Screenplay

 INT. 1920'S NEW YORK RESTAURANT.EARLY EVENING.

SARA and the DON are sitting opposite each other at a round table in the corner of the restaurant.

                SARA

        (wearily)

    Why have you called me here tonight, I did what you asked, I made sure he was dead?

                DON

        (smirking slightly)

    Dead, more like destroyed. I'm impressed. However, you still owe me majorly. I got you out of that shitty orphanage, I've given you a family.

                SARA

        (with a subtle hint of fear)

    I understand that and I'm appreciative but I don't quite understand why I always have to do everything so brutally, I'd rather slowly torment them and make them suffer, pleading so hard that they're gasping for breath.

                DON

    Exactly you and I share a bloodlust, that is a rare thing to find in an industry like this these days. However, death shouldn't be your main concern in this particular task, your main concern should be staying alive yourself.

                SARA

        (inquisitively)

    What do you mean?

                DON

    Well, let's just say some of our 'distant relatives' have been pissing me off, so you and TOMMY are going to infiltrate their latest, acquisition.

                SARA

    What the fuck? That's not possible, that's just a Deathwish, do you realize how many of their goons guard that vault.

                DON

    How hard can it be you guys are pro's? Look, if they can rob and takeover a bank you sure as hell can, anyway you know they won't be there, they don't do their dirty work themselves.

                SARA

        (so quite it goes unheard by the DON)

    Neither do you

                DON

    If they get in your way kill them and their fucking families I don't care, just make sure you guys secure the shipment, without getting killed or leaving a trace, oh and make it quick, the package is due to arrive at 5pm, no later.

                SARA

        (voice slightly raised)

    How can we not leave a trace it's a fucking bank vault?

                SARA

        (almost whispering now)

    Look, consider it done just don't expect it to be the cleanest of job's.

                DON

    Fine, just make sure all the dead are their relatives and not ours and whatever you do make sure all the package is collected or you'll wish you were dead.

                SARA

    Of course.

SARA stands and leaves the restaurant in almost a frantic hurry.

EXT. 1920'S NEW YORK RESTAURANT. DUSK

SARA stands with her head in her hands looking dejected and overwhelmed.

                SARA

        (deflated)

    What the fuck?

SARA hears footsteps approaching and looks up to see OFFICER ELLIOT, before she can even react she is pulled into a neighboring alleyway.

EXT. ALLEYWAY. DUSK.

OFFICER ELLIOT and SARA are leaning against a wall in the alleyway.

                OFFICER ELLIOT

    Well, how did it go?

                SARA

        (voice slightly raised)

    He wants me to rob a fucking bank, tomorrow, so how the fuck do you think it went. I'm in too fucking deep with them now so unless you actually keep your promise and help me I'm done. I'm sick of being your pawn, you want them, you get them.

                OFFICER ELLIOT

        (shushing her)

    Keep your voice down, we're in the middle of Brooklyn, you can't just go shouting about robbing a bank. You want them just as much if not more than I do, or have you dropped that whole ' I want to avenge my parents act'.

                SARA

        (bitterly)

    Of course I haven't

                OFFICER ELLIOT

    Exactly, if you want them gone, you need to help us.

                SARA

    Fine but you need to help me because soon I'll be fucking six-feet under and instead of standing at a stupid family funeral, they'll all be standing at mine, reminiscing about another family member, lost at the hands of war.

                OFFICER ELLIOT

    Okay, fine, we'll help you more. Do they know you're working with the FBI?

                SARA

    Not that I know of but the DON knows fucking e

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verything about everyone, I'm terrified that they know or that they're going to find out.

                OFFICER ELLIOT

    We'll try and help you as much as we can, look I'll try to get people there tomorrow to help you but if you really want to buy their trust I'm afraid that for now you're going to have to do what they want.

                SARA

        (almost crying)

    Fine, I'm just sick of acting like a psychopath, I'm sick of acting evil and acting like I enjoy torturing people, when in reality all I'm doing is torturing me.

                OFFICER ELLIOT

    You'll get through this I'll make sure of it, now get out of here before the DON packs up shop for the day.

Without another word OFFICER ELLIOT leaves SARA alone in the alleyway, she takes a few deep breathes then leaves the alleyway and hails a passing taxi before slowly getting in.

INT. SARA'S HOUSE. LIVING ROOM. EVENING

SARA dramatically sits on her sofa with a beer in hand, she leans forward and grabs a picture of her parents on their wedding day off her coffee table

                SARA

        (Sobbing, almost wailing)

    I'm so sorry

EXT. RIVAL FAMILIES BANK BACK ENTRANCE. MIDDAY

SARA and TOMMY are trying to formulate a plan on how to carry out the task at hand. TOMMY a man in his mid-forties appears to be a bit of a wild character, he has a Cuban hanging out of his mouth and is just holding his tommy gun like it's a toy, he's dripping in jewellery and is wearing a pin stripe suit that is far too tight for his stomach.

