A con man, Irving Rosenfeld, along with his seductive partner Sydney Prosser, is forced to work for a wild FBI agent, Richie DiMaso, who pushes them into a world of Jersey powerbrokers and mafia.
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FOR EDUCATIONAL PURPOSES ONLY
AMERICAN HUSTLE
Written by
Eric Warren Singer and David O. Russell
TITLE CARD: SOME OF THIS ACTUALLY HAPPENED
OVER BLACK: APRIL 26, 1978, PLAZA HOTEL, NEW YORK
1 FADE IN:
2 INT. PLAZA HOTEL WINDOW NYC - DAY
IRVING ROSENFELD, not a small man, gets dressed and
meticulously constructs his combover. Camera WRAPS AROUND,
see his hands with rings adjust his dark velvet suit, up to
his face, serious, concentrated, intense, he is composing
himself before a performance.
Irving is now dressed, ready, and walks down the hall to
another room.
3 SECOND PLAZA HOTEL ROOM
Irving composes himself -- looks
into cramped surveillance closet, there are FBI Agents -- we
only see their hands and arms -- he looks at monitors -- sees
a BLACK AND WHITE IMAGE OF ANOTHER ROOM ON MONITOR: MAYOR
CARMINE POLITO, swath of salt and pepper hair, cream suit,
pinky ring, Rotary Club pin -- ALONG WITH CARL ELWAY, preppie
shady businessman.
He exhales pressure, turns as CAMERA PANS TO: SYDNEY PROSSER
(who will also be known for some time as EDITH GREENSLY),
stylish crafty smart. They stare at each other intensely --
they have a deep and emotional relationship. A DOOR BANGS
OPEN, and in walks RICHIE DIMASO, Bronx-born. He stands
there.
RICHIE DIMASO
What are you doing, going behind my
back? Telling people I'm screwing
up this operation? I got you a
suite at the fuckin' Plaza Hotel!
IRVING ROSENFELD
The shittiest suite at the Plaza
Hotel.
RICHIE DIMASO
What?!
IRV ROSENFELD
The shittiest fuckin' suite.
RICHIE DIMASO
Based on what--?
2.
IRVING ROSENFELD
And the food is wrong, and--What is
this? You, like, went in my closet
or something?
EDITH GREENSLY
No
IRVING ROSENFELD
Are you dressing him like you're
dressing me now?
EDITH GREENSLY
(shakes her head)
No, what are you thinking? This
isn't all about you, you know that.
RICHIE DIMASO
What, did you try to dress me so I
would look like him?
EDITH GREENSLY
No, you're not dressed like him,
all right?
RICHIE DIMASO
But I do, I look like him.
EDITH GREENSLY
No, he's in like, velvet. Come on.
IRVING ROSENFELD
You asked me to show you how this
was done, you wanna fuck it up be
my guest.
EDITH GREENSLY
What is your problem?
RICHIE DIMASO
Hey, look, I never laid a hand on
her, all right? Is that what this
is about?
EDITH GREENSLY
(British accent)
Well technically, that's not true.
RICHIE DIMASO
Look, we never had sex ok? I just --
3.
RICHIE DIMASO (CONT'D)
What'd I do? I put my hand like
this --
Richie reaches out and puts his hand on Irving's face very
carefully, not forcefully.
Irving swipes it away violently the second it touches his
face.
IRVING ROSENFELD
Don't you fucking touch me. That
bothers me --
RICHIE DIMASO
Oh it does?
IRVING ROSENFELD
Oh yeah.
RICHIE DIMASO
That bothers you?
IRVING ROSENFELD
Yes.
RICHIE DIMASO
You know, a lot of shit bothers me
too, but I was trying to help you.
If I wanted to bother you, if I
really wanted to fucking bother
you, this is what I'd do.
Richie takes his hand and destroys the combover Irving spent
so much time creating. Irving just stands there, hair ruined,
staring at Richie.
IRVING ROSENFELD
You shouldn't have done that.
Irving just stands there staring at Richie, hair all wild and
messed up looking very angry.
RICHIE DIMASO
How's that? You bothered now? (no
answer) Alright, don't make a thing
of it.
EDITH GREENSLY
You shouldn't touch him. He doesn't
like that.
4.
RICHIE DIMASO
Oh my god, fix his hair. Don't make
a thing of it.
EDITH GREENSLY
It takes some time, ok.
Edith walks over to Irving who is still standing there in
silence with his hair all over the place. She carefully
starts helping him put it back together.
RICHIE DIMASO
Big fucking deal. We got to get in
the other room, come on. The
mayor's in there.
EDITH GREENSLY
Yes I know that.
RICHIE DIMASO
Should we go to the beauty parlor?
Is that what we should do?
Richie walks over and opens up a briefcase that's sitting on
the dresser. Inside are stacks of cash.
Edith is still helping Irving put his hair back together.
IRVING ROSENFELD
How's it look.
EDITH GREENSLY
You look fine.
Richie slams the briefcase shut looking very nervous and
intense.
RICHIE DIMASO
Let's go.
CUT TO:
4 STEELY DAN'S "DIRTY WORK" STARTS ON THE SOUNDTRACK AS THEY 4
WALK DOWN THE HALLWAY THREE ACROSS: IRVING, EDITH, RICHIE.
RICHIE WITH BRIEFCASE IN HAND.
5 INT. PLAZA HOTEL SUITE FOYER - DAY 5
SLOW MOTION -- DOUBLE DOORS PUSH OPEN AND Edith ENTERS THE
SUITE -- THEY WALK INTO --
5.
6 INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS 6
DRAMATIC PUSH IN ON: THE DESTINY OF THE STORY MAYOR CARMINE
POLITO PINKY RING, ROTARY CLUB PIN STANDS FINISHING STORY TO
BUSINESSMAN CARL ELWAY AS IRVING, EDITH, RICHIE WAIT FOR HIM
TO FINISH -- THEY ALL SHAKE HANDS AND SIT ON THE COUCH ACROSS
FROM EACH OTHER. RICHIE CAREFULLY SETS THE BRIEFCASE DOWN ON
THE GROUND NEXT TO HIS FEET. CUT TO THE SCENE AS VIEWED
THROUGH A SURVEILLANCE MONITOR. THE DATE AND TIME STAMP
VISIBLE.
CARMINE POLITO
I thought he was going to be here.
I do business face to face, person
to person. That's just who I am.
Richie reaches down and awkwardly slides the briefcase over
to Carmine unprompted. LEAVE MONITOR'S POV AND RETURN BACK TO
THE SCENE.
IRV'S EYES WIDEN AS IN `NO! DON'T DO THAT!' WHILE HE AND
RICHIE STARE AT EACH OTHER, EDITH TENSE, CARMINE LOOKS
DISTURBED AT THE CASE COMING HIS WAY. HE STANDS ABRUPTLY.
CARL ELWAY
Whoa, excuse me, excuse me. I'll
handle that for the Mayor.
RICHIE DIMASO
No, it's for the Mayor. It would be
a sign of disrespect to the sheik
if the mayor didn't take it
himself. It's for you Mayor.
Carmine looks angry and confused. He looks over to Carl.
CARMINE POLITO
What are you doing? What-- (to
Carl) Carl, what the fuck? What is
this?
CARL ELWAY
No, I'll handle it. I'm gonna take
care of-- Everything's good. I
got everything under control. (TO
RICHIE) That's for me. I handle all
that for mayor.
CARMINE POLITO
What is this?
Irving looks over and says nothing. Not surprised at all how
badly this is all going.
6.
Edith whispers to Richie.
EDITH GREENSLY
(whispers to Richie)
Just stop it, ok
RICHIE DIMASO
(whispers to Edith)
He's gotta take it himself, okay?
CARMINE POLITO
I don't know what the fuck that is
but it's weird you understand?
CARL ELWAY
Misunderstanding. Misunderstanding.
CARMINE POLITO
I came here to meet a sheik, that's
all I know. I'm very interested in
that but he's not here apparently.
Carl?!
Carmine turns and starts to walk out of the room.
CARMINE POLITO (CONT'D)
I'm very interested in meeting the
Sheik. You let me know when THAT
could happen! Thank you, have a
good day.
Carmine leaves the room.
Irving looks over and shrugs his shoulders. Not surprised at
all the way this is going and horrified that Richie has
ruined it.
CARL ELWAY
(leaving)
Irving! You better come get him.
RICHIE DIMASO
(stares at Irv)
Go out there and get him right now.
CARL ELWAY
Help me get him back!
RICHIE DIMASO
Go get him. He needs to take the
fuckin' briefcase, Irving.
7.
IRVING ROSENFELD
I didn't wanna do it in the first
place. This is your show, YOU go
get him.
RICHIE DIMASO
No, you have no choice. You have
to go get him. Now, go get him, so
he takes the briefcase by himself!
That's the whole plan, Irving!
Irving stands up angry and gets in Richie's face.
IRVING ROSENFELD
What were you doing pushing the
fucking briefcase, dummy? Huh?
RICHIE DIMASO
The whole fuckin' thing was falling
apart. You know how much I paid
for this goddamn hotel that you
fucking asked for?!
IRVING ROSENFELD
Now I gotta go mop up your mess.
I'm gonna go fucking mop up your
mess!
Irving storms out of the hotel suite towards the Elevators to
get Carmine.
INT. PLAZA HOTEL SUITE FOYER - DAY
Irving paces back and forth as he waits for the elevator.
INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS
We push in on the concerned face of Sydney as Richie rambles
on to her.
RICHIE DIMASO
You understand what I'm saying,
right? It wasn't working.
INT. PLAZA HOTEL SUITE FOYER - CONTINUOUS
Irving continues to pace back and forth in the hall waiting
for the elevator.
8.
IRVING ROSENFELD (V.O.)
Did you ever have to find a way to
survive and you knew your choices
were bad?
Irving walks over and hits the elevator button again.
IRVING ROSENFELD
I learned how to survive when I was
a kid.
7 CUT TO: 7
IRVING ROSENFELD (V.O.) (CONT'D)
My father had a glass business.
28 IRV AS KID SMASHES PLATE GLASS WINDOWS OF BRONX STOREFRONTS 28
Drumming up business for his father.
EXT. ROSENFELD & SON GLASS REPAIR CO. - DAY 1940'S
Young Irving and his Father and Mother standing outside the
family's glass repair shop in the Bronx as some tough
contractors march up to them.
IRVING ROSENFELD (V.O.)
I would rather be on the taking
side than the getting taken side
any day of the week, especially
after I saw how my father got
taken. I mean, seeing that scarred
me for life.
EXT. UNDISCLOSED STREET - DAY 1940'S
Young Irving runs by a store front as he throws a rock
through each window on the store, smashing them all.
IRVING ROSENFELD (V.O.) (CONT'D)
I took it upon myself to drum up
business. I became a different kind
of guy than my father. I became a
con artist -- from the feet up, for
real.
CUT TO:
THE BRONX: STOREFRONT WITH SMASHED WINDOW. - DAY - PRESENT
Irv shakes his head, surveys the damage.
9.
IRVING ROSENFELD
I was gonna survive no matter what.
I still had the glass business and
a few dry cleaning stores on the
side.
7G INT. IRV'S DINGY OFFICE - DAY 7G
Irving paces around his office smoking a cigar and talking on
the phone. What looks to be stolen art sits on the floor all
around him.
IRVING ROSENFELD (V.O.)
And I did some art dealing on the
side. Stolen or forged art.
EXT./INT. POOL PARTY - LONG ISLAND HOUSE - DAY
Chicago's "Does Anybody Really Know What Time It Is?" fades
up. Jamming early 70s HOLIDAY party -- LONG ISLAND LADIES IN
BIKINIS WITH HUGE HAIR IN FUR COATS SMOKING OUTSIDE THE GLASS
ENCLOSED POOL -while inside steamed glass SHINY BIKINI
CANDIDATES FOR NOSE JOBS; A FEW OTHERS WHO ARE LARGE, SEVERAL
GUYS WHO LOOK MOBBED UP, pale, out of shape, gold chains, in
swim trunks, EVEN MORE BURT REYNOLDS TYPE GUYS, slim, hairy,
chains.
IRVING ROSENFELD (V.O.)
So, one January I go to my friends
pool party in Long Island.
Irving sits holding court with some friends by the pool when
he turns and sees Sydney for the first time.
PUSH IN ON: Irving. He looks up, they lock eyes across the
party.
SYD REACHES FOR A SLICE OF FRUIT ON HIGH SET PLATE WHEN
IRVING'S HAND GRABS HER ARM -- she turns, taken aback -
IRVING ROSENFELD
Is that Duke Ellington on your
bracelet?
She does have on a Duke Ellington charm bracelet.
SYDNEY PROSSER
As a matter of fact, it is. He died
this year, you know.
10.
IRVING ROSENFELD
I know. I doubt anyone else here
knows or cares about it.
SYDNEY PROSSER
Well I care. He saved my life many
times.
Irving takes a good look at her, impressed.
IRVING ROSENFELD
(impressed)
Mine too. Which one?
SYDNEY PROSSER
Jeep's Blues.
IRVING ROSENFELD
(smiles, warm)
Jeep's Blues. Oh yeah.
Awkward pause.
IRVING ROSENFELD (CONT'D)
You wanna hear it?
SYDNEY PROSSER
Right now?
IRVING ROSENFELD
Yeah.
SYDNEY PROSSER
Sure.
CUT TO: PORTABLE RECORD PLAYER PLAYS START OF JEEP'S BLUES as
Irving and Sydney nod to it - he watches her foot in her high
wedge and her tanned leg rocking as she sits on arm of sofa.
IRVING ROSENFELD
Who starts a song like that?!
SYDNEY PROSSER
It's magic.
IRVING ROSENFELD
Magic.
They listen to the record, Edith checks Irving out.
11.
SYDNEY PROSSER (V.O.)
He wasn't necessarily in good
shape, and he had this comb-over
that was rather -- elaborate. He
had this air about him. And he had
this confidence that drew me to
him. He was who he was and he
didn't care.
IRVING ROSENFELD (V.O.)
Like me, she was a very particular
person. Like me, she came from a
place where her options were
limited -- and she had been someone
she didn't want to be in her past.
CUT TO -- SYDNEY DANCES IN A SMALL TOWN, OLD FASHIONED STRIP
BAR.
SYDNEY PROSSER (V.O.)
It actually can feel kind of sexy
sometimes. There's a boldness in
it. But where would that boldness
take me? I didn't know. But I was
gonna find out.
8 CUT TO: 8
SYDNEY WALKS DOWN A BLEAK INDUSTRIAL STREET.
CUT TO -- RECORD STORE WHERE EDITH FLIPS THROUGH ALBUMS OF
THE OLD GREATS -- ELLA FITZGERALD, DUKE ELLINGTON, AND MORE
OF THE OLD GREATS -- A WORLD OF ELEGANCE, SOPHISTICATION, AND
CULTURE A MILLION MILES AWAY FROM WHERE SHE LIVES.
IRVING ROSENFELD (V.O.)
Like me, she learned to survive and
reinvent herself. She knew she had
to reinvent her life and her
identity. And like me, she
envisioned a better elegant future
for herself. Like me, she knew you
had to have a vision.
EXT. NY STREET -- DAY
Sydney looks at scrap of paper with info in her hand -- looks
up at office building address -- enters.
IRVING ROSENFELD (V.O.)
She came to New York. She
envisioned it.
(MORE)
12.
IRVING ROSENFELD (V.O.) (CONT'D)
And just like that, she applied for
a job at Cosmopolitan Magazine.
12 INT. COSMOPOLITAN MAGAZINE OFFICES - DAY 12
Clean bright colors, huge blown up Cosmo covers --
Sydney -- innocent, plain, slacks and blouse, hair back,
nervously awaits interview.
SHE IS CALLED IN -- NERVOUSLY STANDS, small crumpled scrap of
paper in hand, FIXES HER HAIR --
13 INT. COSMO INTERVIEW OFFICE - CONTINUOUS 13
COSMO INTERVIEWER GIRL
Well you're obviously here for a
reason. Let's get to it.
SYDNEY PROSSER
Alright.
COSMO INTERVIEWER GIRL
Our cover story right now is on
cunnilingus. What do you think
about that?
SYDNEY PROSSER
I like it.
COSMO INTERVIEWER GIRL
Do you have any clerical skills?
SYDNEY PROSSER
Yes.
COSMO INTERVIEWER GIRL
Can you type?
IRVING ROSENFELD (V.O.)
She was unlike anybody I ever knew.
She was smart. She saw through
people in situations. And she knew
how to live with passion and style.
She understood Duke Ellington.
14 COSMO MAGAZINE OFFICES: SYDNEY PUSHES MAIL CART DELIVERS MAIL 14
TO SOPHISTICATED MAGAZINE EDITORS AND EXECUTIVES, SOME TOUGH
BIRDS, MOST ELEGANT.
13.
15 CUT TO: Edith WATCHES A COSMO COVER SHOOT -- 15
SYDNEY PROSSER (V.O.)
I was broke, fearless, with nothing
to lose --
EXT./INT. POOL PARTY - LONG ISLAND HOUSE - DAY
Irv and Sydney dance slowly.
SYDNEY PROSSER (V.O.) (CONT'D)
-- and my dream, more than
anything, was to become anyone else
other than who I was.
24 EXT. LONG ISLAND DRY CLEANERS-- DAY 24
Irv holds the door open for Edith as she enters.
IRVING ROSENFELD
-- I got two in the Bronx and three
in Manhattan. (to an employee) Hey,
Byron.
SYDNEY PROSSER (V.O.)
He had a chain of dry cleaning
stores. He asked me to come in and
upgrade my wardrobe-- he said a lot
of nice things got left behind by
people and forgotten over the years-
-
IRVING ROSENFELD
I mean you wouldn't believe the
shit that people leave behind here.
Unbelievable.
SYDNEY PROSSER
People leave stuff here?
IRVING ROSENFELD
Oh yeah. They go out for the night,
they drink, come here in the
morning, put their clothes in and
then they forget. They got no idea
where they left it.
Irving touches a hanging blue sequined dress.
IRVING ROSENFELD (CONT'D)
Look at that. Sequined thing. I
don't know. Is that nice or not?
14.
SYDNEY PROSSER
It's beautiful.
Irving and Sydney continue to walk through towards the back
and enter a fur vault filled with elegant designer clothes.
IRVING ROSENFELD
I mean, some of it's been here for
years. They're not picking it up.
Nobody's picking it up.
Sydney starts riffling through nice things hanging on the
racks.
IRVING ROSENFELD (CONT'D)
You like that?
SYDNEY PROSSER
I love it.
IRVING ROSENFELD
It's yours. You want it? It's
yours.
Sydney looks back at Irving in shock.
CUT TO: SHE STEPS OUT OF THE DRESSING ROOM IN THE VON
FURSTENBERG DRESS - LOOKS FANTASTIC.
IRVING ROSENFELD (CONT'D)
You look fantastic!
SYDNEY PROSSER
Oh my god. I can only dream about
these dresses. They're beautiful.
SYDNEY PULLS CLASSIC CLOTHES FROM THE ABANDONED RACK: ONE,
TWO, THREE. SHE PUTS A JACKET ON HIM THAT HE IS RELUCTANT TO
WEAR, PAISLEY SMOKING COAT.
LATER: THEY GO INSIDE THE ELECTRIC ROTATING CAROUSEL RACK OF
CLEAR PLASTIC COVERED, DRY CLEANED CLOTHES -- STAND INSIDE,
ENCHANTED, SMILING AT EACH OTHER, AS THE RACK SWIRLS
MAGICALLY AROUND THEM. THEY STARE AT EACH IN LOVE.
IRVING ROSENFELD (V.O.)
I felt like we had a secret. Just
the two of us. You know like that
thing where you want to just be
with the one person the whole time.
15.
IRVING ROSENFELD (V.O.)
You feel like the two of you
understand something that nobody
else gets. I could just tell her
everything about myself. And I
never had anybody like that in my
life before. I felt like finally, I
can truly be myself without being
ashamed, without being embarrassed.
39 INT. Irv's dingy office - DAY 39
Irv leads Sydney into a small, dingy Manhattan office on an
upper floor.
SYDNEY PROSSER
What is this place? Do you sell art
here?
IRVING ROSENFELD
Yeah, sometimes. This is my office.
SYDNEY PROSSER
I know it's your office, but, you
have these other places. What's
this for? Why did you bring me
here?
IRVING ROSENFELD
This getting to be my main
business, my growing business. I
help get loans for guys that can't
get loans. I'm their last resort.
SYDNEY PROSSER
You're their last resort? Because
interest rates are north of 12% and
heading to 18%.
IRVING ROSENFELD
That's right, smarty pants.
SYDNEY PROSSER
Fucking Jimmy Carter. Fucking Nixon
really. And the war and the
deficit and all of that shit.
IRVING ROSENFELD
I love you, you're so smart. You
are.
SYDNEY PROSSER
Thanks kid but how do you get them
the money?
16.
IRVING ROSENFELD
Well --
SYDNEY PROSSER
You don't do you? You don't.
IRVING ROSENFELD
These guys are lousy risks, you
know? I can't get them a loan but I
get my fee. Five thousand.
SYDNEY PROSSER
Five thousand? You take five
thousand and you don't give them
anything?
IRVING ROSENFELD
These are bad guys, you know? They
got bad divorces, gambling habits,
embezzling, all that shit, you know
what I mean?
SYDNEY PROSSER
Everybody at the bottom crosses
paths eventually in a pool of
desperation and you're waiting for
them.
IRVING ROSENFELD
How about `we'?
SYDNEY PROSSER
We?
IRVING ROSENFELD
How bout it?
Sydney turns and begins walking out the door as Irving chases
her out.
IRVING ROSENFELD (CONT'D)
Sydney. Sydney I'm sorry that was
too much. I went too far. I didn't
want to upset you.
She continues walking out without looking back and leaves.
IRVING ROSENFELD (CONT'D)
Sydney please, I'm sorry! I know it
ain't for everybody.
The door slams in Irving's face
17.
IRVING ROSENFELD (CONT'D)
(Irving shouts to the
closed door)
Ah GOD I love getting to know you!
INT. IRV'S DINGY OFFICE - DAY
IRVING PACES AROUND THE OFFICE UPSET AT HIMSELF. SLOWLY SITS
DOWN IN THE DESK CHAIR IN DEFEAT, TAKES OFF HIS GLASSES AND
SITS BACK.
IRVING ROSENFELD (TO HIMSELF)
What I do that for? I fucked it up.
I should never tell a woman the
truth. She's so smart. She's
different.
OFF SCREEN THE DOOR OPENS. SHE WALKS RIGHT UP TO IRVING AS HE
SITS AT HIS DESK. SHE TOSSES HER COAT TO THE SIDE.
IRVING STARES UP HER TENSE -- WHAT WILL SHE DO?
SYDNEY PROSSER
You said it was nice knowing me.
You said it was nice to meet me.
IRVING ROSENFELD
Yeah.
SYDNEY EXTENDS HER HAND TO HIM IN A ROYAL FASHION.
SYDNEY PROSSER
(British accent)
Would you like to meet Lady Edith
Greensly?
Irving looks stunned as he slowly clasps her extended hand.
