All language subtitles for Original Sin 1989

(wistful music)

(chimes jingle)

(deep wistful music)

(chimes jingle)

- [Sharon] Careful, Mattie, careful.

- Keep your eyes on it, Mattie.

(Mattie laughs) Good job. Watch it now.

You got it!

- Yes! Good. (laughs)

- Good catch, Mattie, good catch. Now throw it back here.

Come on. Come on.

- Oh.

- Come here.

That's enough for today, Mattie.

- No, no, no. - Come here. Oh, no.

We'll play some more when I get home tonight.

- Then fly me, fly me.

- Fly you? Are we ready?

Assume the position, Superman.

Let's get them out there.

Mm, ground control to Major Mattie.

Ground control to Major Mattie. Ready?

- Oh, John, be careful.

(Mattie laughs)

Oh, yeah, bring him into the hanger.

That's the way to go. Come on, tiger.

(John laughs)

Come on, sweet guy. That-a boy.

- There you go. - Okay, sweetie.

Okay. Daddy has to go to work now, okay?

Are you growing up, or what?

I didn't know you could fly.

(laughs) Whoo!

- Daddy, are you building another house?

- That's right, Mattie.

- Can I see it?

- No, I, I can't look after you while I work.

- Mom could look after me.

- Mommy teaches her art class this morning.

- Not today.

- Not today?

- Not today. - What happened?

- Canceled, football game. All the kids are going.

- Then I can see a house, Daddy?

- Why don't you take him?

You have to be back early for the barbecue anyway.

- The barbecue.

- Please, Daddy, please.

- You're on.

(meat sizzles) (people chattering)

- [Man] The swimming coaches.

- [Man] Oh, really?

- So, did I hear right that Valley College

offered you a full-time job teaching in the art department?

- Boy, you have good spies.

- So, I guess it's congratulations time.

- Well, I don't know.

I'm just thinking about it right now.

- Who's next?

- Hey, John, been seeing your name

on quite a few building sites these days.

- I've been seeing your name around

quite a lot too, councilman.

- Yeah.

Well, I guess things have been looking up for both of us.

- Looks like old Freddy's got your husband cornered.

- At least he hasn't picked John's pocket

for a campaign contribution.

- Mm. - The party's young.

(women laugh)

- Why don't you just take some time and think things over?

- Well, I'm really flattered, Fred,

but uh, I can tell you right now, it's not my style.

- Never say never, John.

People around here are starting to say

you're a man with potential,

and that's not a small thing in this town.

- Well, that's great, but, I don't think so.

Thanks. - Just, just think it over.

That's all I ask, huh?

- And then your wonderful husband finally put a stop to it

and saved us an absolute fortune.

Didn't ya, John?

- Oh, it was my pleasure, Mrs. Anderson. You know that.

- Honey, the very first dinner we have in our new house

will be for you and your husband.

- That's a date.

- Oh, Charlie's giving me the high sign.

Thanks a bunch. It was a wonderful party.

- Thanks for coming.

- Bye.

Are you sure you're just building a house for her,

sweetheart? - Oh, come on.

- Oh, no, I really thought for a moment

that she was gonna invite you to be the very first one

to try out her new bed too.

- Oh, what can I say?

The way to Mrs. Anderson's heart is through her pocketbook.

- Hmm.

- The architect wanted to gouge her with an extra terrace

she didn't want or need.

- Oh, and you just couldn't let her spend that extra cent,

could you? - Hey, I didn't do it for her.

- Oh? - You let someone get taken

and sooner or later it comes back to you double, right?

- You know something?

- What?

- You're an awfully good guy.

And if I wasn't already married to you,

I'd probably be throwing myself all over you too.

- Oh, don't let a little thing like marriage

stand in the way.

Throw. Throw.

(gentle piano music)

He is growing up right before our eyes.

- I know.

He started to ask me today about why he never sees

Grandma and Grandpa Richards.

Completely threw me for a loop.

I didn't know what to say. I started to mumble.

I said that they had to leave and,

but that was okay because they were with God now.

Wow. No amount of education can prepare you for that one.

- Sounds like you did beautifully.

- Yeah, but then I got sad.

- Why?

- 'Cause I really would've liked to have known 'em.

- They would've loved you, I'm sure.

- Say, what was that tete-a-tete you and Councilman Freddy

were having today?

- Oh, he wanted me to get involved with his campaign

for state assembly.

He gave me the,

"You are very respected in the community" bit.

He also wanted me to consider running for city council.

- No kidding?

- No kidding.

- Well now, that's incredible.

- That's what I said.

- No, no, I mean, incredible, why not?

You are respected, people like you.

- Sharon, it's out of the question.

- Why?

- Because, it's not me.

- Why not? You're smart, you're honest.

You care about your community.

- A politician is a guy who has to get up in front of people

10 times a day, puff himself up with hot air,

and tell everybody how great he is.

Now, I ask you, is that me?

- Well, you were pretty puffed up when you were protecting

sexy Doris Anderson from those greedy architects.

- Come here.

- You could do it if you wanted to.

- What is this? I thought you liked things the way they are.

- I do. - Good.

- I was just having the shimmering vision of myself

in the White House 20 years from now.

- You know what I wanna be 20 years from now?

- Hm-mm.

- A retired old fool, traveling the world with you,

wearing Hawaiian shirts and paisley pants.

- Hmm. - Huh.

- Well, it was still quite a compliment that he asked you.

- I'm thrilled.

- Hmm.

All by...

Oh, no, no, no, no. No, no, no, no, no.

Wait a minute, little buddy. Those are mama's test papers.

Those aren't something to play with. Okay?

You want some papers to play with? I got lots inside.

Want me to get you some?

(telephone rings)

Okay. You stay right here and I'll get you some.

I'll be right back.

Hello?

- [Man On Phone] Is this the Richards' residence?

Telephone number 555-8465.

- Yes, it is. Who is this?

- [Man On Phone] Southland Telephone customer service.

We have a report of trouble on the line.

Have you had any line problems today?

- Not that I know of.

- [Man On Phone] Have you been able to call out?

- Uh, yeah, about an hour ago.

- [Man On Phone] Has the phone rang in the last four hours?

- Oh, well, I'm not sure. I was gone for two of 'em.

Is it okay now?

- [Man On Phone] We're checking to see

if the line is interrupted.

Mrs. Richards, could you hang on?

(tense music)

We wanna test your call waiting service.

- Sure.

(tense music)

(car rumbles)

- [Man On Phone] Can you tell us if you hear a click?

(tires squeal)

- Mm-hmm.

(tense music)

- [Man On Phone] Mrs. Richards, we're calling the line now.

- Um, could you hang on a minute, please?

Mattie? Come on, honey. Time to go inside.