                TOMMY

    So, what do you think about this, we storm in and kill all the motherfuckers?

                SARA

        (Looking at him as if he's stupid)

    That's it, that's your fucking plan, do you not think other people will hear you you idiot and think hmmm them bullets are a bit out of fucking place.

                TOMMY

    Well do you have any better ideas, all we have are shitty tommy guns, it's not like we have a fucking army.

                SARA

        (obviously thinking)

    Look, we want to try not to shoot at all, so how about this, we go in together act all superior and nonchalant then we go downst, no that's fucking stupid, think SARA, ah, yes, I'll go in and try to distract the bank teller, wait a minute or two, then you come in, by that time I would've caused a commotion so that all the employees are around me, that gives you enough time to try and find the stairs down to the vaults.

                TOMMY

    Fuck, you're good, I could never think that quickly, but do you really think this is going to work though and what about me, are you just going to leave me down there like an idiot?

                SARA

    No, I don't think it'll fucking work and no you fucking idiot I'm not going to leave you, I'll leave through the front and come find you through the back, I mean I already know where the back entrance is, we're standing right in front of it.

                TOMMY

    Okay, lets go. I mean it's the best idea we have.

SARA and TOMMY leave the back entrance and begin to approach the front of the bank

EXT. BANK ENTRANCE. MIDDAY

                SARA

        (towards TOMMY)

    Right wait a few minutes then come in, just make sure you don't come in all guns blazing I know what you're like, if things start to go, unfortunate, feel free to go all fucking trigger happy.

                TOMMY

    Ok just make sure not to get all psycho like you do.

                SARA

    I'll make sure of it

SARA turns around and slowly begins to walk into the bank, whilst TOMMY is waving his gun around in the air.

                SARA

        (under her breath)

    Yeah because I'm definitely a fucking psycho

INT. BANK RECEPTION. MIDDAY

SARA slowly approaches the front desk, obviously nervous she begins to look around the bank in order to survey the scene.

She approaches the teller at the front desk and begins to try and distract them.

                SARA

        (towards the BANK TELLER)

    I wish to make a rather sizable withdrawal.

                BANK TELLER

        (towards SARA)

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    What's the name?

                SARA

    ANGELO SALIERI.

                BANK TELLER

    Unfortunately Miss..

                SARA

    SCALETTA

                BANK TELLER

    Unfortunately Miss Scaletta, I cannot permit you access to Mr Salieri's account, as he's not here with you it goes against confidentiality laws.

                SARA

        (starting to put on the act of getting annoyed)

    No, you don't understand Mr Salieri is my father, he recently passed and I'm here to collect my inheritance.

                BANK TELLER

    Do you have a copy of the will on you Miss Scaletta?

                SARA

    No

                BANK TELLER

    Unfortunately then, I can't grant you access to Mr Salieri's funds.

                SARA

        (now shouting)

    Are you being fucking serious? I've just lost my father and you're not letting me collect what's mine.

Employees and customers alike begin to look over at the commotion, at this time TOMMY slowly enters the building, noticing the commotion he quickly looks around the room and notices a staircase leading downwards on the left hand side of the building, whilst making sure that nobody is looking he successfully descends the staircase.

                SARA

        (notices TOMMY going down towards the vault in her peripheral vision)

        (screaming)

    Why are you doing this to me?

                BANK TELLER

    Look Miss Scaletta, I'm very sorry for you loss but unfortunately I cannot grant you access.

                SARA

    Fuck this.

SARA dramatically storms out of the building, once outside she makes sure to walk away until she's no longer noticeable through the bank's windows, before sprinting towards the bank's back entrance, she quickly opens the door and run's down.

INT. BANK'S VAULT CORRIDOR. MIDDAY

SARA runs further down a long corridor looking left and right before stumbling across TOMMY standing over a knocked out guard.

                TOMMY

    What took so fucking long?

                SARA

    Look do you want it done quick or do you want it done fucking right.

                TOMMY

    Alright I get your point, but next time be quicker, I've had to knock everyone out because you and your dumbass attitude said I can't shoot.

SARA looks down the corridor and notices that the only person TOMMY has knocked out is the one guard he's standing over.

                SARA

    You've only knocked one out you idiot.

                TOMMY

    Well he was the only one wasn't he, look let's fucking go we've got no time.

TOMMY leads SARA down the corridor towards what they hope to be the vault, as SARA walks over the unconscious guard, she recognises him to be OFFICER ELLIOT in bank uniform. TOMMY continues to walk ahead and SARA goes to follow when she hears a subtle whisper.

