you in there? I needto get into my bag.

Todd gets up from the loveseat and creepssilently toward the door.

PAGLIANI

Laurett--

Lu places his hand on Paglianis neck, choking him, and

puts the gun back to Paglianis head.

Several more KNOCKS from Mrs. Pagliani in the background.

LU


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(In a harsh whisper)Heres whats going to happen, Sal.

Youre going to stay here in this room.

If I find out that there is, in fact,no truck full of hooch on Twenty-secondand Harlem, you die, and your wifewatches.

MRS. PAGLIANI (O.S.)Sal?

From across the room, Todd silently gesturesto Lu to hurry it up.

LU(Still whispered)

Now, Im going to open this door. If

you so much as sneeze, I will shoot herright between the eyes and youllwatch. Then Ill kill you. Capisce?

Pagliani nods frantically with wide eyes.

LuOk. Dont move.

Lu stands and makes his way to the door where Todd isstanding. He hides the gun behind his back.

Lu unlocks the door slowly and opens it a crack, preventingMrs. Pagliani from seeing inside.

INT. HALLWAY NIGHT

Lu and Todd slip into the Hallway and close the door behindthem.

Mrs. Pagliani steps backward, away from the door, with a

puzzled expression on her face.

LU(Playing it cool)

Lauretta Pagliani, its been too long.How are you? You look absolutelystunning.


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TODDAre you and your husband enjoyingyourselves?

MRS. PAGLIANI(Confused)

Well, thats who I was just lookingfor. I was down in the parlor and came

up here because I forgot my powder inmy bag.-- Hes not in there? What wereyou doing in our room?

TODD

Uh, we had just

LU(interrupting)

Routine maintenance. Just a problemwith the water. Youre both suchspecial guests to me, I decided toaddress it personally.

MRS. PAGLIANI

Oh, thank you so much. How kind! But, Icould have sworn he said he would behere

She takes a step toward the door as if to try to enter.

Lu and Todd simultaneously lunge back at her quickly.

LU and TODD(halting her)

No!

LUNo, it wont be necessary to check. Wewere just in there after all

TODD

(finishing his sentence)--and the room needs time to air out.

Lu shoots him a look.

TODD(Shrugging)

You know, due to the fumes.


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LU

In any case, I believe I told Sal to

meet you in the lounge, downstairs.Please, come this way. We will escortyou to the elevator.

MRS. PAGLIANI

(suspiciously)Well, alright then.

Lu and Todd take her by the arm and begin to escort herdown the hallway toward the elevator.

As they walk, Mrs. Pagliani turns her attention toward Luswhite sleeve peeking out of his suit jacket.

Lu notices her gaze and looks down at his sleeve, which issplashed with bright red blood stains.

He quickly hides his sleeve from her sight, which breaksMrs. Paglianis gaze.

The two make eye contact briefly and Lu flashes a friendlysmile at her. She smiles back.

They approach the elevator and call it to the fourth floor.

LUHere we are Mrs. Pagliani.Unfortunately, we have some morebusiness to take care of on this floor,but please let Oscar, the bartender,

know that I am treating you acomplimentary beverage this evening.

MRS. PAGLIANIThank you, I will.

The elevator arrives and the door opens.

LU

(To theElevator Operator)

Please take Mrs. Pagliani to thelounge.


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MRS. PAGLIANI(Stepping intothe elevator)

Mr. Cappadora, I think youre the catsmeow. I would really love to see moreof you.

LU

(As the doors close)Sure thing, doll.

The doors close completely and Mrs. Pagliani disappears.

TODDShit, that was close. You think shellstay put?

LUThe dames a drunk. Shell be at thebar all night. Were fine. Get yourhat, Todd. Were going for a drive.

INT. STAFF QUARTERS NIGHT

Charles Walker stands in a dingy locker room with severalother bellhops and hotel workers. The others ChATTER withone another, but Charles keeps to himself.

He removes his uniform hat and sets it on a shelf above asmall cubby, then removes his red and gold bellhop jacket,revealing a tank-top style, white undershirt andsuspenders. He hangs the jacket on a rack with many other

hotel staff uniforms.

He walks to a small sink with a tiny mirror above it in thecorner of the room. He turns the sink on and rinses hisface with his hands, then dries it with the towel draped

over the side of the sink.

Charles returns to his cubby where he puts on a button-downshirt and pulls his suspenders over his shoulders. He thenadorns a brown jacket and a newsboy cap.