(tense music)

Mattie?

(music intensifies)

(tense suspenseful music)

Matt, no!

(tense suspenseful music)

(Sharon crying)

Mattie!

Mattie! (crying)

Oh god, no. Stop!

Somebody help me, please.

They have my, my, Mattie!

Mattie.

(tires squeal) (daunting music)

Please, Mattie. (crying)

They have my baby! (crying)

(suspenseful music)

- [Woman In Street] Sharon, what's wrong?

- [Sharon] They have my baby!

- [Woman In Street] What happened to Matthew?

- [Police Dispatcher] We read you, 17 alpha 37.

Van registered to Carl Wheaton, with driver's license valid,

registration current, no felonies.

- I live here, officer.

- And it was just the two of you here, alone?

- Yes.

- You think you'd recognize the driver

if you ever saw him again?

- I'm not sure.

- What about the voice on the phone? Anything familiar?

- (sighs) No, I don't think so.

- Sharon.

- I don't know what happened.

I just left him alone for a minute.

- It's okay, baby. It's okay. It's okay.

It's not your fault.

- God forgive me.

- [Mitchell] And, you can think of no one

with a reason to take your child?

- No.

- What about family members?

Aunt, grandparents, any problem there?

- No.

- I don't have any family. My parents are dead.

- Well, have you had any recent large income,

like an inheritance, something people might know about?

- No.

- But who would do something like this? Why?

- Well, we can't say for sure,

but obviously there was some planning involved.

Frankly, I think it's a kidnap for ransom.

I expect they'll be trying to contact you.

- But they haven't yet. Why not?

And we're not rich people. I don't understand this.

- Mrs. Richards, let's not try and figure out

what's in their minds.

We just have to take it one step at a time.

Meanwhile,

everything possible will be done

to get your little boy back.

(slow somber music)

(tense mysterious music)

(fingers drumming)

(tense mysterious music)

(telephone rings)

- Hello.

- [Mitchell] John, Detective Mitchell.

- Hello, detective.

- [Mitchell] Nothing yet, eh?

- [John] No.

- [Mitchell] And you checked at your office too?

- Uh, yes.

- [Mitchell] John, I know I've asked you this before, but,

are you sure there's not some detail we're missing?

Anything that might be relevant?

- Uh, no. I told you, we went all over this.

- [Mitchell] Let me know the minute you hear anything.

- Yeah, okay. Good night.

Nothing.

(Sharon sighs)

(people chattering) (phones ring distantly)

- [Mitchell] Anything yet?

- Any news on the car?

- No, but we haven't heard anything from out of state.

So, we're assuming they're still in Indiana.

- Why haven't they contacted us? It's been four days.

You said that they would. You said it was carefully planned.

Why hasn't anybody contacted us?

- I don't know.

- [Woman] We'll get back to you.

(gentle somber music)

- I made a little something for you.

You haven't eaten since yesterday.

- I'm not hungry.

- You need something in your stomach.

(telephone rings)

Hello?

- [Marsha] Hi John, it's Marsha. How are you two doing?

- Um, hi, Marsha. Uh, no news yet.

- [Marsha] Do you need anything? Does she feel like talking?

- Uh, no, uh, she doesn't.

Could you hang on for a second?

Where you going?

- To find out what's going on.

- Marsha, we'll have to call you back. Okay?

Yeah, bye.

(phone slams)

Sharon?

Sharon?

- Just got in another batch of photos from Florida.

Mostly felons and wanted persons, but you never know,

there could be a connection.

- You really don't know anything, do you detective?

- Well, we don't know much, uh, that's true, Sharon.

But we are-- - Oh, stop it, will you?

You don't know anything, admit it.

Our baby's gone and you don't have the slightest idea why.

- Sharon, I know how you must feel.

- Oh, no you don't.

Why don't you just say it once?

It could be anyone or anything.

It could be a lunatic, or a pervert. (crying)

Who could take a child and do whatever they want with him.

Just say it once, you don't know anything.

(soft somber music)

Is this the Michigan Bureau of Missing Children?

Yes. I'd like to report a child missing.

Matthew.

Matthew Richards.

Yes, thank you. We'll send a picture to you right away.

Thank you.

- Look, maybe this is a bad idea. I should stay here.

- No, you go. You're right.

We shouldn't neglect everything.

- You sure?

- Yeah.

- It's just for today.

I'll check the jobs and I won't have to show up again

for a week.

If there's anything, call Sylvia at the office.

Okay?

- [PA Announcer] Flight 17 is now boarding at gate 26.

- Uh Sylvia, me. I'll be out and around all day.

Why don't you take messages and I'll be calling it. Okay?

Thanks.

(plane engines roar)

- [PA Announcer] The white zone is for loading and unloading

of passengers only, no parking.

(mysterious music)

- Can we help you?

(gentle mysterious music)

- Hello, Vincent. Is he here?

- Yes, he is.

(door clicks shut)

(footsteps clicking)

(deep somber music)

- Why are you here, John?

- Did you take my son, Dad?

(suspenseful music swells)

- Yes, 39 pounds. Brown hair, brown eyes.

Since the 12th.

Oh, you don't know how I'd appreciate that.

Thank you very much, Reverend.

Yes. Thank you.

- Reverend who?

- Reverend Nelson.

He says his church has its own missing children's network

and he's gonna see what they can do

about putting us on their list.

- Terrific.

You know, Sylvia's father's pretty high up in that church.

I'm gonna call her, see what she can come up with. Okay?

- Yes. Yes. Ask her.

- Great.

Here's another envelope, sweetie.

- Thank you.

(door bangs shut)

(phone keys clicking)

- Hello.

- Vincent, it's John.

What the hell is going on? I haven't heard from you.

- We're working on it.

- Well, isn't there anything, anything at all?

- No.

We'll let you know.

Don't worry.

- Well, I, I'll be here all the time. Okay?

You can call me here, please.

Yes. Well, if he wants to call me at home, he certainly can.

Just make sure he knows we need the shipment by Monday.

Sylvia, you'll get back to me on those church lists, right?

Yeah. Thanks.

- What was that?

- Oh, that's about work.

- You said, "Isn't there anything, anything at all?"

What was that referring to?

- Oh, there's a lumber shipment coming in from Oregon

that's over four weeks late.

Why?

- I don't know. I'm sorry.

I don't know, I'm reading into everything these days.

It's all this stress.

- We're both under a lotta stress.

Why don't we stop for a while?

Let's, let's go into town,

treat ourselves to some dinner, huh?

- John, I couldn't. There's so much more to do.

- Well, we, we're allowed to take a break.

We can continue later.

- John, I don't want to. I'm gonna keep going.

- Okay. It was just an idea, Sharon.

