L'homme en colère (1979) - full transcript
Au Canada, un jeune homme, passeur d'émigrés clandestins vers les Etats-Unis, tue l'un de ses clients pour lui dérober une valise pleine de dollars. Il s'enfuit à bord d'un véhicule conduit par un complice, mais en route ils sont soumis à un banal contrôle routier. Pris de panique, le passeur ouvre le feu et tue un policier. Il est abattu à son tour mais son complice prend la fuite. Les papiers retrouvés sur le corps du passeur sont ceux d'un jeune Français, Julien Dupré, dont le père, Romain, vient à Montréal pour reconnaître le corps. Or, le cadavre s'avère être celui d'un certain Lentini. Cependant, par l'intermédiaire de Romain, le commissaire Mac Kenzie espère mettre la main sur Julien. En recherchant son fils, dont il était sans nouvelles depuis sept mois, Romain rencontre les fréquentations troubles de ce dernier. Il apprend qu'à la suite d'une dette non honorée, Julien est tombé dans les mains d'un gang qui lui a fracturé le bras, l'empêchant ainsi de poursuivre son travail au sein d'un club de boxe. Il se rappelle également l'enfance de Julien, la disparition de sa femme, Nancy, lors d'un incendie de forêt et les liens qui se sont distendus avec Julien à cause de son travail trop prenant de pilote de ligne. Grâce à Anne, la petite amie de Julien, Romain entre en contact avec ce dernier, qui refuse de se rendre à la police, bien qu'il ne soit pas responsable du meurtre ni du vol commis par Lentini. Il attend Anne pour fuir avec elle en Californie avec l'argent trouvé dans la valise. Recherché par la police et par le gang prêt à tout pour récupérer l'argent, il a peu de chances de s'en sortir. Romain lui-même est victime de plusieurs attaques des truands et trouve refuge chez Karen, une femme tout juste sortie de prison. A son tour, Anne est grièvement blessée par les gangsters, qui essaient de la faire parler. Romain se rend donc à sa place au rendez-vous donné par Julien à la jeune fille. Là, il est blessé par le gang, qui a retrouvé la trace de Julien. Cette fois, celui-ci accepte de se rendre à la police, arrivée juste à temps sur les lieux du drame pour arrêter les gangsters.
¶¶¶
- How much farther?
- Not far.
[Distant bird call]
- Where are you?
Where are you?!
[Distant bird call]
[Engine starting]
- Move it.
[Large crowd noise]
- [Radio]: ...facing off.
And behind the net goes
J.C. Tremblay.
A left-wing pass,
Berenson missed it,
Ravlich shoots it in there.
Esposito shoots it--
right in front!
And, oh! Maki missed--
- Are we winning?
- Two-one.
- ...ahead to Richard, down
with Berenson, Berenson getting
in there. He fanned on it.
Now it's Richard.
Richard back to Harris.
He shoots it in front.
- No taillights.
- Aha, looking for a promotion
again, are ya?
- Jarret shooting it
down the ice for Chicago,
and the Hawks will be called
for icing.
[Siren wailing intermittently]
They've dressed Melnyk
and Dennis Hall
instead. For Canadiens,
Gautier is the 5th defenceman.
He hasn't seen any action yet.
[Large crowd noises]
Jarret for Chicago.
Up on the right side,
Maki ahead to Esposito.
He's up all alone,
taken out of the play.
Tremblay's pass hit Hall.
Here's Hall barging in
on the right side to the corner.
He puts on the brakes.
Over to Maki...
...Berenson, over off
the right-wing boards
to Provost.
[Gunshot]
...couldn't get by Jarret...
[Bullet deflecting]
[Gunshots]
[Tires squealing]
[Bullet deflecting]
[Tires squealing]
[Gunshot]
[Tires squealing]
[Car honking]
[Cars honking]
...Cournoyer cutting in front--
he scores!
[Large crowd cheering]
[Loud whirring]
- Good morning, sir.
- [Announcement]: Air France
9603 flight from Paris:
passengers may come in
at Exit #4 of Canadian Customs.
- [Customs officer]: Thank you,
sir.
- Mr. Dupré?
- Yes?
- Would you come along
with me, please?
¶¶¶
¶¶¶
[Tires squealing]
- How did he die?
- He was shot.
It is not my son.
It's his passport,
but not his photo.
- That's right.
It's the dead man's.
When did you last hear
from your son?
- Not since
he left France.
- He entered this country
over 7 months ago.
He didn't have an immigration
permit, so, by rights,
he should have left
after 90 days.
Don't you have an address
for him here?
- I didn't even know
he was in Canada.
¶¶¶
- [Woman]: Good night, sir.
- Good night.
[Silence]
[Police siren approaching]
[Sirens]
- Maman.
Maman.
Maman...
MAMAN!
[Explosion]
[Shouting in French]
¶¶¶
- OK, let's go. The left.
Right away. Another one.
Quickly. Go on. Go on.
From the shoulder.
From your shoulder.
From your shoulder!
Go on. Let's go. Right.
Leg forward.
Your leg forward. Yeah.
[Knocking at door]
[Door opening]
- [Man]: Good morning, sir.
Your breakfast.
- What?
- You ordered it last night.
- Oh, yes. Yes.
- Have a good day, sir.
- Thank you.
[Door closing]
- I'm very sorry
about all this, Mr. Dupré.
You must have had
quite a shock.
Thank you very much,
Ronnie.
- Do you mind if I smoke?
- If you must.
We've identified the dead man.
His name was Luigi Lentini.
We've been after him
for a couple of years.
Lentini.
The name ring a bell?
- No.
- He obviously intended
to use your son's passport
to leave the country.
Tell me, your son interested
in politics?
- Politics?
No, not really, no.
- You had no news of him, but
still you weren't worried, huh?
- Of course I was worried.
- Why did he leave France?
- Look, first you tell me
my son is dead.
You make me come
all this way.
Then you show me
another man's body.
Now these questions.
What are you trying to do?
- Mr. Dupré--
- What's it all about?
Julian could have lost
his passport.
- Or sold it, Mr. Dupré.
You have no idea
where he is, hmm?
This is the form that
he filled out when he arrived.
We've checked it,
of course.
The address is phoney.
There's no record of him
at the immigration office
or at the French consulate.
The handwriting,
Mr. Dupré,
is that your son's?
- Yes.
- All right, Mr. Dupré,
at the time he was shot,
Lentini was riding
in a blue Jeep Wagoneer
driven by a second man.
We found it abandoned
about 10 miles from the airport.
- So?
- The car belongs
to your son.
Uh, that's it.
Your son bought it--
second-hand, of course--
about 3 months ago.
- Somebody could have
stolen it from him.
- Oh, certainly.
I think it's much more likely
that he was driving it.
It's all right. There were
no bloodstains inside the car.
This was the gun that Lentini
used to kill the policeman.
That same evening, in some woods
just inside the Canadian border,
another man was killed--
an American.
This same gun killed him too.
These tracks were found
a couple of hundred yards
away from where the man was
killed.
- What are you trying
to tell me?
- I'm telling you
2 men have been killed,
one of them a policeman.
These tracks are
from the Jeep Wagoneer,
your son's car, Mr. Dupré.
[Lighter clicks]
Do you have a photograph
of him?
- Well, I've got one,
but, uh...
- May I see it?
Thank you.
Don't you have anything
a little more recent?
- No.
- This is your wife, hmm?
Have you mentioned
any of all this to her?
- She died 10 years ago.
- I'm sorry.
I believe
you're a pilot?
- Not anymore.
My, uh, my eyes.
- But you have flown
over Canada, hmm?
- Often, yes.
- Good, then you'll understand
what I'm saying.
Five thousand miles
of border.
Now, in Canada, we've got more
than our share of illegal
immigrants
from all over the world,
which greatly annoys us.
A lot of them
sneak over the border
into the United States,
which greatly annoys them.
Your son is
an illegal immigrant.
Mr. Dupré, I need
to talk to your boy.
I hope that he'll get
in touch with you,
and that you'll tell him
to get in touch with me.
What are your plans now?
[Dupré sighs]
- I think, uh,
I'll be staying
for a while.
- Good, I was going
to ask you to.
[Kids shouting at once]
[Dog barking]
- [Driver]: Here we are, sir.
- Is this Chatham Avenue?
- Yeah.
- Are you sure?
- Absolutely.
- But there are no houses.
- You're right.
If there were some,
there are not many left.
- Tell me...
- Yeah?
- Do you know any places
where boxers train?
- You mean a gym?
[Bags being punched]
- Why don't you try--
[Motorcycles revving]
[Siren]
¶¶¶
[Jazz]
¶¶¶
¶¶¶
[Disco]
- How come you ask me?
- He said you might know him.
- Oh, he's got
a big mouth.
- Do you?
- Yeah, I know a kid
with a scar on his arm, yeah.
- His left arm. A burn.
- Yeah, he used to pick up
the odd buck sparring.
- Where can I find him?
- Ain't like me.
You know how much the crook
who runs this turkey trap
gives us? Ten bucks.
Huh? Ten lousy bucks for going
3 rounds with some jive mother
twice your size.
Ten? Phew...
Get it, mister?
- I get it.
- The kid
you're asking about...
He busted his arm
about... 3 months ago.
- Just tell me
where to find him.
- Well,
what do you want from me?
He didn't come in no more.
After he busted his arm?
Pff...
- That's not much
for $20, hmm?
- Hah. Boohoo.
Maybe you'd better
go ask Borke.
- Borke?
- Uh-huh.
He used to spar
with him.
- [Kid]: Pow!
- [Kid]: Pow!
- Kipper Borke?
- Two.
- [Woman]: ...you're
driving me crazy!
- Anybody home?
- What do you want?
- I'm looking
for Kipper Borke's apartment.