Charles pulls a black leather instrument case out fromunder the bench below the cubby and makes his way towardthe exit door onto the city street. He passes BETTY, anolder, heavy, black woman in a maids uniform.


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CHARLES

(Waving to her)

Im out for the night Betty. You have agood evening now.

BETTYGoodnight Charles. You stay out of

trouble, hear?

CHARLESYes, Maam. See you in the morning.

BETTYTake care, honey.

Charles exits out the back door onto the Chicago street.

INT. DRESSING ROOM NIGHT

Jay Jay Sinclaire sits alone in her personal dressing roomin front of a mirror lined with round light bulbs that casta yellowish glow about the room. There are boxes of frilly,

feathered props, hats, and shoes, and a rack full ofelegant costume dresses. The vanity in front of Jay Jay iscovered in make-up and hair-dressing supplies. A LOUISARMSTRONG TUNE plays on the radio in the background.

Jay Jay wears a red, feathery dress with the back stillunbuttoned. She rolls a pair of stockings up each leg whenthere is a KNOCK on the dressing room door.

JAY JAY

Come in.

The door opens gently and a CHORUS GIRL peeks her head in.

CHORUS GIRL

Sorry to bug you, Miss Sinclaire. Ijust wanted to give you a twenty

minute warning. Do you need help withyour dress?

JAY JAY(Holding up her hair)

Sure. Could you just button up theback?


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The chorus girl enters the room and buttons Jay Jaysdress.

JAY JAYThanks.

CHORUS GIRL(Earnestly)

Anything you need, Miss Sinclaire.

The chorus girl leaves the room.

Jay Jay SIGHS and sits back at the vanity. For a moment she

stares at herself blankly into the mirror. She picks up apowder brush and lazily dusts it across her face, then setsit back down and SIGHS again.

JAY JAY pulls open the right drawer of the vanity.

Inside are a few miscellaneous objects including a fewletters, a brush, a silk handkerchief, and a small trinketbox.

Jay Jay reaches into the drawer and sifts through theobjects to get to the trinket box. She opens the box.Inside is a small, wallet-size picture of a handsome youngman in a military uniform.

She picks up the picture, revealing several pieces ofjewelry and a diamond ring beneath it.

She Studies the picture for a moment, then flips it overrevealing a handwritten note that reads, To my beloved

Jacqueline, Love always, Sam.

Jay Jay SNIFFLES, then quickly shoves the picture back intothe drawer and closes it.

She stands quickly, puts on a pair of heels, grabs a shawlfrom the costume rack, and pulls it over her shoulders. She

picks up a small handbag from the vanity and exits theroom.

INT. BACKSTAGE HALLWAY NIGHT

Jay Jay makes her way through the poorly lit hallway to theexit door that leads to the back alley of the hotel. She


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dodges dancers and chorus girls that scurry through thehall to make it to the stage on time.

She exits through the door.

EXT. BACK ALLEY NIGHT

The alley is very dark and solemn. There is little light

except for a sheath of silvery moonlight and a hint ofgolden light flooding in from the street.

Jay Jay walks up the set of stairs that leads up from thebasement of the hotel. She leans against the side of the

building and pulls a cigarette and a lighter out of herhandbag. She lights the cigarette and takes a hit from it.

She exhales a stream of smoke and relaxes her head back

against the wall with her eyes closed.

Her eyes open upon hearing a SAXOPHONE playing a jazz tunein the distance.

She takes another hit from the cigarette, stands up

straight, and walks slowly toward the sound of the music.

Jay Jay rounds the corner of the building onto the sidewalkon the side of the hotel and finds Charles Walker, leaningagainst the wall, playing an alto saxophone with the case

at his feet. He does not notice her.

JAY JAY(trying to gethis attention)

Sounds great!

Charles looks up and stops playing upon seeing her.

JAY JAY

No, dont stop. I really like that.Youre a great player.

CHALRES(star struck)

Youre-- Are you Jay Jay Sinclaire?

JAY JAYThe one and only. And you are?


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CHARLESMy name is Charles Walker, maam. Im abellhop in the hotel.

JAY JAYReally? Ive never seen you aroundbefore. Its nice to meet you Mr.Walker.

CHARLES(smitten)

Im so glad to meet you Miss Sinclaire.

JAY JAYPlease, call me Jay Jay. That sure is aswell horn.

CHARLES(smiling)

I should hope so. I spent every lastcent I had on it. I hoped to make itin a band somewhere, but I had to takethe job in the hotel to live.

