Crime Story (1986–1988): Season 1, Episode 1 - Pilot - full transcript
Chicago's Major Crime Unit, that can operate slightly outside the law and is led by hardboiled lieutenant Mike Torrello, stops a violent team of armed robbers one night, but their leader escapes. Torrello suspects the head to be Ray Luca, a young ruthless and ambitious mobster on the rise. Luca soon convinces Johnny O'Donnel, one of the people Mike cares for, to join his crew, but this ends up having deadly consequences. Mike must also deals with idealistic public defender David Abrams, who highly disapproves of Mike and his team's sometimes borderline vigilante methods. However, Luca sees this as Abrams' weakness and uses it to get on Abrams good side, by pretending to be clean. However, Luca still has to follow orders of his higher-ups, even though he's trying to remove their influence over him.
[music - del shannon, "runaway"]
DISPATCH (ON POLICE RADIO):
All cars, 18th District
armed robbery in progress,
500 block of Duke.
-Squad MCU.
We'll take in that call.
[horn blares]
CASHIER: Hey, buddy!
Who's gonna pay for this?
JOEY INDELLI: Go!
[tires screeching]
[women screaming]
-Come on!
[women scream]
-Put your money on top.
Put money on top.
Put your wallet in the bag!
I told you not to move!
I told you not move!
Jewelry in the bag!
Jewelry in the bag!
Get over there!
[women screaming]
[gunshot]
DISPATCH (ON POLICE RADIO):
First MCU car on scene,
report in.
-Pauli!
Pauli!
Pauli!
Pauli!
Pauli!
-Back inside!
Back inside!
[cocking guns]
DISPATCH (ON POLICE
RADIO): Two jobs
at the same place, uh--
[continues talking]
-What you got in
there, Lieutenant?
-I don't know, Mike.
It's a madhouse in there.
Do you know who this crew is?
-You kidding me?
I haven't got a clue.
[voice on police radio]
BURGLAR: (SHOUTING)
I want some action!
-Lieutenant Mike Torello, MCU.
BURGLAR: I got serious
problems here, Lieutenant.
-Who am I talking to?
BURGLAR: I need
what I need, now!
I want a car, and I
want a million dollars
in cash, in front, right now!
-That's going to take some time.
BURGLAR: Say goodbye to her.
Say goodbye!
Say goodbye!
[gunshot]
[glass shatters]
BURGLAR: This is gonna take
her head off if you don't deal.
-Listen, don't
hurt those people.
Let them go and call
it the way you want.
-Torello, you'd
better deal, now.
-He's a psycho.
-I didn't notice.
Danny, get me a
squad car here, now.
I got a car on the way here now.
There'll be a plane waiting
for you at Northfield.
You take me with you
and let those people go.
BURGLAR: No!
The money!
The money!
MIKE TORELLO: It takes time!
BURGLAR: I'll kill her!
-Listen to me, you big dummy.
I'm a cop.
I make $12,000 a year,
and I'm the highest
paid guy on this street.
I got $3.65 in my pocket.
You want me to, I'll
take up a collection.
You want a million
dollars, you gotta wait.
BURGLAR: Don't jag
me on this plane.
-It'll be there.
[woman gasps]
[voice on police radio]
[woman cries out]
-Back off.
Back off!
[woman cries out]
-Hey, you.
You hurt anybody else,
when this is over,
I'm gonna find what you love
the most and I'm gonna kill it.
Your mother, your father, your
dog-- don't matter what it is.
It's dead.
Get the car.
[MUSIC GEORGE THOROGOOD AND THE
DESTROYERS, "LONG GONE"]
BURGLAR: The hell
with Northfield.
We're going to Milwaukee.
[woman screams]
-Shut up!
[woman screams]
I said, shut up!
Look back there.
I knew it!
-This'll slow 'em down.
[gunshot]
[gunshot]
[tires screeching]
[gunshot]
[tires screeching]
MIKE TORELLO: Wes.
What's happening, Wes?
WES CONNELLY (ON RADIO):
They're shooting the car.
MIKE TORELLO: Pull up.
Pull up. Get behind them.
[gunshot]
[tires screeching]
[gunshot]
[tires screeching]
[gunshot]
[cocks gun]
[women scream]
[gunshot]
[glass shatters]
[gunshot]
[glass shatters]
-Get out!
-No!
-Get out of the car.
Get out, now!
Get out!
Get out!
Get out there!
MIKE TORELLO: Walter.
Listen to me, Walter.
Pull up now, and
get in behind them.
Behind them, Walter,
and in front of me.
[tires screeching]
-Kill the lights, Danny.
Kill the lights and get
into the far left lane.
Closer, Danny.
Move it closer.
[woman screams]
Now!
[gunshot]
[glass shatters]
[tires screeching]
[metal scraping]
[gunshot]
[gunshot]
[gunshot]
[gunshot]
[gunshot]
[glass shatters]
[gunshots]
Get down from the window.
[music - del shannon, "runaway"]
[voices on police radio]
-We made the proper
notifications.
If we need anything else,
we'll let you know, all right?
-Mike, they're taking
that one over to General.
-Check that car, will you, Wes?
-What?
-Check out the car.
WES CONNELLY: Yeah.
OK.
-Mine's DOA.
Swept the backyard.
There's nothing we need.
-Guy you killed is an Indian.
-Indian?
-Yeah, like in Sioux or Apache.
Car was licensed
from New Mexico.
Says his name was
Billy Running Bird.
-Who the hell are these guys?
Who do we know that puts
down this type of action
and runs with an Indian?
-Got me.
-Check it out, will you?
-Sure.
-Joey!
Get back to that restaurant.
I don't want to
lose any evidence.
You understand?
What about that woman
on the, uh, trunk?
-She's in shock.
Maybe internal injuries.
[metal clanging]
WES CONNELLY: Damn dog!
[gunshot]
What are you doing?
Huh?
What do you just throw
people out of cars for?
What kind of trick is that, huh?
God--
-Hey!
Why don't you go get
unconscious for a while?
-Yeah.
Good idea.
[MUSIC JOHNNY MATHIS, "CHANCES
ARE"]
-Bourbon and water.
[sigh] Thanks.
-What's your name?
-Mike Torello.
Yours?
-Julie.
-Hi, Julie.
Are, uh-- are you alone?
-Only for the moment.
-You meeting someone?
-Yeah.
-As good as me?
-That's a tough call.
-Married?
-To an absolute animal.
-Your place or mine.
-Do I have a choice?
-Get in the car.
[voices on police radio]
[gun cocking]
BURGLAR (VOICEOVER):
I'll kill her!
[gunshot]
[groans]
DANNY KRYCHEK
(VOICEOVER): Mine's DOA.
[women screaming]
DANNY KRYCHEK (VOICEOVER):
She's in shock.
[women screaming]
BURGLAR (VOICEOVER):
Say goodbye.
Say goodbye!
[guns cocking]
[gunshot]
WALTER CLEMMONS (VOICEOVER):
Guy you killed is an Indian.
[breathing jaggedly]
-Hey, hey.
Michael.
How you doing?
-OK, Tom.
How are you?
Mwah!
-Michael!
-Anna, how are you?
How you doing?
I still see you're giving
away free candy, huh?
-Ah, I gave you
plenty in your day.
-Yeah, you sure did.
-Tom.
-How are you?
Mwah.
-Hi. Fine, how are you?
MIKE TORELLO: Whoa, whoa, whoa.
-Hey.
MIKE TORELLO: Wait a minute.
What's this?
What's this?
You in school?
-Yeah.
Yeah, I'm over at
Wright, taking a course.
How To Be a Millionaire.
ANNA O'DONNELL: See?
He's in college.
-That ain't work.
-Hey, my biggest fan, right?
Julie!
Julie.
Hey, you look like
a million bucks.
-Yeah, thanks.
-I figured you'd be coming by.
-Blackhawks?
-The playoffs.
-I didn't even know
they were still in it.
[chuckles] OK.
-What this I hear about
you going to college?
-Yeah, school, yeah.
I love it.
It's great.
-Great.
MIKE TORELLO: Hey, what
are you doing with my wife?
-You married this guy?
-I don't know sometimes.
MIKE TORELLO: Come
over here for a second.
You working?
I mean, straight,
everything legit?
-Yeah.
-Legit?
Yeah.
I got a job over the Ice House.
I'm legit.
-Yeah?
-Yeah, absolutely.
Hey, Julie, would you
take this guy out of here?
-Come on.
Let's go.
-Good to see you.
-All right.
JOHNNY O'DONNELL: Mike, don't
be a stranger, all right?
I'm gonna go, Ma, huh?
-OK.
-All right, so I'll
talk to you later on.
-All right.
Take care.
-Cheer up, Dad.
ANNA O'DONNELL: How'd you
know he'd be coming by?
-He always comes to see
you after the close ones.
PAULI TAGLIA: I'm where
I'm supposed to be.
Looking, watching,
everything's good.
Then out of nowhere, there's
heat all over the place.
So then they never come
out the door, right?
I don't know what
went down inside.
I already got a burglary beef
with that Torello from MCU.
And I hear over their air
that he's on his way over.
What was I supposed to do?
I held my position
as long as I could.
Wasn't my fault.
It was that crazy Indian!
-Who begged me to
hire the Indian?
-Ray, he had a major
reputation in Phoenix.
-This is Chicago.
And two guys I can
trust are dead.
As far as I'm concerned,
it's your fault.
-Ray, how many things
we done together?
Huh?
Haven't I always
carried my weight?
Aah!
-(SHOUTING) You should've
taken them cops out!
You gotta do whatever you
gotta do, you understand that?
-Ray, please.
Please, I'm sorry!
Ray--
-Hey, Ray.
-Hey.
Hey, Johnny.
How you doing?
Good to see you.
-Same.
-Hey, Ray.
-Hey, Ray.
RAY LUCA: Hey, guys.
Hey, Johnny, how's your mom?
-She's doing good.
-Listen, say hello
for me, all right?
-All right.
Why don't you stop by?
She'd love to see you.
-Yeah.
Yeah, sure.
Listen, uh, what's up, guys?
JO JO SWEENEY: Did you hear what
happened at Boyer's last night?
-They all got killed.
-Hey, I come that close.
That close.
-You were there?
-I don't know how I
got out of there alive.
-Hey, Ray!
[glass shatters]
-[inaudible]
-Ray, Ray, Ray, Ray!
Old business, Ray.
Old business.
Old business.
We got new business.
-What new business?
I don't like fish,
and I got work to do.
So what is it?
-Well, what it is is work.
There's $3 million in here, Ray.
-$3 mil, huh?
Where'd you get
these vault specs?
-Patent Office, Washington.
-How'd you figure out
this table of burn times?
-I'm taking a course
in metallurgy.
-Acetylene versus magnesium?
What's that?
-It's a burning bar
used for underwater.
8,000 degrees Fahrenheit.
Never been used
in a score before.
-OK, kid, I'm impressed.
So what's the score?
JOHNNY O'DONNELL:
You're looking at it.
Last page.
RAY LUCA: What do
you need me for?
JOHNNY O'DONNELL: Experience.
Primo and Sweeney are nice guys,
but I need a professional crew.
-My contacts to down it.
-Something like that.
-OK, kid, you're on.
--[inaudible], what
is it with this heat?
-Thermostat exploded.
Kramer's in your office.
-Oh, yeah.
Hey, Walter, call
Engineering, will you?
[laughs]
-Oh, man, I don't believe this.
You again?
-Caught him prowling.
-Ignacio [inaudible].
Take him out and shoot him.
That's how easy it is to
get you out of my life.
-Hey, [inaudible].
I was clean.
Hey, what are you doing?
-Well, boss says
I gotta shoot you.
You got any specific
place you want to die?
IGNACIO: Hey Comandante,
por favore, ah?
All right, you want
me to figure somebody?
I'll finger somebody.
You want the juice man, huh?
You got a lazy brother-in-law.
Your sister, my sister, anybody
except blood, capisce, paisano?
-Hey.
Hey, hey, hey.
What are your friends
going to say, huh?
What are your friends
gonna say when
they find out you're
a stool pigeon?
IGNACIO: Hey, that I can handle.
But you, you are a killer.
I can see that in his eyes.
-Did he take anything down?
JOEY INDELLI: No, but he
had enough equipment on him
to take the whole
block when we got him.
-I clean.
Innocente.
Believe me.
I never lie.
-You clean?
-I clean.
MIKE TORELLO: You clean.
-I clean.
-You clean the office.
Show him the cleaning supplies.
Then maybe I let you live.
-Mille grazie.
Mille grazie.
-It's an oven in here.
-Forget about those windows.
They haven't opened
in five years.
-What do you got on Boyer's?
-Nothing.
-You blew the guy
on the expressway?
-I was dealing with the moment.
-You haven't made this crew.
-Only the Indian.
-These are the kind of crews
we're supposed to be working.
How can I go upstairs and
tell 'em we got nothing?
My selling point to
get this squad started
was that we were gonna be on
top of this kind of thing.