- He doesn't live here
anymore.
- Do you know
where I can find him?
- I don't know where he is
and I don't want to know,
all right? Now will you
please get out of here?
- Listen,
I'm Romain Dupré.
I'm trying to find my son,
a Frenchman.
He used to train
with Borke.
Maybe...
maybe you knew him?
Please.
Don't worry.
If you know
something...
[Engine at high speed]
[Crash!]
[Pinball machines
and other game sounds]
- Stop hitting my targets!
- Kipper Borke?
- Who wants to know?
- I'm here about Julian.
- Who?
- Julian Dupré.
- Don't know him.
Turkey!
Who sent ya?
- Nancy.
- Don't know her.
- She knows you.
- You a cop?
- No, I am Julian's father.
- You're too much, man.
[Pinball machine being struck]
Easy, easy, easy.
- All right, All right.
Don't worry about it.
- But you used to box with him.
- Me?
- Yes, at the gym.
- You've got to be kidding.
I've never even been
near a ring.
- What's the hassle?
- This creep is asking me
a lot of questions.
- This ain't the place.
I'm trying
to run a business here.
Please leave quietly.
Settle your accounts
elsewhere.
[Knocking at door]
- Who is it?
- [Borke]: It's me.
- Get lost.
- [Borke]: Open up!
[Knocking louder]
Just for a minute.
- I told you not to come
around here.
- Listen, uh, um...
We should talk.
- OK, so I'm listening.
- No, no, no, no.
Come on, come on, come on.
Let me in. Let me in.
What the hell are you doing
throwing my name around
like that?!
Who is this guy that went
down to the arc-- Ugh!
- So you don't
know her, huh?
Where is Julian?
- I don't know.
I-I don't know!
- When did you see him last?
- Maybe a month ago.
- Where?
- The arcade. He said he needed
bread. I gave him some.
A couple of hundred.
It was all I had.
- It was all we had.
- Well, he needed it.
- What's he been doing
since he got here?
- [Borke]: Delivering.
- Delivering what?
- Hash, coke, junk.
It's the shits
when you first get here.
You're a foreigner.
No money, no work permit,
so...
...you take anything worthy,
don't ask questions.
He told me
he wanted to stop.
He tried, but, uh,
he needed a car,
so he borrowed the money.
Finish. Tilt.
Loan sharks.
You know?
Five percent a day.
When he couldn't keep up,
they reminded him.
Broke his arm.
- Who did it?
Who?
- I don't know. Look...
I have a job now.
I am trying to stay clean.
She's gonna have the kid.
- Try The Musical.
- Hey...
- What's that?
- A club.
- Who do you know there?
Don't worry. I won't say
where I got the name.
- There's a guy
behind the bar. Peter.
- OK, let's go.
- What?
- You're not staying here.
Come on.
- No.
He stays.
[Dupré handling paper]
- Please.
Your 200.
- Thank you.
[Dupré walking away]
[Vehicle passing by]
¶¶¶
[Woman singing inside]
- Yes?
- I'm a friend of Peter's.
- What?
- The bartender.
- This is a private club.
Do you have a membership card?
- No, I've just come
from Paris.
[Door buzzer]
- ¶¶ ...showed me how
I'd been robbed ¶
¶ Lying low running scared ¶
¶ Giving into despair ¶
¶ I felt whole ¶
¶ I'm starting all over ¶
¶ As if I'd been reborn ¶
¶ All over now... ¶
- Comment ça va Paris?
- Peter?
- No, Peter's stepped out
for just a minute.
What can I do for you?
- Bourbon.
- On the rocks?
- Is the manager in?
- Yeah, but he's busy right now.
¶¶¶
- ¶ Because of you ¶
¶ I'm starting all over ¶
¶ As if I'd been reborn ¶
¶ All over now ¶
¶ Ooh ooh ooh ¶¶
¶¶¶
[Disco]
- Yeah?
Mm-hmm.
[Man and woman talking]
- [Woman]: Well,
I wasn't going to...
He's a jerk.
- [Man]: Yes, he is.
He's a terrible--
- [Woman laughing]: You are!
- [Man]: He is.
He's a terrible man.
[Woman laughing]
- [Man]: Looking for something?
- [Dupré]: Someone.
- But can we help you?
- Maybe.
I'm looking for a young man
called Julian Dupré.
- Um... who told you
to ask for him here?
- A friend
of Luigi Lentini.
- Julian Dupré?
Uh, Lentini?
I'd like to help you,
but, uh...
- A few weeks ago,
he had a plaster.
- A plaster?
- Yeah, uh,
how do you call it, a...
...a cast.
Somebody broke his arm.
- Somebody?
- Remember him now?
- Um, could I ask you, uh,
why are you looking
for this young man?
- I have to see him.
- We don't know him.
- I was told he worked here.
- I'm afraid
you've been misinformed.
Let me give you
a piece of advice.
Look somewhere else.
Now, if don't mind,
uh, we are busy here.
Eddie,
show this gentleman
to the door.
Good night.
¶¶¶
[Disco]
- ¶¶ Cars ¶
¶ Cruising against the light
(light light light light) ¶
¶ I'm ¶
¶ Moving through the night
(night night night night) ¶¶
[Footsteps rapidly approaching]
[Dupré yells]
- Oof!
[Dupré groans]
- Get rid of him.
- I'm gonna give this dude
a little ride.
[Vehicles approaching]
[Tires squealing]
- Looks like
he got a wrong number.
- [Man]: It's the guy
in the middle.
[Projector changing slides]
- [Man]: We're still trying
to identify the man with him.
- He was in charge
of accounts.
They called him
"the treasurer".
- [Man]: Why would
a man that important
cross the border the way he did?
- Want to answer that,
Phil?
- From what we found out
in Detroit, he was into
smuggling illegals.
It fits in. We think
he was carrying something.
- What?
- More than money.
- Campana.
A syndicate heavyweight.
The man with the cigar is
Castaldi.
He's the #2 man
in the Cleveland organization.
[Phone buzzing]
The one on the right is Murphy.
- It's for you, sir.
- Excuse me.
MacKenzie.
What?
Well, I'm glad
you didn't hold him all night.
He told you
to phone me?
I see. Has he any idea
who beat him up?
And where did it happen?
Uh-huh.
OK, now, listen.
Don't tell him that you've been
in touch with me.
Just let him go.
Do you understand?
- Absolutely, sir.
- And send his statement
over to me as soon as possible.
- Right, sir.
- Thank you.
This is MacKenzie.
Who have we got available
for special duty?
Right. Send him right down
to my office.
Well, looks
as though the Frenchman's
beginning to stir them up.
[Telephone ringing]
- Would you be kind enough
to read this
and sign it at the bottom,
Mr. Dupré?
- Did you reach MacKenzie?
- I'm sorry, sir.
The superintendent's
not expected in today.
- Oh, I see.
- What do you mean,
not before 5 o'clock?
- Don't complain. It usually
takes at least 2 or 3 days.
- Oh, my God.
- Would you like
to file a complaint?
- Would it do any good?
- Not without witnesses.
- [Woman]: It's upstairs?
- [Officer]: No, he's
just right here.
- Uh, you the cop I should see
about my car?
- Is yours the blue Dart?
- Oh, yes. It's blue, all right.
And just a few hours ago
it was in perfect condition.
I am sure you don't have
the slightest idea
what son of a bitch kicked in
the rear end.
- Me.
- You?
- I'd like to tell you exactly--
- Please, no, don't give me
any of your long, sad stories.
What are you going
to do about him?
- There is nothing
I can do, ma'am--
- Nothing?
- You see, it's--
- Oh, you're damn right I see.
- Would you let me explain?
- Some turkey can take a car
that doesn't even belong to him,
run it around,
smash it to pieces,
play demolition derby
all night,
and just walk away, right?
- It's not--
- You're not going
to do a thing about it, right?
Well, don't just stand there.
Go ahead and tell me.
You're not going to do
a damn thing. Right?!
- May I leave now?
- Whenever you want, sir.
- Thank you.
- You're letting him go?
- Uh, yes.
- I would just like
to know one thing, uh, Sergeant:
what are you here for?
[Bus pulling to a stop]
Excuse me.
- Excuse me.
Does this bus go
to Dominion Square?
- Oh, I'm sorry,
I'm not from here.
- Ah.
- Wait a minute.
Excuse me, miss?
Does this bus go
to Dominion Square?
- Sorry, I don't have
the slightest idea.
Usually
I drive my own car.
- Excuse me.
Excuse me, ma'am.
Look, I'm really sorry
about your car, but I--
- It's OK.
I know about it now.
Excuse me.
I'm kind of in a hurry.
- Is this
a good restaurant?
- No.
¶¶¶
- This way, please.
May I take your coat?
- Yes.
- I hope you enjoy
your lunch, sir.
- Thank you.
[Woman laughing]
- [Man]: Waitress, could we have
the cheque, please?
- Thank you.
[Woman laughing]
- Miss? Miss, can you please
take this steak back?
I asked for a bone.
Thank you very much.
[Woman laughing]
[Woman laughing]
- Oh! Your glass--
- Are you trying to say
it's my fault?! Look at this!
Look what she did to my suit!
I want to see the manager!
Even in a restaurant like this
I expect waitresses who know how
to wait on a table!
- Now, go and get some hot
water. Don't just stand
there like an idiot!
- [Man]: Cold water
for spaghetti sauce. And quick!
- What is wrong with you?!
- Everything.
- Jack!
- Where do you think
you're going, Karen?
- Hungry?
- Yes.
- I don't think there is
too much damage to your car.
- I know.
But yelling about it
makes me feel better.
- Beef or chicken?
The chicken's better.
- Beef.
You have to take a chance
sometimes, don't you?
- I'm sorry about just now.
I started your day off badly.