(deep foreboding music)

- [Man] Let's get that section ready for the inspection

in the morning, huh?

- [Man] I'll take care of it when I get back.

- Vincent, what are you doing here?

- I have a message.

- Does he know something?

- Not yet.

He wants you to come to the house.

He thinks you're in danger.

He wants me to bring you back tonight.

- Well, tell him to go to hell.

- Johnny.

Your wife is in danger too.

He just wants you out of the picture, that's all.

- It's out of the question.

- Johnny, he is very upset about the whole thing.

- I said, "It's out of the question."

(mysterious music) (clock ticking)

(telephone rings)

Sharon!

- Hello? (clears throat) Hello?

- [Man On Phone] Hey, Sharon. Is Johnny there?

- Who is this?

- Give it.

- [Man On Phone] A friend, baby, a friend.

Why don't you go out and take a look

at the front of the house.

- What are you saying?

(phone disconnects)

- Hello? Hello? (dial tone blaring)

Hello? Hello?

Sharon.

(Sharon panting)

Sharon, what is it?

- The front of the house.

(Sharon gasping)

- Stay here.

(Sharon screams)

(tense scary music)

- Matthew. Dear God.

- Sharon, you can't.

- What are you doing? - No, you can't.

- I'm calling Detective Mitchell.

- I think I may know why this happened.

- I don't, what are you doing?

- Now, just try to be calm, and try to listen to me.

There's something I have to tell you.

(slow somber music)

I should have told you a long time ago,

but I never knew how.

My parents didn't die in a car crash in 1974.

My father's still alive.

His name is Louis Mancini.

My real name is John Mancini.

I wanted him out of my life.

I thought I could get away from him.

I thought I'd succeeded.

I'm afraid the man who took Matthew

did it to get back at my father.

- This is insane.

(slow somber music)

(clock ticking)

(gentle somber music)

(gate whirring)

(deep tense music)

- I always felt the worst about you, Chris.

I'm sorry. - Yeah, I know. I know.

- I wanted to call you a lotta times.

- [Chris] I know you couldn't. Forget it.

- I'd like you to meet my wife.

This is Sharon.

Sharon, this is my brother, Christopher.

- Hi. Nice to meet you.

- Hi.

- Come on. He's expecting you.

You look good, Johnny.

- So do you.

You're a man now, Chris.

You're working for Dad?

- Yeah. Why not?

Hey, I'm fine.

I handle a lot of the business now. Can't complain.

- Vincent, this is my wife, Sharon.

Sharon, my cousin, Vincent Margo.

- Pleasure. This way.

(footsteps clicking)

- Mrs. Richards, I'm very sorry we meet

in such circumstances.

- I understand you may know where my son is.

- Please, sit down.

Johnny.

Mrs. Richards, this is a very difficult,

very unusual situation.

As you know, I think,

my son and I have been estranged for years.

I hadn't seen or spoken to him for more than a decade

until a few days ago when he came here

and accused me of stealing his son, my own grandson.

I didn't even know he had a child.

All connections between us had been severed.

Unfortunately, it seems there are those

who don't understand that.

Mrs. Richards, I'm sorry to say that one of my enemies,

a desperate man, may have chosen to attack me

through my son.

I think he may have your child.

- Who is it? What's his name?

- Please, I, I do know what you're feeling,

but it really would be better for you

if you didn't know his name.

I, I will say this.

I knew him once, quite well.

I can't imagine he would ever do anything to hurt a child.

One thing more, until I find out what I will find out,

I beg you to be patient and let me handle this.

- Handle it how? Just what are you gonna do?

- Mrs. Richards, uh,

I can only imagine what you think of me,

what kind of picture my son has painted.

But, truly you, you must realize how I share your outrage

in my blood.

In the end, what else does a man have but his family,

his children.

- You still haven't answered.

What are you going to do?

- I would like a word with my son alone, if you please.

Mrs. Richards, if you don't mind,

Chris will show you to the guest house.

- But I do mind. I'm not going anywhere.

- Please, Sharon.

It's better this way.

(footsteps clomping)

- Johnny, for God's sakes, can't we stop this finally?

At least put it aside till we get your boy back.

- What are you going to do?

- I'm going to make it very costly

for Rossi to keep your son.

- Do you know it's him?

- Not absolutely. I will know, soon enough.

- Then what?

- I don't know that yet.

Look, you're going to have to trust me, your wife too.

There is no other choice.

- I am not gonna stay here.

- Don't be a damn fool. This is a shooting war.

I haven't been outside that gate in, in months.

And you're in it too, like it or not, both of you.

If you have to keep contact with that detective,

do it by phone.

You'll be in the guest house.

We don't even have to see each other.

And you can use the lodge too, that's safe.

Your wife will like it.

(mysterious music)

She seems like a good woman.

I understand you're doing very well back in Bloomington.

(chuckles) You always were independent.

That's the first time I've touched you in 10 years.

- I don't know what to think. I don't know what to believe.

How could you have hidden all of this from me?

How could you?

- I told you I thought I could get away from him.

I thought I'd succeeded.

- Succeeded?

John, Mattie is gone.

Taken by some monster to settle a debt

that happened some hundred years ago in Sicily

for all I know.

And who is this man?

I felt I was talking to a sultan or something.

No, I am not gonna sit around here and wait for him to act.

I'm gonna get in touch with Detective Mitchell

right now. - Sharon, you can't do that.

- What are you talking about?

- They have their own way of doing things.

Outside interference would only louse it up.

(soft suspenseful music)

- How did this happen?

I feel like my whole life is a lie.

- It's not a lie.

What we have together is real, all of it.

- Oh, of course.

You never wanted to do anything

to attract attention to yourself.

All those years you were-- - Sharon, please.

We are on the same side.

- No, I'm sorry. I don't know who you are anymore.

Who has our child?

You know, don't you?

What's his name?

Why won't you tell me?

- His name is not important.

- What do you mean?

I have a right to know.

I have a right to do something about it. He's my son.

So, you are one of them. You're protecting them.

- I'm not protecting them, I'm protecting us.

Listen to me, will you?

These men are operating in a world that is mad

beyond anything you could imagine.

You don't need to know any more than necessary.

(tense music)

- Just get my son back. Do you hear?

After that, we'll deal with us.

(knocking at door)

- Figured you'd be hungry.

Eat something, you'll feel a lot better, Mrs. Richards.

Do you mind if I call you Sharon?

- What's going on, Chris?

- Oh uh, Dad's expecting a few visitors.

Big meeting tomorrow.

(deep foreboding music)

- That's Richie Morgan, controls the Bay Area

and parts of Tahoe.

And the ugly one's his bodyguard, Alexander.

(ominous music)

- [John] That's Sid Raven from New Orleans. Why is he here?

- What do you think?

