The document summarizes scenes from a story involving organized crime families. In the first scene, Don Massimiliano D'Angelo holds a meeting with his associates where they discuss security issues with Don Michele and his family. In a later scene, Gabriele is seen at the D'Angelo family dinner where tensions seem high, especially between Don Massimiliano and Don Michele. The final scene shows an empty Don's chair, with a voiceover questioning where the once powerful D'Angelo family's power now lies.

1. 1
When Worse Comes To Worse
English Version by
Tatiana Disu

2. 2
SCENE 1
FADE IN:
INT. INSIDE THE D’ANGELO HOUSE – DAY
Opens with a close up of an older aged man, expression shows
disappointment and slight infuriation. His eyes shift to his
left and his expression turn to one of annoyance. Camera
slowly pans out to view the whole of the room. A young boy who
doesn’t look fully Italian is slouching, standing beside the
doorway with a bored expression on his face. His gaze is
directly focused on the young man sitting on the right hand
side of the desk rather than the man in the centre. Directly
across him stands another soldier waiting for the scene to
unfold. An associate is seen kneeling beside the desk on the
left hand side in order to kiss the Don’s hand, showing his
loyalty. The older man sits in the middle of everyone;
disappointed that everyone is not paying attention to him he
refuses to start the meeting. Beside him is a middle aged man
who is leaning near the windowsill, his expression shows
tiredness wanting the meeting to start. He constantly shuffles
from his right to left foot. Three intimidating capos stand in
a collective, silently behind the young man in seated on the
right. The young man lets out a sigh to reinforce his
nonchalant expression towards the meeting being held.
GABRIELE
Don Massimiliano, are you not going
to start to the meeting? You still have
other duties to attend to with the Governor.
There is a cough coming from the man behind Massimiliano and
eye contact happens between him and Gabriele.
MASSIMILIANO D’ANGELO
(nods towards Gabriele, then turns towards Associate Angelo)
What news do you have to give to me Angelo?

3. 3
ANGELO
(rises up, head still slightly bowed)
Don Massimiliano, there are current issues
concerning Don Michele. Other associates have
been finding out loopholes for the new
establishment he is creating.
MASSIMILIANO D’ANGELO
Carry on
ANGELO
There is lack of security for his family
due to the issue that happened five years
ago.
The middle aged man stands more attentively, his gaze
refocuses on Gabriele.
MASSIMILIANO D’ANGELO
(Scoffs)
The Cosa Nostra should have taken care of
this problem when it first arose.
GABRIELE
(Jokingly manner)
Do you want to take up the job of the
Cosa Nostra now or attack Michele

4. 4
MASSIMILIANO D’ANGELO
(Grunts)
Michele should take care of his own or
someone else would.
VINCENZIO
(Chuckles and rolls his eyes)
Mutters some words only clear ones are capos and mission
GABRIELE
Don’t eat alone Don. We want to avoid
disruption of the Cosa Nostra so no
mattresses. Michele can take care of
his own business, the Zacchelli family
has being around since my great grandfather
was a boy. You think this past issue would
destroy them?
MASSIMILLIANO D’ANGELO
You are jittery today? I know not to
upset the other families. However
our spring cleaning is the best, no?
ENRICO
If all consiglieres are like Gabriele
then there is no need to worry about
Zacchelli’s

5. 5
MASSIMILLIANO D’ANGELO
(Heavy sigh)
That is true Gabriele counsel is a
reckoning force. Angelo you are
dismissed. Let us move onto the
Governor, shall we….
ANGELO
(bows again)
Thank you Don. I shall return when I
am useful to you.
(Heads to the doorway and closes the door)
Obvious tension still in the room. Camera follows door
closing.

6. 6
Scene 2
Fade In:
EXT. STREETS AT MARKETPLACE – DAY
Opens with a wide shot of people crossing the road to get to
the marketplace. Screams can be heard of the shopkeepers
advertising their products. Camera zooms in on a young kid
leaning on the lamppost. Long shot turns into a medium shot
showing him watching the people crossing. Suddenly,
straightens up and starts walking towards the camera. Camera
angle switches to a slightly low shot of his back. Kid bumps
his shoulder into a passer-by. Close up of the kid, facial
expression has a slight smile. The camera angle pans out to a
wide shot showing children looking at him in the background.
Switches to close up of the passer-by. Changes to a medium
shot his hand goes to his pocket, he starts patting down
everywhere. Turns around to look back, starts screaming and
points to the direction of the kid. A closeup of feet running,
camera slowly moving up showing the other kids have joint in
running.
GIACOMO
(Running away from the incident, puts hand around Gabriele
shoulder)
Gabriele this way
GABRIELE
(Shrugges Giacomo hand off)
This is all I have to do, am warning you
am not going through this again.
GIACOMO
Fine. You are rag now anyway?

7. 7
Group of boys are seen running down the street while a cop is
chasing after them. A few people turn their heads while some
carry on shopping. Scene ends with a fading shot.