- Forget it. I was looking
for an excuse to quit anyhow.
Coffee?
- Please.
How long were you
working there?
- Since yesterday.
- And before that?
- I was in Chicago.
- American?
- French-Canadian?
- French.
- I've never been to Paris.
Does it show?
It's easier to talk to a person
when you know their name,
don't you think?
- Sure.
- I'm Karen.
It isn't a state secret,
is it?
- What?
- Your name.
- No.
Romain Dupré.
- That's nice.
Why were you beaten up
last night?
Are you some kind
of dangerous character?
- No.
- What are you doing
in Canada?
- Looking for my son.
- You don't know
where he is?
- Maybe somewhere
in this city. Maybe not.
- Well, how did you happen
to lose track of him?
Is he in...
is he in some trouble?
Don't want
to talk about it?
- And you?
Why are you here?
- Me?
I was born
in Pennsylvania,
I majored in sociology
at the University of Maryland.
I got married,
then I got divorced.
I'm giving you
the short version.
My husband had a better lawyer
than I did,
so after the divorce,
I, I, uh, I went to work.
- As a waitress?
- No, no.
No, that was my first try
at that. Couldn't you tell?
No, I've done, uh...
Well, I've done lots of things.
I was a, I was a librarian
for a while--2 years--
in Chicago.
And then I went back
to college.
- Still, uh, sociology?
- Yes, well, sort of.
I, um...
I've always been interested
in the urban personality.
- Oh, I see.
- Aggression;
uh, anonymity;
faceless crowds;
uh, how, uh,
how people react
as individuals, uh,
or in groups;
loneliness.
I-I came here
to do, um, research.
You don't believe me,
do you?
Why are you listening
if you don't believe what I say?
- You're not eating?
- Well,
I'm not very hungry.
Well, home.
Thank you for the ride.
- Of course.
- And you were right
not to believe what I told you.
Most of it was
a lot of garbage.
Well, not all of it.
I really was a librarian
for 2 years.
A place called
The Dwight Correctional
Institute for Women--
a prison.
Wanna know
why I was there?
- No.
Let's go.
Seven oh nine, please.
Thank you.
- Uh, Mr. Dupré?
- Yes?
- There's someone waiting
for you in the lobby, sir.
Just around the corner there.
- For me?
- Yes.
- Ah, you are,
perhaps, Mr. Dupré?
- Yes.
- I am Albert Rumpelmayer.
I keep a laundry
just around the corner
from Vince's Gymnasium.
They told me at the gym
that you're looking
for your son.
- Yes, that's right, yes.
- And you still
have not found him?
He, uh,
left this with me
3 weeks ago.
And never came back
for it.
- What is it?
- It's his laundry.
- His laundry?
- Oh,
you need them too.
Me, I should wear these
all the time, but, uh,
vanity has no respect
of age.
Or appearance.
It's, uh...
[Handling paper]
Nineteen dollars
and fifty cents.
It is so much
because he did not pay me
for some other times.
It's your son's laundry,
all right.
You can be sure
of that.
[Chuckling]: Yes.
Very pretty.
Very pretty girl.
She is a student,
as you see.
A player of, uh,
volleyball.
- She?
- Your son's girlfriend.
They often came
to my laundry together.
She is clever.
Clever, too, as well as pretty.
Your son is a very lucky man.
- Do you know her name?
- Anne.
I remember
he called her that once.
I remember it
because it was a pretty name
to match a pretty girl.
- Anne what?
- Anne...
I don't know.
Anne.
[Elevator dings]
- And you haven't seen her
since--
- So lucky...
I haven't been.
- That's all right.
- I do thank you, sir.
I, uh... Oh.
I sincerely hope
that you, uh,
find your son.
- Excuse me.
Can you have this sent up
to my room, please?
- Certainly, sir.
- Seven oh nine.
- Thank you.
- Thank you.
- OK, it's coming over.
- Go, go, go, go, go.
Come on.
[Laughing]
- She hasn't been here
for a while. I have no idea why.
What do you want with her?
- Nothing.
I'm just in town for a couple
of days, and I'd like
to see her.
- All right, dig for the ball.
Come on, Helen.
Did you go to her place?
- No. I was told
I might find her here, but, uh,
I don't have her address.
- Are you a relative?
- Yes.
- Relax your fingers!
OK, spike it! Spike it!
All right,
you can get her address
up at the office over there.
- Thank you.
- You're not the only one who's
been asking for her, you know.
Hold your positions!
Watch it--
Hold your positions, please!
[Whistle blown]
Come on, keep it going!
It's going now. Keep it going.
[Saxophone being played]
[Phone off the hook beeping]
[Phone beeping continuously]
[Saxophone being played
in another room]
[Beeping stops]
[Saxophone stops]
[Saxophone resumes]
[Dial tone]
- Montreal Forum.
May I help you?
¶¶¶
[Brass band]
- [Announcer]: Welcome
to the Montreal Forum...
[Music continues inside]
- Please,
where can I find Anne Garret?
- Who?
- Anne Garret. She works here.
- Ask the guy
at the turnstile. Next.
- Where can I find
Anne Garret?
- Concession stand,
second floor.
- Thanks.
- Ticket, please, sir.
- Oh, yes.
- Mister?
Wanna buy a ticket?
Twenty bucks.
[Crowd cheering]
- Please, can you tell me
where I can find Anne Garret?
- She's up there
on the south balcony.
[Crowd cheering]
[Whistle blown]
- [Woman]: Go, Canadiens!
- [Man]: That a boy! Hey!
- Anne Garret?
I'm Julian's father.
- ...and the other night--
it was late--
I-I hadn't seen him for days,
and all of a sudden
he showed up like...
crazy, freaked out.
- But...
what had happened?
- He wouldn't tell me.
He, uh, he just said,
"Come on, come on!
We're getting out of here
right now".
I didn't know
what he was talking about.
How he...
- Where did he want to go?
- California.
- California?
- We'd been planning
to go.
I wanted to finish
my degree there.
But to leave like this?
In a flap
in the middle of the night?
I...
- Anne, I'm taking off.
Ted got here early.
Cover for me, will ya?
- Oh, yeah, Cathy.
- Hey, what's wrong?
- Oh, it's OK.
- You sure?
- Sure.
- OK, thanks.
- I met him very soon
after he got here.
He didn't have a job,
but he kept trying to get one.
He made a little here,
a little there.
Never enough.
He was ashamed
of being broke.
Then he got in
with them.
- Them?
- We split up once.
But we were
both miserable.
When we got back together,
he tried to get out of
what he was doing.
They wouldn't let him.
He owed too much money.
He had to work for them.
- Doing what?
Doing what?
- I think he's ferrying
at the moment.
- Ferrying?
- People.
Across the border.
I told him
he should write you.
He wouldn't.
What goes on with you two?
- But the other night...
- He left.
Since then,
he phones every day.
He says
he's waiting for me.
He won't go without me.
I tell him it's no use.
And now...
- What?
- I don't know
what's happening.
I'm scared to death.
When I came up the stairs
last night,
I saw light under the door
of my apartment.
I could hear noises--
things being thrown around,
men's voices.
I ran away.
- Where to?
- A girlfriend's.
I've told Julian where.
¶¶¶
[Brass band]
I'm gonna lose my job.
I have a phone number
where I can reach him
any day at noon.
- Where is it?
- It's a public phone booth:
555-2010.
- Just a moment.
Five five five...
- Two oh one oh.
- Have you called him there?
- No.
And I won't.
You and I, we're
the only ones he's got.
If you do talk
to him.
tell him--
- Yes. Where can I get
in touch with you?
- I don't want
to tell you.
No.
¶¶¶
[Brass band]
- [Man]: Mr. Dupré.
Mr. Dupré, would you come
over here a minute, please?
Uh, will you get in, please?
I want to talk to you.
It's about your son.
I wasn't expecting you so soon.
You didn't enjoy the game?
- What about my son?
- We have a lot to talk about.
There isn't much time.
I was right
about the girl, wasn't I?
Anne. She is lovely.
You saw her, didn't you?
Did she tell you?
- Tell me what?
- Where your son is.
- Who are you?
- Mr. Dupré, the people
who are looking for your son,
they don't want
to make this girl talk.
Uh, but,
if they have to...
You understand what I mean?
- Which people?
- Mr. Dupré, be reasonable.
They are.
They don't enjoy violence.
- What exactly do you do?
- I'm only a negotiator,
for my knowledge is limited.
I can tell you
one thing.
Your son has made a mistake.
Made a big mistake.
He should not have taken
what did not belong to him.
- What did he take?
- Property.
- What property?
- Your son is
in grave danger.
You should, uh,
you should tell him that.
He should understand
that the property he has taken--
- What the hell are you
talking about?
- If it should happen to fall
in the hands of the police,
Mr. Dupré--
if that should happen,
your son--
This young girl...
she did, uh,
tell you where he is?
Of course she did.
- No.
- Ten minutes.
That's all they gave me.
- What do you mean?
- Mr. Dupré,
you did ask her!
- I asked.
She doesn't know!
- They'll never believe that,
Mr. Dupré.
Never.
[Tires squealing]
[Tires squealing]
[Tires squealing]
[Tires squealing]
[Fans blowing loudly]
[Grunting in pain]
[Wrench hits the ground]
- Oof!
[Yelling from above]
[Groaning in pain]
- [Dupré]: Ugh!
[Dupré grunting in pain]
[Alarm bell ringing]
- [Man]: Come on!
Let's get out of here.
[Alarm bell ringing]
[Alarm bell ringing
continuously]
[Alarm bell ringing inside]
[Telephone ringing]
[Telephone ringing]
- Hello?
When are you gonna
set your watch to Canadian time?
What?
Where?
- [Dupré]: Each time I was away
it separated us
a little more.
We didn't understand each other
anymore.