Sometimes I play in a small clubdowntown, but that gig doesnt pay. Imake more on the street.

Charles stops talking for a moment and presses some of the

keys on his instrument, they make a hallow TAPPING sound.

Jay Jay takes another draw from her cigarette.

JAY JAY

Youre really dedicated.

CHARLESI know weve just met, but can Iconfess something to you Miss Jay Jay?

JAY JAY

Whats that?

CHARLES

I think you are just beautiful. I ranmy luggage cart into a guest todaybecause I couldnt take my eyes off ofyou.


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Jay Jay breaks out into LAUGHTER and Charles follows suit.

JAY JAY

(Still laughing)Did you really? Thats the funniestthing Ive heard all day.

The laughter dies down.

Jay Jay throws her cigarette on the pavement and puts itout with her shoe.

JAY JAY

(In a serious tone)Listen Mr. Walker, You dont want toget involved with me.-- I have to goor Ill miss my cue. It was nice

talking to you.

She flips a coin from her handbag into his case and rushesaway before Charles has a chance to respond.

He watches her go.

CHARLES(Quietly)

See you around.

Charles smiles and puts the mouthpiece to his saxophone

back in is mouth and begins to play. His music is morepassionate than before.

As he plays, a black, shiny 1920s Cadillacspeeds by.

INT. CADILLAC - NIGHT

Lu drives the Cadillac while Todd sits in the front seat.

Todd holds a revolver in his lap. He spins the cylinderwith his thumb.

LUWould you stop that?

TODDWhat?


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LUThat, with the gun. Im trying todrive.

TODDYou know, you dont always have to besuch a wet blanket.

LUWhat did you call me?

TODDNothing.

They are quiet for a moment.

TODD

How do you know Pagliani isnt takingus for a ride?

LUI know Sal. The goon worries moreabout pleasing people in the moment

than the consequences of his actions.Even if we dont bump him, Bianchiwill. My truck will be there.

TODD

And remind me why we are driving outin the middle of the night to get it.

LUTodd, if theres one thing Ive

learned in my time in this business,its that if you want to get somethingdone, youve got to do it yourself.You let wise guys like Pagliani getinvolved and they steal what is

rightfully yours. Bianchi has beentrying to dip his hands in my business

since the noble experiment started,and he finally weaseled his way in.Im done with Pagliani, but Im not

going to let Bianchi make me look likean ass.

As the two converse, they make their way into a dark, poorneighborhood outside of the downtown area.


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TODD

Were about a block away.

Lu finds an inconspicuous area where several cars areparked on the side of the road and pulls the car over andputs it in park.

LUCome on. Were walking.

TODDWhat about the car?

LUIll send someone to get it in themorning. I dont want to make too much

noise in case someone is there. Werebetter off on foot so we can take thetruck.

EXT. BAD NEIGHBORHOOD NIGHT

The street is very quiet and bare. There are no people outor cars driving down the street. There is virtually nolight except for the glow of the moon and a flickeringstreet lamp at the end of the road. The buildings are verydingy and grimy. Many are abandoned and boarded up, others

have barred windows.

Lu and Todd exit the Cadillac and SLAM the doorssimultaneously.

Todd slips his revolver into the inside pocket of his suitjacket and adjusts his hat.

The two men begin to walk swiftly down the streettoward the flickering lamp

EXT. WAREHOUSE FAADE NIGHT

Lu and Todd approach the outside of the warehouse onTwenty-second and South Harlem. They lean up against the

wall of the building to stay hidden in the darkness.

There is no light coming from the windows and it appears tobe vacant.


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LUWeve got to make sure the coast isclear. Can you see inside the windows?

Todd sneaks alongside the building until he reaches awindow. He crouches down beside it and slowly peaks in frombelow.

TODDS POV The inside of the warehouse is very dark. Notmuch can be seen except for the shadowed outline ofshelves, machinery, and tools.

TODD

I cant see much, but theres nomovement. Its all dark.

LU

Ok, follow me.

Todd crouches as he makes his way back over to Lu.

Both men move together toward the corner of the building.Lu, who is right on the edge of the wall, reaches into his

jacket and pulls out a pistol. His back is flat against thewall.

Lu quickly peeks around the corner.

LUS POV A LARGE MAN, 30s, in a collared shirt andsuspenders, smoking a cigarette walks past the large garagedoor on the side of the warehouse and approaches the rustymetal door next to it, about three feet away from where Luand Todd are hiding. He looks around suspiciously to make

sure he is not being watched.