-Look, when you brought me
into this unit a year ago,
you told me major crimes
only, Mike, the MCU.
Focus on high-line
crews, intelligence.
Major criminals.
Outfit guys.
Have you see what's
outside my door?
I haven't sat down yet.
-All right, all right,
I'm working on it.
-We got scorecards on most
of the independent crews.
What kind of scores
they're taking down,
who they're downing
the merch to.
The guys who took down
Boyer's are brand new.
-Maybe they're an outfit crew?
-I don't think so.
-Why?
-Too many wise guys eat there.
These guys are
operating on their own.
-Oh, this heat is unbearable.
Look, Mike, you gotta watch
what they now call an image.
"Daily News" is
treating the other night
like you're Billy the Kid.
-That's pretty accurate.
I felt like Billy the Kid.
-You had to blow 'em
away on the highway?
Was that good judgment?
MIKE TORELLO: I figured those
women had a better chance
in a car crash than they did
dealing with that crazy Indian.
CHIEF KRAMER: Jake,
where am I next?
JAKE (ON PHONE):
Where are you now?
-I'm over at MCU.
Look, these guys need
an air-conditioner here.
JAKE (ON PHONE): Hey,
we've got our priorities.
-Priorities.
[windows shatters]
Some vandal busted
Torello's window.
That makes this a priority.
Put your shirt in your pants.
And find out who's
running that crew.
[slams door]
[MUSIC JOHNNY PRESTON, "RUNNING
BEAR"]
MIKE TORELLO: You know this
guy?
BARTENDER: He don't
look too good.
-That's 'cause he's dead.
-Yeah, I know him.
That's Billy Running Bird.
-Hang around here?
-He used to tend
bar, once in a while.
-What can you tell us about him?
-Not much.
Hasn't been around
here in a long time.
-You know where he lived?
Anyone who knew him?
-Any employment records?
-No.
This place has changed
hands five times since.
But there used to be some white
boys coming in looking for him.
-Anyone you know by name?
-No.
-Would you recognize them
if you saw some pictures?
-Maybe.
-Here.
Take a look at these.
Don't figure.
-What?
-None of this.
An Indian taking down
that kind of action.
-It's 'cause someone
else is ram-riding him.
-Maybe.
Still, it doesn't
make any sense.
Feels to me like
someone's moving in.
-I'll get to the bottom of this.
You know this guy?
He's dead-- killed
by White Eyes.
You want to help?
[inaudible]?
-Uh, maybe this guy.
-Mike.
-The hell was he talking about?
MIKE TORELLO: You see
something?
Ah, maybe this guy.
I don't know.
-What are you-- what are you,
Crazy Horse or something?
-Easy, easy.
Relax.
Relax.
Take it easy.
Which guy?
Come on, which one?
-This guy.
Maybe.
Only maybe.
-Pauli Taglia.
Come on.
-What do you want?
-Need to talk to you, Pauli.
-About what?
Two of you guys?
-What have you been doing?
-Staying home.
Who wants to know?
-We want to know.
-You been working?
-Yeah.
I'm a pharmacist now.
What'd you do that for?
-You're pinched.
-For what?
-Eating with both hands.
Come on.
-Empty your pockets.
Now, on the table.
Come on, come on!
Get 'em up.
-All right, this
is embarrassing.
-Yeah, for me it's
lemon meringue, huh?
-Hiya, Pauli.
-What is this, Lieutenant?
-Boyer's.
-Boyer's what?
I don't know no Boyer's.
-Where were you
Monday night, Pauli?
-Home, watching skin
flicks with my wife.
-Spend a lot of time
with her, because you're
going away real soon.
-Come on, that burglary
beef's a nothing case.
-I can help you, Pauli,
but it doesn't come gratis.
-What do you want?
-Boyer's.
Whose crew?
Who put it together?
-I don't know no Boyer's.
Who is he?
-You were there, Pauli.
I know everything you do.
I even have to listen
to you when you breathe
hard at the [inaudible]
that you call.
-Come on, I don't know
what you're talking about.
-You want to help me, Pauli?
-Yeah.
Take some bread.
Let me walk on
that burglary beef.
I wasn't--
-It's too easy, Pauli.
I don't make deals like that.
I want to the boss on Boyer's.
Get him out of here.
-Who you taking?
-Come on.
Sit there, slob.
MIKE TORELLO: Sit down.
Tell me something I
already don't know.
-Uh, nothing on those
two dead guys yet.
Their prints went to the G.
-Uh, telephone
security sent a list
of Taglia's unlisted numbers.
MIKE TORELLO: Mhm?
Anybody interesting?
DANNY KRYCHEK: Oh, a
lot of them are legit.
Businesses.
They got one call from
a motel in New Mexico.
-What, the Indian?
-Anybody else?
-Ray Luca, Holman, and Incera.
MIKE TORELLO: Ray Luca, when
he's not out busting heads
for the juiceman, hangs
out out that social club
on Grand Avenue, day and night.
On the others, see how
they tie him to Taglia.
Some of them'll be legit.
-He don't know any
legitimate people.
-Don't we know this Holman?
-Holman.
Holman.
-Number turns up
two, three places.
-Wait, there was a Holman once.
Uh, uh, a real sicko, a
whacked-out home invader.
But I thought he was
still in the joint.
-Joey, cover the joint.
Taglia did short time.
Find out who his cellmates
were, who wrote to him,
we he wrote to, stuff
like that, all right?
Wes, you cover Holman.
If he's out and he
links up with Taglia,
it may lead us to whosever
running this crew.
You guys got it?
All right, get outta here and
get me something, will ya?
Anything.
Hey, Wes.
Wes.
What was that all
about the other night?
-Uh, just got a little scared.
-Any other problems?
-No, no, I'm OK, you know.
Good night's sleep.
-Find Frank Holman for me?
WES CONNELLY: Right.
-Right.
-Wha-- what's this about?
-He finished cleaning, so
we put him on clerical.
-I didn't know he could read.
[both chuckle]
-Yeah.
Well, Frank, I see
you're out of the joint.
Lovely as ever.
Wonder what bad news
you're up to now.
[gas hissing]
[music playing]
-Well, I guess it works.
Hooray.
-Let's go get it.
PHIL BARTOLI: (CHUCKLING)
That's a nice piece of work.
-OK, uh-- [clears throat]
are-- are we safe talking here?
-This is my home.
It gets swept every other day.
-Good.
OK, then, uh, you tell
me when you want delivery
and when I pick up my money.
-I got delivery.
I'll let yous know
when the money's ready.
-What's going on here, Ray?
-Isn't that a little
irregular, Mr. Bartoli?
-What, do you think
I reach in my pocket,
I pull out $300 grand?
-$300 grand?
This piece right
here is worth $300.
Wh-what-- what's the rest
of this stuff, pizza?
PHIL BARTOLI: Every cop in
town is looking for this stuff.
It's got to be moved
in just the right way.
There's risk, and
there's expense.
And you got a smart mouth, kid.
-And my smart
mouth is telling me
you're trying to stick it to me.
-Hey, who's your sponsor?
Who you connected with?
You guys are independents.
You are outsiders.
You don't waltz in
here the first time
and get a A-number-1 deal.
-Let me get this straight.
You want me to leave
the merch behind,
and then you're
gonna tell me when
and if I can pick
up my short money.
What, do I write this off
to bad experience, Ray?
-Easy, Johnny.
JOHNNY O'DONNELL:
"Easy, Johnny"?
40 cents on a dollar.
We had a deal.
I deliver the score.
He delivers the bread, right?
Deal's a deal.
-You don't shout in my house.
You get 10 cents.
You take it or you leave it.
-Wait.
Wait a minute.
-Yeah.
-Johnny!
Johnny.
-Yeah.
-Hold it!
Hey, Johnny, I said hold it.
Cool it!
Will you relax?
-Huh.
I am not gonna be pushed around
by that spaghetti in there.
I don't care if he
is Joe the Boss.
-Hey, think about it, will you?
Calm down!
-I just put down
the biggest score
this town has seen in years.
I did that, Ray.
Not him.
-Johnny, that ain't the point.
-What-- what is the point?
-Where are we gonna move this?
-My Aunt Catherine.
-Oh, come on, Johnny.
We don't know
anybody big enough.
And if we did, he'd
put the clamps on us.
-So then we pop the stones,
and we piece it out.
Where's the confusion, Ray?
-(SIGHING) Johnny, look,
let me work it out with him,
all right?
Let me handle it.
Hey, come on.
I'll show you my influence, huh?
Come on, calm down.
-$300 grand.
You heard him.
-Oh, right.
Gimme the-- gimme
the stuff, Johnny.
Gimme the stuff.
-You handle it.
-Yeah.
Go buy yourself a drink.
I'll call you later.
[bag clangs on table]
-Your friend's an idiot.
-To Johnny, respect and 25 cents
gets you a ride on the bus.
He doesn't understand
how these things work.
But, uh, you know this
score's worth every
dime of the 40% agreed to.
-So what?
RAY LUCA: So I think
that you're smarter
than offering us
the bottom price.
Look, you give us 15 cents
now, and then another 10 cents
at your convenience, if you
don't have trouble moving it.
-Why is that such a
good deal for you?
What if I stiff
you the 10 cents?
-You won't.
-Why not?
-Because you're going
to want my steady stream
of high-line merch, just
flowing across your desk.
-All right.
But I got a piece
of advice for you.
You stay away from that kid.
Talented, maybe, but
he's too much a hot shot.
[music playing]
WES CONNELLY: Hello, Frank.
[starts engine]
[bell dings]
[bell dings]
Ray Luca.
[speaking quietly]
-Lieutenant Torello, you
testified before the grand jury
that your search warrant
was obtained on the basis
of information from a
confidential informant.
Is that correct?
-Yes, it is.
DAVID ABRAMS: And you
qualify your informant
by citing prior cases,
according to your affidavit.
Now, in reviewing other
affidavits you've sworn to,
I see that you frequently
cite a confidential informant
as the basis for your actions.
-Informants are critical
to successful police work.
-So you use informants a lot?
MIKE TORELLO: Whenever
it's necessary.
-The same informant?
-I have several informants.
DAVID ABRAMS: Lieutenant, would
you produce the informant that
gave you the information
in this case?
-Well, that would
be dishonorable.
It's the same as the, uh, the
attorney-client privilege.
DAVID ABRAMS: Except that the
attorney-client privilege is
based on the attorney
actually having a client,
where in your case, the
police-informant relationship
is simply based on your say-so.
-Your Honor--
DAVID ABRAMS: If the
court demanded you produce
your informant, you could not
do it, Lieutenant, could you?
Even in dishonor, you could
not produce your informant.
JUDGE: Mr. Abrams,
do you have a point?
DAVID ABRAMS: I have more
than a point, Your Honor.
I have Lieutenant
Torello's informant.
This is your informant,
isn't it, Lieutenant Torello?
This illegally placed listening
device, taken from Mr. Taglia's
telephone by a telephone
security officer.
Your Honor, I submit this
as Defense Exhibit 15.
-What about it, Lieutenant?
-May I see that, Your Honor?
Your Honor, this isn't
the kind that we use.
This is a, uh,
transistorized D-19,
used exclusively by
the FBI, never by us.
They probably planted
it, uh, investigating
Taglia's link to the KGB.
-KGB?
-Well, it's strictly
speculation.
But word on the street
is that Taglia is selling
nuclear secrets to the Russians.
I mean, I don't know
how true it is, but--
-Your Honor, the man's a liar.
That is a complete lie.
MIKE TORELLO: Your
Honor, do I have
to suffer these
indignities, right
here in the halls of justice?
JUDGE: I think not.
Mr. Abrams, tomorrow
morning, 9 o'clock.
Show cause why you shouldn't
be held in contempt.
Court adjourned.
MIKE TORELLO: Thank
you, Your Honor.
-Torello.
Hey, Torello.
Who the hell are you?
You lied on the
stand, Lieutenant.
You didn't tell the truth once.
-That's not true.
I gave my right name.
Which reminds me-- how'd you get
this case in the first place?
-It's none of your damn
business how I got the case.
-You were doing all right
until you got emotional,
and then you lost it.
-I didn't lose.
We still got a trial, remember?
-I mean, even if
you cut him loose,
what do you think
you've accomplished?
He hits the streets
tomorrow, he does
the same thing all over again.
-So you lie to put him in jail?
-Oh, come on, Counselor.
Taglia was a bust-out
the day he was born.
This guy's been stealing
since he was in kindergarten.
Taking a girlfriend to lunch?
-[scoffs]
-Not bad, huh?
-I lost $3 million in
jewelry over the weekend.
I'm not saying that
Taglia was involved,
but if he wasn't,
he'll know who was.
I'm gonna squeeze him.
He scratches my back, I'm
gonna get a clear head,
and suddenly I'm
gonna be very helpful.
That's the way the courtroom
game is played around here,
isn't it, Counselor?
-That's not the way I play.
-Let me tell you something, pal.
Half the time, we don't know
which side the law is on.