Apart from boxing
and playing poker,
nothing else interested him,
and I had to pay
his gambling debts.
[Laughing]
¶¶¶
[Jazz piano music]
- Attention, hut!
- [Dupré]: Yes, I have often
tried to talk with him.
It was useless.
One evening, he said to me
that if I had been there
the day of the fire,
his mother wouldn't have died.
[Slap]
And that,
I couldn't accept.
That was the last time
I saw him.
- Words.
Sometimes
they're too much.
Sometimes not enough.
I can guess how he felt
when he left Paris.
When he got here,
what it was like.
A foreigner
in a strange country.
Alone.
[Striking matches]
It can happen.
You start to believe
nobody gives a damn,
you get tired
of fighting.
One day,
well, one day
you do something stupid.
From then on
it's all downhill.
[She sighs]
Are you feeling better?
- Yes, thank you.
- Why did you call me
instead of the police?
[He sighs]
- Because I want to find Julian
before they do.
- And Anne?
What are you gonna do
about Anne?
- I don't know.
She refused to tell me
where she was staying.
And I don't know
what I can do.
- Well...
...we can't do anything
until morning. Tonight,
you stay here. OK.
You know something,
this is the first time
in over 2 years
I've spent the night
with a man.
Somehow I figured
it would be different.
How do you always manage
to make me feel shy?
I'm not like that.
- Good morning.
- You feel much better?
- Yes, thanks.
- I found the phone booth.
It's at the corner
of St. Denis and Mont-Royal.
- Is that far from here?
- No, it's just a few miles.
They thought
I was your wife.
It seems women don't buy shirts
for their lovers.
- Thank you.
- You know, if I were you,
I'd change hotels as long
as they know where you're stay--
[Knocking at door]
- What time are you
checking out, madam?
- I'm not.
- The office said
you were leaving.
- I was.
I've changed my mind, OK?
- Sure.
But you better tell them.
- Thanks.
[Door closing]
- I'm checking out.
- Your room number, please?
- Seven oh nine.
- Could someone take my bag,
please?
- Of course, sir.
[He snaps his fingers]
Front.
Take the gentleman's bags,
please.
- Yes, uh, would you take it
to the blue car
waiting outside, please?
- Yes, sir.
Thank you, madam.
- Taxi, sir?
- Please.
- Where are you going, sir?
- St. Denis and Mont-Royal.
- [Valet]: St. Denis
and Mont-Royal.
[Car starting]
- Where's he going?
- St. Denis and Mont-Royal.
- Good day, sir.
Would you like to see the menu?
- Just a coffee, please.
¶¶¶
[Stereo]
[Dialling]
[Ring tone]
- Hello, Julian.
It's me, Father.
Julian,
I'm in the restaurant
just across the street.
Listen, I've got
to talk to you--
¶¶¶
[Stereo]
- Coffee.
Your father can't talk
to you now.
Don't hang around here.
Call him
as soon as you can.
Room 109.
¶¶¶
[Stereo]
- I want to see MacKenzie.
[Birds singing]
- How about some tea?
- No, thank you.
- How did you get that?
- You're counting on me
to find him, huh?
Or you're counting on him
to find...
- Have you seen him?
- Not yet, no.
- But you think you will.
- Not if you keep
having me followed.
- What'll you do
when you find him?
- Bring him to you.
After I've had the chance
to talk to him alone.
- Why after?
Look, Monsieur Dupré...
I'm gonna have some very hard
questions for your son.
You know that. But what's much
more important right now is
that he's in possession
of something which is
all too damned important
to some very dangerous people.
Do you understand me?
For his sake, I hope he comes
to us before they get to him.
- Stop having me followed.
- I suppose the only guarantee
I have is your word, hmm?
- Yes.
- I can give you 48 hours.
[Telephone ringing]
- Hello?
Oh, hi.
He phoned 10 minutes ago.
No, he said he couldn't come
here, but he'll meet you
at 8 this evening
in front of the Palace Theatre.
[Siren in the distance]
- Well, Julian.
Is this where you live?
- You've seen Anne?
- Yes.
- What'd she say?
- Julian, listen.
You've got
to stop all this.
If not,
don't count on Anne.
Get out now.
How far do you think
you can get?
Everybody's after you.
- Did you come all this way
just to tell me that?
- No, I came all this way
because they told me
my son was dead.
What happened that night
with Lentini?
Were you driving the car?
- I didn't shoot the cop.
- And the other man?
- What other man?
- The one killed
at the border
the same night
with the same gun.
- Bastard.
[Car starting]
- Move it.
- We're not
taking anybody tonight?
- Just this.
Get us outta here.
Take the autoroute.
- Where are we going?
- Mirabel Airport.
- What for?
- Shut up and drive.
- [Police car radio]: ...at the
line. He shoots...
- Keep going.
[Police siren]
What the hell do they want?
- I don't know.
- Hey, easy, easy.
OK, pull over.
- [Police car radio]: ...facing
off. And behind the net goes
J.C. Tremblay.
- Great.
What are we gonna do?
- Get ready to move it.
- ...shoots it--right in front!
And, oh!
- Are you crazy?!
[Gunshots]
[Bullet deflecting]
[Cars honking]
[Tires squealing]
[Vehicle approaching]
[Tires squealing]
So this is my big break.
Nobody's gonna take it
away from me.
- You call that
a break?
- With this money, Anne
and I are going to California.
- No. Not Anne.
Not like that.
Julian,
I told the police
you'll turn yourself in.
Believe me, it's...
your only way out.
- I don't want
to go to jail.
- Do you think
I want to see you there?
- Do you really want
to help me?
I can't hold out
any longer.
I've got to get
out of here.
But not
without Anne.
If you... could only
talk to her.
I mean, if it came from you,
she'd understand.
Here's the place
where you can reach her.
Tell her I'll be waiting
tomorrow at 10
in front of the train station
at Magog.
It's near the border.
It's the last thing
I'll ever ask of you.
- Julian, for the last time,
come back with me.
Hello, Karen.
- You didn't manage
to convince him.
Maybe he's right.
Maybe he would have
more of a chance somewhere else.
- No.
- No?
Just like that?
OK, suppose he doesn't run,
gives himself up.
Then what?
Did you think about that?
Did you really stop
and think?
OK, so they toss him in jail.
You think, you think
that solves everything--
or anything, for that matter?
He does his time;
they let him out.
No job, no money, he's right
back where he was before.
- At least he'll be alive.
- You think that matters
if you don't know
what you're living for?
[Telephone ringing]
- [Dupré]: Hello?
- [Woman]: This is 288-0119.
Please don't hang up.
I'm not in right now,
but I will be back at 6 o'clock.
If you wish
to leave a message,
please wait
till you hear the tone,
then leave your name,
number,
and the time
I can reach you.
I will call you
as soon as possible.
Thank you.
[Message tone]
- [Woman]: Miss Garret...
Oh, God...
- [Karen]: Nothing?
Shall we?
That's her, isn't it?
- Let's go to the hospital.
[Ambulance siren]
- Two minutes.
No longer.
- Anne.
You know who I am?
I've seen Julian.
He'll come back.
I promise you.
- [Nurse]: I'm sorry,
but you have to go.
- If you still
want him to.
- [Karen]: You, uh...
...you wouldn't want me
to drive you to Magog?
- [Dupré]: No, Karen, no.
- [Karen]: It's because
of the risk, is that it?
- [Dupré]: That's right.
- I'll go see Anne
in the hospital.
- Thanks, Karen.
Thanks for everything.
- Already...
I'll miss you.
- Get me Borke first,
will you?
- Borke?
To your right, please.
- Which gate?
- Twenty.
Where are you going to, sir?
- Same place as my friend there.
- Magog?
- Yeah, Magog.
- [Announcement]: Connection
for Canadian Pacific Railways
by bus: Gate #4.
- Train stations
always make me sad,
but I still like them anyway.
I know
this sounds silly...
You will take care?
- Excuse me, please.
- Romain,
should I wait for you?
- [Man]: All aboard!
- I'd like that, Karen.
Yes.
- You'd better go.
I don't suppose
you're the kind of man
who'd kiss a girl
on a station platform?
- No.
- [Announcement]: Departure
for Burlington, Albany,
and New York:
Platform #14.
- Operator, please get me
the police. It's urgent.
Please hurry.
Hello, police.
This is very im--
- Police! Hold it!
- Which line?
- Line 4, sir.
They picked up Freddy
at the station.
- Hmm. MacKenzie.
Yeah, how'd it happen?
Well, bring her in fast.
Did Parker get the train?
OK. Yeah, right.
Advise the Magog local police
to give me a call.
I'm going over
to Provincial Control.
I'll be there in 2 minutes.
- X-365 calling
Magog Police Force. Over.
[Printers and faxes
buzzing and beeping]
[Muted talking]
[Railroad crossing bell]
- [Julian]: What's wrong?
You didn't see her?
- Yes, I saw her.
- Why didn't she come?
- She's in the hospital.
- The hospital?
- In bad shape.
- What happened?
- They tried
to make her talk.
Julian.
Come back with me.
It's not too late.
- I've been followed.
- Of course not.
- Look over there.
You brought them here.
[Van starting]
[Printers and faxes
buzzing and beeping]
- [Man]: I've alerted
the Vermont police.
[Others talking]
[Birds singing]
- Julian!
Julian, listen!
Julian!
- [Man]: Parker's on the way.
The Magog Police have...
- [Man]: What are they sending?
- [Man]: Four cars...
[Tapping on glass]
- Good work. Maintain contact.
Let us know what's happening.
- What do you want?
Anne, or the money?
- I want both.
- Julian.
Anne wants no part
of that money.
Can you understand that?
- Go to hell!
- Give me that bag!
[Slap]
[Punch]
[Slap]
[Punches]
Julian, stop it!