Upon seeing the man, Lu springs his head back around thecorner to avoid being seen.

TODD(Whispering)

What is it?

LU

(Whispering)Somebodys here.

The large man throws his cigarette on the ground and snuffsit with his foot. He then takes a ring of keys from his


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pocket and shuffles through them until he finds the keythat he is looking for. He inserts the key into the lock onthe rusty door, opens it, and enters the building.

Lu gestures to Todd to follow him.

Todd removes his revolver from his pocket.

LU(Whispering)

Lets go.

Lu and Todd swiftly sneak around the corner of the building

and slip through the crack of the door that the man did notshut completely.

INT. WAREHOUSE NIGHT

The inside of the warehouse is extremely dark. Very littlelight is allowed in through the dirty windows. There isjunk everywhere along the walls and in the middle of theroom is the figure of a truck under a large tarp.

Lu and Todd hide in the darkness and watch the figure ofthe large man make his way over to the covered truck.

He grabs the edge of the tarp and yanks it down, revealingthe logo on the side of the truck which reads Frisbies

Pies.

The man walks around to the back of the truck and slidesopen the back door.

He turns around and picks up a crate from a stack of cratesby the truck and loads it into the back. He continues to dothis with several more crates.

TODD

(Whispering)Theres your truck.

LU(Whispering)

Yeah, thats it. Now weve got to getrid of the thug. Come on.

Lu and Todd crouch and sneak through the junk, trying tostay hidden. They reach the side of the warehouse where the


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front of the truck faces. The large man is still at theback of the truck.

Lu points to the front of the truck then holds up threefingers and counts down silently.

Lu and Todd make a silent dash to the front of the truckwhere they crouch down again, staying hidden.

In the back of the truck, the large man SLAMS the trunkdoor and comes around the side of the truck toward thedivers side door.

Lu waves to Todd to go around to the passengers side ofthe truck.

The man opens the door to the truck and gets inside.

He is about to start the truck when Todd stands up, lookingin to the truck at the man from the passengers sidewindow.

TODD

(To the man)Excuse me, would you mind telling mehow to get to the train station fromhere?

The man jolts, startled, then pulls a gun out from hispocket and fires two shots in Todds direction.

Todd ducks out of the way of the bullets.

Lu stands up on the drivers side of the truck.

LU(To the man)

Over here, sweetheart.

Lu opens the door to the truck and delivers a blow to the

mans face, then pulls him out of the truck onto theground.

As the man falls to the ground, he grabs onto Lus clothes,pulling him to the ground with him and knocks Lus gun fromhis hands.


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They wrestle on the ground and Lu instinctively grabs thewrist of the mans gun hand to keep the man from shootinghim.

The man fires several shots about the room as he tries toaim the barrel at Lu.

Todd races around the truck to where the two are fighting.

Todd aims his revolver at the two men waiting for anopportunity to shoot the man and avoid injuring Lu.

LU

(Struggling)Do it Todd! Shoot!

Todd hesitates for a moment, then fires a single shot

square into the mans chest. The large man falls limp anddrops the gun next to Lu.

Blood begins to spill from the mans chest and stain hisshirt a bright crimson.

Todd walks over to where Lu lies and offers him a hand. Hehelps Lu up off the floor.

LU(Sarcastically)

Well that went smoothly.

Todd goes and picks Lus gun up from the floor and hands itto him.

TODDHeres your gun.

Lu turns, aims the gun at the body of the large man, andfires one last shot into its head. Then he stores the gun

back in his jacket pocket. He also picks up the mans gunthat lies on the floor next to the body.

LULets wrap this guy up before he gets

blood all over the floor.

Lu and Todd grab hold of the edges of the burlap tarp thatlies in a heap next to the truck and spreads it out so thatit is mostly flat on the ground.


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They go back over to the body.

TODDHere, Ill get his hands.

Todd grabs him by the wrists and Lu takes his feet and thetwo drag the body across the floor and onto the tarp.

Lu begins the roll the body up in the tarp.

LUGo find me some rope, would you?

Todd digs through the room looking for rope.

LU

Oh, and find something heavy that wecan strap to him.

Todd walks back over carrying a coil of rope anda cinder block.

TODDThis good?

LU(Looking up at him)

Yeah, thats fine.

They secure the rope around the tarp-covered body andattach the cinder block to a rope about the bodys neck.

