Original subtitles

[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"]

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