Julian!
Julian.
- Parker here.
We found Dupré's van.
The 2 limos are there too.
[Birds singing]
[Birds singing]
[Gunshot]
[Gunshots]
[Gunshots]
[Gunshots]
- Police! Freeze!
[Gunshot]
[Gunshot]
- We've made contact.
We don't know yet.
[Gunshot]
[Gunshot]
¶¶¶
- Yeah,
they're both there.
You'd better call an ambulance,
sir, get the first aid up here.
- Who's injured?
- Well, the father's injured.
- Does he have a bag with him?
- The kid's carrying a bag.
- Ten-four.
Parker here.
Operation
successfully completed.
We've got the bag.
Found Dupré and his son.
Dupré is injured.
- Yeah, but not badly, huh?
Not too serious.
Good. Um, well,
get back to me
as soon as the bag's turned over
to you, all right?
OK.
- Excuse me, sir.
Excuse me. Are they...
...are they all right?
- Yes, they're all right.
Dupré had a minor injury.
- Will I be able
to see him?
- Probably.
It might take some time, though.
- It's all right.
I'll wait.
¶¶¶
- How much farther?
- Not far.
[Distant bird call]
- Where are you?
Where are you?!
[Distant bird call]
[Engine starting]
- Move it.
[Large crowd noise]
- [Radio]: ...facing off.
And behind the net goes
J.C. Tremblay.
A left-wing pass,
Berenson missed it,
Ravlich shoots it in there.
Esposito shoots it--
right in front!
And, oh! Maki missed--
- Are we winning?
- Two-one.
- ...ahead to Richard, down
with Berenson, Berenson getting
in there. He fanned on it.
Now it's Richard.
Richard back to Harris.
He shoots it in front.
- No taillights.
- Aha, looking for a promotion
again, are ya?
- Jarret shooting it
down the ice for Chicago,
and the Hawks will be called
for icing.
[Siren wailing intermittently]
They've dressed Melnyk
and Dennis Hall
instead. For Canadiens,
Gautier is the 5th defenceman.
He hasn't seen any action yet.
[Large crowd noises]
Jarret for Chicago.
Up on the right side,
Maki ahead to Esposito.
He's up all alone,
taken out of the play.
Tremblay's pass hit Hall.
Here's Hall barging in
on the right side to the corner.
He puts on the brakes.
Over to Maki...
...Berenson, over off
the right-wing boards
to Provost.
[Gunshot]
...couldn't get by Jarret...
[Bullet deflecting]
[Gunshots]
[Tires squealing]
[Bullet deflecting]
[Tires squealing]
[Gunshot]
[Tires squealing]
[Car honking]
[Cars honking]
...Cournoyer cutting in front--
he scores!
[Large crowd cheering]
[Loud whirring]
- Good morning, sir.
- [Announcement]: Air France
9603 flight from Paris:
passengers may come in
at Exit #4 of Canadian Customs.
- [Customs officer]: Thank you,
sir.
- Mr. Dupré?
- Yes?
- Would you come along
with me, please?
¶¶¶
¶¶¶
[Tires squealing]
- How did he die?
- He was shot.
It is not my son.
It's his passport,
but not his photo.
- That's right.
It's the dead man's.
When did you last hear
from your son?
- Not since
he left France.
- He entered this country
over 7 months ago.
He didn't have an immigration
permit, so, by rights,
he should have left
after 90 days.
Don't you have an address
for him here?
- I didn't even know
he was in Canada.
¶¶¶
- [Woman]: Good night, sir.
- Good night.
[Silence]
[Police siren approaching]
[Sirens]
- Maman.
Maman.
Maman...
MAMAN!
[Explosion]
[Shouting in French]
¶¶¶
- OK, let's go. The left.
Right away. Another one.
Quickly. Go on. Go on.
From the shoulder.
From your shoulder.
From your shoulder!
Go on. Let's go. Right.
Leg forward.
Your leg forward. Yeah.
[Knocking at door]
[Door opening]
- [Man]: Good morning, sir.
Your breakfast.
- What?
- You ordered it last night.
- Oh, yes. Yes.
- Have a good day, sir.
- Thank you.
[Door closing]
- I'm very sorry
about all this, Mr. Dupré.
You must have had
quite a shock.
Thank you very much,
Ronnie.
- Do you mind if I smoke?
- If you must.
We've identified the dead man.
His name was Luigi Lentini.
We've been after him
for a couple of years.
Lentini.
The name ring a bell?
- No.
- He obviously intended
to use your son's passport
to leave the country.
Tell me, your son interested
in politics?
- Politics?
No, not really, no.
- You had no news of him, but
still you weren't worried, huh?
- Of course I was worried.
- Why did he leave France?
- Look, first you tell me
my son is dead.
You make me come
all this way.
Then you show me
another man's body.
Now these questions.
What are you trying to do?
- Mr. Dupré--
- What's it all about?
Julian could have lost
his passport.
- Or sold it, Mr. Dupré.
You have no idea
where he is, hmm?
This is the form that
he filled out when he arrived.
We've checked it,
of course.
The address is phoney.
There's no record of him
at the immigration office
or at the French consulate.
The handwriting,
Mr. Dupré,
is that your son's?
- Yes.
- All right, Mr. Dupré,
at the time he was shot,
Lentini was riding
in a blue Jeep Wagoneer
driven by a second man.
We found it abandoned
about 10 miles from the airport.
- So?
- The car belongs
to your son.
Uh, that's it.
Your son bought it--
second-hand, of course--
about 3 months ago.
- Somebody could have
stolen it from him.
- Oh, certainly.
I think it's much more likely
that he was driving it.
It's all right. There were
no bloodstains inside the car.
This was the gun that Lentini
used to kill the policeman.
That same evening, in some woods
just inside the Canadian border,
another man was killed--
an American.
This same gun killed him too.
These tracks were found
a couple of hundred yards
away from where the man was
killed.
- What are you trying
to tell me?
- I'm telling you
2 men have been killed,
one of them a policeman.
These tracks are
from the Jeep Wagoneer,
your son's car, Mr. Dupré.
[Lighter clicks]
Do you have a photograph
of him?
- Well, I've got one,
but, uh...
- May I see it?
Thank you.
Don't you have anything
a little more recent?
- No.
- This is your wife, hmm?
Have you mentioned
any of all this to her?
- She died 10 years ago.
- I'm sorry.
I believe
you're a pilot?
- Not anymore.
My, uh, my eyes.
- But you have flown
over Canada, hmm?
- Often, yes.
- Good, then you'll understand
what I'm saying.
Five thousand miles
of border.
Now, in Canada, we've got more
than our share of illegal
immigrants
from all over the world,
which greatly annoys us.
A lot of them
sneak over the border
into the United States,
which greatly annoys them.
Your son is
an illegal immigrant.
Mr. Dupré, I need
to talk to your boy.
I hope that he'll get
in touch with you,
and that you'll tell him
to get in touch with me.
What are your plans now?
[Dupré sighs]
- I think, uh,
I'll be staying
for a while.
- Good, I was going
to ask you to.
[Kids shouting at once]
[Dog barking]
- [Driver]: Here we are, sir.
- Is this Chatham Avenue?
- Yeah.
- Are you sure?
- Absolutely.
- But there are no houses.
- You're right.
If there were some,
there are not many left.
- Tell me...
- Yeah?
- Do you know any places
where boxers train?
- You mean a gym?
[Bags being punched]
- Why don't you try--
[Motorcycles revving]
[Siren]
¶¶¶
[Jazz]
¶¶¶
¶¶¶
[Disco]
- How come you ask me?
- He said you might know him.
- Oh, he's got
a big mouth.
- Do you?
- Yeah, I know a kid
with a scar on his arm, yeah.
- His left arm. A burn.
- Yeah, he used to pick up
the odd buck sparring.
- Where can I find him?
- Ain't like me.
You know how much the crook
who runs this turkey trap
gives us? Ten bucks.
Huh? Ten lousy bucks for going
3 rounds with some jive mother
twice your size.
Ten? Phew...
Get it, mister?
- I get it.
- The kid
you're asking about...
He busted his arm
about... 3 months ago.
- Just tell me
where to find him.
- Well,
what do you want from me?
He didn't come in no more.
After he busted his arm?
Pff...
- That's not much
for $20, hmm?
- Hah. Boohoo.
Maybe you'd better
go ask Borke.
- Borke?
- Uh-huh.
He used to spar
with him.
- [Kid]: Pow!
- [Kid]: Pow!
- Kipper Borke?
- Two.
- [Woman]: ...you're
driving me crazy!
- Anybody home?
- What do you want?
- I'm looking
for Kipper Borke's apartment.
- He doesn't live here
anymore.
- Do you know
where I can find him?
- I don't know where he is
and I don't want to know,
all right? Now will you
please get out of here?
- Listen,
I'm Romain Dupré.
I'm trying to find my son,
a Frenchman.
He used to train
with Borke.
Maybe...
maybe you knew him?
Please.
Don't worry.
If you know
something...
[Engine at high speed]
[Crash!]
[Pinball machines
and other game sounds]
- Stop hitting my targets!
- Kipper Borke?
- Who wants to know?
- I'm here about Julian.
- Who?
- Julian Dupré.
- Don't know him.
Turkey!
Who sent ya?
- Nancy.
- Don't know her.
- She knows you.
- You a cop?
- No, I am Julian's father.
- You're too much, man.
[Pinball machine being struck]
Easy, easy, easy.
- All right, All right.
Don't worry about it.
- But you used to box with him.
- Me?
- Yes, at the gym.
- You've got to be kidding.
I've never even been
near a ring.
- What's the hassle?
- This creep is asking me
a lot of questions.
- This ain't the place.
I'm trying
to run a business here.
Please leave quietly.