That's the way the wheels of
justice turn in this town,
and they're the
only wheels we got.
You bet I lied.
You know, I wouldn't be wasting
my time telling you all of this
if I didn't think you
were my kind of guy.
You're working the wrong side
of the courtroom, Counselor,
only you don't know it yet.
You'll have to excuse me.
I got some police work to do.
ANNOUNCER (ON RADIO):
It's well hit.
It's going, going, gone.
Over the ivy, onto
Waveland Avenue!
Ernie "Bingo" Banks
hits a monster--
-Hey, Johnny.
-Hey.
-How you doing?
Hey, what happened?
-Banks just busted one.
-Good, I got the
Cubs giving two.
And I also got the bread.
I gave Holman his
and Taglia's share.
-How much?
-15%.
Cut up $450,000 five ways.
-That's all?
-That's it.
-We'll do better next time.
Give the man a taste.
He'll want more.
JOHNNY O'DONNELL:
I'll give him a taste.
RAY LUCA: Hey, Reno.
Let me have a scotch, and
a beer for my friend here.
[music playing]
-The O'Donnell kid.
What the hell's he
talking to Ray Luca about?
The hell is he--
SECRETARY (ON
PHONE): Chicago MCU.
-Yeah, Lieutenant
Torello, please.
SECRETARY (ON
PHONE): Please hold.
-Come on.
Come on, come on,
come on, come on.
[gunshot]
[thud]
MIKE TORELLO (ON
PHONE): Torello.
Hello, this is
Lieutenant Torello.
Who's there?
Hello?
Hello?
[door opens]
-Anything?
MIKE TORELLO: Hm?
-You got anything?
-No, I got nothing.
Connelly was doing
a work-up on Holman.
Holman was in court with
Taglia, so it wasn't him.
Connelly got on to
something, and I
haven't got a clue
as to what it was.
-What, nothing written
on his papers help?
-Nothing.
-Wires crew?
Uh, museum score?
-I don't know.
CHIEF KRAMER:
Shake it off, Mike.
Make it go away with work.
That's the best way.
-Chief.
-How's Grossman gonna work out?
-Fine, I guess.
[door closes]
WES CONNELLY (VOICEOVER):
I lost control, Mike.
I keep forgetting the rules.
When we were coming up, remember
what Kramer would always say?
Control the case.
Don't let the case control you.
Well, it's all
running me now, Mike.
I've lost control.
It's just them versus us,
and I want 'em so bad.
[sighs heavily] I guess what I'm
saying is I'm burning up, Mike.
I want out.
[MUSIC BEN E. KING, "STAND BY
ME"]
[glass shatters]
[sobbing]
BURGLAR: Come on, now.
Let's go.
Hurry it up.
-Phil Bartoli isn't
going to like this.
-Never heard of the man.
-He's my partner in this joint.
[glass shattering]
BENNIE PRIMO: Bartoli's place?
What do you gotta
be a cowboy for?
You're nuts.
Nuts.
Look what you've done to us.
-My gift to you guys.
-Hey, who wants it?
We don't need that kinda heat.
-We gotta get out of town.
-Yeah.
Bartoli's place.
And you knew it!
You off your nut or what?
-So where's the
connection, boys?
How'd he gonna know?
BENNIE PRIMO: He's gonna know.
-You gonna tell him?
You?
I'm not gonna tell him.
He knows nothing.
Nothing.
[jazz music playing]
-It's nice being just the
two of us alone, you know?
-Yeah, we should
do it more often.
-Nice birthday, Ray.
Ray?
Do you ever want to
get out of Chicago?
-Carlo, uh, go into
my office and get
the envelope on my desk.
Hey, how are you?
-Phil, good to see you.
-Hey.
How'd you enjoy your dinner?
-Oh, Mr. Bartoli, it was great.
This is my wife, Cori.
Mr. Bartoli.
-Nice to meet you.
-Hello.
-Beautiful.
This is my place.
You like it?
-It's our first time here.
It was great.
-Should've told me
you were coming.
I would've done something
special for you.
This is where you should put
your money, in investments.
You know how much income a
place throws off in a year?
I like you, Ray.
You got a wife.
You're not some jamook.
I bet you figured you
were never gonna see that.
-Mr. Bartoli, keep this.
I want to invest
my money with you.
-What'd you have in mind?
RAY LUCA: Juice.
Let it ride with your
cash on the street.
-You're a smart guy, Ray.
But it ain't so smart,
being so independent.
I got guys all over the city.
Their only job is
to keep me clean.
I got the courts.
I got the districts.
I got it covered.
I could make that
protection available to you,
if you were interested.
-Yeah, I'm interesting.
PHIL BARTOLI: But you
gotta understand--
in an organization, it's
the guy on the top who
makes the decisions.
-I know how it
goes, Mr. Bartoli.
-Think you're ready to move
up in the world, hey, kid?
-Time's right for me.
PHIL BARTOLI: Yeah?
Three punks hit a joint
of mine on the Gold Coast.
Like they think I'm not gonna
find out who did it, right?
Like they're gonna
steal from me.
Think you can handle that?
-You got it.
It's done.
-One of them was your
friend O'Donnell.
CORI LUCA: [clears throat]
-Ah.
Carlo.
Get these two
drinks on the house.
-OK?
-Yeah.
Let's go.
-(SHOUTING) OK, everybody up!
Against the wall, now!
Now!
Move it, four-eyes!
Let's go!
Up!
Hands up!
Face the wall!
Face it!
[gunshot]
Come on!
[gunshot]
[flash pops]
-Looks like a Jackson Pollock.
-Pollock?
He an outfit guy?
-No, he's an artist.
He used to paint
stuff like this.
-Yeah?
Got a sick mind.
-Anything taken?
-Nothing.
This is a hit.
-It's a message.
From somebody to somebody.
-Who to who?
[inaudible]?
Local guys ain't gonna
be hanging around
with the kind of heat
this is gonna generate.
You got anything on these guys?
-No IDs.
No faces.
WAITRESS: I know 'em.
-Who are they?
-Bennie Primo and Jo Jo Sweeney.
-Where do you know them from?
-Come in here all the time.
Usually with this other guy.
-Who's the other guy?
-Johnny O'Donnell.
-Thanks.
-Tommy, put some money down.
Oh!
[tires screeching]
Mike!
How you doing, Mike?
-What are you doing, huh?
What do you think you're doing?
-What are you--
-What do you think you're doing?
-Wait a minute.
Come on, my friends are gonna
think I'm one of your rats.
-Oh, yeah?
Why?
What, you got something you
want to rat about, Johnny?
-Aw, that's not what I'm saying.
-What are you saying, Johnny?
-This is just a patch, Mike.
Why do I have to
explain this to you?
I--
-You're blowing it Johnny.
You got a chance to get
out of this neighborhood,
and you're throwing
it in the toilet
because you're in
love with the flash.
-Lay off me, Mike.
-You're putting on
scores, aren't you?
-Right.
Right.
-(SHOUTING) You are, you punk!
JOHNNY O'DONNELL: Huh?
-You're a smart kid, Johnny.
Think.
Flash now, pay later.
You're gonna ruin
your life, and you're
gonna end up in
the penitentiary.
Let me tell you something else.
It doesn't matter
what me or my guys
think about your
mother or father.
We get you in a
score, we're gonna
blow your socks right off you.
You got it?
-(LAUGHING) How you
gonna do that, Mike, huh?
I'm the best.
Shadow and glass.
There and gone.
The best in Chicago.
-Oh, yeah?
Oh, really, smart guy?
Sweeney and Primo are dead.
They're mopping their faces off
the floor at Jeep's right now.
You wanna go look?
(SHOUTING) You wanna go look?
The Levin's score?
Three guys put it down.
You know that Phil
Bartoli's on of the owners?
He evens up on his own, Johnny.
Is that why Sweeney
and Primo bought it?
Is it?
Is it?
-Are you arresting me, Mike?
-(SHOUTING) I don't know what
I'm doing with you, you punk!
-Uh, well, why don't
you make up your mind?
How 'bout that?
-You want to put
somebody on him?
-For what, Danny?
You heard him.
Shadow and glass.
There and gone.
Let's get out of here.
What are you looking at?
[jazz music playing]
-Be right back.
David.
-Dee.
-How you doing?
-I'm fine.
How are you?
-Come here.
I want you to meet somebody.
Come on.
This is a good friend
of mine, Ray Luca.
David Abrams.
Went to law school together.
-How you doing?
-Very well.
-What are you drinking?
-Gin and tonic.
-Gin and tonic over here.
-Your dad well?
-Good.
-Yeah, I was here one night,
Art Farmer and Charles Mingus
showed up.
It was fantastic.
-I like the new players,
guys just coming up.
-You're the attorney who
represented Pauli Taglia.
-I still do represent him.
-You didn't do too good.
-It was an evidentiary hearing.
It'll be appealed.
I'll win.
-We had to reach out to
some top money people
to be assured that case
came across your desk.
DEE: It's only the
first step, Ray.
Don't worry.
David'll do fine.
-Tell me, if these people are
such hot shots, how come they
didn't hire a top
gun like his father?
-You think a jury's gonna
believe a newspaper truck
driver if he shows represented
by a top money guy?
[laughs quietly]
From the way Dee
talks, you belong
with him instead of
the public defender.
Why don't you give
yourself a chance?
Make some bread?
-Why you so interested
in my career?
-I hear you're real aggressive.
[laughs]
Got lots of talent.
I could use a good attorney
with some street smarts.
Besides, we both like
the same kind of music.
-Maybe that's as far as
the resemblance goes.
-Maybe.
Maybe not.
MIKE TORELLO: You know, every
time I see you get all dressed
up, my first thought
is to undress you.
JULIE TORELLO: Can you
get that zipper for me?
Hey, cut it out.
Come on.
Michael, we're gonna be late.
[phone rings]
Hey, are you gonna answer that?
-Mmm.
Hello?
Where?
I'll be right over.
-Mike, who was it?
-It's the O'Donnells.
-Can't it wait?
-Some animal beat
up Tom and Anna.
JULIE TORELLO: Oh my god.
-All they wanted was Johnny.
I'm not gambling anymore, Mike.
They're gonna hurt
him because of me.
-I got here as fast as I could.
MIKE TORELLO: They came
looking for Johnny.
I'm gonna have one
of my guys come
down here, and an
ambulance, too.
JULIE TORELLO: I'll take
them to the hospital, Mike.
Go ahead.
Try to meet me at the wedding.
-We're all right.
-You let a doctor tell
you that, all right, Anna?
Let's go.
-Wha-- aah!
Aah!
What are you doing?
[grunting]
MIKE TORELLO: I'm where you go.
And if anything else
happens to the O'Donnells,
I'll be the last
thing you ever see.
[cocks gun]
-[whimpers]
-Huh?
-[gasps]
-Let's go.
BARTOLI: [shouts]
[shouts]
[screams]
[MUSIC SAM COOKE, "TWISTIN' THE
NIGHT AWAY"]
[applause]
[MUSIC JACKIE WILSON, "DOGGIN'
AROUND"]
-Two ball, corner pocket, blind.
[laughter]
NATE GROSSMAN: We did that once.
We were working this
too-cool home invasion team.
Nothing for months.
-Hm.
-We got it narrowed
down to three guys.
One night, they do a
job, and boom, one guy
falls out a window,
breaks his neck.
So we figure-- we figure the
other guy, whoever he is, he's
gonna retire till, uh, he
finds himself another partner.
We don't want to kiss
off all our work.
So we pull the stiff
out of the cold vault.
[laughter]
And he's totally blue.
And we-- we tie him up to
a hand dolly with a broom.
And, uh, we wheel him up
to one of the guys' door.
He's like this.
[laughter]
I ring the bell.
Four of us against the wall,
our pieces up, and we all shout,
confess!
[laughter]
-Did he confess?
-Did he confess?
I think the guy was
the sole consumer
of prune juice in Cook County.
[laughter]
Turns out it's the wrong guy.
-Wrong guy?
-Yeah.
But he's so gone from
this, he confesses
to a dozen gas station
stickups in Ohio.
[laughter]
[music the platters, "only you"]
-Ooh.
Is he serious?
-Mm.
-I like to dance.
I love to dance,
actually. [giggles]
I used to dance professionally.
Do you?
[giggles]
What is it you like to do?
-I'd love to strap you
on and go ice skating.
But I'll settle for dancing.
[giggles]
[hums]
[giggles]
[hums]
[giggles]
-Oh!
You feel nice.
-What I feel is wobbly.
-Oh!
Just lean here, sweet thing.
I'll keep you up. [giggles]
-Joey?
Joey.
What's your name, honey?
-Lianna.
-Lianna, this is Joey.
-How you doing?
-Joey, this is Lianna.
Congratulations, kid.
I gotta get some air.
LIANNA: You're practically
brand new, aren't you? [giggles]
-How's Tom?
-He's OK.
-Good, good.
-What happened to you?
-Where the hell you been?
-You're drunk.