LULets get him in the truck.

Todd goes to the back of the truck and slides open the backdoor while Lu drags the body toward the back.

INSIDE THE TRUCK

Lu and Todd stand outside the back of the truck and liftthe body into the back with the liquor.

LULook at all that loot. Thats moneyright there, Todd. Cold hard cash.


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Lu LAUGHS heartily and the two pull the door to the backshut.

INT. HOTEL SUITE 428 NIGHTPagliani sits on the loveseat in his hotel room. His faceis still bloody and his clothes still disheveled fromearlier that night. His hands are shaking and his foreheadis sweaty.

He wipes the moisture from his face with his shirt sleeve.

He reaches for the earpiece of the candlestick-styletelephone sitting on a small table by the arm of the

loveseat and puts it to his ear. He spins his finger alongthe rotary dial, dialing a series of numbers.

He picks up the mouthpiece of the phone and positions it so

he can talk into it.

PAGLIANI(His voice trembles)

Hello? Mr. Bianchi?-- Yes, this is SalPagliani. Um, I--I was just calling to

inform you about a small problem withyour shipment.

From the earpiece a muffled uproar of angry speech can beheard.

PAGLIANIYes, I, uh, I told Lu Cappadora.

More angry speech comes from the other end of the phone.

PAGLIANIThere was nothing I could do, see! Hewas gonna kill me, Frank! I know youmade the better offer-- My hands were

tied! Its too late, hes got thetruck.

BIANCHI (O.S.)(barely audible, muffled)

Youre dead, you hear me? Dead!

A soft CLICK can be heard from the other end of theconversation.


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Pagliani puts the base of the phone back on the table andhangs the earpiece on the hook.

Small, bitter tears begin to flow from Paglianis eyes. Hewipes them away with his hand.

For a moment he sits on the loveseat, cradles his headbetween his hands, and takes big, shaky breaths.

He stands slowly and pulls a small flask out from hispocket. He unscrews the lid, swirls the contents aroundinside, and proceeds to chug the remainder of the liquorinside.

He swallows with a sour, squished up face, then drops theflask on the floor.

He stumbles over to the bed on the far side of the room andopens a black briefcase that sits on the bed.

Inside is a small revolver. He picks up the gun and studiesit, turning it over in his hands. He slides the cylinderout and rotates it revealing six rounds loaded into the

gun. Pagliani locks the cylinder back in place, spins itonce more.

Tears begin to flow more intensely from his face as hepositions the barrel of the gun inside his mouth.

Paglianis finger slowly wraps around the trigger of thegun. He pulls back the hammer with a CLICK and his fingerbegins to squeeze the trigger.

INT. PIE TRUCK - NIGHT

The loud BANG of a gunshot and the PING of a bulletricocheting off the side of the truck are heard.

LUWhat the hell was that?

From Todds POV - The two are being pursued by a blackPackard with two men in the car. The man in the passengers

side hangs out the window. He is holding a PISTOL aimed atthe truck.

Another shot is fired, but misses, hitting the truck again.


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Todd quickly slips his head back inside the truck.

TODD

They found us. Its Bianchi.

LUThat son of a bitch! How the hell didhe know? Hold on!

Lu makes a sharp turn around a corner.

Bianchis Packard also turns quickly, still in hot pursuit.

Todd pulls his gun from inside his jacket and hangs out thewindow. He tries to steady himself for an accurate shot.

He fires twice but misses, hitting a trash can and the hood

of the Packard.

TODDCould you drive a little more smoothly?I cant hit anything when you keepswerving!

More shots are fired from Bianchis car. One barely missesTodds head as it flies through the window making a smallhole in the ceiling of the truck.

Lu deliberately swerves the truck back and forth for amoment.

LUHows that?

TODDHilarious.

They make another sharp right turn around a corner onto a

new street.

The Packard does not follow, but rather keeps goingstraight ahead.

TODDThats strange. They stopped following.

LUWhere did they go?


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TODD

It just kept going straight. I dont

know.

Lu and Todd approach an intersection. As they pass through,the Packard can be seen driving parallel to the truck on astreet about half a block up the road.

A spray of bullets from a Tommy gun hits the side of thetruck as both cars begin to drive through the next block ofbuildings.

LUTheyre trying to cut us off.

Lu pulls out his pistol from his jacket as they approach

the next intersection.

Again the two cars are parallel.

Lu and Todd duck slightly as another spray of bullets hitsthe truck.