SYDNEY PROSSER (CONT'D)
(British accent)
I have royal banking connections in
London. I'd love to help you with
your loan but of course I have to
be very selective.
IRVING ROSENFELD
That was fucking fantastic.
SYDNEY PROSSER
Thank you. Did you like it?
18.
IRVING ROSENFELD
I liked it. I didn't think you were
coming back. Thank god you came
back.
SYDNEY PROSSER
I wasn't going anywhere.
IRVING ROSENFELD
I fucking love you.
SYDNEY PROSSER
You have me.
CUT TO:
40 EXT. SUBURBAN STREET 40
ONE OF SYDNEY'S NANNY FRIENDS, REBECCA, walk out of a
BUSINESS MAN's (34) house pushing a stroller as the business
man comes chasing after them.
SYDNEY PROSSER (V.O.)
And so Irving and I began our
partnership -- in love and
commerce.
BUSINESSMAN
Rebecca, hold on. You're Edith
right?
SYDNEY PROSSER(V.O.)
He told me to tell my friends I had
(in British accent) London banking
connections
BUSINESSMAN
I'm Jim. I'm her employer. Listen -
- she told me you can get me a line
of credit. I know you have banking
connections in London, England.
SYDNEY PROSSER (V.O.)
And after that...say "no" a lot
until the guy is hooked.
Edith and Rebecca start walking away as the businessman
chases after them.
19.
BUSINESSMAN
Becky tell her! I've never missed a
check!
EDITH GREENSLY
(walking away)
NO!
SYDNEY PROSSER (V.O.)
It was almost scary how easy it
could be to take money from
desperate people.
CUT TO:
41 INT. IRV'S DINGY OFFICE - DAY 41
Edith extends her hand to greet ANOTHER BUSINESSMAN, 35.
Edith is dressed in a more sophisticated high end British
fashion.
EDITH GREENSLY
Lady Edith Greensly, it's so good
to see you again.
ANOTHER BUSINESSMAN, 35
Lady -- your ladyship -- thank you
again.
IRVING ROSENFELD (V.O.)
These are the roles that we were
meant to play.
42 INT. IRV'S DINGY OFFICE - ANOTHER DAY 42
Another desperate businessman sits across from Edith and
Irving.
SYDNEY PROSSER
We're very selective.
IRVING ROSENFELD
You got a strong application. We'll
talk about it.
INT. IRV'S DINGY OFFICE - ANOTHER DAY, ANOTHER MARK.
IRVING ROSENFELD
I don't take a deal that I can't
close.
20.
SYDNEY PROSSER
You're not being aggressive enough
in putting up your assets --
The man looks nervous --
NERVOUS LOAN APPLICANT
Have you ever been to Queens? Have
you ever been to Great Neck?
Everybody knows my dealerships.
CONTINUOUS MONTAGE AS THEIR CLOTHING CHANGES FROM DAY TO DAY
BUT THE SETTING REMAINS THE SAME AS THEY CON MARK AFTER MARK.
A desperate man takes out a BUSINESS CHECK BOOK and writes
his check.
DESPERATE MAN
Five thousand gets me fifty right?
ANOTHER BUSINESSMAN
Five will get me thirty five. Is
that right?
ANOTHER BUSINESSMAN, 35
Five grand gets me fifty?
INT. IRV'S DINGY OFFICE - ANOTHER DAY
Sydney and Irving laugh and celebrate.
IRVING ROSENFELD (V.O.)
I was doing so much more business
with her. I mean it doubled, then
it tripled.
INT. IRV'S GLASS STORE - DAY
Sydney -- hair getting bigger -- goes over the books with a
Latino Man who nods and watches her --
Edith counts cash in the register - recounts it -- explains
how things can be done better as DRY CLEANING WORKER nods.
Irv watches happy.
IRVING ROSENFELD (V.O.)
And I never met anyone, man or
woman, in business who was so
careful and precise about
everything. Every stylistic detail.
21.
INT. BUSINESSMAN OFFICE - DAY
Irving and Edith discuss a piece of art they're in the
process of selling to a businessman.
IRVING ROSENFELD (V.O.)
We kept selling art together, too.
EDITH GREENSLY
It's really a fabulous example of a
genre painting, which is really
rare for the time. It's a boy and
his dog. Non-religious painting.
55. Golden age. Dutch painting.
ANOTHER DAY -- A CAR DEALERSHIP OFFICE -- IRV DROPS THE
CANVAS BAG REVEALING A VINTAGE PAINTING -- (COLORED ORBS AND
LINES) -- TO THE MIDDLE AGED CAR DEALER WHO OWNS THE
WAREHOUSE WHO WRITES A CHECK.
IRVING ROSENFELD
Paul Klee. Bauhaus Movement. 1920s.
MIDDLE AGED CAR DEALER
Before we go any further, is this
legit?
IRVING ROSENFELD
Let's just say it's missing from
Spain and leave it at that.
EDITH GREENSLY
Don't show any Spanish friends.
Irving and Sydney kiss passionately in front of the middle
aged car dealer as he tries to hand them his check.
IRVING ROSENFELD (V.O.)
I mean it just took off. We got an
elegant Manhattan office. We called
it London Associates for her
accent.
44 INT. NEW OFFICE LOBBY - MADISON AVENUE - DAY 44
A JANITOR FINISHES POLISHING SILVER PLATED LARGE LETTERS:
LONDON ASSOCIATES to a pale wall as he and Edith sip
champagne from flutes and offer one to the worker who toasts
with them.
22.
IRV DOES HIS TRADEMARK MINIMALIST BADGER DANCE, IN PROFILE,
TO QUIET DELIGHT OF SYDNEY.
Irv and Edith kiss gently, lovingly, sincerely on the lips --
They walk into their CLASSIC LOOKING, STAID, PRIVATE BANKING
OFFICE SUITE.
IRVING ROSENFELD (V.O.)
When I was around her I felt joy.
Fucking joy! And love. That's what
I felt.
SMASH TO:
46 EXT. PARK AVENUE - SUNNY DAY 46
47 They dance down Park Avenue together. 47
INT. LOBBY OF PIERRE HOTEL - CONTINUOUS
Irv and Edith dance through the lobby.
49 THE PIERRE HOTEL CAFE 49
As they dance among mostly older wealthy couples on the small
dance floor of the elegant restaurant as a live jazz quartet
plays "I've Got Your Number". Camera circles them, putting
their foreheads together, very happy. THEY SING TO EACH
OTHER quietly as they dance close.
50 INT. ROOM AT PIERRE HOTEL -- NIGHT 50
Irv and Edith make passionate love, we see in pieces --
He gets up, she watches him dress and leave --
52 INT. IRV'S CADILLAC - NIGHT 52
53 He drives over the Triborough Bridge. 53
IRVING ROSENFELD (V.O.)
As, as far as I could see, people
were always conning each other to
get what they wanted. We even con
ourselves.
23.
54 INT./EXT. IRV'S CADILLAC - NIGHT 54
55 He drives through the suburb of ranch houses and driveways 55
56 and pulls into his driveway of his split-level ranch. Irv 56
gets out of his Cadillac and walks to the front door of his
house --
IRVING ROSENFELD (V.O.)
We talk ourselves into things. We
sell ourselves things we maybe
don't even need or want by dressing
them up. We leave out the risk. We
leave out the ugly truth.
57 INT. IRV'S HOUSE - NIGHT 57
Irv walks into the decorated ranch house, frosted glass with
bird designs, glass tables, walls, black and brown lacquer
everywhere. He walks into the house and looks at a picture
his son did -- a drawing of the Yankees playing baseball --
that is taped to the refrigerator.
IRVING ROSENFELD (V.O.)
Pay attention to that because we're
all conning ourselves in one way or
another just to get through life.
Irv takes Danny's picture from the fridge and tip toes --
with low sounds now of O.S. TV -- Irv goes to A CLOSED DOOR
WITH YANKEE STICKERS on it --
Irv OPENS A BEDROOM DOOR TO REVEAL HIS 5 YEAR OLD SON, DANNY.
SYDNEY PROSSER (V.O.)
He was married, and he had a son.
58 INT. DANNY'S ROOM - NIGHT 58
DANNY is on the bed, picture books, baseball cards, spread
all around him. Irv stands holding the picture. Danny looks
over his shoulder.
SYDNEY PROSSER (V.O.)
He had adopted her son.
DANNY
DADDY!
24.
SYDNEY PROSSER (V.O.)
He was a really good dad and I
respected him for that. It was a
tough situation for everyone.
Irv's face lights up.
IRVING ROSENFELD
Danny. This is a fantastic
picture. What did you do today?
DANNY
That kid Donovan is being mean to
me.
IRVING ROSENFELD
The big kid? I thought Mommy picked
you up so he couldn't bother you.
DANNY
She was late, and then after we put
out the fire, mommy said stay in my
room with my baseball cards.
Danny reaches across to Irving and takes his glasses off his
face and puts them on.
IRVING ROSENFELD
What fire?
DANNY
Did you know they make a lamp that
has the sun in it? [Irv looks at
him] Mommy got the lamp. She made
her special drink and the lamp made
a fire.
Irv looks concerned.
59 INT. MASTER BEDROOM - NIGHT 59
Irv's wife Rosalyn sits up on the bed in a muumuu, half her
face is burned.
ROSALYN ROSENFELD
I put out the fire. The fire is
out.
IRVING ROSENFELD
For the first time in my life I do
the right thing.
25.
ROSALYN ROSENFELD
Oh shut up --
IRVING ROSENFELD
I save a young single mother, and
her kid. I marry her. I adopt him -
-
ROSALYN ROSENFELD
You fell in love! Don't forget we
fell madly in love!
IRVING ROSENFELD
Yes, I fell in love. My God, I
fell in love. Yes. But you know
what? I thought you were
mysterious like my mother until it
turned out that mysterious just
meant depressed, hard to reach. I
mean, I'm dying here! And you need
somebody who's gonna be quiet like
you. You're young, you're
beautiful. You gotta find somebody
else. You gotta go out and get
some friends all right? Don't sit
inside --
ROSALYN ROSENFELD
I don't like going out. You know
that I get anxiety when I have to
meet people. You know how hard that
is.
IRVING ROSENFELD
Yeah but you can't just stay in the
house with the fucking sun lamp.
Alright? And I can't-- I mean,
look, I can't trust you with it
anyway. That fire and everything. I
can't trust to leave you with
Danny.
ROSALYN ROSENFELD
I put the fire out Irving! There is
no fire! Maybe if you were here
more, then there wouldn't have been
a fire in the first place.
IRVING ROSENFELD
Oh, what, there wouldn't have been
a fire if I was here?
26.
ROSALYN ROSENFELD
Just stop with the whole fire
thing. God it was a mistake. I'm
sure a million people do that all
the time. Those sun lamps are
dangerous. Shouldn't even have them
in the house, really. I bet that
happens all the time. This was
nothing.
IRVING ROSENFELD
We're not happy. Alright?
Rosalyn just stares there for a moment at Irving saying
nothing.
ROSALYN ROSENFELD
You know that I could take Danny.
You know that most of your work is
illegal. And you know that if you
tried to divorce me, you know that--
I'm not saying that I would, but
I'm saying that I could. And I'm
saying that that is why I don't
like divorce, Irving. Women do that
in divorces. Women get the
children, and then the fathers
never see them. My mother never got
divorced. My grandmother never got
divorced. There are NO divorces in
my family. I am not getting a
divorce.
IRVING ROSENFELD
Come on. What are we doing here?
ROSALYN ROSENFELD
We fight and we fuck and that's
what we do. That's our thing.
IRVING ROSENFELD (V.O.)
She was the Piccaso of passive
aggressive karate. She was better
than any con artist I'd ever met
including myself. And she had me
like nobody had me.
Rosalyn sheds her muumuu, to reveal a white leotard.
ROSALYN ROSENFELD
Irving, come to mama. Come on.
27.
IRVING ROSENFELD (V.O.)
You might say she was my karma for
how I took advantage of people.
ROSALYN ROSENFELD
Irving, come here. Come on. Get
into bed.
IRVING ROSENFELD
Alright.
ROSALYN ROSENFELD
63 Baby, there's such good stuff here. 63
INT. DANNY'S ROOM - NIGHT
DANNY SITS PLAYING ON THE BED WITH HIS TOYS.
IRVING ROSENFELD (V.O.)
I did not want to leave the kid
behind. He was my son. She had me.
I was her mark.
INT. LONDON ASSOCIATES - DAY
SLOW PUSH IN FROM WIDE SHOT BEHIND NEW CLIENT/MARK, FROM THE
BACK, AS THEY SIT FACING EDITH, TO ONE SIDE, AND IRV, BEHIND
THE DESK.
CAMERA KEEPS PUSHING IN SLOWLY TOWARD THE BACK OF THE MARK'S
HEAD AS HE FACES SYD AND IRV.
WE NOW SEE THE MARK: A charismatic, mercurial, wild eyed
BUSINESSMAN "MORT PAPIERMAN" in need of a loan.
Mort's eyes go from her knees to her eyes -- His eyes meet
Sydney's -- he looks soulful, open. She stares at him. Irv
notices uncomfortably. He's JEALOUS.
IRVING ROSENFELD
-- and every deal I take, I close.
However, my fee is non refundable,
just like my time.
MORT PAPIERMAN/RICHIE DIMASO
(filling out paper work)
I want to thank you very much
Irving for seeing me. Sorry I'm so
nervous.
Richie reaches for his top button to adjust it.
28.
MORT PAPIERMAN/RICHIE DIMASO (CONT'D)
Am I not buttoned?
Edith stares at him and smiles.
MORT PAPIERMAN/RICHIE DIMASO (CONT'D)
I just gotta say Mr. Rosenfeld,
that Lady Edith was very adamant
that you were top notch and --
IRVING ROSENFELD
That's correct.
MORT PAPIERMAN/RICHIE DIMASO
I really need your help. I'm
desperate. I've got the Audis for
collateral and the two boats, and I
forgot to mention that I have a
little piece of real estate in Long
Island.
EDITH GREENSLY
No, you didn't mention that. Two
lunches and you never mentioned
that.
MORT PAPIERMAN/RICHIE DIMASO
Oh, I was gonna mention it and then
the guy with the hat walked in.
EDITH GREENSLY
The hat.
MORT PAPIERMAN/RICHIE DIMASO
And I forgot totally. It was the
second time we had lunch.
EDITH GREENSLY
You couldn't see his eyes. He had
no eyes. It was like, did he make
it?
MORT PAPIERMAN/RICHIE DIMASO
(laughing)
Do they sell hats like that? Where
do they come from? Actually, I went
to the store that I thought maybe
he bought it there. I was gonna get
you one --
EDITH GREENSLY
You were going to get me one?
29.
MORT PAPIERMAN/RICHIE DIMASO
Like as a memento.
Irving decides to interject.
IRVING ROSENFELD
Two lunches?
EDITH GREENSLY
Yes. It's two lunches. What's the
big deal?
IRVING ROSENFELD
That's unusual.
EDITH GREENSLY
I was trying to get him to be more
aggressive. On his loan that is.
Mort PAPIERMAN/RICHIE DIMASO
You showed me a whole new side of
the city I'd never seen before.
EDITH GREENSLY
Oh, good. You're welcome.
Mort PAPIERMAN/RICHIE DIMASO
No, thank you.
IRVING ROSENFELD
Yeah, right. You liked it? Should I
take you there?
EDITH GREENSLY
Yes.
IRVING ROSENFELD
Should I take you there twice?
EDITH GREENSLY
Stop.
IRVING MOTIONS SYDNEY TO COME CLOSE HE WHISPERS
CONFIDENTIALLY TO HER.
IRVING ROSENFELD
(confidential to Edith)
What's going on, you like this guy?
EDITH GREENSLY
Yes I like this guy.
30.
IRVING ROSENFELD
Is that messing up your judgement?
Don't be stupid.
SYDNEY PROSSER
No, he's not messing with my
judgment.
IRVING ROSENFELD
Hey, play your part.
EDITH GREENSLY
Fine. You play your part.
MORT PAPIERMAN/RICHIE DIMASO
(holds out cashiers check)
Take it to your people in London.
Please, take it to them. I got the
cashier's check right here. I give
you five and you give me fifty
right back, right? Please. Please
don't reject me. Give a guy a
chance.
MORT/RICHIE REPEATEDLY TRIES TO HAND IT TO IRV, WHO IS BUSY
STARING AT SYDNEY STARING AT MORT. MORT HOLDS THE CHECK IN
THE AIR UNCOMFORTABLY AWKWARDLY UNTIL -- almost in slow
motion --Edith takes the check -- staring at Mort. IRV STARTS
TO LEAVE -
MORT PAPIERMAN/RICHIE DIMASO (CONT'D)
Zurich? You got an office in
Zurich? Paris? I can call Paris?
IRVING ROSENFELD
If you could excuse me for one
second?
MORT PAPIERMAN/RICHIE DIMASO
Yeah, take your time. Do whatever
you need to do. Go ahead, take your
time.
HE HEADS TO THE REAR EXIT WHILE SYD MOVES TO ANOTHER -- IRV
OPENS THE DOOR - BAM -- A WARRANT IS HELD UP TO HIS FACE BY
STOCKY FBI AGENT SCHMIDT IN A SUIT - HE WALKS IRV BACK INTO
THE OFFICE --
AS Edith OPENS A SIDE DOOR -- BANG - FEDERAL AGENT STOCK
WALKS HER BACK INTO THE OFFICE WITH A WARRANT.
IRVING ROSENFELD
You got the wrong office, you're
gonna be embarrassed.
31.
THE AGENTS START PUTTING EDITH IN CUFFS IMMEDIATELY.
IRVING ROSENFELD (CONT'D)
HEY, HEY, HEY! GO EASY ON HER.
MORT PAPIERMAN/RICHIE DIMASO
I may not have you, Irving, but I
have her on fraud. Impersonating
another individual.
IRVING ROSENFELD
Fraud?! Fraud? What is that?
Identity fraud?
AGENTS SCHMIDT AND STOCK IMMEDIATELY START TAKING BOXES OF
FILES FROM DRAWERS, IMPOUNDING EVIDENCE.
MORT PAPIERMAN/RICHIE DIMASO
You may be from England, Edith, but
you're not royal and you have no
banking connections and that's a
felony. How long is that? That's 3-
5 years I think.
EDITH GREENSLY
(about the handcuffs)
Hey! Not so tight!
IRVING ROSENFELD
Oh really? That's interesting. I
don't even know your real name.
Richie pulls out a badge and shoves it in Irving's face.
RICHIE DIMASO
Richie Dimaso, FBI. Nice to meet
you.
Richie looks at Edith with concern and points at Irving.
RICHIE DIMASO (CONT'D)
You gotta get away from this guy.
Agents take boxes of files out of the office- Irv standing
alone in center of room- shell-shocked.
64 INT. FBI HOLDING OFFICES - DAY. 64
SYDNEY IS LED INTO A HOLDING CELL BY AN FBI AGENT.
32.
IRVING ROSENFELD (V.O.)
He wouldn't let me see her for
three days. He even managed to
delay a lawyer.
INT. FBI HOLDING CELL - DAY
Dim cell, lit only from small high barred window, no lights
on. Edith looks like she's coming apart -- circles under her
eyes, a shadow of her confident self -- pale, scared, hair
flat, stringy, unglamourous, pacing, rocking.
IRVING ROSENFELD (V.O.)
65 She couldn't handle it. 65
66 INT. FBI HOLDING CELL - NIGHT 66
FLUORESCENT LIGHTS COME ON IN THE CELL -- Edith squints. Cell
is unlocked by Richie Dimaso WHO enters with a cup and saucer
of tea. He stands near her with the tea.
RICHIE DIMASO
(to the other side of the
two-way mirror)
Joe, how come the fluorescents are
on? Can we kill that, please? (to
Syd) Jesus I put this lamp here for
you 'cause I thought it'd be better
for you. There's a wire here.
They're scared because people hang
themselves but I know you're too
smart for that. Where's the table
and chair? There's no bed here?
It's like a fucking asylum. Joe, is
everybody off today? Jesus Christ
it's scary. Maybe I wanted to scare
you. I don't know. Maybe it was my
idea. Maybe i'm a little off the
beaten path you know? I don't know.
You look dehydrated. Here, want to
try some tea? Oh yeah, your lips
are all chapped. (re: tea) It's
herbal. My favorite.
Richie bends down to Edith who is sitting on the floor in the
corner and hands her the cup and saucer. She lifts the cup
but her hand is shaking almost violently as she raises the
cup to her lips.
RICHIE DIMASO (CONT'D)
I know you think -- look at me.
Hey. Edith.
(MORE)
33.
RICHIE DIMASO (CONT'D)
I know you think Irv loves you. I
know you think you know him -- that
he sees the world as a cold, dark
place, and he cares about nobody
but very few people on his short
list: his son, his father, Rosalyn,
and you. And you think you're at
the top of that list. But what if
you're not. What if you're not even
on the list at all? He'd be in
here right now if he took the
check.
She thinks about this. She trembles.
RICHIE DIMASO (CONT'D)
He'd be in here right now if he
took the check. But no, you did.
God, it's, it's so clear to me.
It's so crazy -- it's clear to me,
but it's not clear to you. He uses
you, Edith, to protect himself. To
protect his son and his wife in
Long Island. No? Yes. He put a
ring on her finger, he adopted her
son. They have huge house, they
have two cars. What does she do all
day? I'll tell you what she does --
she plays with her nails, she
watches T.V., and she spends your
money, the money that you make.
Edith stares at Richie, taking this in.
RICHIE DIMASO (CONT'D)
I don't like that you're in jail
while he's going free. I don't
like any of that. I want to help
you. All the razzle-dazzle that he
does, it's not good. It's not real.
It's fake. It's not real. Who you
are is who you are, between you and
God. You and your soul. That's what
matters. That's what counts.
That's what I'm about. And that's
what I see in you. Tell me you
didn't feel it the first time we
saw each other. Am I crazy? I don't
think so. I'm not supposed to be
talking like this, but I don't
care, I break the rules.
Edith looks at Richie in silence as she thinks about what
he's saying.
34.
RICHIE DIMASO (CONT'D)
Okay, Edith? Edith. I want to help
you. I like you. (whispers) I like
you. (dead serious) I like you.
67 INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY 67
Irv stands alone on the other side of the glass staring at
Sydney.
Richard Dimaso walks in.
RICHIE DIMASO
Been in there three days. Hasn't
been so good for her.
Irv continues to stare at Sydney.
RICHIE DIMASO (CONT'D)
How does that make you feel her in
there? That check was for you,
right? But you knew somethin' was
off. That's 'cause you're good.
You're, like, the best at what you
do in the whole country, aren't
you?
Irv looks at him.
RICHIE DIMASO (CONT'D)
But you know what? If the country
were run by people like you, Irving
Rosenfeld we'd be living in Eastern
Europe or Guatemala. You ever been
in Guatemala? You ever been in jail
in Guatemala? You ever try to get a
telephone or a permit or anything
in Guatemala? That's what this
country would be like if we let
people, let the liars like you, run
this country.
IRVING ROSENFELD
Who made you god and judge?
RICHIE DIMASO
My grandmother lived to be ninety-
three years old. Never lied in her
life.