MIKE TORELLO: I'm drunk?
You're drunk.
It's 4 o'clock in the morning.
-I don't see you in pajamas.
You smell like the makeup
counter at Woolworth's.
Where were you?
Out catting around while I
was at your family's wedding?
-I was there long enough
to see you rubbing up
against that jerk,
in public, in front
of half the friends
I've got in this world.
-You're crazy.
MIKE TORELLO: Crazy?
You're not going anywhere.
-Don't you touch me.
-I can't touch you, and he
can dance in your dress?
-I said don't touch me!
I'm your wife.
I'm not one of your collars.
-And his mistress!
Who is he, Julie?
Who is he, because
I'm gonna kill him?
-Who is who?
-The dead man from
the dance floor.
Who is he?
-Andy Torello.
Your cousin.
-Little Andy?
Little Andy was
coming on to you?
-He's 23 years old.
He'd come on to a collie
if you put it in a skirt.
You hurt me.
Look at me, I'm shaking.
What's happening to us?
-Look, Julie, I'm sorry.
I'm really sorry.
-Yeah, yeah.
-Julie, I swear.
I love you.
I honestly believe
that I saw you being
passionate with
another man tonight.
Do you know what does to me?
-You know what that does to me?
-I felt dead inside,
seeing you with him.
-(WHISPERING) Michael.
Oh, Michael, don't do that.
Oh, my head hurts.
-Well, it should hurt.
You were bombed.
-You don't look
too good, either.
-I feel like I
should be embalmed.
-I wish you'd have stayed
at the wedding last night.
Can't believe you
just walked out.
Normal behavior for you would
have been to beat him up.
-I wanted to talk, not fight.
-Talk about what?
-Not now, Julie.
Even my hair hurts.
-About what?
-Hey, I'm trying to
make a move here, Julie.
-Michael, come on.
Please tell me.
-Us.
The job.
Kramer keeps telling me that
this is a high profile unit,
that I have to watch our image.
I should care about an image
when I got a kid like Johnny
O'Donnell going down
the toilet, and I
can't do a thing about it.
When I come home,
I got nothing left.
-You had plenty left last night.
-Nah, I mean inside.
-I know.
-O'Donnell's into something
deep, and I gave him the slack.
-You can't blame yourself
for what he does.
You're not his keeper.
-Self-appointed.
-Yeah, to all of Chicago.
Sometimes I hate you for it.
[sighs]
Then it goes away
with knowing you.
And the love's still there.
Besides, they haven't invented
the hard time we can't handle.
-Can we fool around again now?
-Want to see our next score?
-Yeah.
Burnett's Department Store.
Aw, come on.
You're nuts.
A place like this?
JOHNNY O'DONNELL: Nothing to it.
Easier than getting in a museum.
Little tougher getting out.
It's all in the book.
--[sighs heavily]
But, you know, kid,
you could buy yourself some rope
if Bartoli got back his merch.
That was a crazy move, Johnny.
-Bartoli, Ray.
You should've
stayed independent.
-Will you listen to me?
I think I can help you.
JOHNNY O'DONNELL:
You're gonna help me?
-Yeah, look, I'll make the deal.
I'll get him to stay cool.
-Stay cool.
Hah.
You think I'm afraid of him?
-Aw, come on, Johnny.
Nobody said nothing
about being afraid.
Look, I want to keep you alive.
Breathing.
Hey, we got good
things going, Johnny.
-Yeah, and they're gonna
stay going good, too.
-Hey, come on.
I'll square it for you.
Let me show you
my influence, huh?
[chuckles]
-Where have I heard that before?
RAY LUCA: Yeah, go ahead.
Make jokes, Mr. Smart Guy.
Tell me, where
else you gonna go?
-I'll be right back.
[knocks]
(SHOUTING) Hey, Jack.
You wanna get that meat for me?
Hey, thanks a lot.
Have a nice Easter.
That's prime sirloin.
Let it thaw, all right?
Stones are inside.
And I hope Bartoli
chokes on 'em.
Second rate, anyway.
We got a deal?
-Yeah.
We got a deal.
Johnny, I'm glad to see
you handle it this way.
Now you're using your head.
JOHNNY O'DONNELL: Yeah,
well, I'm glad you're glad.
[laughs]
-Hey, this car rides beautiful.
Hey, can I try it?
-Wanna take a spin?
RAY LUCA: If you don't mind.
-Nah, I don't mind.
-Listen, pull over, over here.
-Sure.
Hey, no hot rodding.
-Don't worry.
I'll go easy.
[gunshot]
-Ray?
What are you doing?
-I'm starving.
I could eat a horse.
-This time of night?
Ray, what are you doing?
-Go back to bed.
-Ray.
You all right.
-(SCREAMING) I said
get out of here!
-Johnny.
Who do this to you, Johnny?
Tell me, Johnny.
Johnny, listen to me.
Just don't die.
Why didn't you
listen to me, Johnny?
Who did this, Johnny?
Tell me.
-Luca, Mike.
Luca.
-Johnny.
Who killed Wes Connelly?
Who killed Connelly?
-Mike.
Mike.
-His personal things.
It's part of the museum score.
Glove compartment of his car.
-John?
-(SHOUTING) Nurse!
-Johnny?
Johnny?
ANNOUNCER (ON TV): Ralph Baldwin
has Speedy Scot in front by--
PHIL BARTOLI: Come on, Florlis.
Here he comes.
Come on, Florlis.
He's coming out.
He's on the outside.
Come on, come on, boy.
Here he comes.
Come on, come on.
Come on, come on.
He's going.
He's going.
He's going.
ANNOUNCER (ON TV): It's
Florlis on the outside--
PHIL BARTOLI: Come on, Florlis!
ANNOUNCER (ON TV):
The driving finish.
Florlis getting up
to win the first--
PHIL BARTOLI: All right.
All right!
Haha, that's good.
Good man.
Look at him.
Give me a light.
Let's get a drink.
ANNOUNCER (ON TV): 1:57 and 3/5.
A new world record for
three-year-old trotters
by Florlis, the powerful
son of Florican.
Owned by the Arden Homestead
Stable of Goshen, New York,
Florlis chopped almost a full
second off the old world--
-Salut.
-Got a major score coming up.
It's a half mil in cash.
-Great.
Only half the time with a dream
hit, somebody's blowing smoke.
-This is for real.
It's solid.
-You think so, that's
good enough for me.
-I think so.
I got another idea, Mr. Bartoli.
Why don't you fence
the whole city?
-What are you talking about?
-Put a lock on it.
You know, muscle the
independent crews.
Anybody puts down
a score in Chicago,
they fence through you, or
they don't fence at all.
Or they don't live too long.
-Hm.
-Even the cottage thieves
would have to go through you.
-Who needs the small stuff?
-World works on small stuff.
You know how much money
there is in a trailer-load
of cigarettes?
It's the $2 window that
keeps that place pumping.
-Maybe you're right.
Look, uh, after
Easter, I want you
to meet an important
man down in Florida.
Just 'cause a score
goes down in Chicago
doesn't mean we
gotta move it here.
And if the vine goes up,
there's plenty of money
down south for the big
stuff, or for big loads
of the small stuff.
Speaking of which,
uh, I got my goods
back from the O'Donnell kid.
So, uh, forget about him.
He's nothing.
Let him live.
-Good thinking.
[organ music playing]
(WHISPERING) I'm sorry.
-The Dancer.
-South side wire rooms.
Late '40s, '50s.
Is he the Dancer?
-Abrams.
-Abrams.
-He's my father.
-Does all of this
lead you to Taglia?
-Just the opposite.
I've seen all the justice
money can buy my whole life.
But all this leads
me to is who I'm
mostly interested in defending.
People who live on the
wrong side of town,
got the wrong color skin,
speak the wrong language.
Taglia's case was
dumped on my desk.
-Then get Taglia to roll over.
-I don't care if Taglia's a
mass murderer or a war criminal.
He's entitled to a defense.
That's me.
I am the defense.
I'm not going to give
you an inch of Taglia.
-Why not?
-Because that's my job.
-And my job's my job.
-You killed O'Donnell.
I bury you.
I'll bury you.
-You rat!
I didn't see nothing!
-Who was with him at the museum?
By the time I'm
through with you,
you're gonna beg
me to go to jail.
Who else was there?
-You know what you're asking me?
-(SHOUTING) I'm not asking
you, I'm telling you!
I'll kill you right now, Pauli.
-Aah!
-I'll kill you.
Who else?
-Luca, O'Donnell, me, Holman.
-Who killed Connelly?
Who killed him?
-(SCREAMING) I don't know.
-Who had him on
the museum score?
-Luca!
Luca!
-What's next Pauli?
-Oh, god, please!
-I'll kill you, Pauli?
What's next?
-Burnett's!
Burnett's?
MIKE TORELLO: When?
-Good Friday.
Good Friday.
-Tall or heavy?
Tall or heavy, Pauli?
-Heist, 10 minutes
before closing.
Please.
Please!
-Make sure it happens, and
make sure Luca's there,
or I'm gonna come
looking for you, Pauli.
PAULI TAGLIA: What about me?
-What about you, Pauli?
-I'm gonna be there!
-Wear a white hat and pray.
Pray and hope that I remember.
Give me the details, Pauli.
Oh, god!
Six in 10 minutes
before closing!
MIKE TORELLO: What else?
-They're gonna take
the guy in the vault.
No!
Oh god, no!
Oh, no!
[coughing]
Oh!
[panting]
-Who hits a place like
this on Good Friday?
-Ray Luca.
-Moving up in the world, huh?
-It's gonna be his last move.
[knock]
this is where it happens.
Luca'll get the drop on him.
30 seconds later, the guards'll
come through the door.
Luca's got to be here first
to get the drop on the guards.
Pick-up is at 5:10.
Luca's got the guards,
takes their keys.
Time lock pops.
He opens the safe.
The rest of the cash is ready.
Two minutes of risk,
and it's all over.
-The only negative exposure
they got is from the timing.
They nail this guy till
guards walk through the door.
-Luca's got to be here
before the guards.
-It ain't just Luca, Mike.
Come here.
Are you leveling with me?
Is there something
you're not telling me?
-Luca killed O'Donnell.
-Now, how do you know that?
-He told me in the hospital.
-Let's get a warrant.
We got a dying declaration.
-We'd get laughed out of court.
We take him in the count room.
When Luca opens that
door, he's gonna
get the surprise of his
life-- me and Walter Clemmons.
-I want to be in there.
-I need you on the outside.
Look, Danny, if Luca
comes out of that door
and I don't, he's all yours.
-Check out the guy coming in.
I made him.
It's Holman.
-Damn.
Damn!
-Mike, the armored car's early.
It's 5:06.
-Walk away.
They're here early.
We can't be in there that long.
-Come on, let's go.
It's over.
Let's go.
-Get away from me.
-Come on, Babe.
We'll get it another time, huh?
-You don't get this
close and blow it off.
-Babe, come on.
It's over.
Babe.
-(SHOUTING) Straight ahead!
-Hey, easy with that gun.
-(SHOUTING) I said, move it!
[gunshot]
[women screaming]
[gunshot]
[women screaming]
[gunfire]
[woman screams]
-(SHOUTING) Stay down!
Stay down!
[gunfire]
[women screaming]
[gunfire]
[glass shattering]
[gunfire]
[women screaming]
-Get down!
Get down!
[women screaming]
[gunfire]
[screaming]
[glass shatters]
[screaming]
-Get down!
Get down!
Get out of here!
Get out of the way!
[screaming]
[gunfire]
Where's Luca?
Get some ambulances and
get some help over here.
Get out of the cab.
Get out.
Get out of the cab!
[tires screech]
-Where'd those cops come from?
-I don't know.
It was like the Fourth
of July in there.
[cocks gun]
-We can take him in.
Conspiracy.
-Worthless.
-Mike.
It's murder.
-You posing for pictures, or
you gonna pull the trigger?
[gunshot]
-See how easy it is?
How really easy it is?
When I take you down, I'm
gonna take you down right.
I'm gonna take you
down all the way.
CORA LUCA: This is it.
Sun, and this air.
I don't need
anything this grand.
-Why not?
Things this grand go with
your husband's future.
Tell Phil Bartoli I'll
move all your merchandise.
I've heard good
things about you.
-Cheers.
-But one thing I learned
early on, you should know.
This is a business.
And like any other business,
it has managers and mules.
You are a good manager.
You can pull together and
maintain a tight organization.
So why do you take
an unnecessary risk
by getting yourself personally
involved in the score?
You're a manager.
Manage.
Leave the streets to the mules.
Stay out of the cops' faces.
Management is a boring business
when you first start out.
But believe me, when you
make your first big deal
and it's your own,
nothing like it.
Makes the edge you get on
a score feel like nothing.
And you'll never
again have to worry
about those overzealous
prosecutors, or those elite law
enforcers like the FBI, the MCU.
They are out of your life
when you're at the top, Ray.
And even when they know who
you are, they can't touch you.
You are invisible.