Lu is able to fire several successive shots out of hiswindow at Bianchi. One hits the back passenger window onthe Packard causing it to shatter, some land in the side ofthe vehicle.

They pass into another block of buildings.

LUI cant shake him!

They approach yet another intersection. However, as theybegin to pass through, Bianchis Packard is heading downthe street straight toward the pie truck.

Bianchi hangs out the window with his Tommy gun, LAUGHINGlike a mad man.

BIANCHI(yelling from a distance)

Youre done, Cappadora! Ive got you!Youre done!

Bianchi begins firing at the truck again.


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Lu slams on the brakes, stopping the truck in its tracks.

He brings the pistol up and fires three steady shots into

the windshield of Bianchis Packard.

The glass shatters instantaneously, and one of the bulletshits the driver of the Packard, killing him upon impact.

LUGot him.

The Packard begins to swerve out of control and crashesinto a lamp post near the corner of the intersection. The

engine of the Packard catches fire.

The passenger door opens and Bianchi scrambles out, stillholding the Tommy gun.

Lu slams on the accelerator and the truck takes off downthe street.

Bianchi continues to fire at the truck as it drives off.

BIANCHIGet back here Luigi Cappadora! Fight melike a God damned man, you coward!

POLICE SIRENS begin to sound in the background.

Frightened Bianchi makes a run for it, abandoning theflaming vehicle.

EXT. BACK ALLEY NIGHT

The pie truck pulls up to the door that leads into thebasement of the hotel and stops.

Lu and Todd quickly exit the vehicle and SLAM the doors.

They rush around to the back of the truck and open the backdoor.

Todd puts his hand to his shoulder and looks at his handwhich is stained with blood.

TODDI think he hit me.


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LUYou okay?

TODDYeah, I think Ill be fine.

LUYou go inside and get Oscar for me, got it? Ive

got to get all this inside, quick, and ditch thistruck. I dont need the fuzz finding this jalopyoutside my hotel.

TODD

Sure thing boss.

Todd makes his way toward the back door of the hotel.

LU begins to unload crates from the back of the truck and stack tin the alley.

LUHey, Todd. Nice work tonight.

Todd smiles and nods at Lu and disappears through the basement do

INT. LOBBY NIGHT

Mrs. Pagliani drunkenly stumbles up to the front desk where

Kitty is packing up her things.

MRS. PAGLIANIExcuse me! Excuse me!

She dings the small bell on the desk several times.

KITTY(agitated)

Stop that! Look, its the end of my

shift, lady. Youll have to wait tillthe night concierge gets here.

MRS. PAGLIANI(Slurring her speech)

No, no. See I need to get into my room,but I dont have a key. My husband hasit, and I dont know where that jackassran away to. So, Ill be needinganother one, thanks.


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Mrs. Pagliani hiccups.

KITTYUm, alright. I guess I can give you thespare. Whats your room number?

MRS. PAGLIANI

Four, twenty(Hiccups)

Four, twenty-eight.

Kitty gets the key off of the wall behind her and hands it

to Mrs. Pagliani.

KITTYHere you go.

Mrs. Pagliani takes the key stumbles off without sayinganything.

INT. HALLWAY NIGHT

Mrs. Pagliani stumbles down the hallway with the key to thesuite in hand.

She reaches the door and knocks loudly several times.

MRS. PAGLIANISal! I know youre in there now. Youbetter open this door before I have todo it myself. You left me all alonetonight in that lounge, so if you dont

open the door, Im coming in whetheryou want me to or not.

She inserts the key into the lock on the door andturns it with a CLICK.

She opens the door and enters the room.

INT. SUITE 428 NIGHT

Mrs. Pagliani enters the room slowly and closesthe door behind her.

MRS. PAGLIANISal? Honey?


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On the far side of the room behind the bed, she spots ahand lying lifelessly on the floor. A revolver sits next to

it, all resting in a pool of blood.

Mrs. Pagliani GASPS and drunkenly runs to the side of thebed.

MRS. PAGLIANI(Beginning to cry)

Sal! No! It cant be! My Salvador!

She sees his lifeless body slumped on the floor next to the

bed and SCREAMS.

Pagliani is covered in his own blood, his face iscompletely disfigured from the blast of the revolver.

Mrs. Pagliani can not stomach the horror and her bodyforces her to vomit.

She then passes out and falls to the floor.

FADE OUT

Hotel Cappadora: Pilot

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Transcript of Hotel Cappadora: Pilot