Dad's calling all the heads of the families together.

All except Rossi, of course.

Well, I better get myself over there.

Bon appetite then, huh?

(mysterious music)

(crickets chirping)

(dog barks)

(car engine turns over)

(deep mysterious music)

- Mrs. Richards, is everything okay?

- Sure, it's fine. I was just a little restless.

I wanted to take a drive.

- Well, we were told not to let anyone out

without checking with Mr. Mancini.

- Oh, it's okay. He said it was fine, so did my husband.

- I really gotta check, just to make sure.

- Sure.

(dog barks)

- This is Jack at the front gate. Is Vincent there?

- [Man On Phone] Yeah, I'll get him. What's it about?

- [Jack] Mrs. Richard is here.

She says she'd like to go out for a drive. Is that okay?

- [Man On Phone] She's up there now?

She's not suppose to be out--

(tires squeal)

- [Jack] Hey!

(gate crashes)

(tires squeal)

- Come on, come on, hurry up.

Go get her. Come on!

(tires squeal)

(engines revving)

(suspenseful music)

(tires squeal)

(Sharon gasps)

(suspenseful music)

(tires squeal)

- [Sharon] Please, somebody help me.

- [Officer] Talk to the sergeant, ma'am. Right over there.

- Please, somebody help me. Some men are following me.

I need to talk to somebody in charge, right away. Please.

And it must be this Rossi who took my son

because he's the only one that's not coming to the meeting.

- And, there was no mention of where the child might be?

- No. But that shouldn't make it hard to find Rossi.

He and Louis Mancini are obviously in some sort of a war.

The man lives in a house that's like an armed camp.

And you can't go in, you can't go out.

- I see.

- And this feud that's been going on

has been going on for years now between--

(phone buzzes) - Excuse me.

Yes.

Uh-huh.

Okay.

Sorry.

- It sounded as if they took my son as some kind of revenge.

Captain, please.

These men are dangerous and we have to move quickly.

- I understand.

What I would like to do first is get from you

a complete statement for the record.

We can use Lieutenant Garcia's office.

- Fine. Anything you want.

Oh, Captain, there's a detective Mitchell in Bloomington.

He's been handling this case.

I think we should really let him know about this.

- I will call him as soon they finish taking your statement.

- Thank you. - Here you are.

(deep suspenseful music swells)

(birds chirping)

- If the boy's not returned, what do I do, huh?

Do I take Rossi's grandson? His wife?

I know. They're all kinds of pressures on us these days.

Ambitious kids who want everything for nothing.

Crazy freelancers and the South Americans to deal with.

But if we don't stop this, what do we have, huh?

Chaos.

- Louie, how do we know for sure it was Rossi

who took your grandson?

- Oh, come on, Sid.

You all know our problems.

- So what do you want us to do, Louis?

Why are we here?

- Some of you're still doing business with Rossi.

Letting him know how I feel. I'm a reasonable man.

If the child's returned,

I'm willing to discuss ways to settle our differences,

maintain order.

But if the child is not returned, I promise you a war

the likes of which you have never seen.

And an age will begin when none of your wives,

none of your children, will ever be safe again.

(deep foreboding strings music)

(Sharon sighs)

(clock ticking)

(birds chirping)

- How's she doing?

- She's still sleeping.

- Hey, Johnny.

Been through the mill, haven't you?

- What's it like for you here, Chris?

What do you do?

- Not much now.

But that'll change once this Rossi thing's over.

I handle the Vegas stuff, mostly.

I talk to lawyers, bookkeepers.

Got a meeting with one today.

- You and Vincent share responsibility?

- Vince? (scoffs) No, he's just a glorified errand boy.

No, when Dad has a problem, he usually talks to me.

- I want you to know that I was planning on

getting in touch with you, I just wasn't sure.

- Forget about it, I said forget about it. It's okay.

- Guess I always felt bad about leaving you with him.

- Well, I was the baby, I could handle him. (chuckles)

- Well, if there's one good thing

that's come out of all this,

it's knowing you're back in my life again, huh?

- Hmm.

- Hey.

(traditional opera music)

- Is there anything goin' on?

(speaker drown out by robust opera singing)

- (drown out by opera music) Bon appetite.

- Grazie.

(robust opera singing)

(rapid gunfire blasts)

- Hey, get down!

(rapid gunfire blasts)

(glass shatters)

(robust opera singing)

- Are you all right? (drown out by opera music)

(telephone rings)

(woman speaks foreign language)

- What?

- [Man On Phone] Rossi.

- Who the hell is this?

- [Man On Phone] Return the child, Rossi. No one is safe.

(phone clicks) (dial tone blares)

(water dribbles)

- I was given a sedative, wasn't I?

- You needed to rest.

- You mean I needed to be shut up?

- Sharon, please.

What you did last night was crazy.

- Why, because I wanted to save my son?

- No, because it would've done just the opposite.

If a man like Rossi found out we went to the police

he might be tempted to eliminate the entire problem.

Do you understand what I'm saying?

(hand slaps)

- How was I supposed to know that?

You didn't tell me anything.

You treated me like a child, a nuisance.

- You're right.

- It's bad enough losing a son. I'm losing a husband too.

I don't know anything about you anymore.

And I know absolutely nothing about the people

who've stolen my baby.

- Rossi and my father used to be partners.

A power struggle started.

One night, Rossi and his family were in a restaurant,

some men broke in and opened fire.

They didn't get Rossi,

but they accidentally killed his grandson.

His name was Artie.

(suspenseful music)

We were best friends, practically grew up together.

My father denied any responsibility for the shooting,

but no one really knows the truth.

Anyway, the other families came in to settle the dispute,

and the truce lasted until last year

when the old feud erupted again.

Now, Rossi's close to losing everything.

It's likely he took Matthew as a last resort,

a bargaining chip.

That's it. That's all of it.

- A bargaining chip?

- Yes. That's the way it is.

You don't just walk in and arrest these men.

They work above and around the law.

They control everything they touch.

- I really can't leave here, can I?

- No, you can't.

Please, and Sharon, there's nothing I can do about this,

and you're safe here.

I have to go back to Bloomington.

- Why?

- To see Detective Mitchell.

There was a message. They found the car.

- Where?

- In the woods, outside of Bloomington.

It was rented with a stolen credit card.

- Take me with you. I should be there.

- No, I can't.

I told the police that you're with your parents in Chicago.

- I'm not staying here. I can't.

- Sharon, you have to trust me.

There's nothing you can do in Bloomington.

(Sharon sighs)

I'll be back tomorrow, first thing.

- This is a mistake. It is not safe.

You can call that detective, make any excuse.

- I'll be fine.

They have my son, they don't need me.

(mysterious music)

- Sorry, Johnny, but your father wants me to send

Tommy and Junior with you.