IRVING ROSENFELD
Congratulations.
35.
RICHIE DIMASO
Thank you. I'm proud of that, too.
Does that make her not a good
person? Is that not something to
strive for?
IRVING ROSENFELD
Why you breaking my balls? Get to
the point.
RICHIE DIMASO
I see something in you, Irving. I
get very excited. I think that we
have a lot of potential here. Now,
look. I came up with the idea.
It's all from me. I want to change
things. I want to go after white
collar crime. Irving, you're very
skilled. And I want you to teach me
and we can do this. I want four
people that do what you do.
Fraudulent investments. Fake
certificates of deposit. Stolen
art, fake art. You get me four
people and you're off the hook.
IRVING ROSENFELD
Four busts and you'll leave us
alone? We don't have to testify?
RICHIE DIMASO
You're good, you're done. Anything
you want. But if you run, then your
life is over. You'll be hunted, and
it's gonna be very difficult for
Rosalyn and your kid to live in
this country.
68 INT. SYDNEY'S APARTMENT BEDROOM - NIGHT 68
A NICE UPPER EAST SIDE apartment. Sydney has finally changed
her clothing from when she wore the same dress at the holding
cell. It is quiet in the apartment - faint street noise from
3rd Avenue below.
SYDNEY PROSSER
We need to leave. We need to run
and we need to do it now. We can go
to Estonia or Romania, I don't
care, we'll take the cash from the
bed and get out of here, alright?
We talked about it a hundred times.
36.
Irv stares at her and struggles.
IRVING ROSENFELD
What about Danny?
SYDNEY PROSSER
What about Danny?
IRVING ROSENFELD
I adopted him! I gave him my name!
I'm not leaving him with Rosalyn,
she's unstable!
SYDNEY PROSSER
That's a manipulation! Rosalyn's
will never let you go. She'll use
Danny against you because she's too
messed up to let you leave.
IRVING ROSENFELD
I can't leave him. I love him.
Alright? He's my son.
SYDNEY PROSSER
Richie said you would say that.
IRVING ROSENFELD
Richie? What, the cop? Your on a
first name basis with him?
SYDNEY PROSSER
Yes I am. I'm not even on your list
am I?
IRVING ROSENFELD
What list?
SYDNEY PROSSER
Your list. Your short list. Your
long list. I'm not even on anyone
of your fucking lists. I thought
you loved me. I thought we had
something.
IRVING ROSENFELD
We do have something. I love you,
it's perfect! What are you saying?
We're gonna go to Romania? We're
gonna take Danny?
SYDNEY PROSSER
Yes. Yes, that's what I'm saying.
You, me, Danny.
37.
IRVING ROSENFELD
Well you never said that before.
SYDNEY PROSSER
I'm saying it now. We're us, and we
can make it an adventure like we
did. We can make it an adventure
like we make everything, alright?
But we have to go now. We have to
leave right now.
IRVING ROSENFELD
I can't leave Danny. I'll lose
custody.
SYDNEY PROSSER
You have to take me away! We have
to leave!
(sobbing)
What are you saying?! Oh my god.
IRVING ROSENFELD
What are you doing?! Please!
Sydney goes storming out of the room and down the hall of her
apartment. Irving follows.
SYDNEY PROSSER
I can't believe this is happening.
IRVING ROSENFELD
Don't say I don't love you because
that's bullshit!
SYDNEY PROSSER
(sobbing)
This is bullshit. You are bullshit.
We are bullshit.
She starts sobbing, shaking.
IRVING ROSENFELD
Please don't do this.
SYDNEY PROSSER
I just never thought you were
conning me.
IRVING ROSENFELD
I could never con you. I love you.
Please don't say this.
38.
Irv walks to her and bends down to join her on the floor as
she sobs.
SYDNEY PROSSER
No, I'm done.
IRVING ROSENFELD
Don't say that.
SYDNEY PROSSER
(cries)
I'm gonna do these four busts,
these four cons, to get us out of
this. Not just me, but us. And
I'm gonna get really close with
Richie, the cop, in case we need to
use him, if we need another move.
IRVING ROSENFELD
We don't need another move. We need
four busts, and we're done.
SYDNEY PROSSER
We are going to need another move,
trust me. And you're going to be
thanking me. (shifts to British
accent) The key to people is what
they believe and what they want to
believe and I want to believe that
we were real, and I want to believe
that a man could want me. And I'm
gonna take all of that heartbreak,
and all of that sorrow, and I am
going to use it. And I'm going to
make Richie think that I want him,
and that I like him, and I'm going
to be very convincing -- And I'm
pissed at you.
Sydney reaches over and carefully grabs Irving's face
lovingly which quickly turns into a slap as she continues on.
SYDNEY PROSSER (CONT'D)
Because I'm pissed at you!
Irving stares at Sydney with confusion. He's never seen her
like this before.
SYDNEY PROSSER (CONT'D)
Maybe I do like him -- Maybe I like
him a lot. From the feet up right --
baby?
Sydney gets up from the couch and storms back to her room.
39.
SYDNEY PROSSER (CONT'D)
Quite your belly aching and come up
with something to get us out of
this. And you're right -- I'm in no
state to deal with this so what's
it gonna be, Mister Mastermind?
SOUND PRELAP:
RICHIE DIMASO (O.S.)
69 An Arab sheik? Why do we need an 69
Arab Sheik?
70 INT. ART MUSEUM - DAY 70
Richie, in sharp lapeled suit, chain on his neck, walks with
Irv and Edith and joined by a man who looks like an ARAB
SHEIK who they trail.
IRVING ROSENFELD
How do you think this works,
stupid?
SYDNEY PROSSER
If you could not call him `stupid'
which he's isn't, he's smarter than
you. Last I checked he's in control
here and we work for him now so be
nice.
Richie stares at Edith elated that she just stuck up for him.
He's really enjoying this position of power she's putting him
in.
IRVING ROSENFELD
(stares at her, upset)
OK, to set this up and bust a con
artist we have to make the honey
pot to attract the bees. In order
to attract the bees, we need to
offer them a wealthy individual who
can be taken advantage of, someone
special, someone new, someone
amazing. Then those guys will want
to sell fake bank CDS to THAT guy,
take the sheik's money, see?
Richie looks at Irving uncertain.
SYDNEY PROSSER
Only they can't get into his money
unless you they know someone, and
that someone is us.
40.
RICHIE DIMASO
Oh that's good.
RICHIE DIMASO (CONT'D)
So if you want to get somebody like
your con artist friend -- Carl
Elway -- you get him to want to buy-
-
IRVING ROSENFELD
Keep your voice down.
RICHIE DIMASO
-- or sell fake art or stolen art
or fake certificates of deposit, he
needs -- who does he need? -- he
needs a rich sheik guy, and there
you go -- we can pinch him!
IRVING ROSENFELD
Right, but I don't tell Elway shit.
I wait for him to call me. The art
world is a small world -- and one
of Elway's acquaintances is
clocking us right now.
Richie starts to look around.
RICHIE DIMASO
Where?
IRVING ROSENFELD
Don't look.
Richie looks anyway and sees ELWAY'S ACQUAINTANCE, a man
balding, 45 clocking them from the balcony.
IRVING ROSENFELD (CONT'D)
You have a good look?
RICHIE DIMASO
How do you know the Sheik?
IRVING ROSENFELD
This is my friend Al from Queens.
AL FROM QUEENS/SHEIK
I do aluminum siding and roofing.
Richie stares, impressed.
41.
INT. ART MUSEUM - NEXT ROOM - CONTINUOUS
Irving, Edith, Richie, and the fake Sheik admire a REMBRANDT
painting on the wall.
IRVING ROSENFELD
I want to show you something. This
Rembrandt here? People come from
all over the world to see this.
RICHIE DIMASO
Yeah, he's good.
IRVING ROSENFELD
It's a fake.
RICHIE DIMASO
Wait, what're you talking about?
That's impossible.
IRVING ROSENFELD
People believe what they want to
believe. Cause the guy who made
this was so good that it's real to
everybody. Now whose the master --
the painter or the forger?
Richie's continues to stare at the REMBRANDT on the wall.
RICHIE DIMASO
That's a fake?
IRVING ROSENFELD
That's the way the world works. Not
black and white as you say.
Extremely grey.
ELWAY'S ACQUAINTANCE walks up to Irving and the group and
steps into the conversation.
ELWAY'S ACQUAINTANCE
Irving can I --
IRVING ROSENFELD
How many times I gotta tell you.
You can't meet the sheik, alright?
Edith sees this and steps into the conversation.
EDITH GREENSLY
Arthur? Hi. Edith. We've met
before.
42.
EDITH GREENSLY (CONT'D)
I wanted to introduce you to Robert
Spencer. We're advising the Sheik
together.
She looks at Richie. Richie offers his hand.
RICHIE DIMASO
(catching up)
Yeah, I'm Robert Spencer, advisor
to the sheik.
70A EXT. CHELSEA HOTEL -- ESTABLISHING - DAY 70A
71 INT. OFFICE OF CARL ELWAY - SUCCESSFUL, BUT SHADY - DAY 71
CARL ELWAY, 40, preppie Waspy, very old fashioned with
cigarette holder, but something vaguely criminal about him,
in his conservative suit, natty white and red striped shirt,
and navy blue tie sits with Irving.
CARL ELWAY
What's this I hear about a god damn
Sheik?! Why you leaving me out of
this? I gotta hear about it from my
friends?
IRVING ROSENFELD
It ain't for you Carl.
CARL ELWAY
What do you mean it ain't for me?
We gotta do certificates of
deposit. I can print as many as you
need.
IRVING ROSENFELD
This is not a one man operation.
CARL ELWAY
Look, I can get other guys. What
are you talking about Irving?
IRVING ROSENFELD
You're telling me that you can get
four guys to sell fake certificates
of deposit to my investor within a
week?
The camera zooms into Irving's shirt collar revealing a tiny
microphone.
43.
CARL ELWAY
Yes I can make that happen. Carl
Elway can do what he says he's
going to do.
IRVING ROSENFELD
That's interesting but you know
I've got other guys lined up. I've
got a meeting with my associates.
SUDDENLY CARL ELWAY'S ASSISTANT, OPENS THE DOOR AND ENTERS.
Richie Dimaso and Edith ARE STANDING THERE -- MUCH TO IRV'S
DISMAY.
CARL ELWAY'S ASSISTANT
Carl, his associates are here. He's
got a meeting he's got to go to.
CARL ELWAY
No wait. Don't go anywhere.
IRVING ROSENFELD
I've got to go.
Irving gets up to walk out as Richie and Edith stand in the
doorway.
IRVING ROSENFELD (V.O.)
Crazy thing about people -- the
more you say no, the more they want
in on somethin. It is so stupid.
Irving looks over at Richie and Edith.
IRVING ROSENFELD
I'll tell them, don't worry. Hey
you know what Carl just told me? He
said he could do this whole thing
with four guys within a week.
CARL ELWAY
Or we could do somethin' much
bigger!
Richie jumps into the conversation.
RICHIE DIMASO
Something bigger? My guy deals with
hundreds of millions of dollars.
How much bigger?
He walks over to Carl.
44.
CARL ELWAY
Hundreds of million -- I knew you
were holdin' out on me Irving!
Hundreds of millions of dollars?
Like much bigger. Like I'm talking
about we say never the fuck mind
the CD's and we could have some
complete access to something huge.
RICHIE DIMASO
Huge? Like what? (introducing
himself) Robert Spencer, advisor to
the Sheik.
CARL ELWAY
Carl Elway.
Irv stares at Richie with contempt, then turns to Edith,
DRESSED TO THE NINES.
CARL ELWAY (CONT'D)
I want you to think of the most
undervalued asset in the state of
New Jersey today. The rebuilding of
Atlantic City.
Richie looks over at Irving and Sydney and mouths the word
"WOW".
CARL ELWAY (CONT'D)
Look, maybe they, maybe they
legalized gambling a year ago but
nothing's happening.
Irving interjects.
IRVING ROSENFELD
Hey, quit while you're ahead Carl.
CARL ELWAY
I know the guy. I know the right
people who are going to help you
out.
RICHIE DIMASO
Whose the guy?
CARL ELWAY
The guy is Carmine Polito.
RICHIE DIMASO
Whose Carmine Polito?
45.
75 INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY 75
PUSH IN: STODDARD THORSEN, Richie's FBI supervisor.
STODDARD THORSEN
(shakes his finger `no')
Carmine Polito? Carmine Polito, no.
We freeze frame on Stoddard as we HEAR Richie'S VO:
AS Richie TALKS WE SEE A SHORT FILM ABOUT Carmine Polito:
- PUSH IN: Mayor Polito walks a Camden street waves, shakes
hands of WELL-WISHERS
RICHIE DIMASO (V.O.)
My boss Stoddard proceeded to tell
me that Carmine Polito was the most
quietly powerful person in the
state of New Jersey. A lifetime
native of the very racially mixed
Camden, which had become a ghetto,
and where he had been Mayor for ten
years. A very beloved guy. A guy
who never gave up on his people.
His father had emigrated from Italy
and had stoked coal.
- Frank Sinatras COFFEE SONG, 1940s version, as we see
Carmine talk to and dance joyfully with his kids and wife at
breakfast.
RICHIE DIMASO (V.O.)
A big family guy with five kids.
They even adopted some other kid.
A black kid from the Boys and Girls
Club who'd lost his family. I mean,
his household was a joyous place.
And his wife Dolly, she was the
apple of his eye and the center of
the household. I mean everyone
loved this guy.
- PULL OUT Mayor Polito walks up steps of City Hall as he
greets a women and her baby; into his office greeted by a
couple of AIDES who show him papers to sign.
RICHIE DIMASO (V.O.)
And he had a huge heart.
46.
78 INT. CAMDEN CITY HALL - W.P.A. MURAL ROOM - DAY 78
CARMINE POLITO
(giving speech)
The W.P.A. employed craftsmen to
paint this during the Depression.
Why can't we employ people today to
do work like this in rebuilding
Atlantic City?
RICHIE DIMASO (V.O.)
He worked with all the unions. He
was the leader of the State
Assembly. And he had just gotten
gambling legalized in New Jersey to
create jobs.
80 -- FLOOR OF STATE ASSEMBLY -- Carmine huddles with other 80
STATE LEGISLATORS, horsetrading and then poses for a picture
with other members of the State Assembly.
RICHIE DIMASO (V.O.)
But he couldn't get the funds to
rebuild Atlantic City and that was
his problem. So with our help, he
was about to have his hand in the
wrong pocket at the wrong time.
And to me that meant corrupt
81 BACK TO: 81
STODDARD THORSEN
You said grifters and con artists.
We're not going after some
politician. This is a bad idea,
Richard.
RICHIE DIMASO
Shhhh. Look, it's really simple.
All you need is to put two million
in a Chase account --
STODDARD THORSEN
What?!
RICHIE DIMASO (CONT'D)
-- under the Sheik's name --
STODDARD THORSEN
Whose two million?!
47.
RICHIE DIMASO
Shh, just listen. Two million
dollars under the Sheik's name, in
a Chase account that we control.
Carmine calls up on the telephone --
calls the bank -- and he sees that
the Sheik is real and he has a real
account. Five days.
STODDARD THORSEN
I'm not taking two million dollars
of the taxpayers' money and putting
it anywhere for five days, I don't
care if we control it the whole
time.
Richie as he stares at Stoddard in frustration.
RICHIE DIMASO
Stoddard, let us do what we need to
do to rule out corruption and to
get rid of the payoff guys that are
ruining this country. That's my
dream. Don't smother it, please.
STODDARD THORSEN
You know Richard, I understand your
eagerness. I really do. You know
I'm from Michigan, right? Let me
tell you a story about me, and my
dad, and my brother. We used to go
ice fishing every November. Ice
Fishing. That's what we lived for.
RICHIE DIMASO
Holy shit --
STODDARD THORSEN
Just listen to me. It's beautiful.
You have a little stove. You huddle
around, you keep each other warm.
You drop a line and you just wait.
One year my brother says, "let's go
in October." He wants to go ice
fishing in October. My dad says,
"No, the ice is too thin." My
brother says -- I love my brother
he says --
48.
RICHIE DIMASO
I understand what's happening.
You're saying your brother went out
on the ice, the ice was too thin,
he fell through the ice, he went in
the water because he was too eager,
and you're saying I'm too eager --
that's what you're saying?
STODDARD THORSEN
No, that's not what I'm saying.
RICHIE DIMASO
What are you saying?
STODDARD THORSEN
We'll finish the ice fishing story
another time, young man. For now,
no Carmine Polito. Go do your job.
Richie looks at him annoyed and upset.
RICHIE DIMASO (V.O.)
Stoddard shot the whole thing down.
RICHIE DIMASO
Boring.
RICHIE DIMASO (V.O.) (CONT'D)
But Edith was a genius.
83 SEE B-ROLL OF: Edith and Richie walk back into FBI building, 83
84 down corridor; 84
RICHIE DIMASO (V.O.) (CONT'D)
She somehow found this woman who
controlled the wire room. A woman
I'd never heard of. Way back in a
warren buried in the Bureau. This
cat lady nobody even talked to.
Edith met her in the ladies room
and became friends with her. This
lady handled all the wires and now,
she was working with us.
SMASH TO:
85 Edith and Richie enter to find BRENDA, FBI, MATRONLY, OLDER; 85
EDITH carries a basket of exotic teas;
49.
RICHIE DIMASO (V.O.) (CONT'D)
She was excited to be included in
an operation instead of being on
the other end of a memo. It was
beautiful.
Edith goes to hand her the PIMMS CUP and basket of teas.
EDITH GREENSLY
Brenda, hi!
BRENDA MCPHERSON
Hi!
EDITH GREENSLY
You said you liked exotic food, so
that's from England.
BRENDA MCPHERSON
That's from England?
EDITH GREENSLY
That's right. And I brought you
some tea as well.
BRENDA MCPHERSON
Thank you so much! Nobody ever
tells me about these operations,
they just say, "Brenda, do the
clerical wiring work and don't ask
questions."
EDITH GREENSLY
You need to tell Richie about your
cats. He loves them.
BRENDA MCPHERSON
Oh my cats?!
Brenda starts pointing out pictures of all her cats tacked to
the walls amidst the wire memos and paperwork.
BRENDA MCPHERSON (CONT'D)
Well that's Harry -- look at him
standing up, isn't that sweet? And
that's Wendy. She's a rascal. But
Barnaby, that's another story.
Barnaby plays the piano!
RICHIE DIMASO
That's impressive.
50.
RICHIE DIMASO (V.O.) (CONT'D)
We got her to wire two million
dollars into an F.B.I.-controlled
account at Chase. It'd be there
for five days and if Polito called
he'd see that the Sheik was real.
86 HALLWAY OF FBI 86
Edith and Richie laugh excitedly as they walk the hallways.
RICHIE DIMASO (V.O.) (CONT'D)
By the time Stoddard caught up to
us Edith made sure his boss was
impressed by my idea. So before he
even knew it was happening his boss
was calling to congratulate him.
PUSH IN ON CHIEF US PROSECUTOR, SPECIAL TASK FORCE, ANTHONY
AMADO IN HIS LARGE OFFICE ON THE PHONE WITH STODDARD --
ANTHONY AMADO
I'm very impressed. That was very
smart. The Sheik with the money in
the bank is a fantastic...don't be
modest.
RICHIE DIMASO (V.O.)
Anthony Amado. He was the U.S.
Attorney, and he had a major hard-
on to make a name for himself. I
mean this guy loved the idea of
being famous. And Stoddard had to
say it was his own idea or he'd
look stupid in front of his boss.
INT. STODDARD'S OFFICE --
89 PUSH IN ON STODDARD -- confused, dismayed. 89
STODDARD THORSEN
Thank you, sir, wait, the sheik --
INT. STODDARD'S OFFICE - DAY
He hangs up, pissed, confused.
51.
STODDARD THORSEN
You made me accept praise from my
boss who's thanking me for
something that never shoulda
happened! Something that I didn't
approve!
RICHIE DIMASO
You should be happy. There's
imaginative things happening in
this office, alright? We're not
just working in a box.
Richie leaves triumphant.
RICHIE DIMASO (V.O.) (CONT'D)
We got the two million to put
Carmine and the Sheik together.
STODDARD THORSEN
Punk.
90 INT. CORRIDOR OF FBI -- DAY 90
Laughing Richie and Edith walk briskly on their way out.
RICHIE DIMASO (V.O.)
I liked being on this side of the
line. But someone had been left
out.
91 INT. SYDNEY'S APARTMENT - DAY 91
IRVING ROSENFELD
We succeeded because we stayed
small. I got you Carl Elway. He
bought stolen art, sold fake bank
C.D.'s, that's enough. That's one.
I get you three more -- no
politicians.
Richie and Edith look at him.
RICHIE DIMASO
You're gonna do this because you
got no choice. You work for me.
IRVING ROSENFELD
Now you keep changing the rules.
You're gettin' a little power
drunk, Richard.
(MORE)
52.
IRVING ROSENFELD (CONT'D)
You want to tell him, Edith? You
want to wake him up?
EDITH GREENSLY
Oh no, I said we shouldn't do any
of it, Irving. You know I said
that. So now I support Richie.
He's got vision. Do it heavy or
don't do it.
IRVING ROSENFELD
I mean, he's the one ruining
America, not me.
RICHIE DIMASO
How the hell am I ruining America?
IRVING ROSENFELD
Because people just got over
Watergate and Vietnam, alright?
And you're gonna shit all over
politicians again? And just because
you want to be a big shot and get a
promotion.
RICHIE DIMASO
No I'm thinking big. This is gonna
be fantastic. We're doing video
surveillance. I'm doing this from
the feet up.
IRVING ROSENFELD
You will never do it properly
because you got too much government
attitude to be small and sleek.
I'm like the fuckin' Vietcong, man.
I'm in and I'm out. I was there the
whole time -- you don't know it.
That's the fucking art of becoming
somebody who people can pin their
beliefs and their dreams on. And
you can't do it.
RICHIE DIMASO
How about a suite at the Sheraton
Hotel?
IRVING ROSENFELD
For Carmine Polito and rebuilding
Atlantic City?
RICHIE DIMASO
Why not?
53.
IRVING ROSENFELD
You need a luxury hotel for the
Sheik. Come on!
RICHIE DIMASO
Carmine does back door dealings all
the time. We don't have a budget
for that Irving!
IRVING ROSENFELD
You gotta knock the Mayor, the
Speaker of the State Assembly --
you gotta knock him off of his
fucking feet. He's gotta feel like
he's out of his league. What you're
offering, this deal, I mean, this
is unheard of in the state of New
Jersey, maybe even the whole
fucking country. A sheik with
hundreds of millions of dollars to
rebuild Atlantic City -- are you
fuckin' kidding me? That's
gigantic. And the Mayor, he's going
to want to see cash, he's going to
want to see it in an account, he's
going to want to see it right now,
and he will check. And that's why
this meeting isn't happening,
because to get millions, you need
millions.
Edith listens intently.
EDITH GREENSLY
(shrugs)
We already did it.
IRVING ROSENFELD
(stunned)
What?
Irv studies Richie and Edith.
EDITH GREENSLY
We got the bureau to park 2 million
for three days -- we got the
account numbers.