Settle your accounts
elsewhere.
[Knocking at door]
- Who is it?
- [Borke]: It's me.
- Get lost.
- [Borke]: Open up!
[Knocking louder]
Just for a minute.
- I told you not to come
around here.
- Listen, uh, um...
We should talk.
- OK, so I'm listening.
- No, no, no, no.
Come on, come on, come on.
Let me in. Let me in.
What the hell are you doing
throwing my name around
like that?!
Who is this guy that went
down to the arc-- Ugh!
- So you don't
know her, huh?
Where is Julian?
- I don't know.
I-I don't know!
- When did you see him last?
- Maybe a month ago.
- Where?
- The arcade. He said he needed
bread. I gave him some.
A couple of hundred.
It was all I had.
- It was all we had.
- Well, he needed it.
- What's he been doing
since he got here?
- [Borke]: Delivering.
- Delivering what?
- Hash, coke, junk.
It's the shits
when you first get here.
You're a foreigner.
No money, no work permit,
so...
...you take anything worthy,
don't ask questions.
He told me
he wanted to stop.
He tried, but, uh,
he needed a car,
so he borrowed the money.
Finish. Tilt.
Loan sharks.
You know?
Five percent a day.
When he couldn't keep up,
they reminded him.
Broke his arm.
- Who did it?
Who?
- I don't know. Look...
I have a job now.
I am trying to stay clean.
She's gonna have the kid.
- Try The Musical.
- Hey...
- What's that?
- A club.
- Who do you know there?
Don't worry. I won't say
where I got the name.
- There's a guy
behind the bar. Peter.
- OK, let's go.
- What?
- You're not staying here.
Come on.
- No.
He stays.
[Dupré handling paper]
- Please.
Your 200.
- Thank you.
[Dupré walking away]
[Vehicle passing by]
¶¶¶
[Woman singing inside]
- Yes?
- I'm a friend of Peter's.
- What?
- The bartender.
- This is a private club.
Do you have a membership card?
- No, I've just come
from Paris.
[Door buzzer]
- ¶¶ ...showed me how
I'd been robbed ¶
¶ Lying low running scared ¶
¶ Giving into despair ¶
¶ I felt whole ¶
¶ I'm starting all over ¶
¶ As if I'd been reborn ¶
¶ All over now... ¶
- Comment ça va Paris?
- Peter?
- No, Peter's stepped out
for just a minute.
What can I do for you?
- Bourbon.
- On the rocks?
- Is the manager in?
- Yeah, but he's busy right now.
¶¶¶
- ¶ Because of you ¶
¶ I'm starting all over ¶
¶ As if I'd been reborn ¶
¶ All over now ¶
¶ Ooh ooh ooh ¶¶
¶¶¶
[Disco]
- Yeah?
Mm-hmm.
[Man and woman talking]
- [Woman]: Well,
I wasn't going to...
He's a jerk.
- [Man]: Yes, he is.
He's a terrible--
- [Woman laughing]: You are!
- [Man]: He is.
He's a terrible man.
[Woman laughing]
- [Man]: Looking for something?
- [Dupré]: Someone.
- But can we help you?
- Maybe.
I'm looking for a young man
called Julian Dupré.
- Um... who told you
to ask for him here?
- A friend
of Luigi Lentini.
- Julian Dupré?
Uh, Lentini?
I'd like to help you,
but, uh...
- A few weeks ago,
he had a plaster.
- A plaster?
- Yeah, uh,
how do you call it, a...
...a cast.
Somebody broke his arm.
- Somebody?
- Remember him now?
- Um, could I ask you, uh,
why are you looking
for this young man?
- I have to see him.
- We don't know him.
- I was told he worked here.
- I'm afraid
you've been misinformed.
Let me give you
a piece of advice.
Look somewhere else.
Now, if don't mind,
uh, we are busy here.
Eddie,
show this gentleman
to the door.
Good night.
¶¶¶
[Disco]
- ¶¶ Cars ¶
¶ Cruising against the light
(light light light light) ¶
¶ I'm ¶
¶ Moving through the night
(night night night night) ¶¶
[Footsteps rapidly approaching]
[Dupré yells]
- Oof!
[Dupré groans]
- Get rid of him.
- I'm gonna give this dude
a little ride.
[Vehicles approaching]
[Tires squealing]
- Looks like
he got a wrong number.
- [Man]: It's the guy
in the middle.
[Projector changing slides]
- [Man]: We're still trying
to identify the man with him.
- He was in charge
of accounts.
They called him
"the treasurer".
- [Man]: Why would
a man that important
cross the border the way he did?
- Want to answer that,
Phil?
- From what we found out
in Detroit, he was into
smuggling illegals.
It fits in. We think
he was carrying something.
- What?
- More than money.
- Campana.
A syndicate heavyweight.
The man with the cigar is
Castaldi.
He's the #2 man
in the Cleveland organization.
[Phone buzzing]
The one on the right is Murphy.
- It's for you, sir.
- Excuse me.
MacKenzie.
What?
Well, I'm glad
you didn't hold him all night.
He told you
to phone me?
I see. Has he any idea
who beat him up?
And where did it happen?
Uh-huh.
OK, now, listen.
Don't tell him that you've been
in touch with me.
Just let him go.
Do you understand?
- Absolutely, sir.
- And send his statement
over to me as soon as possible.
- Right, sir.
- Thank you.
This is MacKenzie.
Who have we got available
for special duty?
Right. Send him right down
to my office.
Well, looks
as though the Frenchman's
beginning to stir them up.
[Telephone ringing]
- Would you be kind enough
to read this
and sign it at the bottom,
Mr. Dupré?
- Did you reach MacKenzie?
- I'm sorry, sir.
The superintendent's
not expected in today.
- Oh, I see.
- What do you mean,
not before 5 o'clock?
- Don't complain. It usually
takes at least 2 or 3 days.
- Oh, my God.
- Would you like
to file a complaint?
- Would it do any good?
- Not without witnesses.
- [Woman]: It's upstairs?
- [Officer]: No, he's
just right here.
- Uh, you the cop I should see
about my car?
- Is yours the blue Dart?
- Oh, yes. It's blue, all right.
And just a few hours ago
it was in perfect condition.
I am sure you don't have
the slightest idea
what son of a bitch kicked in
the rear end.
- Me.
- You?
- I'd like to tell you exactly--
- Please, no, don't give me
any of your long, sad stories.
What are you going
to do about him?
- There is nothing
I can do, ma'am--
- Nothing?
- You see, it's--
- Oh, you're damn right I see.
- Would you let me explain?
- Some turkey can take a car
that doesn't even belong to him,
run it around,
smash it to pieces,
play demolition derby
all night,
and just walk away, right?
- It's not--
- You're not going
to do a thing about it, right?
Well, don't just stand there.
Go ahead and tell me.
You're not going to do
a damn thing. Right?!
- May I leave now?
- Whenever you want, sir.
- Thank you.
- You're letting him go?
- Uh, yes.
- I would just like
to know one thing, uh, Sergeant:
what are you here for?
[Bus pulling to a stop]
Excuse me.
- Excuse me.
Does this bus go
to Dominion Square?
- Oh, I'm sorry,
I'm not from here.
- Ah.
- Wait a minute.
Excuse me, miss?
Does this bus go
to Dominion Square?
- Sorry, I don't have
the slightest idea.
Usually
I drive my own car.
- Excuse me.
Excuse me, ma'am.
Look, I'm really sorry
about your car, but I--
- It's OK.
I know about it now.
Excuse me.
I'm kind of in a hurry.
- Is this
a good restaurant?
- No.
¶¶¶
- This way, please.
May I take your coat?
- Yes.
- I hope you enjoy
your lunch, sir.
- Thank you.
[Woman laughing]
- [Man]: Waitress, could we have
the cheque, please?
- Thank you.
[Woman laughing]
- Miss? Miss, can you please
take this steak back?
I asked for a bone.
Thank you very much.
[Woman laughing]
[Woman laughing]
- Oh! Your glass--
- Are you trying to say
it's my fault?! Look at this!
Look what she did to my suit!
I want to see the manager!
Even in a restaurant like this
I expect waitresses who know how
to wait on a table!
- Now, go and get some hot
water. Don't just stand
there like an idiot!
- [Man]: Cold water
for spaghetti sauce. And quick!
- What is wrong with you?!
- Everything.
- Jack!
- Where do you think
you're going, Karen?
- Hungry?
- Yes.
- I don't think there is
too much damage to your car.
- I know.
But yelling about it
makes me feel better.
- Beef or chicken?
The chicken's better.
- Beef.
You have to take a chance
sometimes, don't you?
- I'm sorry about just now.
I started your day off badly.
- Forget it. I was looking
for an excuse to quit anyhow.
Coffee?
- Please.
How long were you
working there?
- Since yesterday.
- And before that?
- I was in Chicago.
- American?
- French-Canadian?
- French.
- I've never been to Paris.
Does it show?
It's easier to talk to a person
when you know their name,
don't you think?
- Sure.
- I'm Karen.
It isn't a state secret,
is it?
- What?
- Your name.
- No.
Romain Dupré.
- That's nice.
Why were you beaten up
last night?
Are you some kind
of dangerous character?
- No.
- What are you doing
in Canada?
- Looking for my son.
- You don't know
where he is?
- Maybe somewhere
in this city. Maybe not.
- Well, how did you happen
to lose track of him?
Is he in...
is he in some trouble?
Don't want
to talk about it?
- And you?
Why are you here?
- Me?
I was born
in Pennsylvania,
I majored in sociology
at the University of Maryland.
I got married,
then I got divorced.
I'm giving you
the short version.
My husband had a better lawyer
than I did,
so after the divorce,
I, I, uh, I went to work.
- As a waitress?
- No, no.
No, that was my first try
at that. Couldn't you tell?