                OFFICER ELLIOT

        (whispering to SARA so quietly it's barely heard)

    I told you I'd help you.

TOMMY turns around to see SARA still standing over the 'unconscious' body.

                TOMMY

    Hurry up.

With one last glance at OFFICER ELLIOT, SARA begins to follow TOMMY, they together approach the largest vault at the end of the corridor.

                SARA

        (towards TOMMY)

    Don't you think it's a bit strange that there's nobody guarding it?

                TOMMY

    Who cares, let's just do this.

As SARA and TOMMY start to attempt to open the vault, OFFICER ELLIOT and a dozen other police officers run towards them.

                OFFICER ELLIOT

        (shouting)

    Freeze, you're surrounded.

                TOMMY

        (deflated)

    Shit.

OFFICER ELLIOT arrests SARA and TOMMY and drags them outside through the front of the bank, people begin to look as OFFICER ELLIOT continues to drag them outside and into an awaiting police car.

INT. POLICE STATION. WAITING ROOM. MID-AFTERNOON.

SARA and TOMMY are seated next to each other with OFFICER ELLIOT standing over them.

                OFFICER ELLIOT

    Now you're going to tell me everything or I swear to god you'll wish you were dead.

                OFFIC

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ER ELLIOT

        (directing his attention towards SARA)

    Start with the youngest shall we.

OFFICER ELLIOT roughly grabs SARA and pushes her into an interrogation room. He sits her down in a chair before walking around the desk and standing opposite her.

INT. OFFICER ELLIOT'S OFFICE. MID-AFTERNOON.

                SARA

    What took you so long? I thought I was actually going to have to rob a bank.

                OFFICER ELLIOT

    I fucking got there didn't I.

                SARA

    Yeah, okay, I suppose so, thank you.

OFFICER ELLIOT sits down at his desk.

                OFFICER ELLIOT

    Look tell me the names of everybody you know who are definitely involved with the mob.

SARA continues to list of names and OFFICER ELLIOT makes notes regarding their name, age and address.

                SARA

    Well there's TOMMY PETRILLO who's outside and of course the DON. That's everybody I can think of.

                OFFICER ELLIOT

    What's the DON'S real name? Because the name 'The DON' isn't a lot to go off.

                SARA

    ANGELO SALIERI.

                OFFICER ELLIOT

    That's the DON.

                SARA

    That's correct.

                OFFICER ELLIOT

    Okay, where does he live because I need to arrest him quickly, the second he finds out you two were arrested he'll flee.

                SARA

    I'll show you.

SARA and OFFICER ELLIOT leave the interrogation room and see TOMMY still sitting being monitored by another guard.

                OFFICER ELLIOT

        (towards the other guard)

    Deal with him, you know what to do.

The other guard drags TOMMY away and to what SARA assumes is a cell. OFFICER ELLIOT then grabs SARA'S arm and continues to lead her outside and into a car.

EXT. THE DON'S HOUSE. SAT IN OFFICER ELLIOT'S CAR. DUSK.

SARA and OFFICER ELLIOT are sat in OFFICER ELLIOT'S car looking at the DON's house.

                OFFICER ELLIOT

    Are you sure he's home, it looks quite dark in there?

                SARA

    Positive. He likes the dark, I suppose it makes sense really, he's a dark fucker.

                OFFICER ELLIOT

        (brushing her off)

    Right, let's go.

SARA and OFFICER ELLIOT leave the car and approach the DON's house.

EXT. THE DON'S HOUSE. FRONT PORCH. DUSK.

SARA and OFFICER ELLIOT are standing outside the DON's front door.

                OFFICER ELLIOT

    Look I understand you're nervous but all you have to do is go in for a few minutes and buy me some time whilst I call for some backup.

                SARA

        (obviously anxious)

    Ok, just try to make it quick because I really can't deal with his bullshit.

                OFFICER ELLIOT

    I will, now go.

                SARA

    Ok

OFFICER ELLIOT leaves the DON's property and gets in his car and drives off leaving SARA alone on his front porch. SARA then slowly and apprehensively knocks on the DON's door after a few seconds or what seems like a lifetime the DON opens and lets her in.

INT. THE DON'S LIVING ROOM. DUSK.

The DON and SARA walk into the living room and the DON motions for SARA to sit down and she complies.

                SARA

    It's done.

                DON

        (looking at her quizzically)

    Are you sure? Because I've heard differently. I heard that TOMMY got booked.

                SARA

        (seeming surprised by his response)

    Well maybe he did, I lost him, the fat fuck couldn't keep up.

                DON

    Really. I'm not sure I would class him as fat, however I would class you as a liar. I know you two got fucking booked.

                SARA

        (beginning to sweat)

    Well we obviously didn't or I wouldn't be here would I?

                DON

        (shouting)

    Don't lie to me.