The MCUs, they come and go.
We go on forever.
Beautiful, isn't it?
-Yes, it is.
Salut.
-That's where we all come from.
Except the Indians.
And the Indians are unreliable.
-You're a very wise
man, Mr. Weisbord.
-Thank you, Ray.
DANNY KRYCHEK: You and
me should go get a tan.
-Sooner or later, Danny.
One way or another.
He's all mine.
[music - del shannon, "runaway"]
DISPATCH (ON POLICE RADIO):
All cars, 18th District
armed robbery in progress,
500 block of Duke.
-Squad MCU.
We'll take in that call.
[horn blares]
CASHIER: Hey, buddy!
Who's gonna pay for this?
JOEY INDELLI: Go!
[tires screeching]
[women screaming]
-Come on!
[women scream]
-Put your money on top.
Put money on top.
Put your wallet in the bag!
I told you not to move!
I told you not move!
Jewelry in the bag!
Jewelry in the bag!
Get over there!
[women screaming]
[gunshot]
DISPATCH (ON POLICE RADIO):
First MCU car on scene,
report in.
-Pauli!
Pauli!
Pauli!
Pauli!
Pauli!
-Back inside!
Back inside!
[cocking guns]
DISPATCH (ON POLICE
RADIO): Two jobs
at the same place, uh--
[continues talking]
-What you got in
there, Lieutenant?
-I don't know, Mike.
It's a madhouse in there.
Do you know who this crew is?
-You kidding me?
I haven't got a clue.
[voice on police radio]
BURGLAR: (SHOUTING)
I want some action!
-Lieutenant Mike Torello, MCU.
BURGLAR: I got serious
problems here, Lieutenant.
-Who am I talking to?
BURGLAR: I need
what I need, now!
I want a car, and I
want a million dollars
in cash, in front, right now!
-That's going to take some time.
BURGLAR: Say goodbye to her.
Say goodbye!
Say goodbye!
[gunshot]
[glass shatters]
BURGLAR: This is gonna take
her head off if you don't deal.
-Listen, don't
hurt those people.
Let them go and call
it the way you want.
-Torello, you'd
better deal, now.
-He's a psycho.
-I didn't notice.
Danny, get me a
squad car here, now.
I got a car on the way here now.
There'll be a plane waiting
for you at Northfield.
You take me with you
and let those people go.
BURGLAR: No!
The money!
The money!
MIKE TORELLO: It takes time!
BURGLAR: I'll kill her!
-Listen to me, you big dummy.
I'm a cop.
I make $12,000 a year,
and I'm the highest
paid guy on this street.
I got $3.65 in my pocket.
You want me to, I'll
take up a collection.
You want a million
dollars, you gotta wait.
BURGLAR: Don't jag
me on this plane.
-It'll be there.
[woman gasps]
[voice on police radio]
[woman cries out]
-Back off.
Back off!
[woman cries out]
-Hey, you.
You hurt anybody else,
when this is over,
I'm gonna find what you love
the most and I'm gonna kill it.
Your mother, your father, your
dog-- don't matter what it is.
It's dead.
Get the car.
[MUSIC GEORGE THOROGOOD AND THE
DESTROYERS, "LONG GONE"]
BURGLAR: The hell
with Northfield.
We're going to Milwaukee.
[woman screams]
-Shut up!
[woman screams]
I said, shut up!
Look back there.
I knew it!
-This'll slow 'em down.
[gunshot]
[gunshot]
[tires screeching]
[gunshot]
[tires screeching]
MIKE TORELLO: Wes.
What's happening, Wes?
WES CONNELLY (ON RADIO):
They're shooting the car.
MIKE TORELLO: Pull up.
Pull up. Get behind them.
[gunshot]
[tires screeching]
[gunshot]
[tires screeching]
[gunshot]
[cocks gun]
[women scream]
[gunshot]
[glass shatters]
[gunshot]
[glass shatters]
-Get out!
-No!
-Get out of the car.
Get out, now!
Get out!
Get out!
Get out there!
MIKE TORELLO: Walter.
Listen to me, Walter.
Pull up now, and
get in behind them.
Behind them, Walter,
and in front of me.
[tires screeching]
-Kill the lights, Danny.
Kill the lights and get
into the far left lane.
Closer, Danny.
Move it closer.
[woman screams]
Now!
[gunshot]
[glass shatters]
[tires screeching]
[metal scraping]
[gunshot]
[gunshot]
[gunshot]
[gunshot]
[gunshot]
[glass shatters]
[gunshots]
Get down from the window.
[music - del shannon, "runaway"]
[voices on police radio]
-We made the proper
notifications.
If we need anything else,
we'll let you know, all right?
-Mike, they're taking
that one over to General.
-Check that car, will you, Wes?
-What?
-Check out the car.
WES CONNELLY: Yeah.
OK.
-Mine's DOA.
Swept the backyard.
There's nothing we need.
-Guy you killed is an Indian.
-Indian?
-Yeah, like in Sioux or Apache.
Car was licensed
from New Mexico.
Says his name was
Billy Running Bird.
-Who the hell are these guys?
Who do we know that puts
down this type of action
and runs with an Indian?
-Got me.
-Check it out, will you?
-Sure.
-Joey!
Get back to that restaurant.
I don't want to
lose any evidence.
You understand?
What about that woman
on the, uh, trunk?
-She's in shock.
Maybe internal injuries.
[metal clanging]
WES CONNELLY: Damn dog!
[gunshot]
What are you doing?
Huh?
What do you just throw
people out of cars for?
What kind of trick is that, huh?
God--
-Hey!
Why don't you go get
unconscious for a while?
-Yeah.
Good idea.
[MUSIC JOHNNY MATHIS, "CHANCES
ARE"]
-Bourbon and water.
[sigh] Thanks.
-What's your name?
-Mike Torello.
Yours?
-Julie.
-Hi, Julie.
Are, uh-- are you alone?
-Only for the moment.
-You meeting someone?
-Yeah.
-As good as me?
-That's a tough call.
-Married?
-To an absolute animal.
-Your place or mine.
-Do I have a choice?
-Get in the car.
[voices on police radio]
[gun cocking]
BURGLAR (VOICEOVER):
I'll kill her!
[gunshot]
[groans]
DANNY KRYCHEK
(VOICEOVER): Mine's DOA.
[women screaming]
DANNY KRYCHEK (VOICEOVER):
She's in shock.
[women screaming]
BURGLAR (VOICEOVER):
Say goodbye.
Say goodbye!
[guns cocking]
[gunshot]
WALTER CLEMMONS (VOICEOVER):
Guy you killed is an Indian.
[breathing jaggedly]
-Hey, hey.
Michael.
How you doing?
-OK, Tom.
How are you?
Mwah!
-Michael!
-Anna, how are you?
How you doing?
I still see you're giving
away free candy, huh?
-Ah, I gave you
plenty in your day.
-Yeah, you sure did.
-Tom.
-How are you?
Mwah.
-Hi. Fine, how are you?
MIKE TORELLO: Whoa, whoa, whoa.
-Hey.
MIKE TORELLO: Wait a minute.
What's this?
What's this?
You in school?
-Yeah.
Yeah, I'm over at
Wright, taking a course.
How To Be a Millionaire.
ANNA O'DONNELL: See?
He's in college.
-That ain't work.
-Hey, my biggest fan, right?
Julie!
Julie.
Hey, you look like
a million bucks.
-Yeah, thanks.
-I figured you'd be coming by.
-Blackhawks?
-The playoffs.
-I didn't even know
they were still in it.
[chuckles] OK.
-What this I hear about
you going to college?
-Yeah, school, yeah.
I love it.
It's great.
-Great.
MIKE TORELLO: Hey, what
are you doing with my wife?
-You married this guy?
-I don't know sometimes.
MIKE TORELLO: Come
over here for a second.
You working?
I mean, straight,
everything legit?
-Yeah.
-Legit?
Yeah.
I got a job over the Ice House.
I'm legit.
-Yeah?
-Yeah, absolutely.
Hey, Julie, would you
take this guy out of here?
-Come on.
Let's go.
-Good to see you.
-All right.
JOHNNY O'DONNELL: Mike, don't
be a stranger, all right?
I'm gonna go, Ma, huh?
-OK.
-All right, so I'll
talk to you later on.
-All right.
Take care.
-Cheer up, Dad.
ANNA O'DONNELL: How'd you
know he'd be coming by?
-He always comes to see
you after the close ones.
PAULI TAGLIA: I'm where
I'm supposed to be.
Looking, watching,
everything's good.
Then out of nowhere, there's
heat all over the place.
So then they never come
out the door, right?
I don't know what
went down inside.
I already got a burglary beef
with that Torello from MCU.
And I hear over their air
that he's on his way over.
What was I supposed to do?
I held my position
as long as I could.
Wasn't my fault.
It was that crazy Indian!
-Who begged me to
hire the Indian?
-Ray, he had a major
reputation in Phoenix.
-This is Chicago.
And two guys I can
trust are dead.
As far as I'm concerned,
it's your fault.
-Ray, how many things
we done together?
Huh?
Haven't I always
carried my weight?
Aah!
-(SHOUTING) You should've
taken them cops out!
You gotta do whatever you
gotta do, you understand that?
-Ray, please.
Please, I'm sorry!
Ray--
-Hey, Ray.
-Hey.
Hey, Johnny.
How you doing?
Good to see you.
-Same.
-Hey, Ray.
-Hey, Ray.
RAY LUCA: Hey, guys.
Hey, Johnny, how's your mom?
-She's doing good.
-Listen, say hello
for me, all right?
-All right.
Why don't you stop by?
She'd love to see you.
-Yeah.
Yeah, sure.
Listen, uh, what's up, guys?
JO JO SWEENEY: Did you hear what
happened at Boyer's last night?
-They all got killed.
-Hey, I come that close.
That close.
-You were there?
-I don't know how I
got out of there alive.
-Hey, Ray!
[glass shatters]
-[inaudible]
-Ray, Ray, Ray, Ray!
Old business, Ray.
Old business.
Old business.
We got new business.
-What new business?
I don't like fish,
and I got work to do.
So what is it?
-Well, what it is is work.
There's $3 million in here, Ray.
-$3 mil, huh?
Where'd you get
these vault specs?
-Patent Office, Washington.
-How'd you figure out
this table of burn times?
-I'm taking a course
in metallurgy.
-Acetylene versus magnesium?
What's that?
-It's a burning bar
used for underwater.
8,000 degrees Fahrenheit.
Never been used
in a score before.
-OK, kid, I'm impressed.
So what's the score?
JOHNNY O'DONNELL:
You're looking at it.
Last page.
RAY LUCA: What do
you need me for?
JOHNNY O'DONNELL: Experience.
Primo and Sweeney are nice guys,
but I need a professional crew.
-My contacts to down it.
-Something like that.
-OK, kid, you're on.
--[inaudible], what
is it with this heat?
-Thermostat exploded.
Kramer's in your office.
-Oh, yeah.
Hey, Walter, call
Engineering, will you?
[laughs]
-Oh, man, I don't believe this.
You again?
-Caught him prowling.
-Ignacio [inaudible].
Take him out and shoot him.
That's how easy it is to
get you out of my life.
-Hey, [inaudible].
I was clean.
Hey, what are you doing?
-Well, boss says
I gotta shoot you.
You got any specific
place you want to die?
IGNACIO: Hey Comandante,
por favore, ah?
All right, you want
me to figure somebody?
I'll finger somebody.
You want the juice man, huh?
You got a lazy brother-in-law.
Your sister, my sister, anybody
except blood, capisce, paisano?
-Hey.
Hey, hey, hey.
What are your friends
going to say, huh?
What are your friends
gonna say when
they find out you're
a stool pigeon?
IGNACIO: Hey, that I can handle.
But you, you are a killer.
I can see that in his eyes.
-Did he take anything down?
JOEY INDELLI: No, but he
had enough equipment on him
to take the whole
block when we got him.
-I clean.
Innocente.
Believe me.
I never lie.
-You clean?
-I clean.
MIKE TORELLO: You clean.
-I clean.
-You clean the office.
Show him the cleaning supplies.
Then maybe I let you live.
-Mille grazie.
Mille grazie.
-It's an oven in here.
-Forget about those windows.
They haven't opened
in five years.
-What do you got on Boyer's?
-Nothing.
-You blew the guy
on the expressway?
-I was dealing with the moment.
-You haven't made this crew.
-Only the Indian.
-These are the kind of crews
we're supposed to be working.
How can I go upstairs and
tell 'em we got nothing?
My selling point to
get this squad started
was that we were gonna be on
top of this kind of thing.
-Look, when you brought me
into this unit a year ago,
you told me major crimes
only, Mike, the MCU.
Focus on high-line
crews, intelligence.
Major criminals.
Outfit guys.
Have you see what's
outside my door?
I haven't sat down yet.
-All right, all right,
I'm working on it.
-We got scorecards on most
of the independent crews.
What kind of scores
they're taking down,
who they're downing
the merch to.