It's orders, John.

If you don't want them along, they'll just follow you.

You decide.

- Get in.

The back.

(tires squeal)

(suspenseful music)

- [Louis] How are you feeling now? Any better?

- Yes.

I'm not gonna fly off the handle, if that's your concern.

- I am very sorry about last night.

It's the last thing I wanted, believe me.

As it is, my son can hardly bear to be near me.

Sharon, may I call you Sharon?

Sharon, I know you don't trust me. I don't blame you.

But you shouldn't blame John for this terrible situation.

He could never have foreseen such a thing.

I, I myself, with all my years,

I have never seen a child used in such a way, never.

- Your son has lied to me as long as I've known him.

He never once told me about you, about his family,

about his real life, anything.

- Sharon, there are some things you should understand.

I had no chance to choose my life.

I inherited it from my father.

That's not an excuse, it's my life.

My life, my responsibility.

But, for Johnny, it was different.

He had some choices.

You see, I don't consider myself a, a bad man,

though uh, some people do.

Now, we won't debate that.

But my son never understood me,

never approved of anything in my life.

In the end, he even blamed me for his mother's death.

That made me very angry.

He could have had anything.

He didn't have to be in the business.

That was never a consideration.

But still, he, he left.

And the worst of it was, after a while, I,

I began to see if I'd been in Johnny's place,

if I'd grown up in his time instead of my own time,

I probably would've done the same damn thing.

- Why are you telling me all this?

- Because, you mustn't blame him for trying to make a life

with you, none of it was his fault.

He needs you now.

(gentle wistful music)

- You still love him, don't you?

- Yeah.

(pool balls clink)

Chris, I want you to stay with Sharon.

Take her to the lodge, whatever,

but don't let her outta your sight, okay?

- I have a meeting with the lawyer in an hour.

- Well, Vincent'll handle it.

- Well, I was handling it. Vincent doesn't know what to do.

- What's the problem? You'll fill me in.

- It's not that simple, Vincent.

I've been working on it for weeks, and it's not your area,

okay? - Chris.

If you don't want Vincent to take the meeting,

postpone it, please.

- (clears throat) No, it's okay.

I'll bring Vincent up to speed on it.

- Good.

Remember, you stay with her. Make her feel at home now.

This is important. Hm?

- Credit card was in the name of a Jeffrey Morrison,

an advertising man from Connecticut.

He didn't miss the stolen card

until the day after the kidnapping.

- Morrison?

- Right.

Last week, I thought this was a professional job.

Now, I'm not so sure.

You're still absolutely certain

that you've told me everything?

That we're not missing something?

- Nothing else I can think of.

- Oh. How's Sharon holding up?

- Well, as good as can be expected.

She's happy to be back with her folks.

- Well give her my regards, will you?

- I will. Thanks a lot.

- She was beautiful.

- Mm, yeah. Kinda high-strung too, I guess.

You know, she always wanted to do her own stuff,

and work and have her own thing.

I guess that's where Johnny gets it. (chuckles)

Nobody could stand up to my father like him.

- What did they fight about?

- Oh, you name it. (chuckles)

- Chris, I don't see any pictures of John in here.

- Yeah, well uh, when he left,

my father went through the house and got rid of every one.

But, he didn't get all of 'em.

(gentle haunting music)

- What did she die of?

- Oh, you know she got sick and, uh...

Do you wanna go to the lodge? You'll love it. It's great.

It used to be part of the main property,

and now it's a private club.

Our people handle everything here.

(mysterious music)

- Hello, Mr. Mancini.

- [Bodyguard] Not much to do in this town, huh, Johnny?

- [John] There's enough.

- I'd go nuts.

I have a hard enough time in Phoenix, man.

Give me Los Angeles or Vegas.

In, in Vegas, man, I've work Vegas,

they have some really decent--

(thunderous music)

(punches thud) (men grunting)

- Don't do anything crazy, John.

(car engine revs)

(tires squeal)

(tense suspenseful music)

(feet scuffle)

(John thuds)

(door slams)

(deep suspenseful music)

- Get up, Johnny.

I'm not gonna kill ya.

Sit.

What a mess, huh, Johnny?

I'm sorry I had to scare ya.

I wasn't sure it was safe to be around you.

Maybe your father was springing the trap or something.

I can't be too careful these days.

Hey, I'm serious.

(gun clinks)

I just wanna talk, that's all.

Look, I'm very upset about your kid. It's a terrible thing.

- What do you mean?

- What do I mean?

What I mean is I got enough problems as it is

with your father trying to blow my head off.

I don't need the other families thinking I go around

stealing kids.

- What are you saying? You don't have him?

- Of course I don't have him.

What the hell do you take me for?

Some coke dealer who'd cut the throat of his own mother?

Hey Johnny, you know me. Remember?

Sure, your father and I have things to work out.

But if I steal your kid, where does that leave me?

Besides, I got a family too.

You think I would put them in danger?

- Yeah, but when Artie was killed, you swore vengeance.

You told my--

- That was 15 years ago.

I got other grandchildren now.

Johnny, how could I take your kid?

You think I forgot you and Artie were like this?

You were like family.

- Who has my son?

- That's just what the hell I'd like to know.

(slow somber music)

(haunting music)

(deep suspenseful music)

(Sharon cries)

- Are you okay?

- I'm fine.

You okay?

- What'd the police say?

- All, all they know is the car was rented

with this guy's stolen credit card.

(paper crinkles)

Jeffrey Morrison.

Come on. Let's go inside.

- I told you, thank God, I told you it wasn't safe.

Never should have let you go.

- I'm okay.

- Come inside. Tell me everything.

- John?

- I want my wife to hear.

- Rossi is a lying pig!

He'll never admit it, he can't.

Say anything now to say face. Maniac.

Forcing me to retaliate.

- No.

I believe him.

He's telling the truth.

Who benefits from you and Rossi destroying each other?

Who's the real winner in this deal?

- What deal?

Aren't we supposed to be talking about

getting our baby back?

- We are. We're talking about finding Mattie.

It's true, isn't it?

This is a, a very ingenious way

to keep you and Rossi fighting for years.

So, who benefits?

- Richie Morgan. That punk, it's him. It's gotta be.

(Louis speaks foreign language)

- Please, I told you, I want my wife to hear everything.

This Morgan, he runs the Bay area, right?

If you and Rossi weaken, he can take your territory too.

Correct?

- That blood-sucking creep.

He'll do anything for power, Johnny, anything.

He just doesn't wanna pay the price, right?

- Do you think it's this Morgan?

- I have to be sure. These men are dangerous, unpredictable.

And, if you're right, if it is Morgan,

then whoever took the child has to be someone he trusts,

someone close to him.