No, I've done, uh...
Well, I've done lots of things.
I was a, I was a librarian
for a while--2 years--
in Chicago.
And then I went back
to college.
- Still, uh, sociology?
- Yes, well, sort of.
I, um...
I've always been interested
in the urban personality.
- Oh, I see.
- Aggression;
uh, anonymity;
faceless crowds;
uh, how, uh,
how people react
as individuals, uh,
or in groups;
loneliness.
I-I came here
to do, um, research.
You don't believe me,
do you?
Why are you listening
if you don't believe what I say?
- You're not eating?
- Well,
I'm not very hungry.
Well, home.
Thank you for the ride.
- Of course.
- And you were right
not to believe what I told you.
Most of it was
a lot of garbage.
Well, not all of it.
I really was a librarian
for 2 years.
A place called
The Dwight Correctional
Institute for Women--
a prison.
Wanna know
why I was there?
- No.
Let's go.
Seven oh nine, please.
Thank you.
- Uh, Mr. Dupré?
- Yes?
- There's someone waiting
for you in the lobby, sir.
Just around the corner there.
- For me?
- Yes.
- Ah, you are,
perhaps, Mr. Dupré?
- Yes.
- I am Albert Rumpelmayer.
I keep a laundry
just around the corner
from Vince's Gymnasium.
They told me at the gym
that you're looking
for your son.
- Yes, that's right, yes.
- And you still
have not found him?
He, uh,
left this with me
3 weeks ago.
And never came back
for it.
- What is it?
- It's his laundry.
- His laundry?
- Oh,
you need them too.
Me, I should wear these
all the time, but, uh,
vanity has no respect
of age.
Or appearance.
It's, uh...
[Handling paper]
Nineteen dollars
and fifty cents.
It is so much
because he did not pay me
for some other times.
It's your son's laundry,
all right.
You can be sure
of that.
[Chuckling]: Yes.
Very pretty.
Very pretty girl.
She is a student,
as you see.
A player of, uh,
volleyball.
- She?
- Your son's girlfriend.
They often came
to my laundry together.
She is clever.
Clever, too, as well as pretty.
Your son is a very lucky man.
- Do you know her name?
- Anne.
I remember
he called her that once.
I remember it
because it was a pretty name
to match a pretty girl.
- Anne what?
- Anne...
I don't know.
Anne.
[Elevator dings]
- And you haven't seen her
since--
- So lucky...
I haven't been.
- That's all right.
- I do thank you, sir.
I, uh... Oh.
I sincerely hope
that you, uh,
find your son.
- Excuse me.
Can you have this sent up
to my room, please?
- Certainly, sir.
- Seven oh nine.
- Thank you.
- Thank you.
- OK, it's coming over.
- Go, go, go, go, go.
Come on.
[Laughing]
- She hasn't been here
for a while. I have no idea why.
What do you want with her?
- Nothing.
I'm just in town for a couple
of days, and I'd like
to see her.
- All right, dig for the ball.
Come on, Helen.
Did you go to her place?
- No. I was told
I might find her here, but, uh,
I don't have her address.
- Are you a relative?
- Yes.
- Relax your fingers!
OK, spike it! Spike it!
All right,
you can get her address
up at the office over there.
- Thank you.
- You're not the only one who's
been asking for her, you know.
Hold your positions!
Watch it--
Hold your positions, please!
[Whistle blown]
Come on, keep it going!
It's going now. Keep it going.
[Saxophone being played]
[Phone off the hook beeping]
[Phone beeping continuously]
[Saxophone being played
in another room]
[Beeping stops]
[Saxophone stops]
[Saxophone resumes]
[Dial tone]
- Montreal Forum.
May I help you?
¶¶¶
[Brass band]
- [Announcer]: Welcome
to the Montreal Forum...
[Music continues inside]
- Please,
where can I find Anne Garret?
- Who?
- Anne Garret. She works here.
- Ask the guy
at the turnstile. Next.
- Where can I find
Anne Garret?
- Concession stand,
second floor.
- Thanks.
- Ticket, please, sir.
- Oh, yes.
- Mister?
Wanna buy a ticket?
Twenty bucks.
[Crowd cheering]
- Please, can you tell me
where I can find Anne Garret?
- She's up there
on the south balcony.
[Crowd cheering]
[Whistle blown]
- [Woman]: Go, Canadiens!
- [Man]: That a boy! Hey!
- Anne Garret?
I'm Julian's father.
- ...and the other night--
it was late--
I-I hadn't seen him for days,
and all of a sudden
he showed up like...
crazy, freaked out.
- But...
what had happened?
- He wouldn't tell me.
He, uh, he just said,
"Come on, come on!
We're getting out of here
right now".
I didn't know
what he was talking about.
How he...
- Where did he want to go?
- California.
- California?
- We'd been planning
to go.
I wanted to finish
my degree there.
But to leave like this?
In a flap
in the middle of the night?
I...
- Anne, I'm taking off.
Ted got here early.
Cover for me, will ya?
- Oh, yeah, Cathy.
- Hey, what's wrong?
- Oh, it's OK.
- You sure?
- Sure.
- OK, thanks.
- I met him very soon
after he got here.
He didn't have a job,
but he kept trying to get one.
He made a little here,
a little there.
Never enough.
He was ashamed
of being broke.
Then he got in
with them.
- Them?
- We split up once.
But we were
both miserable.
When we got back together,
he tried to get out of
what he was doing.
They wouldn't let him.
He owed too much money.
He had to work for them.
- Doing what?
Doing what?
- I think he's ferrying
at the moment.
- Ferrying?
- People.
Across the border.
I told him
he should write you.
He wouldn't.
What goes on with you two?
- But the other night...
- He left.
Since then,
he phones every day.
He says
he's waiting for me.
He won't go without me.
I tell him it's no use.
And now...
- What?
- I don't know
what's happening.
I'm scared to death.
When I came up the stairs
last night,
I saw light under the door
of my apartment.
I could hear noises--
things being thrown around,
men's voices.
I ran away.
- Where to?
- A girlfriend's.
I've told Julian where.
¶¶¶
[Brass band]
I'm gonna lose my job.
I have a phone number
where I can reach him
any day at noon.
- Where is it?
- It's a public phone booth:
555-2010.
- Just a moment.
Five five five...
- Two oh one oh.
- Have you called him there?
- No.
And I won't.
You and I, we're
the only ones he's got.
If you do talk
to him.
tell him--
- Yes. Where can I get
in touch with you?
- I don't want
to tell you.
No.
¶¶¶
[Brass band]
- [Man]: Mr. Dupré.
Mr. Dupré, would you come
over here a minute, please?
Uh, will you get in, please?
I want to talk to you.
It's about your son.
I wasn't expecting you so soon.
You didn't enjoy the game?
- What about my son?
- We have a lot to talk about.
There isn't much time.
I was right
about the girl, wasn't I?
Anne. She is lovely.
You saw her, didn't you?
Did she tell you?
- Tell me what?
- Where your son is.
- Who are you?
- Mr. Dupré, the people
who are looking for your son,
they don't want
to make this girl talk.
Uh, but,
if they have to...
You understand what I mean?
- Which people?
- Mr. Dupré, be reasonable.
They are.
They don't enjoy violence.
- What exactly do you do?
- I'm only a negotiator,
for my knowledge is limited.
I can tell you
one thing.
Your son has made a mistake.
Made a big mistake.
He should not have taken
what did not belong to him.
- What did he take?
- Property.
- What property?
- Your son is
in grave danger.
You should, uh,
you should tell him that.
He should understand
that the property he has taken--
- What the hell are you
talking about?
- If it should happen to fall
in the hands of the police,
Mr. Dupré--
if that should happen,
your son--
This young girl...
she did, uh,
tell you where he is?
Of course she did.
- No.
- Ten minutes.
That's all they gave me.
- What do you mean?
- Mr. Dupré,
you did ask her!
- I asked.
She doesn't know!
- They'll never believe that,
Mr. Dupré.
Never.
[Tires squealing]
[Tires squealing]
[Tires squealing]
[Tires squealing]
[Fans blowing loudly]
[Grunting in pain]
[Wrench hits the ground]
- Oof!
[Yelling from above]
[Groaning in pain]
- [Dupré]: Ugh!
[Dupré grunting in pain]
[Alarm bell ringing]
- [Man]: Come on!
Let's get out of here.
[Alarm bell ringing]
[Alarm bell ringing
continuously]
[Alarm bell ringing inside]
[Telephone ringing]
[Telephone ringing]
- Hello?
When are you gonna
set your watch to Canadian time?
What?
Where?
- [Dupré]: Each time I was away
it separated us
a little more.
We didn't understand each other
anymore.
Apart from boxing
and playing poker,
nothing else interested him,
and I had to pay
his gambling debts.
[Laughing]
¶¶¶
[Jazz piano music]
- Attention, hut!
- [Dupré]: Yes, I have often
tried to talk with him.
It was useless.
One evening, he said to me
that if I had been there
the day of the fire,
his mother wouldn't have died.
[Slap]
And that,
I couldn't accept.
That was the last time
I saw him.
- Words.
Sometimes
they're too much.
Sometimes not enough.
I can guess how he felt
when he left Paris.
When he got here,
what it was like.
A foreigner
in a strange country.
Alone.
[Striking matches]
It can happen.
You start to believe
nobody gives a damn,
you get tired
of fighting.
One day,
well, one day
you do something stupid.
From then on
it's all downhill.
[She sighs]
Are you feeling better?
- Yes, thank you.
- Why did you call me
instead of the police?
[He sighs]
- Because I want to find Julian
before they do.
- And Anne?
What are you gonna do
about Anne?
- I don't know.
She refused to tell me
where she was staying.
And I don't know
what I can do.
- Well...