IRVING ROSENFELD
`We' meaning you and him?
RICHIE DIMASO
Yeah we did it.
54.
IRVING ROSENFELD
Really?
EDITH GREENSLY
Yeah, me and that guy.
RICHIE DIMASO
She showed me.
IRVING ROSENFELD
You showed him our thing? You did
that without me? Are you kidding
me?
EDITH GREENSLY
What are you going to do?
IRVING AND RICHIE LOOK AT SYDNEY, UNCERTAIN.
IRVING SHAKES HIS HEAD IN DISGUST AND LEAVES. RICHIE STARES
AT SYDNEY SWINGING HER LEGS ON THE COUNTER AS SHE SITS.
RICHIE DIMASO
You playing me? Are we doing this?
Or you playing him? It'd be very
bad for you if you're playing me.
EDITH GREENSLY
You're going to have to decide for
yourself, kid, I just laid
everything out on the table.
RICHIE DIMASO
This is all very exciting, I never
knew life could be like this.
You're wild. You know we're taking
down a very important politician.
Richie stands very close to Edith - between her legs as she
sits on the counter. He puts his hands on her hips, pulls
her into him. He takes her hand -- puts it on his face,
makes her feel his cheek and forehead with her hand. It is
intense. She prepares for him to kiss her but he steps back.
They are both excited. They stare at each other. The air is
thick with tension, Richie exhales and leaves.
RICHIE DIMASO (CONT'D)
(prelap)
(MORE)
55.
RICHIE DIMASO (CONT'D)
This is agent Richard Dimaso, I'm
placing $75,000 into this briefcase
for Mayor Carmine Polito to procure
casino license and building permits
for Atlantic City.
BACK TO:
92 INT. PLAZA HOTEL SUITE - DAY 92
Where the film started --
See RICHIE TALK TO CAMERA IN A CORNER OF THE PLAZA SUITE--
CLOSE ON MONEY COUNTED INTO BRIEFCASE --
SMASH TO:
IRVING'S EYES WIDEN AS WE CUT TO: Richie SLIDE THE BRIEFCASE
OF CASH, AS SEEN BEFORE, Edith puts her hand on top of
Richie's to stop him.
IRV'S EYES WIDEN AS IN `NO! DON'T DO THAT!' WHILE HE AND
RICHIE STARE AT EACH OTHER. CARMINE LOOKS DISTURBED AT THE
CASE COMING HIS WAY. HE STANDS.
93 EXT. PLAZA HOTEL -- DAY 93
Carmine Polito, upset, storms down the street as Irving
catches up.
IRVING ROSENFELD
Mr. Mayor -- Please stop. Listen, I
apologize if that prick offended
you. I really apologize.
Carmine will not turn around -- Irving catches up.
CARMINE POLITO
Really, I'm all right, thank you.
I'm okay.
IRVING ROSENFELD
No. I'm fucking embarrassed to be
associated with that guy at all.
Can I just say somethin' to you,
please? Don't lose this opportunity
to fuckin' Florida -- all right? --
because of some bullshit from that
punk advisor with his diploma who
could never get into the school
that we come from. Don't lose that
opportunity.
56.
CARMINE POLITO
Where you from?
IRVING ROSENFELD
I'm from the Bronx. Grand
Concourse, Hundred and Sixty-fourth
Street.
THIS REACHES CARMINE. HE AND IRV ARE CUT FROM THE SAME CLOTH.
CARMINE POLITO
I got a lot of friends that live up
there. I go to Tomaso's on Arthur
Avenue. You know Tomasos's?
IRVING ROSENFELD
Yeah, Tomaso's.
CARMINE POLITO
The spicy clams.
IRVING ROSENFELD
Yes. They're always good.
CARMINE POLITO
Oh, they're to fucking die for,
those clams. I haven't been there
in a while. I like that place.
IRVING ROSENFELD
Carmine -- can I call you Carmine?
You know, Carmine -- (catches his
breath) My fuckin' heart's going
from running down the stairs -- I'm
not used to running. There's a
lotta green grass in that hotel
room up there, alright? And all the
deals would float through you. You
get a serious piece on both ends.
You do with that what you will. I
live in the real world, I am a
family man, I got mouths to feed
and everything. But, you know, we
just...we gotta grease you
directly. No middlemen, no
bullshit. It's the Arab way.
CARMINE POLITO
Yeah, look, I understand. It's a
great opportunity. It's just I got
a little thrown by going to have a
meeting with somebody who ended up
not being there, so --
57.
IRVING ROSENFELD
Hey, listen, I was thrown as well.
CARMINE POLITO
I understand. I'll deal with you
directly. I don't want any
middleman or any of that bullshit.
IRVING ROSENFELD
Done.
CARMINE POLITO
I like you. Eye to eye. We can do
business together.
Irv smiles and nods as they walk back into the hotel
together.
CARMINE POLITO (CONT'D)
How long do you know this guy? You
work with this guy before?
IRVING ROSENFELD
I gotta work with him. He's the
Sheik's man.
CARMINE POLITO
But I still need to meet the Sheik,
okay?
IRVING ROSENFELD
Done.
94 INT. SYDNEY'S APARTMENT - DAY 94
IRVING ROSENFELD
I'm going out to dinner with
Carmine and the wives in Camden.
RICHIE DIMASO
Who?
IRVING ROSENFELD
Carmine and myself and the wives.
RICHIE DIMASO
What?! Without me?!
58.
IRVING ROSENFELD
He doesn't like you, what do you
want from me, I got him to come
back and take the money and you got
him on tape alright? I can't make
him like you. I did my job.
RICHIE DIMASO
Did you tell him you were working
with me? That I'm the Sheik's
associate?!
IRVING ROSENFELD
I just fucking told you he doesn't
like you. I mean, let him have a
night out with a human being for
fuck's sake, he's going to jail
soon. You're done with him. You got
him on tape taking a bribe.
RICHIE DIMASO
Carmine has got to deal with me,
Irving.
RICHIE DIMASO (CONT'D)
We're gonna use Carmine. We're
gonna use Carmine to get other
people, that's what we're gonna do.
IRVING ROSENFELD
What?! Like who?!
RICHIE DIMASO
Carmine's gonna use the Sheik to
pay off people.
IRVING ROSENFELD
Are you fuckin' nuts? What are you
say--
RICHIE DIMASO
We're gonna let Carmine show the
Sheik Atlantic City, how he's gonna
renovate hotels, and see who shows
up. Whoever the Sheik pays off for
licenses and casinos, that's who
we're gonna go after. We're gonna
go after all of 'em!
IRVING ROSENFELD
More politicians? You realize how
fuckin' dangerous that is? There's
no fucking reasoning with you.
(MORE)
59.
IRVING ROSENFELD (CONT'D)
Edith and I were so successful for
so long because we kept it just
small enough. You are takin' us to
a very fucking dangerous place,
with very serious numbers!
RICHIE DIMASO
If your that successful, how come
you wound up in this room with me?
Taking orders from me.
EDITH GREENSLY
You're taking your wife out to
dinner? Your fucking wife? Did I
just hear you correctly?
IRVING ROSENFELD
That's the one thing you heard me
say?
EDITH GREENSLY
I just find it rather shocking
that's all.
IRVING ROSENFELD
I get to handle two wives with one
dinner, alright? I take Rosalyn
out, she keeps her mouth shut, she
sees that my work is legitimate, I
get to keep my kid, and I get to
keep (pointing at Richie) that
fucking wife happy. Both wives
happy.
INT. SYDNEY'S APARTMENT - NIGHT
Sydney sits alone in her apartment, hair in curlers and
sparks a joint.
96 INT. RICHIE DIMASO'S APARTMENT - NIGHT 96
Richie sits in his bathroom, his hair in tight curlers, as he
eats a chicken wing.
RICHIE'S MOTHER (O.S.)
Richard! What are you doing? Don't
eat in the bathroom, I told you so
many times! And Diane brought
Napoleons for dessert. Come out of
the bathroom and pray!
60.
HE OPENS DOOR - REVEALS WHOLESOME LOOKING NICE QUEENS GIRL
DRESSED NEATLY AND HOLDING UP A PASTRY BOX--
RICHIE DIMASO
Oh my god, what did you do?
CUT TO:
97 RICHIE'S MOTHER, ITALIAN, HER HAIR PULLED BACK. 97
RICHIE'S MOTHER
Richard, the filter is broken in
the fish tank. It's a problem.
RICHIE DIMASO
See, your job is to do the filter,
Mom, mine is to do the gravel.
When you don't do the filter right
all the fish die. See?
RICHIE'S MOTHER
I can't get the top on that filter.
RICHIE DIMASO
I've gone over this a hundred times
mom --
CUT TO:
RICHIE, HIS GIRLFRIEND, AND MOTHER ALL SIT AT THE TABLE WITH
FOOD INFRONT OF THEM AS THEY START TO PRAY.
RICHIE'S MOTHER
-- and please help Richard to marry
Diane so that I may have
grandchildren and the Pope may have
more followers. And please bless
this food that we are about to eat -
-
THE TELEPHONE RINGS OFF SCREEN. RICHIE GETS UP TO GRAB IT.
RICHIE DIMASO
Yeah, hello?
SMASH TO:
EDITH GREENSLY
Hi.
RICHIE DIMASO
Who's this?
61.
EDITH GREENSLY
It's Edith.
RICHIE'S MOTHER (O.S.)
Sit down and pray properly!
RICHIE DIMASO
Are you alright?
EDITH GREENSLY
Yeah, I'm fine, I'm just alone, you
know? Irving's out with Carmine.
RICHIE DIMASO
That's right, he went out with
Carmine and his wife. You must not
feel so good about that.
RICHIE'S GIRLFRIEND (O.S.)
Richard, sit down!
EDITH GREENSLY
Wait who's there? Who are you with?
RICHIE DIMASO
Oh, no, it's just people.
RICHIE'S GIRLFRIEND (O.S.)
People? I'm your fiancée! Richard!
EDITH GREENSLY
Oh, you've got a fiancée. You're
engaged.
RICHIE DIMASO
Well, I don't know, no fiancée. I
don't know.
EDITH GREENSLY
You don't know if you have a
fiancée?
RICHIE DIMASO
I don't know --
EDITH GREENSLY
You don't know? You don't know if
you have a fiancée?
RICHIE'S MOTHER (O.S.)
The fish filter is broken!
62.
RICHIE DIMASO
I don't. No.
EDITH GREENSLY
Hmm -- intersting.
RICHIE DIMASO
Hey, you want to get together?
RICHIE'S MOTHER (O.S.)
Richard, do something about the
fish tank.
EDITH GREENSLY
Fifty-fourth Street?
RICHIE DIMASO
OK, fifty-fourth street.
EDITH GREENSLY
OK.
SMASH TO:
RICHIE WALKS OVER TO HIS MOTHER, SITS DOWN IN FRONT OF HER.
ELLA FITZGERALD'S "IT'S DE-LOVELY" PLAYS.
RICHIE DIMASO
That's what that phone call's
about. Everybody thought, "Oh,
Richie DiMaso's gonna stay in the
office, pushing papers." That's
not gonna happen, Mom. I'm outside
in the field. I got people working
for me. My ideas. I'm running the
show. I'm the quarterback. And I'm
not gonna settle for no one, Mom.
RICHIE KISSES HER ON THE CHEEK AND EXITS.
SMASH TO:
98 Ext. BARON'S ITALIAN RESTAURANT- CAMDEN- NIGHT 98
ELLA CARRIES OVER AS --
SLOW MOTION: Carmine and DOLLY POLITO (big frosted hair) get
out of his maroon Lincoln Town car.
Irv and Rosalyn Rosenfeld get out of his green Cadillac. SOME
LOCALS SHOUT TO THE MAYOR.
CUT TO:
63.
99 INT. TABLE AT BARON'S ITALIAN RESTAURANT - CAMDEN - NIGHT 99
Ella continues. Mixture of LOCALS: ITALIANS, POLISH, BLACKS
AND PUERTO RICANS -- wave to the mayor from the bar, and
tables, as Irv and Rosalyn follow.
100 THEY SIT AT BOOTH -- 100
CARMINE POLITO
Rocco, you know like we do. The
chicken very thin. You should see
the way he does this chicken with
the red sauce
DOLLY POLITO
It's beautiful.
CARMINE POLITO
Right? With the red sauce, the
lemon--
Dolly kisses Carmine as he gives his wife's leg a squeeze and
kisses her cheek, then her mouth.
Irv and Rosalyn squeeze hands on the table. SHE KNOCKS BACK A
GLASS OF RED WINE as a plate of Chicken Picatta is served to
the table.
DOLLY POLITO
It's the Piccata of the gods!
She pulls away awkwardly, waiter refills her glass which she
throws back right away. Irv looks concerned.
They all drink.
101 CUT TO - LATER: Carmine and Irving talk. 101
IRVING ROSENFELD
I believe that you should treat
people the way that you want to be
treated.
CARMINE POLITO
Right.
IRVING ROSENFELD
Didn't Jesus say that or something?
CARMINE POLITO
He may have.
64.
IRVING ROSENFELD
Also, always take a favor over
money. I think Jesus said that as
well.
CARMINE POLITO
(laughing)
I don't know if he said the second
one but he may have said the first
one.
CUT TO -- Rosalyn DRUNKENLY LEANS IN TALKING TO Dolly POLITO
ROSALYN ROSENFELD
(shows her nails)
I chip them moving furniture, it's
my obsession -- Moving, re-
decorating, it makes me feel better
like exercise. There's this top
coat that you can only get from
Switzerland and I don't know what
I'm going to do because I'm running
out of it but I LOVE the smell of
it.
DOLLY POLITO
I can get that for you, of course.
ROSALYN ROSENFELD
There's something, the topcoat,
(sniffs nails) it's like perfumey
but there's also something rotten?
I know that sounds crazy, but I
can't get enough of it.
Dolly laughs.
ROSALYN ROSENFELD (CONT'D)
No, smell it. It's true. Dolly,
historically the best perfumes in
the world, they're all laced with
something nasty and foul. It's
true!
She puts it under Irv's nose as he talks to Carmine, he
sniffs, closes his eyes, nods without even looking.
ROSALYN ROSENFELD (CONT'D)
Irving loves them. He can't get
enough of them.
IRVING ROSENFELD
I can't get enough.
65.
ROSALYN ROSENFELD
(hand out to Carmine)
Carmine, sweet and sour. Rotten and
delicious.
She leans across the table and puts them under Carmine's
nose.
CARMINE POLITO
Smells like flowers.
ROSALYN ROSENFELD
Flowers, but with garbage.
CARMINE POLITO
You know what that is for me? It's
coriander for me.
ROSALYN ROSENFELD
Irving loves it. He can't get
enough. That's what hooks you. He
always comes back for it.
IRVING ROSENFELD
I can't stop.
ROSALYN ROSENFELD
(confidentially to Dolly)
He's gonna say we have to talk
business in five, four, three, two,
one --
IRVING ROSENFELD
(to girls)
Dolly, can me and the mayor talk
business here?
ROSALYN ROSENFELD
(falling off her seat)
AHH-HA-HAHAAAAAAAAHHHHH!
Carmine and Dolly rush to grab Rosalyn; JULIUS, Carmine's
steadfast AIDE, BLACK, 40, BIG SIDEBURNS, LOOSENED TIE and
white shirtsleeves, BIG SMILE, helps.
ROSALYN ROSENFELD (CONT'D)
No, don't do that it makes me look
more drunk than I am! I'm not this
drunk. Irving please don't make me
go, I was just starting to have
fun!
She WOBBLES INTO ARMS OF his WIFE Dolly, she and Carmine help
guide Rosalyn out.
66.
102 EXT. WEST 54TH STREET - NIGHT 102
Todd Rundgren's "I Saw the Light" plays somewhere. Edith
dressed in tight Halston dress, hair flows huge all round
her; walks with Richie, who is waiting in a white gray suit
with a white disco collar outside the lapel, chains around
his neck.
EDITH GREENSLY
Didn't your fiance want to come out
tonight?
RICHIE DIMASO
Yeah, no, I don't know.
EDITH GREENSLY
I'm sorry, we don't have to talk
about it. I was just teasing you.
RICHIE DIMASO
Do you ever think, how did I end up
here? How did my life become this?
You ever think that? And you
wonder, am I ever gonna get to a
better place or is this it? You
ever feel like that?
Edith stares, nods yes.
EDITH GREENSLY
I do. I definitely know that.
Edith nods puts a hand on his face.
EDITH GREENSLY (CONT'D)
I'm sorry we don't have to go
dancing. We can go have coffee or
talk or something.
RICHIE DIMASO
No, I need this. Please, I need to
go dancing with you.
Richie reaches down and squeezes her hand.
RICHIE DIMASO (CONT'D)
Please.
103 Edith smiles. 103
EDITH GREENSLY
OK baby, let's go dancing.
INT. DISCO - NIGHT
67.
Richie and Edith DANCE AND DANCE AND SWEAT to Donna Summer's
"I Feel Love" -- dance -- riding a high.
Edith EXCUSES HERSELF to go to bathroom -- breaks away
through crowd -- leaves Richie on dance floor -- then
SUDDENLY BREAKS AWAY -- RUSHES THROUGH THE CROWD --
104 GETS TO THE LADIES ROOM JUST AS SYDNEY DOES -- HE PUSHES HER 104
FROM BEHIND INTO A STALL -- SHE PUTS HER HANDS ON THE TOP OF
THE STALL WALL AS RICHIE RUNS HIS HANDS UP HER LEGS FROM HER
ANKLES AND UNDER HER DRESS - SHE LEANS HER ASS BACK INTO IT
ARCHES HER BACK --
SUDDENLY RICHIE STOPS, throws himself back against the other
stall wall, out of breath. Edith LOOKS OVER HER SHOULDER --
RICHIE DIMASO
I really fucking like you.
EDITH GREENSLY
I like you too. I want to live,
alright. For real. No more fake
shit. Alright?
She get's real close to his face, almost about to kiss.
EDITH GREENSLY (CONT'D)
We're going to wait until we decide
to go for love Richie. For real.
That's when we fuck. Not till then,
ok?
RICHIE DIMASO
OK.
GIRL OUTSIDE STALL (O.S.)
Are you gonna fuck for real or get
out of the stall for real?
EDITH GREENSLY
No more fake shit.
RICHIE DIMASO
No more fake shit.
EDITH GREENSLY
No more fake shit!
GIRL OUTSIDE STALL
Fuck me I gotta piss!
The girl outside the stall bangs on the door.
68.
She holds his mouth in one hand and leans in and kisses him -
they get lost --
EDITH GREENSLY
Get out!
SHE SHOVES HIM OUT OF THE STALL, LOCKS IT.
RICHIE DIMASO
(outside stall)
I want to be fucking real!
RICHIE LAUGHS MANICALLY EXCITED AS HE STANDS AMID MANY WOMEN
WHO SHOVE HIM OUT THE DOOR. IN THE STALL SYD SITS
EXHILARANTLY AND THROWS HER HEAD BACK LAUGHING HYSTERICALLY -
GIDDY.
EDITH GREENSLY
AHHHHHHH!
SMASH TO:
105 INT. BARON'S BACK ROOM - CAMDEN SOCIAL CLUB - NIGHT 105
Irv and Carmine JOYOUSLY SING Tom Jones' "Delilah" WITH a
RAUNCHOUSLY HAPPY GROUP OF locals.
SMASH TO:
INT. BARON'S BACK ROOM- CAMDEN SOCIAL CLUB - NIGHT - LATER
Carmine puts down glass of bourbon as he addresses everyone
emotionally as he looks at Irving.
CARMINE POLITO
(to Julius)
This guy right here, Irving
Rosenfeld? You know what he's gonna
do? He's gonna bring the Sheik to
Atlantic City, where we can rebuild
all those resorts there, put
everybody back to work.
Irving stares and is moved by this. Tears come to his eyes,
he feels bad about it all suddenly.
CARMINE POLITO (CONT'D)
He's gonna get this community --
he's gonna get this state -- back
on its feet where it belongs. Isn't
that right?
(MORE)
69.
CARMINE POLITO (CONT'D)
He's gonna grow our tax base and
create thousands and thousands of
jobs for everyone. You understand
that? You know what that means?
JULIUS
To Irving.
GIRLS
To Irving!
Carmine sits down on the couch next to Irving.
CARMINE POLITO
This guy right here. He's got a big
heart.
IRVING ROSENFELD
(quietly)
I'd just hate it if it didn't work
out.
CARMINE POLITO
What do you mean? Of course it's
going to work out. Guys like you
and me? We dream and we build. We
never give up. We never quit.
SMASH TO:
106 EGGS, PANCAKES, AND BACON COOK ON A DINER GRIDDLE. 106
107 QUIET -- INT. DINER - MORNING 107
Irv and Carmine eat breakfast.
CARMINE POLITO
Can I ask you a question.
IRVING ROSENFELD
Sure.
CARMINE POLITO
Is the sheik black?
Irving looks flummoxed.
IRVING ROSENFELD
He's an Arab.
They look at each other.
70.
CARMINE POLITO
That's black, isn't it?
Irv isn't sure what to say.
IRVING ROSENFELD
Why you asking?
CARMINE POLITO
Maybe it's a dumb question, but I
was just wondering -- I would like
to arrange for the Sheik to see
Camden. To see the people of
Camden. The people I serve. The
people I love. Who are mostly black
and Puerto Rican. I really want him
to see how good this is going to be
for the community, how ready we are
for this opportunity, and he can
see how far his dollar will go.
You know what I mean? What do you
think?
IRVING ROSENFELD
Yeah we can do that. He can see
Camden.
CARMINE POLITO
(relieved)
Hey, I got something I wanna give
to you.
IRVING ROSENFELD
For me?
CARMINE POLITO
I got you a gift. Let's get out of
here. The girls are going to kill
us I'm sure.
CUT TO:
108 EXT. DINER PARKING LOT - MORNING 108
They walk in the morning sun to Carmine's Lincoln where he
opens the trunk and they stare at what is inside.
IRVING ROSENFELD
What is it?
71.
CARMINE POLITO
It's a microwave. It heats up
everything. Pasta, lasagna,
meatballs, whatever.
IRVING ROSENFELD
Really?
CARMINE POLITO
It's science, yeah. That's how it
heats up the food. It's scientific.
IRVING ROSENFELD
And you specifically bought this
science oven for me.
CARMINE POLITO
(Carmine stares
meaningfully at Irv)
Yes. A new friend.
Irv is touched. He sees it is a sincere gift from Carmine,
because Carmine likes him; not cynical in any way.
IRVING ROSENFELD
Thank you.
CARMINE POLITO
Don't put metal in it. Come on,
let's get out of here.
SMASH TO:
EXT. FBI BUILDING - DAY
RICHIE DIMASO (O.S.)
I need a jet at Teeterboro.
109 INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY 109
RICHIE DIMASO
I need a jet at Teeterboro for the
sheik.
STODDARD THORSEN
You don't need a jet. Let him walk
to the curb at JFK.
72.
RICHIE DIMASO
Stoddard, that's not how it works.
You got to do it from the feet up.
STODDARD THORSEN
That doesn't mean anything. What's
that mean?
RICHIE DIMASO
It means you gotta be committed!