                DON

        (eerily calm)

    I really fucking hate liars. You do not lie to family. You do not betray family. If you betray family, then you're no longer family.

                SARA

        (stuttering)

    W..What are you trying to say?

                DON

    I'm saying that you're a fucking bitch. Do you understand

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 the damage you've done to me and my reputation? Our relatives will hate me, banish me, how the fuck am I meant to go to another meeting now, eh?

Suddenly the DON begins to lean in towards SARA with his hand raised and his fist clenched, he's about to swing when there's a knock at the door.

                DON

    You're lucky you little fuck , you should be so full of guilt and regret that you should be clawing at your own skin trying to rip out your fucking black, shriveled, rotting heart.

The DON approaches his front door and slowly opens it to reveal OFFICER ELLIOT and his colleagues standing there.

                OFFICER ELLIOT

        (shouting)

    Angelo Salieri you're under arrest for pretty much every crime under the fucking sun.

SARA stands from the sofa and makes her way over to the door. OFFICER ELLIOT is putting the DON in handcuffs and checking he's got no weapons on him. SARA walks past the DON smirking slightly at him.

                DON

    You fucking bitch.

                SARA

        (smirking)

    I'm the bitch, I think you'll be the bitch soon, I think where you're going you'll be everybody's little bitch.

                SARA

        (spitting in the DON's face)

    That's for my parents. Enjoy your time in jail.

SARA storms out of the house and walks over to OFFICER ELLIOT'S personal car. Without a look back, she gets in the passenger seat waiting for OFFICER ELLIOT. After a minute or two, he gets in and sits in the driver's seat. Before they can drive off, the police car with the DON in the back drives by, SARA glares at him through the window and gives him the finger as he passes out of sight. Without a word OFFICER ELLIOT starts the engine and drives off into the night.

ON SCREEN TEXT READS '5 YEARS LATER'

EXT. SARA'S HOME. FRONT GARDEN. SUBURBAN NEW YORK. MIDDAY.

SARA is watering her front grass in her new home. It's a beautiful sunny day with people walking around. Kids are playing and laughing in neighboring houses and people are relaxing in the heat.

SARA continues to water her front grass, when she can hear a car pull up and stop outside her front garden. She can hear two doors open and close.

                UNKNOWN MAN 1

    SARA SCALETTA?

SARA slowly turns around to see two men staring at her, both looking around mid-twenties. The man on her left, she realises to be the man talking to her. After glancing at him for a brief second, she averts her attention towards the man on the right, she looks him up and down before realising that he's holding a gun.

                SARA

    Yes.

                UNKNOWN MAN 1

    DON Salieri sends his regards.

Without a second to react the man on the right raises the gun and shoots her in the chest. She falls onto her back on the grass and starts convulsing slightly. The two men get back into the car and drive off.

THE SCENE FADES INTO THE DON SITTING INTO A JAIL CELL WITH A SMIRK ON HIS FACE.

THE SCENE THEN FADES BACK TO SARA LYING ON THE GRASS.

                SARA (VO)

    Life has so many questions and so many answers, yet the answer never seems to be the one you wanted.

THE SCENE FADES TO TOMMY BEING BEATEN UP IN JAIL BY TWO MEN WHO ARE VISIBLY SMALLER THAN HIM.

                SARA (VO)

    The people you meet can majorly alter your life, colleagues, friends, family. The can make your life the best or make it a living hell, they can give you the best times and the worst times.

THE SCENE TRANSITIONS TO SHOW OFFICER ELLIOT SITTING AT HOME LOOKING HAPPY WITH HIS WIFE AND KIDS, THEN TRANSITIONS TO FURTHER SHOW THE DON IN PRISON.

                SARA (VO)

    At the end of the day, family are the ones you'll remember, the ones you'll either cherish or hate, you ones you'll feel remorse over or feel joy about the fact they're gone.

THE SCENES FADES TO THE SCENE OF SARA PICKING UP THE PICTURE OF HER PARENTS AND WHAILING OVER HER PAST TRAUMA. THE SCENE THEN FADES BACK TO SARA LYING ON HER BACK IN HER GARDEN COVERED IN BLOOD.

                SARA (VO)

    In my life, I've learned a lot about people, I've learned who to trust an

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d who not to trust. I've learnt that sometimes the gut is wrong and that it can lead you down very dark paths.

THE CAMERA ZOOMS IN ON SARA LYING ON THE GRASS.

                SARA (VO)

    But my main take on life still stands, friends come and go, but family, family is for life.

THE CAMERA THEN SLOWLY ZOOMS OUT FROM SARA AND PANS OFF INTO THE DISTANCE.

                SARA (VO)

    And there's nothing more important, than family.

THE CAMERA CONTINUES TO PAN OUT AND SLOWLY FADES TO BLACK.