The guys who took down
Boyer's are brand new.
-Maybe they're an outfit crew?
-I don't think so.
-Why?
-Too many wise guys eat there.
These guys are
operating on their own.
-Oh, this heat is unbearable.
Look, Mike, you gotta watch
what they now call an image.
"Daily News" is
treating the other night
like you're Billy the Kid.
-That's pretty accurate.
I felt like Billy the Kid.
-You had to blow 'em
away on the highway?
Was that good judgment?
MIKE TORELLO: I figured those
women had a better chance
in a car crash than they did
dealing with that crazy Indian.
CHIEF KRAMER: Jake,
where am I next?
JAKE (ON PHONE):
Where are you now?
-I'm over at MCU.
Look, these guys need
an air-conditioner here.
JAKE (ON PHONE): Hey,
we've got our priorities.
-Priorities.
[windows shatters]
Some vandal busted
Torello's window.
That makes this a priority.
Put your shirt in your pants.
And find out who's
running that crew.
[slams door]
[MUSIC JOHNNY PRESTON, "RUNNING
BEAR"]
MIKE TORELLO: You know this
guy?
BARTENDER: He don't
look too good.
-That's 'cause he's dead.
-Yeah, I know him.
That's Billy Running Bird.
-Hang around here?
-He used to tend
bar, once in a while.
-What can you tell us about him?
-Not much.
Hasn't been around
here in a long time.
-You know where he lived?
Anyone who knew him?
-Any employment records?
-No.
This place has changed
hands five times since.
But there used to be some white
boys coming in looking for him.
-Anyone you know by name?
-No.
-Would you recognize them
if you saw some pictures?
-Maybe.
-Here.
Take a look at these.
Don't figure.
-What?
-None of this.
An Indian taking down
that kind of action.
-It's 'cause someone
else is ram-riding him.
-Maybe.
Still, it doesn't
make any sense.
Feels to me like
someone's moving in.
-I'll get to the bottom of this.
You know this guy?
He's dead-- killed
by White Eyes.
You want to help?
[inaudible]?
-Uh, maybe this guy.
-Mike.
-The hell was he talking about?
MIKE TORELLO: You see
something?
Ah, maybe this guy.
I don't know.
-What are you-- what are you,
Crazy Horse or something?
-Easy, easy.
Relax.
Relax.
Take it easy.
Which guy?
Come on, which one?
-This guy.
Maybe.
Only maybe.
-Pauli Taglia.
Come on.
-What do you want?
-Need to talk to you, Pauli.
-About what?
Two of you guys?
-What have you been doing?
-Staying home.
Who wants to know?
-We want to know.
-You been working?
-Yeah.
I'm a pharmacist now.
What'd you do that for?
-You're pinched.
-For what?
-Eating with both hands.
Come on.
-Empty your pockets.
Now, on the table.
Come on, come on!
Get 'em up.
-All right, this
is embarrassing.
-Yeah, for me it's
lemon meringue, huh?
-Hiya, Pauli.
-What is this, Lieutenant?
-Boyer's.
-Boyer's what?
I don't know no Boyer's.
-Where were you
Monday night, Pauli?
-Home, watching skin
flicks with my wife.
-Spend a lot of time
with her, because you're
going away real soon.
-Come on, that burglary
beef's a nothing case.
-I can help you, Pauli,
but it doesn't come gratis.
-What do you want?
-Boyer's.
Whose crew?
Who put it together?
-I don't know no Boyer's.
Who is he?
-You were there, Pauli.
I know everything you do.
I even have to listen
to you when you breathe
hard at the [inaudible]
that you call.
-Come on, I don't know
what you're talking about.
-You want to help me, Pauli?
-Yeah.
Take some bread.
Let me walk on
that burglary beef.
I wasn't--
-It's too easy, Pauli.
I don't make deals like that.
I want to the boss on Boyer's.
Get him out of here.
-Who you taking?
-Come on.
Sit there, slob.
MIKE TORELLO: Sit down.
Tell me something I
already don't know.
-Uh, nothing on those
two dead guys yet.
Their prints went to the G.
-Uh, telephone
security sent a list
of Taglia's unlisted numbers.
MIKE TORELLO: Mhm?
Anybody interesting?
DANNY KRYCHEK: Oh, a
lot of them are legit.
Businesses.
They got one call from
a motel in New Mexico.
-What, the Indian?
-Anybody else?
-Ray Luca, Holman, and Incera.
MIKE TORELLO: Ray Luca, when
he's not out busting heads
for the juiceman, hangs
out out that social club
on Grand Avenue, day and night.
On the others, see how
they tie him to Taglia.
Some of them'll be legit.
-He don't know any
legitimate people.
-Don't we know this Holman?
-Holman.
Holman.
-Number turns up
two, three places.
-Wait, there was a Holman once.
Uh, uh, a real sicko, a
whacked-out home invader.
But I thought he was
still in the joint.
-Joey, cover the joint.
Taglia did short time.
Find out who his cellmates
were, who wrote to him,
we he wrote to, stuff
like that, all right?
Wes, you cover Holman.
If he's out and he
links up with Taglia,
it may lead us to whosever
running this crew.
You guys got it?
All right, get outta here and
get me something, will ya?
Anything.
Hey, Wes.
Wes.
What was that all
about the other night?
-Uh, just got a little scared.
-Any other problems?
-No, no, I'm OK, you know.
Good night's sleep.
-Find Frank Holman for me?
WES CONNELLY: Right.
-Right.
-Wha-- what's this about?
-He finished cleaning, so
we put him on clerical.
-I didn't know he could read.
[both chuckle]
-Yeah.
Well, Frank, I see
you're out of the joint.
Lovely as ever.
Wonder what bad news
you're up to now.
[gas hissing]
[music playing]
-Well, I guess it works.
Hooray.
-Let's go get it.
PHIL BARTOLI: (CHUCKLING)
That's a nice piece of work.
-OK, uh-- [clears throat]
are-- are we safe talking here?
-This is my home.
It gets swept every other day.
-Good.
OK, then, uh, you tell
me when you want delivery
and when I pick up my money.
-I got delivery.
I'll let yous know
when the money's ready.
-What's going on here, Ray?
-Isn't that a little
irregular, Mr. Bartoli?
-What, do you think
I reach in my pocket,
I pull out $300 grand?
-$300 grand?
This piece right
here is worth $300.
Wh-what-- what's the rest
of this stuff, pizza?
PHIL BARTOLI: Every cop in
town is looking for this stuff.
It's got to be moved
in just the right way.
There's risk, and
there's expense.
And you got a smart mouth, kid.
-And my smart
mouth is telling me
you're trying to stick it to me.
-Hey, who's your sponsor?
Who you connected with?
You guys are independents.
You are outsiders.
You don't waltz in
here the first time
and get a A-number-1 deal.
-Let me get this straight.
You want me to leave
the merch behind,
and then you're
gonna tell me when
and if I can pick
up my short money.
What, do I write this off
to bad experience, Ray?
-Easy, Johnny.
JOHNNY O'DONNELL:
"Easy, Johnny"?
40 cents on a dollar.
We had a deal.
I deliver the score.
He delivers the bread, right?
Deal's a deal.
-You don't shout in my house.
You get 10 cents.
You take it or you leave it.
-Wait.
Wait a minute.
-Yeah.
-Johnny!
Johnny.
-Yeah.
-Hold it!
Hey, Johnny, I said hold it.
Cool it!
Will you relax?
-Huh.
I am not gonna be pushed around
by that spaghetti in there.
I don't care if he
is Joe the Boss.
-Hey, think about it, will you?
Calm down!
-I just put down
the biggest score
this town has seen in years.
I did that, Ray.
Not him.
-Johnny, that ain't the point.
-What-- what is the point?
-Where are we gonna move this?
-My Aunt Catherine.
-Oh, come on, Johnny.
We don't know
anybody big enough.
And if we did, he'd
put the clamps on us.
-So then we pop the stones,
and we piece it out.
Where's the confusion, Ray?
-(SIGHING) Johnny, look,
let me work it out with him,
all right?
Let me handle it.
Hey, come on.
I'll show you my influence, huh?
Come on, calm down.
-$300 grand.
You heard him.
-Oh, right.
Gimme the-- gimme
the stuff, Johnny.
Gimme the stuff.
-You handle it.
-Yeah.
Go buy yourself a drink.
I'll call you later.
[bag clangs on table]
-Your friend's an idiot.
-To Johnny, respect and 25 cents
gets you a ride on the bus.
He doesn't understand
how these things work.
But, uh, you know this
score's worth every
dime of the 40% agreed to.
-So what?
RAY LUCA: So I think
that you're smarter
than offering us
the bottom price.
Look, you give us 15 cents
now, and then another 10 cents
at your convenience, if you
don't have trouble moving it.
-Why is that such a
good deal for you?
What if I stiff
you the 10 cents?
-You won't.
-Why not?
-Because you're going
to want my steady stream
of high-line merch, just
flowing across your desk.
-All right.
But I got a piece
of advice for you.
You stay away from that kid.
Talented, maybe, but
he's too much a hot shot.
[music playing]
WES CONNELLY: Hello, Frank.
[starts engine]
[bell dings]
[bell dings]
Ray Luca.
[speaking quietly]
-Lieutenant Torello, you
testified before the grand jury
that your search warrant
was obtained on the basis
of information from a
confidential informant.
Is that correct?
-Yes, it is.
DAVID ABRAMS: And you
qualify your informant
by citing prior cases,
according to your affidavit.
Now, in reviewing other
affidavits you've sworn to,
I see that you frequently
cite a confidential informant
as the basis for your actions.
-Informants are critical
to successful police work.
-So you use informants a lot?
MIKE TORELLO: Whenever
it's necessary.
-The same informant?
-I have several informants.
DAVID ABRAMS: Lieutenant, would
you produce the informant that
gave you the information
in this case?
-Well, that would
be dishonorable.
It's the same as the, uh, the
attorney-client privilege.
DAVID ABRAMS: Except that the
attorney-client privilege is
based on the attorney
actually having a client,
where in your case, the
police-informant relationship
is simply based on your say-so.
-Your Honor--
DAVID ABRAMS: If the
court demanded you produce
your informant, you could not
do it, Lieutenant, could you?
Even in dishonor, you could
not produce your informant.
JUDGE: Mr. Abrams,
do you have a point?
DAVID ABRAMS: I have more
than a point, Your Honor.
I have Lieutenant
Torello's informant.
This is your informant,
isn't it, Lieutenant Torello?
This illegally placed listening
device, taken from Mr. Taglia's
telephone by a telephone
security officer.
Your Honor, I submit this
as Defense Exhibit 15.
-What about it, Lieutenant?
-May I see that, Your Honor?
Your Honor, this isn't
the kind that we use.
This is a, uh,
transistorized D-19,
used exclusively by
the FBI, never by us.
They probably planted
it, uh, investigating
Taglia's link to the KGB.
-KGB?
-Well, it's strictly
speculation.
But word on the street
is that Taglia is selling
nuclear secrets to the Russians.
I mean, I don't know
how true it is, but--
-Your Honor, the man's a liar.
That is a complete lie.
MIKE TORELLO: Your
Honor, do I have
to suffer these
indignities, right
here in the halls of justice?
JUDGE: I think not.
Mr. Abrams, tomorrow
morning, 9 o'clock.
Show cause why you shouldn't
be held in contempt.
Court adjourned.
MIKE TORELLO: Thank
you, Your Honor.
-Torello.
Hey, Torello.
Who the hell are you?
You lied on the
stand, Lieutenant.
You didn't tell the truth once.
-That's not true.
I gave my right name.
Which reminds me-- how'd you get
this case in the first place?
-It's none of your damn
business how I got the case.
-You were doing all right
until you got emotional,
and then you lost it.
-I didn't lose.
We still got a trial, remember?
-I mean, even if
you cut him loose,
what do you think
you've accomplished?
He hits the streets
tomorrow, he does
the same thing all over again.
-So you lie to put him in jail?
-Oh, come on, Counselor.
Taglia was a bust-out
the day he was born.
This guy's been stealing
since he was in kindergarten.
Taking a girlfriend to lunch?
-[scoffs]
-Not bad, huh?
-I lost $3 million in
jewelry over the weekend.
I'm not saying that
Taglia was involved,
but if he wasn't,
he'll know who was.
I'm gonna squeeze him.
He scratches my back, I'm
gonna get a clear head,
and suddenly I'm
gonna be very helpful.
That's the way the courtroom
game is played around here,
isn't it, Counselor?
-That's not the way I play.
-Let me tell you something, pal.
Half the time, we don't know
which side the law is on.
That's the way the wheels of
justice turn in this town,
and they're the
only wheels we got.
You bet I lied.
You know, I wouldn't be wasting
my time telling you all of this
if I didn't think you
were my kind of guy.
You're working the wrong side
of the courtroom, Counselor,
only you don't know it yet.
You'll have to excuse me.
I got some police work to do.
ANNOUNCER (ON RADIO):
It's well hit.