And, they have regular meetings

at that place in Mill Valley.

- The Washburn Country Club.

- If these men took Matthew just to set the two of you

against each other, then they have no reason

to keep Matthew alive, do they?

- Sharon, we don't know that.

They wouldn't do anything

to harm Mattie-- - We have to do something

right now. - Not till they saw

how it turned out, they'd keep their options open.

- I'll send someone over there. We'll find out.

- I saw the driver of the car. I'd recognize him.

I'll go there.

You just find a way for me to get a look at them

and I'll tell you if it's him, I will.

- Absolutely not.

- Why not? You need proof, don't you?

I'll give you that proof.

- No. It's too dangerous.

- Dangerous?

What about the danger to Matthew?

We have to do something right now. We have no time.

- My father's right. Morgan and his men are that dangerous.

We have to be as cautious as possible, for Mattie's sake.

- Please. You have to let me do this.

I won't let you down. I swear it.

- Come on.

Let's get some rest.

(slow somber music)

What else did he say?

- Oh, he went on about how I shouldn't blame you

for everything, and how the world has changed.

I don't know, some incredible swan song

about missed opportunities.

He is quite a character, I'll admit that.

I don't know what I was expecting,

but it certainly wasn't that.

Your brother showed me pictures of you

when you were younger, and your mother.

I understand she was extraordinary. Was she?

- What? Are you questioning why I left too?

- Maybe I am.

I'm beginning to wonder what kind of man

would cut out his entire family from his life forever.

- No matter what he says or does,

I don't trust him for one minute.

One second.

- Then why are we trusting him--

- Because we have no choice.

Don't worry.

Why don't you get some rest?

I'll be back soon.

(door clicks open and shut)

- Hey, Chris.

- Hey, Sharon.

- I've been looking for you.

I needed a change of scenery.

You think maybe we could go to the lodge?

- Oh, let's do it.

(mysterious music)

(deep somber music)

- Hey, Johnny. What you doing?

- I don't know.

Maybe I'm trying to feel what it's like to be you.

To sit in this dark room where you run

your dirty little world and no one can get to you.

(drawer scrapes shut)

I guess I've learned from you.

I have my dark room too, where you can't get to me.

- Like hell.

We are connected. You're like me, just like me.

Stubborn as rock, every damn thing, you have to--

- Not every damn thing.

Just my life.

- Your life's a lie. You never told your wife the truth.

Johnny, for God's sake, let go of it.

All these years, it's, it's passed now. It's time.

I'm not the devil. I'm not responsible for everything.

When your mother died, you blamed me.

You almost convinced me.

But that wasn't my fault, and neither is this.

- So, in about a year,

I'll be handling all the casino operations.

And we're totally on the up and up now.

We pay taxes and everything. (chuckles)

We're into all kinds of legit stuff.

Computers, and textiles, Wall Street, you name it.

- Chris, excuse me. I have to find the lady's room.

- Oh, sure. But I'll have to go with you.

Well, I, I don't mean that way.

I, I'll be by the bar.

I just have to keep an eye on you.

- This way?

- Yeah.

It's over there.

- Thank you.

(patrons chattering)

- Hey, Chris.

How are you?

- Not bad, not bad.

How you doing?

- Good. What can I get you?

- Just a draft.

- Yeah, that's it?

- Yeah, thanks.

- Here you go.

- Thanks.

(patrons chattering)

(Chris sighs)

I swear, I don't know what happened, okay?

She walked into the lady's room and just disappeared.

There were no windows or nothing. I don't know.

She just, she just got away.

- Chris. - What?

- How the hell could that happen?

- I don't know!

She changed her clothes or something.

How the hell do I know?

I was up by the bar-- - Terrific, that's just--

- Will you just go to hell? - Take your hands off me!

You don't put your hands on me.

- Will you just-- - All right!

That's enough. Both of you.

(tense suspenseful music)

- [PA Announcer] Flight 67 from Phoenix now deplaning

at gate 19.

(tense bold orchestral music)

- Washburn Country Club.

Just a moment, I'll see if he's here.

Hi.

- Um, margarita, please.

- Okay.

(patrons chattering)

- [Man] I'm being honest with you. I'm being up front.

- [Woman] Well, the last time I checked,

you said you were going to be at the bar last night.

- [Man] I did say that.

It was probably accurate when I said it.

- Hi.

(chuckles) Hello.

I'm Bob Seavers. I haven't seen you at the club before.

- I know you haven't. It's my first time.

I'm Jennifer.

- Jennifer? - Mm-hmm.

- Oh, Jennifer Martin.

- Jennifer Martin. - Yeah.

- It's great to know you.

(patrons chattering)

So I finally bought into this restaurant in Carmel.

- Excuse me, please.

- But the only drawback is that

my ex lives around 12 miles from there.

You like Carmel?

- I don't know it.

Here, it's getting late.

- No, no, no. - This oughta cover it.

- I got this. Look.

- No, I've got it. That's okay.

- Jennifer, it's early. Why don't we go down to the marina?

They got a nice dance band there.

- Here, you do what you want with it,

but I'm sorry, I really have to go.

- Jennifer, Jennifer, Jennifer.

Come on. Come on. What's the problem? Take my car.

Have a couple drinks, all right?

Look, we talked for an hour, we hit it off.

Where you going?

- I'm going home now. Would you please get outta my way?

- Hey, who the hell do you think you are?

- Let go of me.

You know, you're just a tramp- - Stop it!

- Hanging around in bars.

- [Lenny] Hey. What's going on here, huh?

- Lenny Purcell. How are you?

- Something wrong, miss?

(suspenseful music)

- Stop!

- I said, "Is something wrong?"

- No, I'm, I'm fine. Thank you.

- Why don't you go home, Seavers?

Just a local creep, miss.

Don't I know you?

- No, I don't think so.

Look, I should go.

- You seem upset. Why don't I get someone to drive you?

- No, really, I'm fine. Thank you.

- Hey, Lenny, come on.

- Yeah, just a second, all right?

- Ah, come on. Come on.

- Thank you.

(door slams shut)

(tires squeal)

(car engine hums)

(tires squeal distantly)

(Sharon gasps)

(car engine revs)

Oh, no.

(tense suspenseful music)

(Sharon shudders)

(tires squealing)

(tense suspenseful music)

(tires squealing)

(engine revs)

(tires squeal)

(Sharon gasps)

(tires squeal)

(engine revs)

- Sharon, Sharon. It's me. Sharon, slow down.

Sharon, it's me. Wait.

(Sharon gasps)

(tires squeal)

(Sharon gasps loudly)

(tires squeal)

It's okay. It's okay, it's okay.

You're safe now, you're safe.

- I saw him. (cries)

I saw the kidnapper. I was this close to him.