It means you gotta be committed to
something in your life, for
Christ's sake. I want a jet at
Teterboro for the Sheik. It can be
a small jet. It doesn't even have
to take off, cause I know you're so
worried about how much money the
Bureau's gonna fucking spend. It
can take off and land on the
tarmac, okay?
STODDARD THORSEN
Alright, you can have a jet for an
hour, but it takes off and lands at
Teterboro.
RICHIE DIMASO
I got the jet?
STODDARD THORSEN
You got the jet.
RICHIE DIMASO
110 Thank you. 110
Richie goes to walk out of Stoddard's office but stops at the
door.
RICHIE DIMASO (CONT'D)
So tell me the rest of the ice
fishing story.
STODDARD THORSEN
Where was I?
RICHIE DIMASO
Your father woke you up, it was a
blizzard, it was Lake Canoga. Come
on!
73.
STODDARD THORSEN
Okay, well, my brother and I were
on the ice and my father came out
of the house and I could see him
coming. He was holding a lantern,
and it was in the blizzard and I
knew he was gonna be angry. So I
went to intercept my father because
I knew if he saw what my brother
was doing he was going to kill him.
Richie cuts him off.
RICHIE DIMASO
So you tried to protect your
brother, but you couldn't and
that's why you feel bad, because
you're trying to protect me and
you're worried about me. Is that
what the story's about? About
protection?
STODDARD THORSEN
No, it's not about protection.
RICHIE DIMASO
It's not about protection?
STODDARD THORSEN
No.
RICHIE DIMASO
Alright, fine.
Richie walks out the door.
111 INT. ROSALYN'S KITCHEN - DAY 111
Ros talks to herself carrying tin foil covered tray of
lasagna.
ROSALYN ROSENFELD
(to herself)
"Don't put metal in the science
oven, don't put metal in the
science oven, Rosalyn"...always
treats me like a fucking child.
I'll do whatever I want.
She puts the tin foil lasagna into microwave. After a few
moments it sparks, explodes into flames. DANNY RUNS IN.
74.
DANNY
(runs in)
Another fire!
ROSALYN ROSENFELD
(grabbing a fire
extinguisher)
No, Danny, not that one! That one's
empty! We gotta use the big one!
SMASH TO:
IRVING ROSENFELD
I told you not to put metal in the
science oven. Why did you do that
for?
ROSALYN ROSENFELD
Don't make such a big deal. Just
get another one.
IRVING ROSENFELD
I don't want another one. I want
the one that Carmine gave me.
ROSALYN ROSENFELD
"I want the one Carmine gave me!"
Carmine, Carmine, why don't you
just marry Carmine, get a little
gold microwave and put it on a
chain around your neck. You want to
be more like Carmine? Why don't you
build something like he does,
instead of all your empty deals
that are just like your fucking
science oven. You know I read that
it takes all of the nutrition out
of our food. It's empty, just like
your deals. Empty, empty!
IRVING ROSENFELD
That's bullshit.
ROSALYN ROSENFELD
It's not bullshit. I read it in an
article. Look, by Paul Brodeur.
75.
SHE HANDS HIM THE MAGAZINE.
ROSALYN ROSENFELD
Bring something into this house
that's gonna take all the nutrition
out of our food and then light our
house on fire? Thank God for me.
Ros stares defiantly, clicks her nails on the counter. PRE-
LAP JET ROAR, IRVING STARES AT ROS and BURNED OVEN and looks
at the magazine article.
112 EXT. TEETERBORO AIRPORT TARMAC, NEW JERSEY - DAY 112
JET ROAR LANDING. A small airport. Irv stands alone, staring
at Edith and Richie kissing. Richie, in long full length
fleece lined suede coat, walks over towards where Carmine
stands.
CUT TO:
113 IRV AND SYDNEY WALKING ACROSS TARMAC. 113
IRVING ROSENFELD
I don't think you should come to
Carmine's party tonight. You look
beautiful by the way.
EDITH GREENSLY
Don't look at me. Don't look at my
legs, don't look at my hair, don't
smell my hair, don't ask me how I
am, don't talk to me outside of
these roles, 'cause we're done.
IRVING ROSENFELD
What are you doing? Get under the
umbrella. It's just that Carmine
wants Rosalyn to come.
EDITH GREENSLY
I don't care. You weren't
listening. I don't care if Rosalyn
comes. Just do your job, okay?
You're nothing to me until you're
everything. I'm not Rosalyn. I'm
not gonna put up with that shit.
THEY ARRIVE AT Richie as the JET arrives on the tarmac.
RICHIE DIMASO
Now that's a fucking jet right?
76.
IRVING ROSENFELD
It's good.
RICHIE DIMASO
That's the kinda moves you need to
make.
They walk towards the Jet and walk on leaving Carmine and
Edith waiting outside.
INT. PRIVATE JET - CONTINUOUS
Irv and Richie step aboard to find FBI AGENT PACO HERNANDEZ
putting on a regal looking white Arab keffyeh headdress and
robe -- he looks noble. TWO AGENTS posing as body guards.
RICHIE DIMASO
Paco, Richie Dimaso, good to meet
you in person [shakes Paco's hand] -
this is Irving Rosenfeld.
Irv nods to Paco and the other agents.
PACO HERNANDEZ
Paco Hernandez. Nice to meet you.
IRVING ROSENFELD
Paco? He's--wait, he's not a real
Arab.
PACO HERNANDEZ
No. I'm Mexican. From Tuscon.
IRVING ROSENFELD
Wait, where's my guy? Where's Al
from Queens?
RICHIE DIMASO
Who?
IRVING ROSENFELD
My friend from Queens. Where is he?
What are you doing?
RICHIE DIMASO
I gotta hire an F.B.I. guy.
IRVING ROSENFELD
What are you-- (to Paco) You speak
any Arabic?
PACO HERNANDEZ
Yeah. Abdullah Ahmed.
77.
IRVING ROSENFELD
That's it? That's all you got?
PACO HERNANDEZ
No, I have a couple phrases.
Irving isn't sure, looks Paco up and down.
IRVING ROSENFELD
(to Richie) From the feet up, you
motherfucker. What are you doing?
(to Paco) Act normal. That's it.
Like you can barely understand
English. You can't speak it. You
say as little as possible. You
follow my lead. Alright?
PACO HERNANDEZ
(to Richie) Who's running this? I
thought you were running it.
RICHIE DIMASO
I am running this but you've gotta
listen to him. He's the guy with
the vision.
IRVING ROSENFELD
I've got the vision? You know what
vision I had? You just kissing my
girl outside. That's what vision I
had.
RICHIE DIMASO
(stares at Irving)
I thought you guys broke up. I'm
giving you a compliment.
PACO HERNANDEZ
What's going on?
RICHIE DIMASO
Don't worry about it.
Irving takes a expensive looking ceremonial knife out of his
jacket pocket and holds it out to Paco.
IRVING ROSENFELD
You got a knife. This is for the
Mayor. You've got to present it to
him. Look me in the eye. This means
a lot to you. Right? That knife.
PACO HERNANDEZ
OK.
78.
IRVING ROSENFELD
Play it. You present it.
"Friendship for life," alright?
You gotta feel it. Sacred. Can you
do it?
PACO HERNANDEZ
Right. Sacred.
IRVING ROSENFELD
You gotta sell it.
RICHIE DIMASO
Sell it.
IRVING ROSENFELD
If you believe it's sacred, it's
sacred.
RICHIE DIMASO
Listen to what he's saying.
IRVING ROSENFELD
Can you do it?
RICHIE DIMASO
It's the details. That's what
makes this guy a genius.
IRVING ROSENFELD
Again? You compliment me again.
What is this, rubbing salt in the
wound?
Irving stares incredulously.
RICHIE DIMASO
I'm complimenting you. (to Paco)
Any other questions?
PACO HERNANDEZ
Yeah, I think the name of this
operation is offensive.
RICHIE DIMASO
What?
PACO HERNANDEZ
Abscam. "Arab Scam?" It's racist.
IRVING ROSENFELD
Are you fucking kidding? What do
you care? You're Mexican.
79.
115 EXT. TETERBORO AIRPORT TARMAC - DAY 115
ELO's "10538 Overture" kicks on. Irv and Richie exit the
plane walking slightly behind the "sheik" and his
"bodyguards" - the sheik in the front.
The Sheik hands the ceremonial knife to Carmine and bows his
head --
CARMINE POLITO
Hello Sheik, my friend. Welcome.
On behalf of the great state of New
Jersey I want to welcome you to New
Jersey. I know that was redundant.
I'm sorry. I'm just very nervous.
116 Carmine takes the knife and looks to the others excitedly. 116
CARMINE POLITO (CONT'D)
(to "shiek")
We have a great party planned for
you this evening.
118 INT. IRV AND ROSALYN'S HOUSE - NIGHT 118
ROSALYN ROSENFELD
(half dressed)
But what are you talking about, I
can't go? I just did my hair and
makeup and everything!
IRVING ROSENFELD
The Sheik's very particular. It's
international cultural protocol.
ROSALYN ROSENFELD
International protocol? What the
fuck are you talking about?
PHONE RINGS --
IRVING ROSENFELD
Do not answer that!
ROSALYN ROSENFELD
(answers phone)
Hello -- Robert Spencer? I don't
know a Robert Spencer. What do you
want?
IRVING ROSENFELD
(takes phone)
Give it to me.
80.
ROSALYN ROSENFELD
Who is that?
IRVING ROSENFELD
(into the phone)
Look, I told you, for God's sake, I
told you not to call here.
ROSALYN ROSENFELD
What is that about?
RICHIE DIMASO
(on phone)
Two more federal agents tonight,
OK?
Ros leaves the room.
IRVING ROSENFELD
No way.
RICHIE DIMASO
Yes. They're bodyguards for the
Sheik.
IRVING ROSENFELD
That's too many people for me to
control, no.
RICHIE DIMASO
Look. I'm in charge here, alright?
Just do it.
IRVING ROSENFELD
Rosalyn, get off the extension!
PAN TO:
REVEAL ROSALYN IN KITCHEN LISTENING ON THE PHONE.
ROSALYN ROSENFELD
(hangs up)
I'm not on it!
But she was on it. She heard.
IRVING ROSENFELD
Look, don't call here again,
alright? Don't call at home.
RICHIE DIMASO
Alright?
81.
IRVING ROSENFELD
OK.
RICHIE DIMASO
Good night.
He HANGS UP and walks into the kitchen. Rosalyn looks at him.
ROSALYN ROSENFELD
Federal agents?
IRVING ROSENFELD
It's bodyguards for the visiting
dignitary, that's all.
ROSALYN ROSENFELD
What is it, an I.R.S. thing? Like
a tax investigation?
IRVING ROSENFELD
Why you gotta say that? I mean,
that's why I can't invite you.
It's too complicated. Listen, come
on.
ROSALYN ROSENFELD
Are you in trouble?
IRVING ROSENFELD
Look, stop being so nosy.
Irving opens the fridge which is a mess.
IRVING ROSENFELD (CONT'D)
Look at this shit.
ROSALYN ROSENFELD
I'm only nosy cause you never tell
me anything.
IRVING ROSENFELD
Can we clean up this fridge? I
mean, what are you causing trouble
for all the time?
PHONE RINGS AGAIN.
IRVING ROSENFELD (CONT'D)
DO NOT ANSWER THAT--
ROSALYN ROSENFELD
(picks up phone)
HEL-LO- Oh, hi, Carmine. We were
just talking about you.
(MORE)
82.
ROSALYN ROSENFELD (CONT'D)
Irving's being a mean, boring man
saying that he doesn't want me to
come tonight.
CARMINE POLITO
(on phone)Tell him he's crazy!
ROSALYN ROSENFELD
Well, I agree. Want to tell him
yourself?
IRVING ROSENFELD
Gimme the phone, come on.
CARMINE POLITO
It wouldn't be a party without you!
ROSALYN ROSENFELD
Can you imagine? Tell him yourself.
She hands the phone to a very exasperated, anxious, Irv.
IRVING ROSENFELD
(into telephone) Hey, Carmie.
CARMINE POLITO
Irving, you're crazy! Your wife is
coming, you kidding me? She's the
life of the party! Everybody loves
her.
ROSALYN ROSENFELD
I'm the life of the party!
IRVING ROSENFELD
(confidential into phone)
Look, you know what she's like.
She's unpredictable. She's just
always --
ROSALYN ROSENFELD
Hey, don't talk about me like that!
What's Carmine saying?
IRVING ROSENFELD
I can't hear what he's saying.
CARMINE POLITO
Listen, Irving, it's very important
that she come, you understand?
ROSALYN ROSENFELD
Carmine loves me.
83.
CARMINE POLITO
(on phone)
This is a really big night for us,
you understand? Come on, you gotta
bring your wife. And Dolly's got
somethin' special for her.
Dolly is getting dressed for the party in the background.
DOLLY POLITO
Tell her I got the nail polish for
her.
CARMINE POLITO
See? Listen!
DOLLY POLITO
(raising her voice to phone) I got
your nail polish for you, sweetie!
CARMINE POLITO
You see? Somethin' special for
you. What is it? Tell me. I mean,
(lowers his voice, conspiratorial)
What is it, you got a girlfriend
coming? Come on, I thought we were
friends. You're not gonna tell me
you got a girlfriend? This is
ridiculous.
IRVING ROSENFELD
No, it's just Rosalyn's
unpredictable.
CARMINE POLITO
Look, we're gonna handle this like
men, you understand? You're
bringing your wife. We're gonna
have a good time. That's an order
from the Mayor. Good-bye.
IRVING ROSENFELD
(to Rosalyn) Alright, you happy?
Go get ready.
Irv hangs up and exits the kitchen.
ROSALYN ROSENFELD
Yes, I am happy.
84.
119 INT. IRV'S CADILLAC - DUSK 119
Elton John's "Goodbye Yellow Brick Road" plays on the
soundtrack as Irv drives: tinted glasses, large comb over,
blue crushed velvet suit, dark tie -- PAN TO:
VISOR MIRROR -- WHERE Rosalyn APPLIES MASCARA --
SMASH TO:
120 EXT. GRAND OLD ATLANTIC CITY HOTEL - NIGHT 120
Elton John continues as Carmine LIGHTS A CIGARETTE in a two-
toned GRAY AND BLACK TUXEDO, at the center of a haphazard red
carpet situation in front of a has-been beach resort -- large
old movie premiere spotlights rotate onto the facade in an
assorted CROWD OF LOCALS some dressed up -
JULIUS, CARMINE, TITO, MELORA (Carmine's STEADFAST AIDES)
son DOMINIC, daughter LUCILLE, wife Dolly, assorted COPS,
FIREMEN IN FORMAL UNIFORMS WHITE GLOVES, UNION GUYS in suits,
fringe the area. Carmine 's family is dressed up.
IRV'S CAR PULLS UP AND A FAT VALET IN RED OPENS DOOR. ROSALYN
GETS OUT IN HER WHITE DRESS --
DOLLY HANDS ROSALYN A TINY SHOPPING BAG WITH SWISS NAIL
PRODUCTS. ROSALYN OPENS A LITTLE BOTTLE OF NAIL FINISH AND
SHRIEKS IN ECSTACY.
Greets everyone.
LIMO PULLS UP: FLASHBULBS GO OFF -- SUDDENLY THE SPOT LIGHT
JAMS WITH GRINDING SOUND, LAMP EXPLODES IN SMOKE --
THROUGH THE SMOKE FROM THE FIRE STEPS: Richie IN A WHITE
SUIT, Edith stunning SILVER METALLIC Halston dress, WHITE FUR
COAT --
THE SHEIK STEPS OUT OF HIS LIMO, IN A BLACK FORMAL ARAB
DRESS, WITH AN ARABIC OR HISPANIC LOOKING FBI AGENT WE SAW ON
THE PLANE DRESSED AS HIS BODY GUARD IN BLACK WITH BLACK
SUNGLASSES.
ACROSS THE RED CARPET -- ROSALYN AND SYDNEY SEE EACH OTHER
FOR ONE OF THE FIRST TIMES -- LOCK EYES. ROSALYN HUGS IRV'S
ARM --
ROSALYN ROSENFELD
(to Edith, glaring)
I know who you are.
85.
Irv tries to turn Rosalyn away, but she keeps turning back
giving Edith the hairy eyeball, as Edith gives it right back.
ROSALYN ROSENFELD (CONT'D)
I know who that is Irving.
Off to the side, Richie steels himself with bump of cocaine
before walking inside the old resort, his eyes dilate.
121 INT. LOBBY OF GRAND OLD SEASIDE HOTEL - NIGHT 121
The entourage walks through the ornate lobby as Edith and
Rosalyn continue to eyeball each other with Irv uncomfortably
in the middle as Carmine ENTHUSIASTICALLY CONTINUES HIS
PRESENTATION FOR THE SHEIK.
CARMINE POLITO
So this is the lobby. Now mind you,
a week ago this place was a mess,
but what existed was this
plasterwork. Look at the detail.
This is beautiful. My sons are
craftsmen. (to son, Dominic)
Please, tell them what you did.
DOLLY POLITO
Tell them everything you know. The
trompe l'oeil.
DOMINIC POLITO
Birds, sky, clouds, wood. Trompe
l'oeil -- "Trick of the eye."
CARMINE POLITO
We can restore all of this, you
see? You save 50 million -- look at
me -- fifty million right off the
bat -- I waive the law I helped
write. It said casino construction
must be ground up new, we don't do
new. We renovate.
DOLLY POLITO
We don't do new. We renovate.
Carmine leads all of them through the very crowded lobby as
he talks.
Irving listens intently, moved.
86.
122 INT. DOWNSTAIRS CASINO - CONTINUOUS 122
200 PEOPLE ARE GATHERED around blackjack, roulette, and craps
tables, playing and having a good time.
CARMINE POLITO
We put in some temporary fun --
some gaming tables, some play money
for people to have a good time. For
charity -- the Boys and Girls Club
and some arts programs.
Rosalyn walking with Irving, continues to stare daggers at
Edith, who stays close to Richie.
Carmine, Julius, Melora, CONTINUE TO LEAD EVERYONE INTO
123 INT. THE OCEAN ROOM -- CONTINUOUS 123
Carmine continues to walk --
CARMINE POLITO
This is the Ocean Room --
He pushes open double upholstered old doors --
THEY ENTER THE LARGE CROWDED YET INTIMATE BEMELMANS STYLE BAR
The bar -- LIKE THE BEMELMANS BAR AT THE CARLYLE HOTEL IN
MANHATTAN - IS LARGE YET INTIMATE -- THERE ARE 50 DRESSED UP
CITIZENS THERE DRINKING -- AND A CROWDED LONG BAR -- AND
ANOTHER SMALLER BAR ON THE FAR SIDE OF THE ROOM ---
Carmine pauses to stare at the MEN AT THE FAR BAR -- FIVE MEN
IN SUITS, 40 TO 60, SLIGHTLY MOB-LOOKING.
AS Irv IS PULLED ASIDE CONFIDENTIALLY BY Carmine -- Richie
AND Edith WATCH -- Rosalyn STANDS TO THE SIDE -- Carmine
puts his arm around Irv's shoulders --
CARMINE POLITO
There are some gentlemen over there
at the bar. That's a hundred and
thirty years sitting there --
that's how much time's between
them. They run the biggest casinos
in the United States. We have to
work with them.
IRVING ROSENFELD
Right.
87.
CARMINE POLITO
The good news is they know how it's
done. They get it done. You don't
have to worry. Everyone makes their
money.
IRVING ROSENFELD
You mean the Mob?
CARMINE POLITO
Yes, but they're businessmen, okay?
Now, spend as much or as little
time with them as you like, but we
do have to deal with them. All
we've got to do is go say hello.
We just gotta say hi, that's all.
Edith looks on, calm, as Richie -- WILD EYED WITH COCAINE AND
ADRENALINE --
IRVING ROSENFELD
Carmine, maybe -- I'm not sure
that's such a good idea. We gotta
confer before we talk to these
guys.
RICHIE DIMASO
(interrupting, hopped up)
Confer? What is there to confer
about? They're casino guys.
CARMINE POLITO
They are businessmen.
RICHIE DIMASO
We came all this way, Irving. We
should be here. What's everybody
scared of? There's nothing to be
scared of.
Richie stares down Irv, Edith pulls Richie back -- Rosalyn is
starting to go down a SPIRAL OF DEPRESSION as she looks
increasingly uncomfortable.
ROSALYN ROSENFELD
(re: the mob guys)
Those are the guys you're all
scared of? Those guys over there?
They don't scare me.
She glares at Edith and Irv and pivots to walk to the bar.
IRVING ROSENFELD
Rosalyn!
88.
But she's already on her way over to the MAFIA MEN at the bar
who GREET HER WARMLY as Irv, Edith, Richie, and Carmine
watch.
RICHIE DIMASO
I love this!
Rosalyn walks up to PETE MUSANE, CHARISMATIC, 30 and sits
down in between all the Mafia guys.. THE OTHER THREE SALT AND
PEPPER MAFIA GUYS LAUGH AND TALK WITH Rosalyn - who gulps a
glass of PROSECCO and IS REFILLED BY PETE MUSANE.
ROSALYN ROSENFELD
Hi. Can I sit here?
Carmine whispers to Irv as he watches Rosalyn talk to the
Mafia guys.
CARMINE POLITO
Irving, this is not a good idea.
ROSALYN ROSENFELD
How you guys doing? Everybody over
there is really scared of you guys,
you know that?
She knocks back the prosecco. She seems relieved.
Dolly ushers her kids to the door.
DOLLY POLITO
Kids, I want you to go up and get
some pizza and soda, please.
Irving and Edith watch in horror at Rosalyn.
EDITH GREENSLY
It's a disaster.
ROSALYN ROSENFELD
I think they have this room all
wrong.
PETE MUSANE
Yeah? What would you do?
ROSALYN ROSENFELD
I would do it in all black and gold
and I would do this bar like a big,
warm golden mirror.
DICK HELSING
Sounds beautiful.
89.
ROSALYN ROSENFELD
Thank you.
Rosalyn's smitten by the mobsters.
PETE MUSANE
But you expect that from her
because she's so beautiful --
ROSALYN ROSENFELD
Oh stop.
DICK HELSING
Gorgeous.
PETE MUSANE
I love her hair, so I know I'm
gonna love how she'd do the room --
He touches the front of her huge Farrah overhang bangs.
Richie, Irving, Carmine, and the Sheik walk up to them.
RICHIE DIMASO
How do you do?
PETE MUSANE
(to Richie)
I'm sorry is she your wife?
IRVING ROSENFELD
No, she's my wife. She's my wife.
CARMINE POLITO
Look at these fine gentleman.
PETE MUSANE
Carmine, there you are.
CARMINE POLITO
How you doing?
Irving takes the glass of prosecco out of Rosalyn's hand and
puts it on table.
PETE MUSANE AND GUYS
Ohhhh, heyyyyy! Come onnn!
ROSALYN
It's because he's a party pooper.
He's so boring.
Irving stares fuming at Rosalyn and the guys, he nods and
forces a smile good naturedly as they put prosecco glass in
his hand. He knows how to fake it.
90.
PETE MUSANE
You have a very beautiful wife.