It's going, going, gone.
Over the ivy, onto
Waveland Avenue!
Ernie "Bingo" Banks
hits a monster--
-Hey, Johnny.
-Hey.
-How you doing?
Hey, what happened?
-Banks just busted one.
-Good, I got the
Cubs giving two.
And I also got the bread.
I gave Holman his
and Taglia's share.
-How much?
-15%.
Cut up $450,000 five ways.
-That's all?
-That's it.
-We'll do better next time.
Give the man a taste.
He'll want more.
JOHNNY O'DONNELL:
I'll give him a taste.
RAY LUCA: Hey, Reno.
Let me have a scotch, and
a beer for my friend here.
[music playing]
-The O'Donnell kid.
What the hell's he
talking to Ray Luca about?
The hell is he--
SECRETARY (ON
PHONE): Chicago MCU.
-Yeah, Lieutenant
Torello, please.
SECRETARY (ON
PHONE): Please hold.
-Come on.
Come on, come on,
come on, come on.
[gunshot]
[thud]
MIKE TORELLO (ON
PHONE): Torello.
Hello, this is
Lieutenant Torello.
Who's there?
Hello?
Hello?
[door opens]
-Anything?
MIKE TORELLO: Hm?
-You got anything?
-No, I got nothing.
Connelly was doing
a work-up on Holman.
Holman was in court with
Taglia, so it wasn't him.
Connelly got on to
something, and I
haven't got a clue
as to what it was.
-What, nothing written
on his papers help?
-Nothing.
-Wires crew?
Uh, museum score?
-I don't know.
CHIEF KRAMER:
Shake it off, Mike.
Make it go away with work.
That's the best way.
-Chief.
-How's Grossman gonna work out?
-Fine, I guess.
[door closes]
WES CONNELLY (VOICEOVER):
I lost control, Mike.
I keep forgetting the rules.
When we were coming up, remember
what Kramer would always say?
Control the case.
Don't let the case control you.
Well, it's all
running me now, Mike.
I've lost control.
It's just them versus us,
and I want 'em so bad.
[sighs heavily] I guess what I'm
saying is I'm burning up, Mike.
I want out.
[MUSIC BEN E. KING, "STAND BY
ME"]
[glass shatters]
[sobbing]
BURGLAR: Come on, now.
Let's go.
Hurry it up.
-Phil Bartoli isn't
going to like this.
-Never heard of the man.
-He's my partner in this joint.
[glass shattering]
BENNIE PRIMO: Bartoli's place?
What do you gotta
be a cowboy for?
You're nuts.
Nuts.
Look what you've done to us.
-My gift to you guys.
-Hey, who wants it?
We don't need that kinda heat.
-We gotta get out of town.
-Yeah.
Bartoli's place.
And you knew it!
You off your nut or what?
-So where's the
connection, boys?
How'd he gonna know?
BENNIE PRIMO: He's gonna know.
-You gonna tell him?
You?
I'm not gonna tell him.
He knows nothing.
Nothing.
[jazz music playing]
-It's nice being just the
two of us alone, you know?
-Yeah, we should
do it more often.
-Nice birthday, Ray.
Ray?
Do you ever want to
get out of Chicago?
-Carlo, uh, go into
my office and get
the envelope on my desk.
Hey, how are you?
-Phil, good to see you.
-Hey.
How'd you enjoy your dinner?
-Oh, Mr. Bartoli, it was great.
This is my wife, Cori.
Mr. Bartoli.
-Nice to meet you.
-Hello.
-Beautiful.
This is my place.
You like it?
-It's our first time here.
It was great.
-Should've told me
you were coming.
I would've done something
special for you.
This is where you should put
your money, in investments.
You know how much income a
place throws off in a year?
I like you, Ray.
You got a wife.
You're not some jamook.
I bet you figured you
were never gonna see that.
-Mr. Bartoli, keep this.
I want to invest
my money with you.
-What'd you have in mind?
RAY LUCA: Juice.
Let it ride with your
cash on the street.
-You're a smart guy, Ray.
But it ain't so smart,
being so independent.
I got guys all over the city.
Their only job is
to keep me clean.
I got the courts.
I got the districts.
I got it covered.
I could make that
protection available to you,
if you were interested.
-Yeah, I'm interesting.
PHIL BARTOLI: But you
gotta understand--
in an organization, it's
the guy on the top who
makes the decisions.
-I know how it
goes, Mr. Bartoli.
-Think you're ready to move
up in the world, hey, kid?
-Time's right for me.
PHIL BARTOLI: Yeah?
Three punks hit a joint
of mine on the Gold Coast.
Like they think I'm not gonna
find out who did it, right?
Like they're gonna
steal from me.
Think you can handle that?
-You got it.
It's done.
-One of them was your
friend O'Donnell.
CORI LUCA: [clears throat]
-Ah.
Carlo.
Get these two
drinks on the house.
-OK?
-Yeah.
Let's go.
-(SHOUTING) OK, everybody up!
Against the wall, now!
Now!
Move it, four-eyes!
Let's go!
Up!
Hands up!
Face the wall!
Face it!
[gunshot]
Come on!
[gunshot]
[flash pops]
-Looks like a Jackson Pollock.
-Pollock?
He an outfit guy?
-No, he's an artist.
He used to paint
stuff like this.
-Yeah?
Got a sick mind.
-Anything taken?
-Nothing.
This is a hit.
-It's a message.
From somebody to somebody.
-Who to who?
[inaudible]?
Local guys ain't gonna
be hanging around
with the kind of heat
this is gonna generate.
You got anything on these guys?
-No IDs.
No faces.
WAITRESS: I know 'em.
-Who are they?
-Bennie Primo and Jo Jo Sweeney.
-Where do you know them from?
-Come in here all the time.
Usually with this other guy.
-Who's the other guy?
-Johnny O'Donnell.
-Thanks.
-Tommy, put some money down.
Oh!
[tires screeching]
Mike!
How you doing, Mike?
-What are you doing, huh?
What do you think you're doing?
-What are you--
-What do you think you're doing?
-Wait a minute.
Come on, my friends are gonna
think I'm one of your rats.
-Oh, yeah?
Why?
What, you got something you
want to rat about, Johnny?
-Aw, that's not what I'm saying.
-What are you saying, Johnny?
-This is just a patch, Mike.
Why do I have to
explain this to you?
I--
-You're blowing it Johnny.
You got a chance to get
out of this neighborhood,
and you're throwing
it in the toilet
because you're in
love with the flash.
-Lay off me, Mike.
-You're putting on
scores, aren't you?
-Right.
Right.
-(SHOUTING) You are, you punk!
JOHNNY O'DONNELL: Huh?
-You're a smart kid, Johnny.
Think.
Flash now, pay later.
You're gonna ruin
your life, and you're
gonna end up in
the penitentiary.
Let me tell you something else.
It doesn't matter
what me or my guys
think about your
mother or father.
We get you in a
score, we're gonna
blow your socks right off you.
You got it?
-(LAUGHING) How you
gonna do that, Mike, huh?
I'm the best.
Shadow and glass.
There and gone.
The best in Chicago.
-Oh, yeah?
Oh, really, smart guy?
Sweeney and Primo are dead.
They're mopping their faces off
the floor at Jeep's right now.
You wanna go look?
(SHOUTING) You wanna go look?
The Levin's score?
Three guys put it down.
You know that Phil
Bartoli's on of the owners?
He evens up on his own, Johnny.
Is that why Sweeney
and Primo bought it?
Is it?
Is it?
-Are you arresting me, Mike?
-(SHOUTING) I don't know what
I'm doing with you, you punk!
-Uh, well, why don't
you make up your mind?
How 'bout that?
-You want to put
somebody on him?
-For what, Danny?
You heard him.
Shadow and glass.
There and gone.
Let's get out of here.
What are you looking at?
[jazz music playing]
-Be right back.
David.
-Dee.
-How you doing?
-I'm fine.
How are you?
-Come here.
I want you to meet somebody.
Come on.
This is a good friend
of mine, Ray Luca.
David Abrams.
Went to law school together.
-How you doing?
-Very well.
-What are you drinking?
-Gin and tonic.
-Gin and tonic over here.
-Your dad well?
-Good.
-Yeah, I was here one night,
Art Farmer and Charles Mingus
showed up.
It was fantastic.
-I like the new players,
guys just coming up.
-You're the attorney who
represented Pauli Taglia.
-I still do represent him.
-You didn't do too good.
-It was an evidentiary hearing.
It'll be appealed.
I'll win.
-We had to reach out to
some top money people
to be assured that case
came across your desk.
DEE: It's only the
first step, Ray.
Don't worry.
David'll do fine.
-Tell me, if these people are
such hot shots, how come they
didn't hire a top
gun like his father?
-You think a jury's gonna
believe a newspaper truck
driver if he shows represented
by a top money guy?
[laughs quietly]
From the way Dee
talks, you belong
with him instead of
the public defender.
Why don't you give
yourself a chance?
Make some bread?
-Why you so interested
in my career?
-I hear you're real aggressive.
[laughs]
Got lots of talent.
I could use a good attorney
with some street smarts.
Besides, we both like
the same kind of music.
-Maybe that's as far as
the resemblance goes.
-Maybe.
Maybe not.
MIKE TORELLO: You know, every
time I see you get all dressed
up, my first thought
is to undress you.
JULIE TORELLO: Can you
get that zipper for me?
Hey, cut it out.
Come on.
Michael, we're gonna be late.
[phone rings]
Hey, are you gonna answer that?
-Mmm.
Hello?
Where?
I'll be right over.
-Mike, who was it?
-It's the O'Donnells.
-Can't it wait?
-Some animal beat
up Tom and Anna.
JULIE TORELLO: Oh my god.
-All they wanted was Johnny.
I'm not gambling anymore, Mike.
They're gonna hurt
him because of me.
-I got here as fast as I could.
MIKE TORELLO: They came
looking for Johnny.
I'm gonna have one
of my guys come
down here, and an
ambulance, too.
JULIE TORELLO: I'll take
them to the hospital, Mike.
Go ahead.
Try to meet me at the wedding.
-We're all right.
-You let a doctor tell
you that, all right, Anna?
Let's go.
-Wha-- aah!
Aah!
What are you doing?
[grunting]
MIKE TORELLO: I'm where you go.
And if anything else
happens to the O'Donnells,
I'll be the last
thing you ever see.
[cocks gun]
-[whimpers]
-Huh?
-[gasps]
-Let's go.
BARTOLI: [shouts]
[shouts]
[screams]
[MUSIC SAM COOKE, "TWISTIN' THE
NIGHT AWAY"]
[applause]
[MUSIC JACKIE WILSON, "DOGGIN'
AROUND"]
-Two ball, corner pocket, blind.
[laughter]
NATE GROSSMAN: We did that once.
We were working this
too-cool home invasion team.
Nothing for months.
-Hm.
-We got it narrowed
down to three guys.
One night, they do a
job, and boom, one guy
falls out a window,
breaks his neck.
So we figure-- we figure the
other guy, whoever he is, he's
gonna retire till, uh, he
finds himself another partner.
We don't want to kiss
off all our work.
So we pull the stiff
out of the cold vault.
[laughter]
And he's totally blue.
And we-- we tie him up to
a hand dolly with a broom.
And, uh, we wheel him up
to one of the guys' door.
He's like this.
[laughter]
I ring the bell.
Four of us against the wall,
our pieces up, and we all shout,
confess!
[laughter]
-Did he confess?
-Did he confess?
I think the guy was
the sole consumer
of prune juice in Cook County.
[laughter]
Turns out it's the wrong guy.
-Wrong guy?
-Yeah.
But he's so gone from
this, he confesses
to a dozen gas station
stickups in Ohio.
[laughter]
[music the platters, "only you"]
-Ooh.
Is he serious?
-Mm.
-I like to dance.
I love to dance,
actually. [giggles]
I used to dance professionally.
Do you?
[giggles]
What is it you like to do?
-I'd love to strap you
on and go ice skating.
But I'll settle for dancing.
[giggles]
[hums]
[giggles]
[hums]
[giggles]
-Oh!
You feel nice.
-What I feel is wobbly.
-Oh!
Just lean here, sweet thing.
I'll keep you up. [giggles]
-Joey?
Joey.
What's your name, honey?
-Lianna.
-Lianna, this is Joey.
-How you doing?
-Joey, this is Lianna.
Congratulations, kid.
I gotta get some air.
LIANNA: You're practically
brand new, aren't you? [giggles]
-How's Tom?
-He's OK.
-Good, good.
-What happened to you?
-Where the hell you been?
-You're drunk.
MIKE TORELLO: I'm drunk?
You're drunk.
It's 4 o'clock in the morning.
-I don't see you in pajamas.
You smell like the makeup
counter at Woolworth's.
Where were you?
Out catting around while I
was at your family's wedding?
-I was there long enough
to see you rubbing up
against that jerk,
in public, in front
of half the friends
I've got in this world.
-You're crazy.
MIKE TORELLO: Crazy?