8. 8
Scene 3
EXT. CONSTRUCTION YARD
Shot opens with heavy breathing. Series of quick shots
including left hand bloody, right hand holding broken glass,
blood on the floor, a boy holding his stomach that is
bleeding, shot of him collapsing onto the ground. Camera
slowly moves from the ground upwards to Gabriele face.
GABRIELE
(drops the broken glass)
No, I …I… am
(Starts to run away, slightly stumbles and looks back. Shakes
his head and continues running)
GIACOMO
(comes onto the scene, picks up the broken glass and looks
down at the boy)
Gabriele…

9. 9
Scene 4
INT. A BEDROOM - NIGHT
Scene starts with muffled sobbing coming from a woman who is
being bound near the bed. A man wearing all black, a mask and
a hat to cover his face is standing in front of her. A gun is
pointed to the other man in the room who is bruised and
beating up, signs of a black eye forming. The woman’s gaze
shifts to the closet behind the armed man; he picks up on this
and turns around. The injured man uses this to move towards
the door.
(sound of a gunshot)
ARMED MAN
I told you not to move
Wailing erupts from the woman; she starts violently kicking
her legs and tries to get out of the restraints. The injured
man starts screaming in pain and holds his leg going into a
foetus position.
ARMED MAN
(crouches in front of the woman, hold her face then
proceeds to hold her neck)
This would be less messy if you gave
me the information I am asking for
INJURED MAN
(looks over towards his wife, tries to stop the bleeding)
No
Armed Man
(Starts chocking the woman)

10. 10
Tell me about Gabriele
INJURED MAN
(starts crying)
No, please no
ARMED MAN
(puts the gun towards her head)
One more time, I will not ask again,
tell me about Gabriele
Injured man starts begging, the gun goes off. Unnoticed
shuffling goes on in the closet.
ARMED MAN
Too late
(low camera shot of gunpoint. Gunshot heard and door closes)
Time passes
Crying is heard from the closet. Blood seeps onto the floor
from both bodies. Close up of child’s face showing a terrified
expression through the closet, visible shadow of the bars of
the closet on his face. The closet door opens a boy of about
10 emerges in his pyjamas. He crawls through the blood towards
his parents.
VINCENZIO
(shakes the womans body)
Ma

11. 11
(Goes towards the injured man)
Papa
(starts violently shaking, rocking back and forth)
Camera shot of feet appearing before him

12. 12
Scene 5
FADE IN:
INT. INSIDE A MOTEL BATHROOM – DAY
Shot opens with a shot of the Gabriela back, showcasing her
hair. Lighting is dim except for focus on Gabriela. The
surroundings shown for the sink is run down and rusted. She
holds her hands firmly on the sink.
GABRIELA
(sigh)
Point of view shot looking downwards at the sink containing a
first aid kit sprawled and a bottle of hair dye.
Medium shot of her sideways. She moves her right hand away
from the sink and places it on the back of her neck. Close up
of her face. Frustrated she rotates her neck and stares
towards the mirror in front of her. Gabriela reaches towards
the tap to turn it on. Medium shot of the mirror as Gabriela
washes her face, then close up shot of her looking at mirror.
GABRIELA
It’s to late…
TRANSITION
INT. DINING ROOM
Opens with the camera following a woman carrying a pot, she
goes through the doorway and places the pot at the centre of
the dining table.
ABRAMO
(Rises up from the seat, hugs his mother)

13. 13
Grazie di tutto mamma
Zooms out to a wide shot showcasing the busy dining room, door
opens and in comes Don Massimiliano. All heads look towards
him there is silence.
ABRAMO
(Laughs but said in a threating way)
You came late you almost missed
Ma’s food
Don Massimiliano takes a seat moving it in front of Don
Michele
MASSIMILIANO
I would not want to miss a thing
now, would I?
Enrico and Gabriele take their seat on either side of Don
Massimiliano
GABRIELE
The Di’Angelo Family are not known
for tardiness, forgive us a problem
came up
(his gaze moves to Don Michele then turns to a worried
expression as his gaze shifts to his Don)
Extreme Close up on Gabriele face

14. 14
Scene 6
EXT. IN AN ALLEY WAY
Long shot of the two men, one stand in bloody clothing looking
calm and collected whilst the other is on the ground slightly
panicked. The other man crouches down to reach his level and
it turns to a two shot of the men.
ALONZA
You are crazy
GIACOMO
(Wipes some of the blood from his hand on Alonza’s shoulder)
He looked at me funny
ALONZA
He’s a fed… I knew it, I knew we
should have listened to Sigismondo
GIACOMO
Nothin’ going to happen, what
can they do
ALONZA
Are you forgetting the who we’ve
killed, angering two Dons, we are
deadmen
Scene ends with Giacomo sitting on the floor and laughing

15. 15
Scene 7
FADE IN FROM BLACK
INT. A ROOM
Close up shot of an empty Dons chair, slowly zooms out to a
wide shot of the room while a voice over narration plays
VOICE
The D’Angelo family were known
for one thing and that is power.
But where is their power now?