DICK HELSING, ROSALYN ROSENFELD, OTHER
GUYS
Salud.
THE MADE GUYS LAUGH. SYD ROLLS HER EYES. IRVING, CARMINE
STARE WITH TENSION.
THEY ALL LAUGH. RICHIE GUIDES SHEIK with ONE BODY GUARD.
RICHIE DIMASO
May I present Sheik Abdullah,
gentlemen, from Abu Dhabi. Sheik,
these men are professionals, they
run the best casinos in the United
States.
The Sheik acknowledges them with a nod. Irv is extremely
uncomfortable.
PETE MUSANE
Mr. Sheik, as a sign of our
seriousness, Mr. Tallegio came from
Miami to meet you tonight.
HEAVY PAUSE.
CARMINE POLITO
Mr. Tallegio? Why didn't you tell
me Mr. Tallegio was here?
PETE MUSANE
He's in the back room.
IRVING ROSENFELD
It's a sign of disrespect to do
business on the first meeting.
RICHIE DIMASO
That's not true. I don't know what
your talking about. (to Musane)
He's got it all wrong.
DICK HELSING
Well, don't leave him back there in
the back room waiting. Come on,
let's go.
Rosalyn reaches to have her glass refilled by Dick Helsing
when one of the other guys NUDGES her hip in her tight dress
and she drops into Pete Musane's lap.
91.
ROSALYN ROSENFELD
Hey Irving, I'm going to be having
fun. Maybe it will be contagious.
Irving turns and heads with dread towards the back door with
Carmine, Richie, and the Sheik. Sydney, worried about Rosalyn
with Musane, decides to hang back.
125 INT. CASINO BACK ROOM -- NIGHT 125
SLOW PUSH IN ON POWERFUL LOOKING: BALD MAN IN SUNGLASSES,
LIGHT GRAY SUIT, DARK TIE -- STANDING BY HIMSELF.
CARMINE, RICHIE, SHEIK, IRVING ENTER A HALF FINISHED BACK
ROOM. PUSH IN ON IRVING.
VICTOR TELLEGIO
Carmine!
IRVING ROSENFELD (V.O.)
Victor Tellegio was from Miami. He
was Meyer Lansky's right-hand man.
In his prior reputation as an
enforcer from twenty years ago, he
was known to never bury a body
because he felt it sent a stronger
message to leave it in the street.
FLASH BACK TO:
125A EXT. STREET - NIGHT 125A
YOUNGER TELLEGIO WALKS LAUGHING WITH A COLLEAGUE, LETS
COLLEAGUE GET AHEAD AND TELLEGIO SUDDENLY PULLS PISTOL, FIRES
THREE BULLETS WITH MUZZLE FLASH INTO MAN'S HEAD, MAN GOES TO
GROUND, TELLEGIO FIRES ONCE MORE, DROPS CLIP FROM GUN AND
SPITS ON BODY, WALKS DIRECTLY TO CAMERA MENACING. NOW BACK
TO:
IRVING ROSENFELD (V.O.)
This is the guy we now had to deal
with.
125B INT. CASINO BACK ROOM - CONTINUOUS 125B
RESUME PUSH IN ON TELLEGIO AS A COUPLE OF BUSBOYS SET UP AN
IMPROMPTU TABLE AND CHAIRS. Carmine greets him.
92.
CARMINE POLITO
You sure you don't want to go into
the Ocean Bar? It's really, it's
beautiful in there.
VICTOR TELLEGIO
I'm very happy I don't have to go
there. I like it here. There's an
exit. I'm like a ghost. Nobody
knows I'm here.
Busboys whip open a white table cloth for the table.
Everyone sits down. Tellegio looks at the Sheik, then over to
Richie.
VICTOR TELLEGIO (CONT'D)
Tell him I speak for our friends in
Florida. We're very excited. It's
been our lifelong dream to build
casino resorts on the East Coast.
Richie pretends to translate in the Sheik's ear.
VICTOR TELLEGIO (CONT'D)
You told him that? They didn't want
the Jews to make money, they didn't
want the Italians to make money,
definitely don't want the blacks to
make money. After the oil embargo --
the gasoline crisis -- the
hijackings, the Olympics, they
don't want to see Arabs make money,
trust me, not on our soil. You can
tell him this in your own way: I've
been in the casino business forty
years. It's scrutinized more
carefully than any other business.
Carmine made this legal, but we
must be careful or they'll take it
away.
CARMINE POLITO
So, Mister Tellegio, how do you
think we should approach this? What
do you want to do?
VICTOR TELLEGIO
If you want to get the gaming
license and keep it we have to make
our principal investor here, the
Sheik, an American citizen.
93.
Irving and Richie both look at Victor intensely not sure
where this is going.
CARMINE POLITO
To expedite citizenship -- well,
that requires very special
treatment.
VICTOR TELLEGIO
You would know the right people to
do that, Carmine.
RICHIE DIMASO
Carmine knows everybody.
IRVING ROSENFELD
What are we talking about?
CARMINE POLITO
U.S. Senators. Congressmen.
RICHIE DIMASO
Wow, that's fantastic.
IRVING ROSENFELD
I say stay away from that. That's
bad. That's trouble. No, that's not
good.
RICHIE DIMASO
Irving please.
IRVING ROSENFELD
That's trouble.
VICTOR TELLEGIO
Who is this guy? (to Irving) What
are you, a farmer?
Richie and Tellegio both laugh.
CARMINE POLITO
Mr. Tellegio, I'm sorry, this is
Irving. New York businessman.
Irving Rosenfeld.
VICTOR TELLEGIO
Irving, Irving. What's the matter,
Irving? What's the problem?
IRVING ROSENFELD
Nothing. No problem.
94.
VICTOR TELLEGIO
Don't get your balls in an uproar.
Everything's fine, everything's
good. It's all good. It's all good.
I just hope the other part of this
is all good. And real. Because
we're real. You know that. You deal
with us. We're a real organization.
We deal with you, we don't know
what we're dealing with.
Everyone stares increasingly tense at Tellegio in silence.
This could go wrong at any minute. Tellegio looks over to
Richie and points to the Sheik.
Irving watches in horror as --
VICTOR TALLEGIO
Where's he from?
RICHIE DIMASO
(winging it)
Abu Dhabi.
VICTOR TELLEGIO
Oh, he's from the Emirates.
RICHIE DIMASO
Yeah.
VICTOR TELLEGIO
(in subtitled Arabic)
(Can I count on you? You gotta be
honest about this. Do you
understand me? Good means good. No
bullshit.)
PUSH IN ON IRV AND CARMINE FEELING THIS IMMENSE PRESSURE.
WHAT THE FUCK IS GOING ON HERE?
VICTOR TELLEGIO (CONT'D)
(to Sheik)
(Did you hear what I said? Do you
want me to repeat it?)
Irving looks ill, as does everyone else at the table.
VICTOR TELLEGIO (CONT'D)
(What do you think now? Tell me.
Tell me.)
RICHIE DIMASO
Uh, I think, I think what he's --
95.
VICTOR TELLEGIO
No, let him speak for himself.
Sheik swallows hard and looks to Richie. It's a very tense
moment for everyone at the table.
Tellegio stares. Everyone hangs on this. Irving and Richie
share a look -- what is he doing?
A DRUNK, AL KOWALSKI, a working man, friend of the Mayor
BARRELS INTO INTO THE TABLE, spilling drinks. Tellegio's guys
jump in and grab him and start to pull him away.
CARMINE POLITO
No, I know him.
AL KOWALSKI
You guys are way too serious for a
party!(to Tellegio) Hey, what are
you drinking? You got a drink?
TELLEGIO GLARES BACK AT THE INTRUSION.
CARMINE
(to Al)
We're in a very serious meeting.
(to Tellegio) I apologize.
TELLEGIO DOES NOT LOOK AMUSED.
AL KALOWSKI
I understand, you're in conference.
You gotta come with me now. You got
a speech to give. Everyone's
waiting for you.
CARMINE POLITO
Al, I'll be right behind you, okay?
Trust me.
Paco Hernandez/Sheik stands up and reaches over to Tellegio
to shake his hand. Irving panics. THE MENACING DEEP BASS
INTRO OF "WHITE RABBIT" FADES UP ON THE SOUNDTRACK.
SHEIK ABDULLAH
(In Arabic)
It is great doing business with
you. The investment is real. It was
a pleasure to meet you.
Irving exhales in relief that Paco managed to say anything
passable in Arabic.
96.
IRVING ROSENFELD (V.O.)
What are the odds of an Italian guy
from Miami knowing Arabic? But it
turns out he's got casino
investments in the Mideast and he
spent two years learning it to keep
the upper hand.
Victor leans over to talk to Carmine.
VICTOR TELLEGIO
Listen to me carefully. If you're
real, you put ten million in the
bank of our choice in the next two
weeks.
Carmine nods.
VICTOR TELLEGIO (CONT'D)
Carmine, listen to me carefully, if
you're real, you put ten million in
the bank of our choice in the next
two weeks or not only will the
Sheik feel insulted, but our
friends in Florida will feel deeply
disrespected and so will I.
Irving looks at Victor, who stares back at him. This is bad.
AT THE BAR --
"WHITE RABBIT" CONTINUES. ROSALYN CONTINUES TO FLIRT WITH
PETE MUSANE --
SYDNEY WATCHES OUT OF CONTROL ROSALYN, STANDS AND WALKS OVER
TO HER.
EDITH GREENSLY
Rosalyn, you need to come with me
alright?
ROSALYN ROSENFELD
I don't need to come with you.
EDITH GREENSLY
You need to come with me. This
needs to stop. Come on.
ROSALYN ROSENFELD
Oh, you think I should come with
you?
97.
EDITH GREENSLY
Yeah, you need to come with me
right now.
Rosalyn takes her wrist out of Sydney's grasp.
ROSALYN ROSENFELD
Why don't you get your fucking
hands off me, you fucking whore!
PETE MUSANE
Hey!
ROSALYN ROSENFELD
You're a whore. (to everyone) This
is my husband's whore!
EDITH GREENSLY
That's real nice.
DOLLY POLITO
We're not going to do this in the
Ocean Room tonight. Not tonight.
Please.
ROSALYN ROSENFELD
This is my husbands whore!
Dolly escorts Edith over to one side of the room away from
Rosalyn.
DOLLY POLITO
You stay over here with me.
Everybody just calm down. I don't
know what's going on.
Pete looks over to Rosalyn.
PETE MUSANE
You alright? Take it easy. These
things happen. Whatever's meant to
be will be.
Rosalyn smiles at Pete.
ROSALYN ROSENFELD
That's what I always say.
PETE MUSANE
You say that?
ROSALYN ROSENFELD
Yeah.
98.
PETE MUSANE
See? Kindred spirits.
ROSALYN ROSENFELD
Whatever's meant to be will be.
PETE MUSANE
Whatever's meant to be will be.
CUT TO:
INT. WOMEN'S POWDER ROOM HALLWAY - CASINO
ROSALYN STORMS DOWN THE HALL TOWARDS THE BATHROOM AS "WHITE
RABBIT" BUILDS TO ITS CLIMAX.
126 INT. WOMEN'S POWDER ROOM - CASINO 126
Rosalyn looks in mirror: sadness, anger, fear. Edith rushes
in.
EDITH GREENSLY
What the hell do you think you're
doing?
ROSALYN ROSENFELD
What the hell do I think I'm
doing?! What the fuck do you think
you're doing? You really gonna come
in here and judge me for flirting
with somebody after you've been
fucking my husband for how many
years?!
EDITH GREENSLY
You don't have any fucking clue
what's going on!
Rosalyn holds her hand, with wedding ring to Sydney's face.
ROSALYN ROSENFELD
I got a ring on my finger. We have
a child together.
EDITH GREENSLY
He doesn't love you Rosalyn he
loves me. And you know it and I
know it and he knows it. And it
might be done now, but it was
beautiful and it was real.
99.
ROSALYN ROSENFELD
Stop.
EDITH GREENSLY
And we loved each other.
ROSALYN ROSENFELD
Shut up.
Rosalyn starts to tear up.
EDITH GREENSLY
You scare him, and you manipulate
him, and you use your son!
ROSALYN ROSENFELD
Well, he must like it on some
level. He must want it because he
keeps coming back for it. It's like
that perfume that you love that you
can't stop smelling, even when
there's something sour in it. You
can't get enough of it. But guess
what, he's never gonna leave me.
He's always going to want me, and I
will make you so sorry, Edith. I
will make you so sorry for what
you've done to my family, mark my
words.
EDITH GREENSLY
That is fucked up! I would never
say anything that fucked up to
anybody, but you do because you're
gross inside, you're so fucked up
and gross.
ROSALYN ROSENFELD
Oh, I'm gross inside?
EDITH GREENSLY
Yeah.
ROSALYN ROSENFELD
Maybe you're gross inside, with
robbing people and all that shit
that you do? Maybe we're both gross
inside, that's what Irving loves
about us. At least he's consistent
with his women. You know, sometimes
in life all you have are fucked up,
poisonous choices.
Rosalyn reaches over, grabs Sydney's face and kisses her.
100.
Rosalyn laughs a toxic, tough front dark laugh and walks out.
THE BEE GEES "HOW CAN YOU MEND A BROKEN HEART?" STARTS.
Sydney looks into the mirror and wipes the lipstick off her
lips as Rosalyn storms out of the powder room.
SMASH TO:
129 ROSALYN WALKS OUT SHAKY -- SUDDENLY FROM BEHIND A ROW OF 129
WOODEN PAYPHONES A HAND GRABS ROSALYN'S AND PULLS HER BEHIND
THEM - ITS PETE MUSANE - THEY STARE AT EACH OTHER - SILENT -
INTENSE-- ROSALYN IS SHAKING AND CRYING AS SHE FALLS APART IN
HIS ARMS.
SYDNEY COMES STORMING OUT OF THE POWDER ROOM AND WALKS RIGHT
PAST ROSALYN AND PETE.
PUSH IN ON: SYDNEY LOOKING BACK, STOPPED, SEES ROSALYN
EMBRACING PETE AS SHE CRIES.
SMASH TO:
130 SYDNEY RUNS INTO BACK ROOM, URGENTLY JOINS IRV AND RICHIE AT 130
THE TABLE.
EDITH GREENSLY
We need to talk! This is serious.
SMASH TO:
CARMINE AND DOLLY CLIMB THE STAIRS TO THE MAIN BALLROOM
FILLED EXCITEDLY WITH OPTIMISM AS THE SONG SWELLS. THEY KISS
IN SILHOUETTE INTO A HARD BACKLIGHT. CARMINE CLIMBS REACHES
THE STAGE AND THE CROWD ROARS.
AL KALOWSKI
Ladies and gentlemen, your friend,
the working man's friend, my
friend, Mayor Carmine Polito!
ON STAGE: Carmine TAKES MIC
Irving stands off to the side of the stage as his world
closes in around him. Pulls his heart pills out of his pocket
and takes one. Sydney sees this as she stands nearby with
Richie.
Irv, Edith, Richie watch near stage, jostled. Rosalyn enters
the ball room looking disheveled as she is guided by Pete
Musane looks to stage.
101.
CARMINE POLITO
(on mic)
Hello, Camden! Hello, New Jersey!
Hello, Atlantic City! [CROWD ROARS]
A lot of my friends been out of
work [CROWD WHISTLES - BOOS] A lot
of good hard working families just
wanna WORK AND LIVE. (crowd CHEERS)
There's no money nowhere. You gotta
be kidding me! -- don't they
remember who built this country?
[CHEERS] The one thing we can all
agree about in the State of New
Jersey is that we never, ever give
up! Do we?
Carmine dominates the crowd and you can see the emotion in
his face as he says this. He raises his glass to the crowd.
CARMINE POLITO (CONT'D)
Please, raise a glass with me to a
new era that begins tonight. From
me and my family, we thank you. For
all the hard work that you've given
us in the community. Look what
you've done. This is beautiful!
Thank you!
Crowd ROARS WILDLY. Irv watches, MOVED AND DESTROYED.
DISSOLVE TO: SHOTS OF EMPTY BALL ROOM, TRASHED HALLWAYS,
ATLANTIC CITY STREET TO OCEAN -- OCEAN SOUNDS
SMASH TO:
132 INT. IRVING'S DRY CLEANERS - EARLY MORNING 132
Irving walks in with his keys, same clothes from night
before, as ocean sounds continue, TAKES A GUN FROM THE SAFE,
and he stands looking lost and lonely, he turns on the
electric dry cleaning rack, where he and SYDNEY STOOD
TOGETHER, IN LOVE. He looks heartsick. HE STEPS INSIDE THE
SWIRLING ELECTRIC DRY CLEANING RACK OF PLASTIC WRAPPED
CLOTHES, AND STANDS ALONE, WHERE SYD USED TO BE, AND IS
HEARTBROKEN.
EXT. THIRD AVENUE - DAY - CONTINUOUS
RICHIE STORMS DOWN THE STREET IN SAME NIGHT CLOTHES.
102.
134 INT. HALLWAY TO SYDNEY'S APARTMENT - DAY 134
BANG BANG BANG -- Richie POUNDS ON SYDNEY'S DOOR -- SYDNEY,
HAIR IN CURLERS, ANSWERS THE DOOR.
RICHIE DIMASO
Can I use your phone?
135 INT. SYDNEY'S APARTMENT DAY - AS SHE WATCHES -- HE paces 135
intense, phone in hand, SHIRT SLEEVES, a mess. HE DIALS.
RICHIE DIMASO (CONT'D)
(to Sydney)
Last night was insane. I got it all
figured out.
STODDARD THORSEN
(on phone)
Stoddard Thorsen.
RICHIE DIMASO
(into phone)
Listen, I need the Sherman Suite at
the Plaza Hotel, okay?
STODDARD THORSEN
(on phone)
That's a whole floor of the hotel.
RICHIE DIMASO
I need a whole floor. I need it for
my operation
INT. FBI FIELD OFFICE - DAY - CONTINUOUS
STODDARD THORSEN
(on phone)
Stop calling it your operation,
Richard. It's not your operation.
And I'm not giving you a whole
floor of the Plaza Hotel.
INT. SYDNEY'S APARTMENT - DAY
RICHIE DIMASO
I have members of Congress that are
gonna come in right now to try to
give the Sheik citizenship. They're
taking bribes. This is happening
right now. That's what's happening
right now.
103.
INT. FBI FIELD OFFICE - DAY
STODDARD THORSEN
(on phone)
Bribing members of Congress are you
out of your fucking mind?
INT. SYDNEY'S APARTMENT - DAY
RICHIE DIMASO
Stoddard. Stoddard! Shut up!
Listen! Do you know who Victor
Tellegio is? Victor. Tellegio.
Works for Meyer Lansky. You know
who that is?
STODDARD THORSEN
I know who Victor Tellegio is.
RICHIE DIMASO
Resorts International! He wants ten
million dollars. I have two weeks!
STODDARD THORSEN
You're not getting ten million
dollars.
RICHIE DIMASO
(screaming)
Just listen to me! You're not
listening to me! I have two weeks!
I have two weeks to put this thing
together and I need you to get me
the Sherman Suite at the Plaza
Hotel. And your going to fucking do
it!
STODDARD THORSEN
Lower your voice. You don't get to
yell at me.
Richie SLAMS DOWN THE PHONE. Edith (HAIR IN CURLERS) STARES
AT HIM.
RICHIE DIMASO
Calm me down baby. You gotta calm
me down.
He handles her hips and neck and waist and ass.
RICHIE DIMASO (CONT'D)
Baby let's do this. Let's do this
right now. --
104.
EDITH GREENSLY
No, no.
RICHIE DIMASO
I want to do this. You're fucking
skin is glowing baby. Your skin is
glowing.
EDITH GREENSLY
I'm not doing this with you. We're
not going to do this unless we do
it for real, alright?
RICHIE DIMASO
I want to do this now!
EDITH GREENSLY
That's what we agreed on so we're
not going to do that alright?
Alright? Where are you? You're
acting all scary.
She grabs him by the head to calm him down.
EDITH GREENSLY (CONT'D)
Are you here with me?
HE TRIES A GENTLER SEDUCTION.
RICHIE DIMASO
(leans down to her eyes)
I love you. I love you. Look at me.
(slowly)
I'm in love with you. It is real
now. I just said it so now's the
time.
He handles her, nuzzles her neck, starts to turn her on.
EDITH GREENSLY
(kissing him)
You want the truth? You want real?
RICHIE DIMASO
I'm ready for real.
SOMETHING CLICKS INSIDE HER -- SHE DROPS HER BRITISH ACCENT --
SYDNEY PROSSER
(DROPS HER BRITISH ACCENT)
OK, this is real. Do you hear my
voice? This is real. This is real.
What you hear is real.
105.
Richie steps back quickly and grabs Sydney.
RICHIE DIMASO
What?
SYDNEY PROSSER
This is me.
RICHIE DIMASO
What do you mean? What are you
doing an accent? An American
accent?
EDITH GREENSLY
No. There is no English. There's
only American. There is no English.
Richie looks at her and continues to hold her looking very
confused and flustered.
RICHIE DIMASO
What are you talking about? Stop
it. You're Edith. You're Edith
Greensly. I checked your records.
SYDNEY PROSSER
I falsified my records back to
birth. I falsified them.
SYDNEY PROSSER (CONT'D)
My name is Sydney Prosser, and I'm
from Albuquerque, New Mexico. I'm
not Edith Greensly. There is no
Edith Greensly.
Richie steps back. He stares at her darkly.
RICHIE DIMASO
You're -- freaking -- me -- out.
No, you said in the stall that we
were going to be real and that we
weren't going to fake it.
SYDNEY PROSSER
I'm being real now. This is who I
am. I'm Sydney Prosser. Ok?
RICHIE DIMASO
So -- why -- did you do an English
accent after that?
SYDNEY PROSSER
I'm sorry I didn't tell you in the
stall.
(MORE)
106.
SYDNEY PROSSER (CONT'D)
I created Edith because I needed
her to survive, okay? But I'm done
with that now. I'm so fucking done
with that. Like you do what you
need to survive, right? You do it.
You know, you live with your mom --
you have a fiancée you don't even
acknowledge, right? That's what
you do. And you curl your hair in
little fucking curlers, which is --
No, it's okay, you look good with
it, but you know -- you have
straight hair, so that's what you
do to survive. You do all sorts of
things, you know. We all do.
RICHIE DIMASO
(whispers tensely)
Please don't talk about that. I'm
confused. I'm confused and --
SYDNEY PROSSER
I'm fucking confused too, alright?
RICHIE DIMASO
-- I think we should fuck, and then
we'll feel it and we won't be
confused anymore.
HE EMBRACES HER --
SYDNEY PROSSER
No -- I want to talk. I don't want
to fuck.
RICHIE DIMASO
(embracing her)
Yes! Come on.
SYDNEY PROSSER
NO! I'm not fucking you. I'm not
fucking fucking you!
RED FACED LIKE HE MAY HIT HER, a vein stands out in his neck.
SHE FLINCHES. HE SCREAMS like an animal in confusion and
frustration.
RICHIE DIMASO
AHHH!