His name is Lenny, Lenny Purcell.

- [John] It's okay. It's okay, sweetheart.

(deep foreboding music)

But you're sure Matthew's at Morgan's place?

- Yes, I checked around.

Your son's been staying there for the last two weeks,

beginning on exactly the day they took your son.

It's gotta be his job to look after him.

It's a perfect place to hide a kid.

It's impenetrable.

- How much longer do we sit around and wait?

- Louis said he'd get back to us and he will.

- Please, Sharon. No more crazy ideas, okay?

- Okay, okay.

I'll sit and wait until the great wise father

gets around to making a decision.

(knocking at door)

- Who the hell's that?

(gun cocks)

- Who's that?

- It's us, Vincent. Open up.

- [Chris] Dad, what the hell are you doing here?

You shouldn't leave the house.

- No, it's safe.

Rossi won't move on me until this is settled.

Sharon, you're quite a woman.

You're just like my son. You uh, have a mind of your own.

I'm sorry it's taken so long for us to meet uh,

I really am.

- So what happens now?

- You think the boy's at Morgan's place, right?

- Definitely. - No one can get in there.

- I'll get in.

- What are you talking about? It's too dangerous.

- I'm at peace with Morgan, we even have business together.

I'll call him up, tell him I'm in town for a few hours,

we should talk.

I'll take Vincent and Tommy with me.

Once we're inside, we'll surprise them.

Surprise. It's the only way.

The only one who can do that, just walk in there, is me.

- I'm coming with you.

- No, you'll give the whole thing away.

- No. You just tell him I'm back in the business.

- John, what are you saying?

- He's my son too, dammit.

I belong there.

- Johnny.

This is my fault.

They took him to hurt me. He's my grandson.

I'll get him out.

Believe me.

- What is it?

- Oh, me uh, just worried, I guess.

- Is there another way to get Mattie back?

That is the best way, isn't it?

- Yeah.

- Is that what's bothering you?

- What?

- Does it bother you that your father is right,

and that you have to trust him?

John, why did you leave?

I still don't completely understand.

- My mother killed herself.

They never got along.

He was hardly ever home.

And, there were other women too.

She wanted to leave.

But, he made it impossible.

She was Louis Mancini's wife, after all.

Another thing under his control,

and you don't walk out on Louis Mancini.

Anything but that.

Finally, it got so bad, she left the only way she could.

- And you were the only thing that he would never control.

But he's controlling you now.

John. I wish I had known. I love you.

We've gotta find a way to get past this

and get back to our own lives.

(gentle somber music)

(John sighs)

(gentle sorrowful music)

(knocking at door)

- Come in.

- Guys.

Time to roll.

(gun barrel clicking)

(tense mysterious music)

(deep somber music)

- [Man On Intercom] Yeah, who is it?

- [Louis] Louis Mancini for Richie Morgan.

- [Man On Intercom] Okay.

(deep somber music)

(gun clicking)

- You know, Louis, I was little surprised

to hear you were in town.

I mean, you haven't been out of the compound in months,

right?

- Oh, I'm feeling a lot safer now.

- Thank you.

I hear that old man Rossi's having kittens.

Other families wanna hang him out to dry.

- He's got a lot in his hands.

(men laugh)

- Hey, better him than you or me, right? (laughs)

So, what's up?

Why the personal appearance?

- Well, I wanna say--

(punches thud)

(gun clicks)

We want the kid, Richie.

Now.

- What the hell is this?

- Where is he?

Where is he?

- He's in the back.

Ah! - Let's go.

- Come on, Louis, let's talk.

- Shut up!

- It's a trap, that's all.

Ho, ho. Okay, he's in here.

Take it easy, all right.

Billy, look out!

(gunshots blast)

(Richie grunts)

- John, no! - John!

(gunshots blast)

(glass shatters)

(deep suspenseful music)

- Sharon, Sharon, stay here. No!

(men yell)

(men grunting and groaning)

(art clatters)

(men grunting)

(Louis cries out in pain)

(Louis coughs)

(gun cocks)

(footsteps approach)

(Sharon gasps)

- Get her outta here!

- Johnny, look out!

(gunshot blasts)

(Vince cries out)

- No!

(Sharon crying)

(tense music)

(gunshot blasts)

Oh, no! God, no!

(gunshots blast)

(Louis cries out in pain)

(tense music)

(gunman thuds)

John!

- I'm okay. I'm, I'm okay.

(Louis and John groan)

(gunshot blasts)

- Stay here. - No.

(suspenseful music)

- Vincent?

Vincent?

I'm okay.

Did you get Morgan?

- No.

- Let's find the boy.

- Mancini!

Don't even think about it.

Drop it.

Drop it!

(guns clatter)

Mancini, you miserable old bastard.

I thought we were friends.

(gun cocks)

(gunshot blasts)

(Richie yells)

(gunshot blasts)

(slow solemn music)

(Louis breathes heavily)

- Come on.

(door thuds open)

- [John] Mattie?

Mattie?

- Daddy! - Mattie.

Mattie.

- You found my baby.

Oh, thank God.

Thank God.

Are you okay?

- Who's that, Mommy?

- That's your grandfather, Matthew.

Say hello.

- Hello.

(gentle melancholic music)

- [Nurse] Don't worry, he'll be all right.

(group laughing and chattering)

- I'd like to propose a toast,

to the return of peace, prosperity, and family.

The return of my son, his fine wife, and his wonderful boy.

(glasses clink)

That's it. Drink up. (laughs)

My, what a smart little boy you are. (chuckles)

So uh, when'll you be going back?

- [Sharon] Soon as John is able, probably Friday.

- But you'll miss the weekend.

Matthew can go swimming.

We will take him out on the boat. It'll be fun for him.

- I think he needs to be home.

- Yeah, of course. What am I talking about?

He's been through a terrible time.

You'll bring him back another time.

Come on, Sharon. I wanna show you John's favorite room.

- Look at this, Uncle Chris.

- Yeah.

- Take care of my grandson now, Chris.

- Wow, it's gorgeous.

No wonder John always talks about

wanting to have a pool table.

- Sharon, you said you'd be leaving in a day or two.

So, I wanna talk to you.

Now, I'm not trying to tell you and Johnny what to do.

I can't do that.

But, we have many businesses now,

legitimate corporations you'd be comfortable with, proud of.

I know John's worked hard to build his firm up,

but there's a real opportunity here for him,

for both of you.

- Louis. No, really, wouldn't work.

- All I'm asking you to do is think about it,

talk it over with John.

Sharon, I've got no one else who can handle it.

He's very smart. He always has been.

And he can run things any way he likes.

- So that's it. That's it, after all.

Johnny's gonna run the whole show, huh? Not me.

- Chris, this has nothing to do with you.