You're not going anywhere.
-Don't you touch me.
-I can't touch you, and he
can dance in your dress?
-I said don't touch me!
I'm your wife.
I'm not one of your collars.
-And his mistress!
Who is he, Julie?
Who is he, because
I'm gonna kill him?
-Who is who?
-The dead man from
the dance floor.
Who is he?
-Andy Torello.
Your cousin.
-Little Andy?
Little Andy was
coming on to you?
-He's 23 years old.
He'd come on to a collie
if you put it in a skirt.
You hurt me.
Look at me, I'm shaking.
What's happening to us?
-Look, Julie, I'm sorry.
I'm really sorry.
-Yeah, yeah.
-Julie, I swear.
I love you.
I honestly believe
that I saw you being
passionate with
another man tonight.
Do you know what does to me?
-You know what that does to me?
-I felt dead inside,
seeing you with him.
-(WHISPERING) Michael.
Oh, Michael, don't do that.
Oh, my head hurts.
-Well, it should hurt.
You were bombed.
-You don't look
too good, either.
-I feel like I
should be embalmed.
-I wish you'd have stayed
at the wedding last night.
Can't believe you
just walked out.
Normal behavior for you would
have been to beat him up.
-I wanted to talk, not fight.
-Talk about what?
-Not now, Julie.
Even my hair hurts.
-About what?
-Hey, I'm trying to
make a move here, Julie.
-Michael, come on.
Please tell me.
-Us.
The job.
Kramer keeps telling me that
this is a high profile unit,
that I have to watch our image.
I should care about an image
when I got a kid like Johnny
O'Donnell going down
the toilet, and I
can't do a thing about it.
When I come home,
I got nothing left.
-You had plenty left last night.
-Nah, I mean inside.
-I know.
-O'Donnell's into something
deep, and I gave him the slack.
-You can't blame yourself
for what he does.
You're not his keeper.
-Self-appointed.
-Yeah, to all of Chicago.
Sometimes I hate you for it.
[sighs]
Then it goes away
with knowing you.
And the love's still there.
Besides, they haven't invented
the hard time we can't handle.
-Can we fool around again now?
-Want to see our next score?
-Yeah.
Burnett's Department Store.
Aw, come on.
You're nuts.
A place like this?
JOHNNY O'DONNELL: Nothing to it.
Easier than getting in a museum.
Little tougher getting out.
It's all in the book.
--[sighs heavily]
But, you know, kid,
you could buy yourself some rope
if Bartoli got back his merch.
That was a crazy move, Johnny.
-Bartoli, Ray.
You should've
stayed independent.
-Will you listen to me?
I think I can help you.
JOHNNY O'DONNELL:
You're gonna help me?
-Yeah, look, I'll make the deal.
I'll get him to stay cool.
-Stay cool.
Hah.
You think I'm afraid of him?
-Aw, come on, Johnny.
Nobody said nothing
about being afraid.
Look, I want to keep you alive.
Breathing.
Hey, we got good
things going, Johnny.
-Yeah, and they're gonna
stay going good, too.
-Hey, come on.
I'll square it for you.
Let me show you
my influence, huh?
[chuckles]
-Where have I heard that before?
RAY LUCA: Yeah, go ahead.
Make jokes, Mr. Smart Guy.
Tell me, where
else you gonna go?
-I'll be right back.
[knocks]
(SHOUTING) Hey, Jack.
You wanna get that meat for me?
Hey, thanks a lot.
Have a nice Easter.
That's prime sirloin.
Let it thaw, all right?
Stones are inside.
And I hope Bartoli
chokes on 'em.
Second rate, anyway.
We got a deal?
-Yeah.
We got a deal.
Johnny, I'm glad to see
you handle it this way.
Now you're using your head.
JOHNNY O'DONNELL: Yeah,
well, I'm glad you're glad.
[laughs]
-Hey, this car rides beautiful.
Hey, can I try it?
-Wanna take a spin?
RAY LUCA: If you don't mind.
-Nah, I don't mind.
-Listen, pull over, over here.
-Sure.
Hey, no hot rodding.
-Don't worry.
I'll go easy.
[gunshot]
-Ray?
What are you doing?
-I'm starving.
I could eat a horse.
-This time of night?
Ray, what are you doing?
-Go back to bed.
-Ray.
You all right.
-(SCREAMING) I said
get out of here!
-Johnny.
Who do this to you, Johnny?
Tell me, Johnny.
Johnny, listen to me.
Just don't die.
Why didn't you
listen to me, Johnny?
Who did this, Johnny?
Tell me.
-Luca, Mike.
Luca.
-Johnny.
Who killed Wes Connelly?
Who killed Connelly?
-Mike.
Mike.
-His personal things.
It's part of the museum score.
Glove compartment of his car.
-John?
-(SHOUTING) Nurse!
-Johnny?
Johnny?
ANNOUNCER (ON TV): Ralph Baldwin
has Speedy Scot in front by--
PHIL BARTOLI: Come on, Florlis.
Here he comes.
Come on, Florlis.
He's coming out.
He's on the outside.
Come on, come on, boy.
Here he comes.
Come on, come on.
Come on, come on.
He's going.
He's going.
He's going.
ANNOUNCER (ON TV): It's
Florlis on the outside--
PHIL BARTOLI: Come on, Florlis!
ANNOUNCER (ON TV):
The driving finish.
Florlis getting up
to win the first--
PHIL BARTOLI: All right.
All right!
Haha, that's good.
Good man.
Look at him.
Give me a light.
Let's get a drink.
ANNOUNCER (ON TV): 1:57 and 3/5.
A new world record for
three-year-old trotters
by Florlis, the powerful
son of Florican.
Owned by the Arden Homestead
Stable of Goshen, New York,
Florlis chopped almost a full
second off the old world--
-Salut.
-Got a major score coming up.
It's a half mil in cash.
-Great.
Only half the time with a dream
hit, somebody's blowing smoke.
-This is for real.
It's solid.
-You think so, that's
good enough for me.
-I think so.
I got another idea, Mr. Bartoli.
Why don't you fence
the whole city?
-What are you talking about?
-Put a lock on it.
You know, muscle the
independent crews.
Anybody puts down
a score in Chicago,
they fence through you, or
they don't fence at all.
Or they don't live too long.
-Hm.
-Even the cottage thieves
would have to go through you.
-Who needs the small stuff?
-World works on small stuff.
You know how much money
there is in a trailer-load
of cigarettes?
It's the $2 window that
keeps that place pumping.
-Maybe you're right.
Look, uh, after
Easter, I want you
to meet an important
man down in Florida.
Just 'cause a score
goes down in Chicago
doesn't mean we
gotta move it here.
And if the vine goes up,
there's plenty of money
down south for the big
stuff, or for big loads
of the small stuff.
Speaking of which,
uh, I got my goods
back from the O'Donnell kid.
So, uh, forget about him.
He's nothing.
Let him live.
-Good thinking.
[organ music playing]
(WHISPERING) I'm sorry.
-The Dancer.
-South side wire rooms.
Late '40s, '50s.
Is he the Dancer?
-Abrams.
-Abrams.
-He's my father.
-Does all of this
lead you to Taglia?
-Just the opposite.
I've seen all the justice
money can buy my whole life.
But all this leads
me to is who I'm
mostly interested in defending.
People who live on the
wrong side of town,
got the wrong color skin,
speak the wrong language.
Taglia's case was
dumped on my desk.
-Then get Taglia to roll over.
-I don't care if Taglia's a
mass murderer or a war criminal.
He's entitled to a defense.
That's me.
I am the defense.
I'm not going to give
you an inch of Taglia.
-Why not?
-Because that's my job.
-And my job's my job.
-You killed O'Donnell.
I bury you.
I'll bury you.
-You rat!
I didn't see nothing!
-Who was with him at the museum?
By the time I'm
through with you,
you're gonna beg
me to go to jail.
Who else was there?
-You know what you're asking me?
-(SHOUTING) I'm not asking
you, I'm telling you!
I'll kill you right now, Pauli.
-Aah!
-I'll kill you.
Who else?
-Luca, O'Donnell, me, Holman.
-Who killed Connelly?
Who killed him?
-(SCREAMING) I don't know.
-Who had him on
the museum score?
-Luca!
Luca!
-What's next Pauli?
-Oh, god, please!
-I'll kill you, Pauli?
What's next?
-Burnett's!
Burnett's?
MIKE TORELLO: When?
-Good Friday.
Good Friday.
-Tall or heavy?
Tall or heavy, Pauli?
-Heist, 10 minutes
before closing.
Please.
Please!
-Make sure it happens, and
make sure Luca's there,
or I'm gonna come
looking for you, Pauli.
PAULI TAGLIA: What about me?
-What about you, Pauli?
-I'm gonna be there!
-Wear a white hat and pray.
Pray and hope that I remember.
Give me the details, Pauli.
Oh, god!
Six in 10 minutes
before closing!
MIKE TORELLO: What else?
-They're gonna take
the guy in the vault.
No!
Oh god, no!
Oh, no!
[coughing]
Oh!
[panting]
-Who hits a place like
this on Good Friday?
-Ray Luca.
-Moving up in the world, huh?
-It's gonna be his last move.
[knock]
this is where it happens.
Luca'll get the drop on him.
30 seconds later, the guards'll
come through the door.
Luca's got to be here first
to get the drop on the guards.
Pick-up is at 5:10.
Luca's got the guards,
takes their keys.
Time lock pops.
He opens the safe.
The rest of the cash is ready.
Two minutes of risk,
and it's all over.
-The only negative exposure
they got is from the timing.
They nail this guy till
guards walk through the door.
-Luca's got to be here
before the guards.
-It ain't just Luca, Mike.
Come here.
Are you leveling with me?
Is there something
you're not telling me?
-Luca killed O'Donnell.
-Now, how do you know that?
-He told me in the hospital.
-Let's get a warrant.
We got a dying declaration.
-We'd get laughed out of court.
We take him in the count room.
When Luca opens that
door, he's gonna
get the surprise of his
life-- me and Walter Clemmons.
-I want to be in there.
-I need you on the outside.
Look, Danny, if Luca
comes out of that door
and I don't, he's all yours.
-Check out the guy coming in.
I made him.
It's Holman.
-Damn.
Damn!
-Mike, the armored car's early.
It's 5:06.
-Walk away.
They're here early.
We can't be in there that long.
-Come on, let's go.
It's over.
Let's go.
-Get away from me.
-Come on, Babe.
We'll get it another time, huh?
-You don't get this
close and blow it off.
-Babe, come on.
It's over.
Babe.
-(SHOUTING) Straight ahead!
-Hey, easy with that gun.
-(SHOUTING) I said, move it!
[gunshot]
[women screaming]
[gunshot]
[women screaming]
[gunfire]
[woman screams]
-(SHOUTING) Stay down!
Stay down!
[gunfire]
[women screaming]
[gunfire]
[glass shattering]
[gunfire]
[women screaming]
-Get down!
Get down!
[women screaming]
[gunfire]
[screaming]
[glass shatters]
[screaming]
-Get down!
Get down!
Get out of here!
Get out of the way!
[screaming]
[gunfire]
Where's Luca?
Get some ambulances and
get some help over here.
Get out of the cab.
Get out.
Get out of the cab!
[tires screech]
-Where'd those cops come from?
-I don't know.
It was like the Fourth
of July in there.
[cocks gun]
-We can take him in.
Conspiracy.
-Worthless.
-Mike.
It's murder.
-You posing for pictures, or
you gonna pull the trigger?
[gunshot]
-See how easy it is?
How really easy it is?
When I take you down, I'm
gonna take you down right.
I'm gonna take you
down all the way.
CORA LUCA: This is it.
Sun, and this air.
I don't need
anything this grand.
-Why not?
Things this grand go with
your husband's future.
Tell Phil Bartoli I'll
move all your merchandise.
I've heard good
things about you.
-Cheers.
-But one thing I learned
early on, you should know.
This is a business.
And like any other business,
it has managers and mules.
You are a good manager.
You can pull together and
maintain a tight organization.
So why do you take
an unnecessary risk
by getting yourself personally
involved in the score?
You're a manager.
Manage.
Leave the streets to the mules.
Stay out of the cops' faces.
Management is a boring business
when you first start out.
But believe me, when you
make your first big deal
and it's your own,
nothing like it.
Makes the edge you get on
a score feel like nothing.
And you'll never
again have to worry
about those overzealous
prosecutors, or those elite law
enforcers like the FBI, the MCU.
They are out of your life
when you're at the top, Ray.
And even when they know who
you are, they can't touch you.
You are invisible.
The MCUs, they come and go.
We go on forever.
Beautiful, isn't it?
-Yes, it is.
Salut.
-That's where we all come from.
Except the Indians.
And the Indians are unreliable.
-You're a very wise
man, Mr. Weisbord.
-Thank you, Ray.
DANNY KRYCHEK: You and
me should go get a tan.
-Sooner or later, Danny.
One way or another.
He's all mine.
[music - del shannon, "runaway"]