...we can't do anything
until morning. Tonight,
you stay here. OK.
You know something,
this is the first time
in over 2 years
I've spent the night
with a man.
Somehow I figured
it would be different.
How do you always manage
to make me feel shy?
I'm not like that.
- Good morning.
- You feel much better?
- Yes, thanks.
- I found the phone booth.
It's at the corner
of St. Denis and Mont-Royal.
- Is that far from here?
- No, it's just a few miles.
They thought
I was your wife.
It seems women don't buy shirts
for their lovers.
- Thank you.
- You know, if I were you,
I'd change hotels as long
as they know where you're stay--
[Knocking at door]
- What time are you
checking out, madam?
- I'm not.
- The office said
you were leaving.
- I was.
I've changed my mind, OK?
- Sure.
But you better tell them.
- Thanks.
[Door closing]
- I'm checking out.
- Your room number, please?
- Seven oh nine.
- Could someone take my bag,
please?
- Of course, sir.
[He snaps his fingers]
Front.
Take the gentleman's bags,
please.
- Yes, uh, would you take it
to the blue car
waiting outside, please?
- Yes, sir.
Thank you, madam.
- Taxi, sir?
- Please.
- Where are you going, sir?
- St. Denis and Mont-Royal.
- [Valet]: St. Denis
and Mont-Royal.
[Car starting]
- Where's he going?
- St. Denis and Mont-Royal.
- Good day, sir.
Would you like to see the menu?
- Just a coffee, please.
¶¶¶
[Stereo]
[Dialling]
[Ring tone]
- Hello, Julian.
It's me, Father.
Julian,
I'm in the restaurant
just across the street.
Listen, I've got
to talk to you--
¶¶¶
[Stereo]
- Coffee.
Your father can't talk
to you now.
Don't hang around here.
Call him
as soon as you can.
Room 109.
¶¶¶
[Stereo]
- I want to see MacKenzie.
[Birds singing]
- How about some tea?
- No, thank you.
- How did you get that?
- You're counting on me
to find him, huh?
Or you're counting on him
to find...
- Have you seen him?
- Not yet, no.
- But you think you will.
- Not if you keep
having me followed.
- What'll you do
when you find him?
- Bring him to you.
After I've had the chance
to talk to him alone.
- Why after?
Look, Monsieur Dupré...
I'm gonna have some very hard
questions for your son.
You know that. But what's much
more important right now is
that he's in possession
of something which is
all too damned important
to some very dangerous people.
Do you understand me?
For his sake, I hope he comes
to us before they get to him.
- Stop having me followed.
- I suppose the only guarantee
I have is your word, hmm?
- Yes.
- I can give you 48 hours.
[Telephone ringing]
- Hello?
Oh, hi.
He phoned 10 minutes ago.
No, he said he couldn't come
here, but he'll meet you
at 8 this evening
in front of the Palace Theatre.
[Siren in the distance]
- Well, Julian.
Is this where you live?
- You've seen Anne?
- Yes.
- What'd she say?
- Julian, listen.
You've got
to stop all this.
If not,
don't count on Anne.
Get out now.
How far do you think
you can get?
Everybody's after you.
- Did you come all this way
just to tell me that?
- No, I came all this way
because they told me
my son was dead.
What happened that night
with Lentini?
Were you driving the car?
- I didn't shoot the cop.
- And the other man?
- What other man?
- The one killed
at the border
the same night
with the same gun.
- Bastard.
[Car starting]
- Move it.
- We're not
taking anybody tonight?
- Just this.
Get us outta here.
Take the autoroute.
- Where are we going?
- Mirabel Airport.
- What for?
- Shut up and drive.
- [Police car radio]: ...at the
line. He shoots...
- Keep going.
[Police siren]
What the hell do they want?
- I don't know.
- Hey, easy, easy.
OK, pull over.
- [Police car radio]: ...facing
off. And behind the net goes
J.C. Tremblay.
- Great.
What are we gonna do?
- Get ready to move it.
- ...shoots it--right in front!
And, oh!
- Are you crazy?!
[Gunshots]
[Bullet deflecting]
[Cars honking]
[Tires squealing]
[Vehicle approaching]
[Tires squealing]
So this is my big break.
Nobody's gonna take it
away from me.
- You call that
a break?
- With this money, Anne
and I are going to California.
- No. Not Anne.
Not like that.
Julian,
I told the police
you'll turn yourself in.
Believe me, it's...
your only way out.
- I don't want
to go to jail.
- Do you think
I want to see you there?
- Do you really want
to help me?
I can't hold out
any longer.
I've got to get
out of here.
But not
without Anne.
If you... could only
talk to her.
I mean, if it came from you,
she'd understand.
Here's the place
where you can reach her.
Tell her I'll be waiting
tomorrow at 10
in front of the train station
at Magog.
It's near the border.
It's the last thing
I'll ever ask of you.
- Julian, for the last time,
come back with me.
Hello, Karen.
- You didn't manage
to convince him.
Maybe he's right.
Maybe he would have
more of a chance somewhere else.
- No.
- No?
Just like that?
OK, suppose he doesn't run,
gives himself up.
Then what?
Did you think about that?
Did you really stop
and think?
OK, so they toss him in jail.
You think, you think
that solves everything--
or anything, for that matter?
He does his time;
they let him out.
No job, no money, he's right
back where he was before.
- At least he'll be alive.
- You think that matters
if you don't know
what you're living for?
[Telephone ringing]
- [Dupré]: Hello?
- [Woman]: This is 288-0119.
Please don't hang up.
I'm not in right now,
but I will be back at 6 o'clock.
If you wish
to leave a message,
please wait
till you hear the tone,
then leave your name,
number,
and the time
I can reach you.
I will call you
as soon as possible.
Thank you.
[Message tone]
- [Woman]: Miss Garret...
Oh, God...
- [Karen]: Nothing?
Shall we?
That's her, isn't it?
- Let's go to the hospital.
[Ambulance siren]
- Two minutes.
No longer.
- Anne.
You know who I am?
I've seen Julian.
He'll come back.
I promise you.
- [Nurse]: I'm sorry,
but you have to go.
- If you still
want him to.
- [Karen]: You, uh...
...you wouldn't want me
to drive you to Magog?
- [Dupré]: No, Karen, no.
- [Karen]: It's because
of the risk, is that it?
- [Dupré]: That's right.
- I'll go see Anne
in the hospital.
- Thanks, Karen.
Thanks for everything.
- Already...
I'll miss you.
- Get me Borke first,
will you?
- Borke?
To your right, please.
- Which gate?
- Twenty.
Where are you going to, sir?
- Same place as my friend there.
- Magog?
- Yeah, Magog.
- [Announcement]: Connection
for Canadian Pacific Railways
by bus: Gate #4.
- Train stations
always make me sad,
but I still like them anyway.
I know
this sounds silly...
You will take care?
- Excuse me, please.
- Romain,
should I wait for you?
- [Man]: All aboard!
- I'd like that, Karen.
Yes.
- You'd better go.
I don't suppose
you're the kind of man
who'd kiss a girl
on a station platform?
- No.
- [Announcement]: Departure
for Burlington, Albany,
and New York:
Platform #14.
- Operator, please get me
the police. It's urgent.
Please hurry.
Hello, police.
This is very im--
- Police! Hold it!
- Which line?
- Line 4, sir.
They picked up Freddy
at the station.
- Hmm. MacKenzie.
Yeah, how'd it happen?
Well, bring her in fast.
Did Parker get the train?
OK. Yeah, right.
Advise the Magog local police
to give me a call.
I'm going over
to Provincial Control.
I'll be there in 2 minutes.
- X-365 calling
Magog Police Force. Over.
[Printers and faxes
buzzing and beeping]
[Muted talking]
[Railroad crossing bell]
- [Julian]: What's wrong?
You didn't see her?
- Yes, I saw her.
- Why didn't she come?
- She's in the hospital.
- The hospital?
- In bad shape.
- What happened?
- They tried
to make her talk.
Julian.
Come back with me.
It's not too late.
- I've been followed.
- Of course not.
- Look over there.
You brought them here.
[Van starting]
[Printers and faxes
buzzing and beeping]
- [Man]: I've alerted
the Vermont police.
[Others talking]
[Birds singing]
- Julian!
Julian, listen!
Julian!
- [Man]: Parker's on the way.
The Magog Police have...
- [Man]: What are they sending?
- [Man]: Four cars...
[Tapping on glass]
- Good work. Maintain contact.
Let us know what's happening.
- What do you want?
Anne, or the money?
- I want both.
- Julian.
Anne wants no part
of that money.
Can you understand that?
- Go to hell!
- Give me that bag!
[Slap]
[Punch]
[Slap]
[Punches]
Julian, stop it!
Julian!
Julian.
- Parker here.
We found Dupré's van.
The 2 limos are there too.
[Birds singing]
[Birds singing]
[Gunshot]
[Gunshots]
[Gunshots]
[Gunshots]
- Police! Freeze!
[Gunshot]
[Gunshot]
- We've made contact.
We don't know yet.
[Gunshot]
[Gunshot]
¶¶¶
- Yeah,
they're both there.
You'd better call an ambulance,
sir, get the first aid up here.
- Who's injured?
- Well, the father's injured.
- Does he have a bag with him?
- The kid's carrying a bag.
- Ten-four.
Parker here.
Operation
successfully completed.
We've got the bag.
Found Dupré and his son.
Dupré is injured.
- Yeah, but not badly, huh?
Not too serious.
Good. Um, well,
get back to me
as soon as the bag's turned over
to you, all right?
OK.
- Excuse me, sir.
Excuse me. Are they...
...are they all right?
- Yes, they're all right.
Dupré had a minor injury.
- Will I be able
to see him?
- Probably.
It might take some time, though.
- It's all right.
I'll wait.
¶¶¶