There's enough here for everybody.

- Everything worked out just fine for you, Dad, didn't it?

And you got Johnny back too.

The good son. The pride of the family.

- Christopher.

- Sharon, I don't know how he did it,

but he's behind everything.

I'm sure of it. I know, it's the way he works.

- You stop it. You stop this, Christopher.

Right now. Do you hear me? - I'm sure that's it.

That is. Isn't it? You get everything.

The Morgan family's out of the picture.

You get Morgan's territory and you get Johnny back too.

Beautiful, Dad.

How did you pull it off?

I'm sure Vincent has all the answers,

since you speak with him more than you speak with me.

- You're crazy. You're absolutely crazy.

- No, that's it, isn't it?

It is it. - Sharon, I'd never--

- I know you're behind it all. I know it.

- Shut your damn mouth, you fool.

Look at ya. Jealousy's eating you up. Face the truth.

You haven't got any ability, you never did.

You couldn't run a lousy dime store.

You're lazy, selfish, incompetent.

- Louis, please, stop it.

- No. No, it's true.

It's true. You're nothing. A shadow of your brother.

You embarrass me.

(pool balls clanking)

Now, look.

Chris, I, I didn't mean all that. I--

- Get away.

- Hey, hey, Christo, please.

It made me mad.

- Take it back.

(tense music)

- Chris, don't do it.

You'll regret it the rest of your life.

- He never cared about me.

It was Johnny he wanted.

He never stopped thinking about him for a second.

Right, Dad?

- Chris, please.

(gun cocks) - Be quiet.

(tense music)

He never even saw me.

I was just a reminder of what he didn't have. Right?

And I was stuck here with him.

At least Johnny got out, got to start something on his own.

- You can start something on your own.

- No, it's too late.

- No, it's not too late.

You don't have to live for him anymore.

You can live for yourself, just like John did.

- I can't.

- You can.

John'll help you. I will too. I will.

It can happen, Chris.

- Where will I go? - Anywhere.

- What'll I do? - Anything. Anything.

It's up to you.

It's all true, Chris.

You can have it all. You can do it.

- [Chris] You'll say anything right now.

You want Johnny to have it all too.

- No, that's not true. Please, Chris, don't do this.

- Drop it, Chris.

- Don't!

(gunshots blast)

(Vincent grunting)

(gunshot blasts)

(Chris thuds)

- Chris. Chris.

(deep somber music)

Oh, Christo. Christo. (crying)

(deep somber music)

- May the perpetual light shine upon him.

And so Christopher joins his mother and grandparents.

May his soul, and all the souls of the faithfully departed

through the mercy of God, rest in peace, amen.

- Amen.

(priest praying in Latin)

- And so we agree.

Peace shall be restored between the Rossi

and the Mancini families.

And since it was the Morgan family

that secretly instigated this war, as reparations,

their interest will be divided between you

and the remaining southwest families, hmm?

Now please, shake hands on this.

(sighs)

- This is my daughter-in-law, Sharon.

- Hello, Sharon. How are you? - My grandson, Matthew.

- Hello, Matthew.

- Charles McQuinn, my partner.

- Good to see you again, John.

- Hi, Charles.

- So you're gonna be helping out your father again, huh?

I understand you got quite an knack for business.

- What are you talking about?

He's gotta get home and get settled.

Business is the last thing in his mind.

(guest chattering)

- It's just for a couple of weeks

until he gets back on his feet.

- First it's a couple of weeks,

then it's a couple of months.

John, I understand that you wanna help out your father

at a tough time right now.

But, we have our life together. We have a son to raise.

- None of that's gonna change.

- It already has.

Nothing's the same.

John, I'm afraid.

I'm afraid of losing you to all of this.

- What else can I do?

He's my father.

He needs my help right now.

(door clicks shut)

(soft tense music)

(people chattering)

(slow wistful music)

(guests chattering)

(tense music)

(suspenseful music)

- Thank you. - You're the best.

- Come soon.

(men speak quietly)

(deep suspenseful music)

(mysterious music)

(startling music)

(men talking quietly)

- You owed me.

- Grazie, grazie.

(men laugh)

- Sharon.

Now, Rossi and I are just wrapping up a few things.

We'll be through in a minute or two, okay?

What is it?

- It was both of you, wasn't it?

Chris was only half right.

You both got rid of the Morgan gang,

and you got John back too.

- Please. You're talking about things you don't understand.

- No, no, no.

First you made some kind of a deal with Morgan

to kidnap my son.

You knew Rossi would get blamed. That was the whole idea.

But what Morgan didn't know was that you two

were actually setting him up.

- What are you saying? Stop it.

- Why else would Morgan let you into his house so easily?

Because he thought he was your partner.

- This is ridiculous. Listen to yourself.

- No, it all fits.

- You're way outta line.

I won't take that. I know you're under a lot of stress.

I know where you got it too, from Chris.

He was sick. You saw that.

And I blame myself.

I wasn't patient with him. I never listened to him.

- No, but I listened, and I listened very well.

I searched Vincent's room, Louis, and I found this.

It's a parking receipt from Bloomington,

dated the day before Matthew was kidnapped.

What was Vincent doing in Bloomington, Dad?

Taking a tour of the Midwest?

- The hell is this?

(scoffs) Anybody could've brought this here.

It's meaningless.

For God sakes, what do you think I am?

I, I could have been killed in that house.

Do you think I set that up too?

- No. That was just a fortunate break.

The clincher that made you a hero.

You actually had me convinced

that somehow I had it wrong about you.

I guess I wanted to believe it.

Maybe I wanted Matthew to have a grandfather,

and maybe I wanted a father too.

But I was right when I left the first time.

You're a frightening, miserable old man

who'll do anything to get what you want.

And to do that, you put my child,

your own grandson in danger.

- He was never in danger, I made sure of that.

(deep somber strings music)

Wait. Please, John, I, I never would've harmed him.

Never harmed him. Look, we found each other again.

That's what matters, isn't it?

Wait, we can work this out.

Johnny, we got back together.

John. John, wait. Where are you going?

- Daddy!

- Go home.

- For God sakes, don't do this.

Johnny.

You, you can't go, not like this.

We're, we're family, we're alike. We, we belong together.

Don't you see?

Please. I'd, I'd never hurt him. I love him.

- Don't touch him.

- Johnny, wait, wait, please. You don't understand.

Wait, John, John.

Please, you don't understand.

You can't leave. John, don't leave!

John. Johnny!

Please, please don't leave.

Johnny! Johnny!

There isn't anyone else!

- Let's go home.

(somber music)

- John. No.

Please. Please, Johnny. You're all I've got left.

You're everything. Come back!

Johnny, no. (crying)

(gentle sorrowful music)

(wistful piano music)