SUDDENLY SYDNEY GRABS A GLASS PICTURE FRAME FROM A TABLE,
SMASHES IT ACROSS RICHIE'S FOREHEAD AND FACE WITH A
SHATTERING OF GLASS.
107.
Richie in pain holds his cut forehead and eyebrow.
RICHIE DIMASO (CONT'D)
(in pain and dismay)
SHIT!
They hear a door open off screen, someone approaches. Irving
appears from around the corner of the wall pointing his
handgun at Richie.
IRVING ROSENFELD
Will you please step away from
Edith. I'm asking you nicely please
step away from Edith right now.
RICHIE DIMASO
What the fuck --
IRVING ROSENFELD
Step away from her. Please.
RICHIE DIMASO
You mean Sydney?
Irving looks over to Sydney very confused.
SYDNEY PROSSER
I told him. I'm sorry. I just don't
give a fuck anymore, I don't give a
fuck. I don't fucking care.
RICHIE DIMASO
Irving has a gun.
IRVING ROSENFELD
What Richie's gotten us into is
worse then jail. I told you last
night, don't sit down with those
goons. And what? Now what? No one's
getting ten million for Tellegio.
It's over.
RICHIE DIMASO
I don't think so.
Irving and Sydney stare.
RICHIE DIMASO (CONT'D)
(slowly)
Because when Tellegio finds out
what happened, do you think he's
gonna go after me? I don't think
so. Someone from the Bureau?
(MORE)
108.
RICHIE DIMASO (CONT'D)
Think he's gonna go after a
politician? He's gonna kill you.
Then he's going to go after your
son. And Sydney.
Richie PICKS UP PHONE AS THEY WATCH -- HE DIALS. INTERCUT:
STODDARD THORSEN
(on phone)
Stoddard Thorsen.
RICHIE DIMASO
(slowly, intensely)
You're going to give me the Sherman
Suite. The whole floor.
HIS NOSE AND FOREHEAD ARE CUT FROM THE GLASS.
STODDARD THORSEN
That's a NO. I said no wacko.
RICHIE DIMASO
And you're going to tell me the
point of that FUCKING fishing
story.
STODDARD THORSEN
Not the way you're behaving.
RICHIE DIMASO
(FUMING)
What's the matter with you? Where
are you right now?
STODDARD THORSEN
What does that make a difference?
RICHIE DIMASO
Just tell me where the fuck you
are.
STODDARD THORSEN
The field office on 61st street.
RICHIE DIMASO
I'm coming to 61st Street. Right
now.
STODDARD THORSEN
You're going to do what?
RICHIE DIMASO
To beat -- your ass.
109.
STODDARD THORSEN
You're going to what?
Richie SLAMS the phone down, storms out the apartment.
140 INT. SYDNEY'S APARTMENT - DAY 140
IRVING ROSENFELD
You were right. We should have gone
away.
Irving sits in the corner of the room a disheveled mess.
Sydney sits on the bed drinking a Fresca.
IRVING ROSENFELD (CONT'D)
I should have gone away with you.
SYDNEY PROSSER
We were supposed to do it from the
feet up like you always said.
That's how we were meant to do it
but you didn't do it like that. You
didn't do it like that. You played
it safe so there was always a
danger you were going to end up
with Rosalyn in the dead space,
floating on some dead spaceship
with the furniture and the
curtains. And I was your life line
out and you were mine and that was
ok.
IRVING ROSENFELD
(Irving stares at her,
emotional)
I wish I could get you back.
He walks across the room and sits down on the bed next to
Sydney.
IRVING ROSENFELD (CONT'D)
You know I can't do it without you.
You know that. Come on. Me, you
and Danny. Like we said.
SYDNEY PROSSER
Like I said. You never said that. I
said that. We gotta get over on all
these guys. That's what we need to
be thinking about right now.
Irving takes off his glasses and rubs his eyes.
110.
IRVING ROSENFELD
That's big. That's crazy. Whatever
it is, it's got to be the best
we've ever done.
Sydney nods her head yes, stares intensely at Irving as the
camera tilts down to reveal: their hands clasped together.
141 EXT. OLD FEDERAL BUILDING - DOWNTOWN - DAY 141
High ceiling, old office. Close on a tape recorder.
AS CAMERA PULLS BACK - SEE STODDARD, BANDAGES ON HIS BRUISED
FACE AND A WHITE EYE PATCH ON HIS INJURED EYE, SITTING
OPPOSITE PROSECUTOR, AMADO - - the tape recorder and
microphone sit on the desk in front of Stoddard as he records
a statement for a report.
STODDARD THORSEN
(SLOW MIDWEST MONOTONE)
Agent Dimaso called me late at
night on the 21st. I believe that
he was intoxicated. He threatened
me and I told him this was
inappropriate. I told him
procedures exist for reasons we
must respect. This is the third
such call I received from Agent
Dimaso. He called me again the
night of the 5th and he threatened
to kill me. Subsequently he
demanded that I allow him to use
the Sherman Suite at the Plaza
hotel for purposes of bribing
members of congress.
Camera pull-back reveals: THE CHASTENED Richie SITS
LISTENING, IN A SUIT AND TIE. He's in trouble with their
boss, the prosecutor.
RICHIE DIMASO
I am so sorry.
STODDARD THORSEN
I'm not finished. There's a lot
more.
Richie gets up and pulls up a chair next to Stoddard.
Stoddard flinches and moves away like he's going to get hit
again.
111.
RICHIE DIMASO
I have nothing but the utmost
respect for you as my mentor. (he
reaches down and turns the tape
recorder off) and as my --
STODDARD THORSEN
(re: the recorder)
What are you doing?
RICHIE DIMASO
I just want to talk from my heart.
I don't want it on record. I want
to get vulnerable.
STODDARD THORSEN
Can I finish? Can I finish my
statement?
RICHIE DIMASO
Of course. I respect you.
STODDARD THORSEN
I think you do other things besides
respect me.
SMASH TO:
139 INT. STODDARD'S FIELD OFFICE - FLASHBACK 139
Stoddard paces while on the phone, holds up a finger to
Richie to wait, Richie picks up Stoddard's phone -- rips the
cord out and smashes Stoddard across the face with the base.
Doesn't stop til Stoddard falls to the ground, knocks over
desk chair and bookcase behind.
BACK TO:
INT. OLD FEDERAL BUILDING - DOWN TOWN
They stare at each other.
RICHIE DIMASO
It's just hard for me to control my
passion. I'm a very passionate
person. (looks to Amado) You're
from New York. You understand this.
He goes ice fishing in the midwest.
STODDARD THORSEN
That was told to you in confidence.
112.
RICHIE DIMASO
He's an ice fishing guy. Look at
him.
SMASH BACK TO:
INT. FBI FIELD OFFICE - DAY - FLASHBACK
Where we left off. Stoddard reaches with bloodied hands
across -- what is he reaching for? Oh, on a small table, a
gun and a clip.
RICHIE DIMASO
What are you doing pulling out your
gun? Stop it. That's not you.
STODDARD THORSEN
No, it's me. This is me. It's me.
RICHIE DIMASO
Don't do something that you don't
know anything about. Alright?
Richie grabs his gun and starts to load it.
STODDARD THORSEN
DO NOT LOAD THAT GUN. YOU DROP THAT
GUN.
RICHIE DIMASO
I'll show you how it's done. I'm
not even going to hit you.
He points the gun at Stoddard.
RICHIE DIMASO (CONT'D)
Watch this fucko.
CUT TO:
INT. OLD FEDERAL BUILDING - DOWNTOWN
Richie and Stoddard stare at each other in silence.
ANTHONY AMADO
So, you want to use the Sherman
Suite? The entire floor?
Stoddard throws his head back, looks at ceiling in
exasperation.
113.
STODDARD THORSEN
OH GOD.
RICHIE DIMASO
Yes! At the Plaza Hotel.
ANTHONY AMADO
What happened to the Mafia? I
thought you were --
RICHIE DIMASO
This is where they intersect! This
is where the two things intersect.
The Politicians and the Mafia.
Victor Tellegio's people who run
resorts international --
ANTHONY AMADO
Victor Tellegio showed his face?
RICHIE DIMASO
Yes. I sat with him. I sat with
Victor Tellegio. I hung out with
him. We can get him. We can get his
whole organization as well as
getting any number of congressmen.
I mean, that's just peeling the
first layer of the onion.
ANTHONY AMADO
Wow. How you going to do that?
RICHIE DIMASO
We would get ten million dollars
and put it into an account --
STODDARD THORSEN
TEN MILLION DOLLARS?! Ten Million
dollars?
RICHIE DIMASO
And that's how we just let them
know we're for real.
ANTHONY AMADO
What does he say he's gonna do for
the ten million dollars? How are we
trapping him?
RICHIE DIMASO
He promises to build casinos,
handle the skims, do the licencing -
-
114.
STODDARD THORSEN
And you have him on tape saying
this. You have that right? No.
ANTHONY AMADO
(to Richie)
I want you to find a safer way to
get Victor Tellegio on a wire. No
ten million dollars -- that's
crazy.
STODDARD THORSEN
Thank you.
Richie looks down, defeated.
ANTHONY AMADO
Even to entrap Tellegio it's crazy.
But you can have the Sherman Suite -
-
STODDARD THORSEN
NO.
ANTHONY AMADO
--Stoddard, please -- To go and get
me some congressmen. Go get some
congressmen taking bribes. I want
to pinch us some congressmen, ok?
You come back to me. I'm proud of
you.
RICHIE DIMASO
Thank you.
(then as an afterthought)
And Stoddard.
143 INT. CORRIDOR - OLD FEDERAL COURT BUILDING - CONTINUOUS 143
Richie and Stoddard walk down large, echoey Federal building
corridor. Stoddard walking ten feet ahead turns and points at
Richie.
STODDARD THORSEN
(shouts bitterly)
Good luck keeping your job, by the
way, and staying out of jail -- and
not being killed by the Mob. But
other than that you're doing a
great job.
Stoddard turns and storms off.
115.
RICHIE DIMASO
(as Stoddard walks away)
What's the end of the ice fishing
story?
STODDARD THORSEN
I'm not telling you the end of the
ice fishing story.
RICHIE DIMASO
I'm going to call your fucking
brother and find out from him.
STODDARD THORSEN
My brother's dead.
RICHIE DIMASO
That's how it ends. He fell through
the fucking ice.
STODDARD THORSEN
(shouts bitterly)
No it's not. He died a different
way, many years later.
He storms off and leaves Richie staring in the hallway.
EXT. PLAZA HOTEL -- DAY
Establishing.
145 INT. PLAZA HOTEL - GENERAL SHERMAN SUITE HALLWAY - CONTINUOUS 145
Richie walks out of a surveillance room and down the hallway
to where Irv and Sydney wait.
RICHIE DIMASO
Listen I know it's awkward and I
just want to say I'm sorry,
alright? I think we can stick
together and still fulfill our
goal. I mean, we got the Sherman
Suite.
IRVING ROSENFELD
You got the whole floor?
RICHIE DIMASO
We got the whole floor, yeah.
EDITH GREENSLY
That's good.
116.
RICHIE DIMASO
Yeah, you ok?
SYDNEY PROSSER
Yeah. You?
Richie gestures to his eye that Sydney smashed with the
picture frame. He's got a few little scabs.
RICHIE DIMASO
It's alright. I got hit a little
bit. My eye. It's a little blurry
but I got drops at the pharmacy.
Richie looks over to Irving.
RICHIE DIMASO (CONT'D)
Hey, you OK?
IRVING ROSENFELD
Yeah, I'm good --
Richie looks back over to Sydney
RICHIE DIMASO
Listen, I'm sorry.
SYDNEY PROSSER
I'm sorry.
RICHIE DIMASO
(to Irving)
I'm sorry Irving.
Irving doesn't know what to say, starts to say something
twice, stops, can't think of what to say. Leaves Richie
hanging.
INT. PLAZA HOTEL - GENERAL SHERMAN SUITE - DAY
Richie directs where cameras should be concealed. AGENTS
SCHMIDT AND STOCK FOLLOW MAKING NOTES IN PADS.
RICHIE DIMASO
You can put a camera here. And we
get it all on film. You like it?
EDITH GREENSLY
I do.
RICHIE DIMASO
(to Schmidt)
Give me those flowers.
(MORE)
117.
RICHIE DIMASO (CONT'D)
If we put the flower base here and
put a camera in there we can get a
clear shot of the couch there where
we can put the congressmen.
Irving, sitting on the couch, looks kind of disturbed by
this.
IRVING ROSENFELD
That's right. That's the idea.
146 INT. MAYOR CARMINE POLITO'S OFFICE - DAY 146
RICHIE DIMASO (O.S.)
And Carmine will go to jail after
he delivers us the congressmen soon
to be felons.
Carmine's aid MELORA answers a ringing phone as Carmine sits
at his desk.
MELORA
Congressman O'Connell is on the
phone --
PUSH IN ON
CARMINE POLITO
I got to take this you guys
everyone out please.
Dolly Polito, checking the unwatered plants in her husbands
office with her coat on, she has just stopped by. Turns and
holds up a parched and dying houseplant.
DOLLY POLITO
This is sad. It's just sad.
CARMINE POLITO
Dolly please, I gotta take this.
DOLLY POLITO
Ok, sorry. Everyone out. Go out.
CARMINE POLITO
(picks up phone)
Congressman, how you doing? It's
Carmine. Tell me you're gonna be in
Trenton this week. We have an
amazing investment opportunity I'd
like to discuss with you.
SMASH TO:
118.
INT. PLAZA HOTEL - GENERAL SHERMAN SUITE - DAY
Richie on a black and white surveillance camera as he shows
the briefcase full of money.
RICHIE DIMASO
I'm federal agent Richard Dimaso.
I've placed seventy-five thousand
dollars into this briefcase for
Representative John O'Connell of
the Ninth District.
SMASH TO:
148 EXT. STATE CAPITOL - TRENTON, NEW JERSEY - DAY 148
Carmine shakes hands with REP. JOHN O'CONNELL --
CARMINE POLITO
Congressman, thank you for coming
by, John --
RICHIE DIMASO (V.O.)
Representative O'Connell was
contacted by Carmine Polito to ask
if he could obtain rapid
citizenship through an act of
Congress for one Sheik Abdullah,
investor.
They walk up the capitol steps.
CARMINE POLITO
You wanna talk jobs, investment,
construction, if we can expedite a
very wealthy man's citizenship --
149 INT. SHERMAN SUITE, PLAZA HOTEL - NIGHT 149
150 CAMERA PANS TO HOLE IN CORNER and CAMERA LENS -- 150
152 152
RICHIE DIMASO
How you doing congressmen?
JOHN O'CONNELL
I'm excited to be here.
CARMINE POLITO
This brings the state back. I mean,
how long we known each other?
(MORE)
119.
CARMINE POLITO (CONT'D)
You know what this is gonna do for
us? This is huge for the state of
New Jersey. It stabilizes our
economy.
IRVING ROSENFELD
Hotels. Restaurants. It's waiting
to happen. Carmine sees it, this
fucking thing is waiting to happen.
CARMINE POLITO
The goddamn bankers. Keeping their
money on the sidelines. How we
supposed to get anything done?
JOHN O'CONNELL
Bankers only put money in the game
when they can reap insane profit.
Richie staring, mesmerized by this trap.
RICHIE DIMASO
The only problem is this
citizenship situation. I mean, we
got to expedite it as soon as
possible.
JOHN O'CONNELL
Yeah, well I'll tell you, you came
to the right place.
Everyone looks tense and on edge before.
JOHN O'CONNELL (CONT'D)
I'll make it happen.
CARMINE POLITO
Hey, this is going to happen.
Richie slides the briefcase in John's direction.
CARMINE POLITO (CONT'D)
This is real. You understand? This
is real. On my family. On my kids.
On my life. On my work.
JOHN O'CONNELL
I know that, Carmine. You're a
good man
This hurts Irving to see his friends sincerity.
120.
153 ANOTHER DAY - ON GRAINY MONITOR 153
RICHIE DIMASO
(on grainy black and white)
I'm federal agent Richard Dimaso. I
am placing 75 thousand dollars in
this brief case for one
Representative Gerald Sanders of
the 3rd district.
SMASH TO:
154 -HAND SHAKES - REP. SANDERS SITS LOOKING WARILY AT BRIEFCASE 154
REP. SANDERS
I don't want to do anything illegal-
CARMINE POLITO
Please Gerry. Use it as a campaign
donation. Whatever you want to do.
Richie slides the briefcase to him.
155 ANOTHER DAY 155
RICHIE DIMASO
(on grainy monitor)
I'm placing g $60,000 into an this
brief case for one Congressman Eric
Keshoygan of the 4th district --
ERIC KESHOYGAN
I'm going to do what I can to help
Carmine.
Irv watches in pain as he sits with them.
SMASH TO:
156 ANOTHER DAY 156
RICHIE DIMASO
A $100,000 into this briefcase for
two term United States Senator
Horton Mitchell of New Jersey.
A distinguished silver haired Senator, older.
HORTON MITCHELL
Atlantic City. All the way down the
shore. A mecca by the sea.
121.
Richie slides over the briefcase.
HORTON MITCHELL (CONT'D)
Carmine you're beloved by your
people. Your constituency is not
even your constituency it's your
family. That's what you represent,
family.
CARMINE POLITO
One small thing we do for this man
is a huge thing we do for the
people of New Jersey. This is what
we can leave behind.
Irving can't stand how hopeful his friend Carmine is being
because Irving knows Carmine is being set up. He gets up --
CARMINE POLITO (CONT'D)
Irving what are you doing?
RICHIE DIMASO
Where you going?
IRVING ROSENFELD
(excusing himself
uncomfortably)
I just gotta go see a man about a
dog.
158 IRVING WALKS DOWN THE HALL VERY DISTORTED. HE GOES INTO THE 158
VIDEO ROOM WHERE STODDARD WATCHES THE SURVEILLANCE MONITORS
INTENSELY AS CARMINE CONTINUES TO STAND BEHIND HIS SINCERE
PLEDGES.
CARMINE POLITO
(on grainy monitor)
I appreciate this. On my family. On
my kids. This needs to happen. It's
gotta happen. You've got my word
Irving walks out of the room --
159 INT. HALLWAY OF SHERMAN SUITE, PLAZA -- CONTINUOUS 159
--into another room where Sydney on elegant gold couch, sits
alone. Surveillance equipment and room service trays are on
the coffee table.
160 INT. ANOTHER ROOM OF SHERMAN SUITE - CONTINUOUS 160
She watches Irving who is pacing anxiously and very wound up.
122.
IRVING ROSENFELD
(pacing)
I want to save us. I want to save
Carmine. It's fucking killing me.
SYDNEY PROSSER
You know the only way to help
Carmine is through the Tellegio
thing.
IRVING ROSENFELD
It's dangerous. We gotta get a wire
in there. We gotta make him feel
safe.
SYDNEY PROSSER
There's only one thing that can
really fuck this up and that's your
wife.
IRVING ROSENFELD
(pacing)
Yep.
161 EXT. DANNY'S ELEMENTARY SCHOOL -- DAY 161
Rosalyn fixes Danny's coat, hands him his lunch and sends him
off towards the school's front door --
CLOSE UP: ROSALYN STARES INTO LENS. Emotional, a mixture of
sadness and hope. She holds a closed bottle of her favorite
nail finish and smells it nostalgically.
A BLACK SEDAN PULLS INTO THE FRAME, SHE OPENS THE DOOR AND
GETS IN. IT IS PETE MUSANE, TELLEGIO'S MOBSTER SHE FLIRTED
WITH AT THE CASINO.
162 INT. PETE MUSANE'S CADILLAC - DAY 162
He gently puts a hand on her knee. She leaves it there for a
moment before pushing it away. They stare at each other.
163 INT. MAISON D'LUC - HUNTINGTON, LONG ISLAND - DAY 163
A NICE RESTAURANT OVERLOOKING THE LONG ISLAND SOUND, LIGHT
CORAL COLORED TABLECLOTHS; THE PLACE FILLED WITH DAYLIGHT --
ROSALYN AND PETE SIT VERY CLOSE. QUIET. TOGETHER. IN SILENCE.
FEW BEATS. CONTENT.
123.
PETE MUSANE
I don't like your husband. You're
no good together. He doesn't
appreciate you. Hey, it happens.
It happened in my marriage. That's
why I went to Miami. Sometimes you
just gotta be tough. You gotta
stand up and you gotta leave, you
know?
Rosalyn looks at Pete smitten.
PETE MUSANE (CONT'D)
Sometimes you gotta let something
die to let something live. You're
too beautiful to be unhappy.
ROSALYN ROSENFELD
I know. I mean, I don't want to
badmouth my husband, but let me
badmouth my husband for a second.
He just thinks that he knows
everything and he's so full of
shit. He's such a liar. He thinks
that I'm stupid, but I'm not
stupid. I hear him on the phone
arguing. He loves Carmine, but he
hates that other guy, that curly-
headed I.R.S. guy, or whatever
who's carting around my husband's
ex-lover, that redheaded whore.
PETE MUSANE
IRS?
ROSALYN ROSENFELD
Anyway. You can see that it drives
him crazy.
PETE MUSANE
You said IRS. What IRS guy? What
are you talking bout?
ROSALYN ROSENFELD
I hear them on the phone. I think
that he's got Irv in some sort of
bind or something and he's making
him do all of this stuff and so Irv
and Carmine right now are at the
Plaza Hotel throwing away all this
money at like Congress or whatever.
They're giving money to congress or
something. I don't really know but
I overheard it on the phone.
124.
Pete's brow furrows - this is serious.
PETE MUSANE
You know I hate to do this to you
but I have to go talk to your
husband. My boss is already angry.
You stay here I'm going to give you
some money for a taxi home.
He puts cash in her hands.
PETE MUSANE (CONT'D)
You stay here. Get yourself some
dessert. Finish the bottle of
prosecco. I'm sorry.
Rosalyn and Pete hold hands as Rosalyn stares into his eyes.
Very emotional.
PETE MUSANE (CONT'D)
You alright?
ROSALYN ROSENFELD
(open, vulnerable)
I don't like change. It's really
hard for me. Sometimes I think that
I'll die before I change.
He kisses her.
PETE MUSANE
It's gonna be okay. You're gonna
come live with me in Miami.
Pete gets up and walks. As he does:
ROSALYN ROSENFELD
164 Don't hurt him too bad. He's still 164
Danny's father.
BACK TO:
165 ROSALYN AT TABLE ALONE, EMOTIONAL, VULNERABLE, HER LIFE IS 165
CHANGING.
166 EXT. PLAZA HOTEL -- DAY 166
Irv and Carmine down sidewalk leaving from The Plaza Hotel --
Pete Musane stands next to an open passenger side door, --
Irv and Carmine do not move, they stare at the open door.
125.
PAUL MCCARTNEY AND WINGS "LIVE AND LET DIE" STARTS OMINOUSLY.
INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - NIGHT
170 Rosalyn in full muumuu, wearing cleaning gloves and holding a 170
vacuum sings to LIVE AND LET DIE while Danny sits on the
couch watching her. Very intense.
171 INT. PETE MUSANE'S CADILLAC - "LIVE AND LET DIE" CONTINUOUS 171
Irving and Carmine sit up front with Pete driving and Dick
Helsing sits in the back seat looking angry.
INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - "LIVE AND LET
DIE" CONTINUOUS
Rosalyn continues to sing and gets more intense as the music
picks up.
INT. PETE MUSANE'S CADILLAC - "LIVE AND LET DIE" CONTINUOUS
Irving looks over to Pete nervously. Unsure of what's going
to happen.
INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - "LIVE AND LET
DIE" CONTINUOUS
Rosalyn whips her head up and down, dancing manically through
the house.
INT. IRV AND ROSALYN'S HOUSE - BEDROOM - NIGHT
Rosalyn sits on the bed with Danny with clothes all over the
place while smoking a cigarette.
ROSALYN ROSENFELD
Life is ridiculous and I would
never say anything bad about your
father in front of you but your
father is a sick son of a bitch.
DANNY
Daddy's a sick son of a bitch?
ROSALYN ROSENFELD
Don't repeat that. But yes.
126.
EXT. IRV AND ROSALYN'S HOUSE - NIGHT
Irving's Caddy comes screeching up to the house and parks in
the driveway. Irv get's out and races inside.
INT. IRV AND ROSALYN'S HOUSE - BEDROOM - NIGHT
Rosalyn is still sitting on the bed with Danny.
IRVING ROSENFELD (O.S.)
(shouts)
ROSALYN! ROSALYN!
Rosalyn looks scared.
IRVING ROSENFELD (CONT'D)
This is a real low in our
relationship! You know where I was
recently? I was in your boyfriend's
fucking car! I saw your nail
polish.
SMASH TO:
INT. PETE MUSANE'S CADILLAC - FLASHBACK
IRVING LOOKS DOWN AND SEES THE BOTTLE OF ROSALYN'S NAIL
FINISH ON THE CAR SEAT -- HE PICKS IT UP, LOOKS AHEAD THROUGH
WINDSHIELD SMELLS IT, WORRIED. Carmine glances over his
shoulder anxiously at Dick Helsing in the back seat.
PETE MUSANE
What's this I hear about your curly
haired friend working for the
Government?
CARMINE POLITO
What?! Who said that?
IRVING ROSENFELD
That's bullshit!
PETE MUSANE
Your wife.
Irving is surprised to hear this.
IRVING ROSENFELD
That's bullshit.
CARMINE POLITO
Rosalyn?
127.
INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS
IRVING ROSENFELD
(screams)
HE PUT A CANVAS BAG OVER MY HEAD!
SMASH TO:
INT. PETE MUSANE'S CADILLAC - FLASHBACK
A WHITE CANVAS BAG GARROTES OVER IRVING'S HEAD, FROM HELSING
IN THE BACK SEAT.
CARMINE POLITO
Hey, what the fuck?! --
PETE MUSANE
Shut up. Shut the fuck up.
DICK HOLDS A GUN TO THE BACK OF IRVING'S BAGGED HEAD.
INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS
IRVING ROSENFELD
ARE YOU HAPPY NOW? BECAUSE HE IS
TRYING TO KILL ME!
ROSALYN
What are you talking about?!
IRVING ROSENFELD
WHAT ARE YOU DOING? WHAT DO YOU
THINK YOU'RE DOING?
ROSALYN ROSENFELD
Get out of here! I'm not doing
anything!
IRVING ROSENFELD
WHY ARE YOU TALKING SO MUCH? YOU'RE
GOING TO GET US ALL KILLED!
Irving looks down to see Danny sitting there on the bed.
IRVING ROSENFELD (CONT'D)
Danny. Come here buddy alright? Go
draw a picture or something.
Irving ushers Danny out of the room.
128.
ROSALYN ROSENFELD
You're a real sick son of a bitch
for screaming at me like that in
front of Danny.
IRVING ROSENFELD
I'M A SICK SON OF A BITCH? YOU'RE
TRYING TO GET ME FUCKING KILLED. OH
MY GOD!! YOU DRIVE ME SO FUCKING
CRAZY. WHAT ARE YOU DOING?! YOU'RE
BOYFRIEND -- YOUR FUCKING BOYFRIEND
WILL KILL ME, HE'LL KILL DANNY, AND
HE'LL KILL YOU.
ROSALYN ROSENFELD
STOP TALKING LIKE THAT!
IRVING ROSENFELD
He's a mobster alright? That's who
you're dealing with.
ROSALYN ROSENFELD
Alright fine! Yes, I wanted to hurt
you but how do you think that I
feel all day when you leave me
alone all day? And all I've ever
wanted is for you to love me.
That's all I ever wanted. And stay
married and for you to love me. And
that's why I'm going to Miami!
IRVING ROSENFELD
You're NOT going to Miami.
ROSALYN ROSENFELD
That's why I'm going to Miami with
Pete!
Irving picks up Rosalyn's clothes from the bed where there is
an open suitcase, throws them back in the closet.
IRVING ROSENFELD
You are NOT going to Miami.
ROSALYN ROSENFELD
I finally found somebody who loves
me just like YOU always wanted.
IRVING ROSENFELD
Too dangerous. Miami? Not now. Too
dangerous.
Irv continue to throw clothes back into the closet.
129.
ROSALYN ROSENFELD
He likes me just the way I am.
IRVING ROSENFELD
Not now. Everything has to stay
normal right now. And you're going
to shut your mouth!
ROSALYN ROSENFELD
You told me that you wanted me to
find a nice quiet man!
IRVING ROSENFELD
Oh and what a DOOZY you picked!
ROSALYN ROSENFELD
He's the one.
IRVING ROSENFELD
He's the most dangerous guy ever.
ROSALYN ROSENFELD
WELL WHAT DO YOU EXPECT IRVING?! I
KNOW EVERYBODY THROUGH YOU! WHY
CAN'T YOU JUST BE HAPPY FOR ME?!
Irving reaches for his heart pills but they fall out of his
hands and scatter on the floor. He bends down to grab them
and almost falls. Rosalyn helps him up.
ROSALYN ROSENFELD (CONT'D)
Why aren't you taking your heart
pills? Irving, what's going on?
What kind of trouble are you in?!
What's happening?
IRVING ROSENFELD
(out of breath)
I've got a plan.
ROSALYN ROSENFELD
What's happening?
Irving coughs and steps back. Out of breath and very winded.
IRVING ROSENFELD
I've got a plan.
ROSALYN ROSENFELD
You've got a plan? When did you get
it?
130.
IRVING ROSENFELD
It really fucking came to me when I
was inside of that canvas bag with
your boyfriend's hands around my
throat. That's when it really came
to me.
INT. PETE MUSANE'S CADILLAC - FLASHBACK
CARMINE POLITO
Take it off! Take the bag off his
head!
Dick pulls the bag off Irving's head, his comb over is all
messed up. IRVING GASPS. Pete and Dick LAUGH --
IRVING ROSENFELD
We've got two million coming this
week!
PETE MUSANE
What do you think this is? You
think this is a fucking down
payment plan? Like were Sears of
Chevrolet?
IRVING ROSENFELD
You ask Victor if he wants two
million this week. That's real
money. Two million.
PETE MUSANE
Two million? How?
IRVING ROSENFELD
Wired in.
172 EXT. MADISON AVENUE - FLASHBACK - CONTINUOUS 172
They LAUGH, Irving's hair is all messed up.
Pete patches out. Irving and Carmine are a mess, shirts
ripped open, no buttons, they look at each other VERY SHAKEN.
CARMINE POLITO
Is it true? Is it true what he
said about your wife?
IRVING ROSENFELD
It's not fucking true. That's not
true.
131.
INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS
IRVING ROSENFELD
I can save all of us, and we can
save money. I can take care of you
and Danny. OK? But you gotta close
your mouth.
Rosalyn looks satisfied and points her finger at Irving.
ROSALYN ROSENFELD
I knew it. I have always said,
Irving, that you are very, very
hard to motivate properly. And I
knew that Pete was gonna go over
there and knock some sense into
you. I've been reading this book,
Irving. It's by Wayne Dyer, about
the power of intention.
Irving can't believe what he's hearing right now.
Rosalyn, very satisfied, reaches over the bed and grabs a
book.
ROSALYN ROSENFELD (CONT'D)
And my intention in sending Pete
over to you was so that you could
come up with this plan. So, you're
welcome.
Irving incredulous, thinks to himself how to respond. Forces
himself to say gently --
IRVING ROSENFELD
OK. Thank you, Rosalyn. Thank you
for the plan.
ROSALYN ROSENFELD
You're welcome.
IRVING ROSENFELD
I appreciate that. So, I think that
we should be partners on this.
ROSALYN ROSENFELD
I'm a good partner. Almost better
than Edith. You ever think about
that? You ever think about how you
might have underestimated me?
IRVING ROSENFELD
So what is our plan? Tell me the
plan. What are you gonna do?
132.
ROSALYN ROSENFELD
I'm going to keep my mouth shut and
I'm not going to say anything but
what do I do if Pete calls me? What
am I supposed to say?
IRVING ROSENFELD
You gotta stop talking about your
government agencies and your I.R.S.
and your tax and your conspiracies
and all of that. You're gonna say
how you were wrong, you were wrong
about that.
ROSALYN ROSENFELD
I'll tell Pete that I was wrong but
you know that in real life, I was
right for saying all that stuff
because then that spurred on the
actions that made you come up with
this plan. So I will tell Pete.
IRVING ROSENFELD
(holding his head)
OK.
ROSALYN ROSENFELD
(pointing with cigarette
between fingers)
The power of intention Irving. The
power of intention.
Irv is doing everything he can to hold it together.
IRVING ROSENFELD
OK. You were right.
Rosalyn gets up from the bed and walks over to Irving.
IRVING ROSENFELD (CONT'D)
You're so smart. Good job, peaches.
ROSALYN ROSENFELD
Irving, I've been doing a lot of
thinking and -- you need to grow
up. And you need to face the
facts. And I think that both of us
will be a lot happier if we get a
divorce.
As he listens to words he has been saying himself for months,
now spoken as Rosalyn's idea.
133.
IRVING ROSENFELD
OK.
ROSALYN ROSENFELD
Just think about it. (kisses him)
These things are never easy.
Irving starts walking away towards the door.
IRVING ROSENFELD
Alright.
ROSALYN ROSENFELD
Irving. Good luck with your plan.
EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY
The spare rhythmic intro of Jeff Lynne's "Long Black Road"
plays as Richie looks back over his shoulder and walks
towards the building with intensity.
IRVING ROSENFELD (V.O.)
Necessity truly is the mother of
invention. The F.B.I. was willing
to wire the two million dollars if
it meant taking down Tellegio and
his entire organization.
INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY
Brenda in her office.
Amado looking very pleased on the telephone.
178A EXT. LEXINGTON AVENUE - DAY 178A
Irving walks with Richie and Sydney up to an office building.
IRVING ROSENFELD (V.O.)
A mobster like Tellegio would never
meet at the Plaza Hotel, but only
at the office of his attorney,
Alfonse Simone.
They walk into mob lawyer Simone's building.
178B INT. LOBBY OF BUILDING - DAY 178B
On an old faded directory: 7TH FLOOR: ALFONSE SIMONE #701
134.
178C INT. ELEVATOR - CONTINUOUS 178C
THEY STAND TENSE IN ELEVATOR NOT SPEAKING.
178D INT. RECEPTION AREA - SIMONE LAW OFFICE - DAY 178D
They open door to large, spare reception area of Alfonse
Simone's law office. MIDDLE AGED SECRETARY looks up and picks
up the phone.
178E INT. HALLWAY OF ALFONSE SIMONE'S OFFICE - CONTINUOUS 178E
NEARBY AT A SMALL TABLE SYDNEY IS FRISKED BY A BLACK MAN IN A
SUIT, SHE SUSTAINS EYE CONTACT WITH IRVING AND RICHIE AS THEY
ARE ALSO FRISKED BY ANOTHER MAN IN A SUIT ACROSS THE ROOM. --
THE CONTENTS OF SYDNEY'S PURSE ARE EMPTIED AND EXAMINED ALONG
WITH HER PURSE. IT IS TENSE. SYDNEY STARES AT A NERVOUS
RICHIE; THEIR MICROPHONES HAVE GONE UNDETECTED. "LONG BLACK
ROAD" CONTINUES AS CAMERA FOLLOWS THE BACK OF THE THICK NECK
OF THE MAN IN THE SUIT AS HE LEADS THEM DOWN A WINDING NARROW
OFFICE CORRIDOR. IN ONE SHOT THE DOOR OPENS, JEFF LYNNE'S
SONG SHIFTS TO A LIGHTER THAN AIR PIANO BREAK.
178F INT. ALFONSE SIMONE'S OFFICE - CONTINUOUS 178F
ALFONSE SIMONE- 64, BRONX, SEASONED LAWYER.
Alfonse Simone rises from behind his desk. A silent secretary
sitting at his side in a white dress stares at our heros as
Simone steps forward to introduce himself.
ALFONSE SIMONE
Alfonse Simone.
Edith walks up to him to shake hands. He shakes hands with
Irving and Richie as well. Man in the suit closes the door
behind them.
EDITH GREENSLY
Edith Greensly.
IRVING ROSENFELD
Irving Rosenfeld.
RICHIE DIMASO
Good afternoon.
ALFONSE SIMONE
Please, be seated.
135.
They sit in three chairs facing Simone's desk: Sydney/Edith,
Richie, Irving.
Simone sits behind his desk, the silent secretary sits just
behind him slightly to the side, stares at Edith, Richie,
Irving.
ALFONSE SIMONE (CONT'D)
I appreciate the fact that you all
came in person, but the trip was
really unnecessary because this
whole thing could have been done
with a simple wire transfer. As a
matter of fact this is the number
of our wire right here.
Simone slides a small pink piece of paper across the desk to
them. Richie stares at the paper, but doesn't touch it.
RICHIE DIMASO
Where is Mr. Tellegio?
ALFONSE SIMONE
Mr. Tellegio unfortunately was
called out of town on business.
RICHIE DIMASO
That's not good. We were willing to
come here today, in person, to see
Mr. Tellegio, as a sign of respect
to give two million dollars --
ALFONSE SIMONE
I can assure you that I have the
power of attorney --
RICHIE DIMASO
Excuse me. If you'll let me finish,
we are willing to give two million
dollars today of the ten. But
without Mr. Tellegio here --
IRVING ROSENFELD
(to Simone)
We can't, we can't make that
decision. It's not the right thing.
It's not the right time. It's just
not good.
EDITH GREENSLY
(to Irving across Richie)
You don't have the authorization to
make this kind of choice so don't
be hasty, alright?
136.
IRVING ROSENFELD
I'm not being hasty. It's just,
let's be smart about it. This is
not how we do business. (to Simone)
I'm sorry. I apologize.
Richie motions with his hand to Edith that he agrees with
Irving.
RICHIE DIMASO
He's right, we can't.
EDITH GREENSLY
I think you should hang in there.
RICHIE DIMASO
For what? The guy's not here.
IRVING ROSENFELD
He isn't.
RICHIE DIMASO
That's it.
He stands, goes to the door.
IRVING ROSENFELD
This is a surprise. The Sheik
doesn't like surprises.
Edith turns in her chair to face them in the doorway.
EDITH GREENSLY
Don't leave.
IRVING ROSENFELD
(in doorway with Richie)
Edith, this is not your decision to
make.
EDITH GREENSLY
I understand but maybe we can call
the Sheik. Let's call the Sheik.
IRVING ROSENFELD
That's not the plan. That's not
the --
Edith locks eyes with Richie. Richie stares at Edith, waves
Irving off with his hand.
RICHIE DIMASO
No, let's -- I'll call the Sheik.
(to Simone) Can I use your phone?
137.
ALFONSE SIMONE
Please do.
RICHIE DIMASO
(to Alfonse Simone)
I don't know if he's in, I'll call
the Sheik. But before I do, I'd
like to go over specifically what
this money will be used for.
ALFONSE SIMONE
What we will do is we guarantee all
proper licenses and construction
permits for any hotel casino that
plans to open before the end of the
year.
Richie glances down at Edith and her handbag. PUSH IN ON A
TINY MICROPHONE WE NOW SEE CLEVERLY BUILT INTO THE HANDLE OF
EDITH'S GUCCI BAG.
ALFONSE SIMONE (CONT'D)
And we'll throw in the customary
privileges and protection.
RICHIE DIMASO
What if there are obstacles, what
will you do?
ALFONSE SIMONE
Obstacles? We are prepared to
overcome any obstacles.
RICHIE DIMASO
This is a big enterprise.
ALFONSE SIMONE
If we have to pay somebody off,
we'll pay somebody off. If we have
to lean on somebody, intimidate
somebody, we'll intimidate
somebody. We're experienced. This
is our business.
RICHIE STARES AT SIMONE.
RICHIE DIMASO
That's powerful stuff. Thank you.
IRVING STARES AND SYDNEY LOOKS AT RICHIE.
138.
ALFONSE SIMONE
And I'll tell you something else.
At the end of this we'll teach you
how to skim and how to cut it up
and make some money on the side.
Because we invented skimming. We've
been doing it for thirty years.
A smile creeps across Richie's face.
RICHIE DIMASO
Thank you. Thank you for clarifying
that.
Richie picks up the phone to dial.
RICHIE DIMASO (CONT'D)
I think that will be OK for the
Sheik.
INT. BRENDA'S FBI WIRE OFFICE - CONTINUOUS
AMADO, STODDARD, BRENDA.
ANTHONY AMADO
This is the Sheik.
RICHIE DIMASO
(on phone)
Mr. Tellegio is not here. It's
just Mr. Alfonse Simone, his
lawyer. Are we still ok to wire the
money?
ALFONSE SIMONE
Simone can take the money. What's
the number?
RICHIE DIMASO
5317AP
Amado writes it down and hands it to Brenda to call in.
BRENDA
The funds have been transferred.
ANTHONY AMADO
(on phone to Richie)
The funds have been transferred.
Amado nods: victory. BACK TO:
139.
INT. ALFONSE SIMONE'S OFFICE - DAY - CONTINUOUS
Richie hangs up.
RICHIE DIMASO
The money's been wired.
ALFONSE SIMONE
I think we have a deal.
RICHIE DIMASO
Yes we do sir.
ALFONSE SIMONE
Pleasure doing business with you.
RICHIE DIMASO
Okay, well, thank you very much,
Mr. Simone.
RICHIE SMILES, SYDNEY LOOKS AT IRVING, WHO LOOKS PREOCCUPIED.
PUSH IN ON IRVING.
RICHIE DIMASO (CONT'D)
The Sheik's very excited.
ALFONSE SIMONE
I'm sure that we'll be seeing each
other.
Richie and team start to walk out.
RICHIE DIMASO
(grinning)
Oh I'm sure we'll be seeing each
other very soon. You may even get
sick of me, like these two.
ALFONSE SIMONE
I don't think I'll get sick of you.
Nice meeting you.
Richie, Edith, and Irving walk down the hall after leaving
his office. Richie smiles as the opening of Bowie's "The Jean
Genie" momentously starts. Edith smiles as she walks down the
hall followed by Irving. Richie puts his hand on the door
knob to exit the hallway.
178H INT. AMADO'S OFFICE, FEDERAL OFFICE BUILDING - DAY 178H
THE DOOR OPENS IN A TIMECUT, RICHIE IN SUNGLASSES, HIS JACKET
IS OFF, HE BEAMS AND CELEBRATES AND EXHORTS A ROOM FULL OF
FBI AGENTS, ADMINISTRATORS, SECRETARIES.
140.
THE JEAN GENIE PLAYS ENERGETICALLY AS RICHIE CELEBRATES WITH
EVERYONE, LIKE IN A LOCKER ROOM, HIS FIST IN THE AIR.
RICHIE DIMASO
FINALLY! FINALLY WE GET SOME
RESPECT!
AMADO SITS IN HIS CHAIR WITH CIGAR IN ONE HAND AND DRINK IN
THE OTHER. VERY EXCITED AND LAUGHING AS HE POINTS AT RICHIE.
ANTHONY AMADO
(shouts through clamor)
We're ambitious, that's why!
Richie suddenly moves to the reel to reel surveillance tape
and quiets the room, the music momentarily stops as we hear
Alfonse Simone on the surveillance tape.
RICHIE DIMASO
Shh, shh, shh!
ALFONSE SIMONE (ON SURVEILLANCE TAPE)
If we have to pay somebody off,
we'll pay somebody off. If we have
to lean on somebody, intimidate
somebody, we'll intimidate
somebody.
Richie joyfully lip synchs to the rhythm of Simone's
incriminating words on tape.
RICHIE DIMASO
(in unison with Simone on
tape)
-- If we have to lean on somebody,
intimate somebody, we'll intimidate
somebody!!
RICHIE THROWS HIS FIST IN THE AIR AND CHEERS, JOINED BY
EVERYONE IN THE ROOM. BOWIES "THE JENE GENIE" COMES BACK
LOUD.
179 RICHIE TURNS AND TWIRLS A WHITE HAIRED FBI AGENT IN 179
CELEBRATION, LAUGHING WITH JOY. THEN GOES OVER TO A SULKING
STODDARD AND HUMPS HIM LIKE AT A FRAT PARTY, LAUGHING WITH
EVERYBODY AT STODDARD'S STIFFNESS. STODDARD GETS UP AND
RICHIE SMACKS HIS ASS AS HE LEAVES THE ROOM. RICHIE IMITATES
STODDARD TO ROARING LAUGHTER -- TWICE.
THE MUSIC CRESCENDOS TO AN ABRUPT STOP.
141.
180 EXT. CARMINE POLITO'S CAMDEN NJ CLAPBOARD HOME - DAY 180
Irving's big blue car pulls up to the lens. Irving and Sydney
looking a little uneasy.
Irving stares at the house.
IRVING ROSENFELD
I gotta do it.
181 INT. CARMINE'S LIVING ROOM - DAY 181
CARMINE POLITO
What do you mean, there's no sheik?
What does that mean, "there's no
sheik"? What does that mean?
Carmine stares at Irving.
IRVING ROSENFELD
I want to face you like a man
because I want to be real now.
CARMINE POLITO
Who is "they"?
Irving looks distressed. He's a wreck.
IRVING ROSENFELD
It's the Feds.
CARMINE POLITO
The Feds?
IRVING ROSENFELD
Yeah.
CARMINE POLITO
Irving -- I'm a good person
IRVING ROSENFELD
You are!
Carmine stands up and looks around the room, disoriented, his
life passing before his eyes.
CARMINE POLITO
I've been doing this for a long
time, for twenty years. Do you
think I woulda taken that money if
it wasn't the right thing to do?
142.
IRVING ROSENFELD
Hey look, you're a good person I
know that but in all honesty --
CARMINE POLITO
(screams)
You said that was the only way,
Irv. You chased me, remember?
IRVING ROSENFELD
They fuckin' made me do it. What
was I supposed to do? They had Syd
in jail.
CARMINE POLITO
You made me go back to the Plaza to
take that money, you piece of shit!
I was gone! You fucking prick!
CARMINE BEATS IRVING DOWN ON THE COUCH.
CARMINE POLITO (CONT'D)
I was gone, I left!
DOLLY WALKS IN.
DOLLY POLITO
Is everything alright? Can I have a
word with you?
CARMINE POLITO
(very upset)
No, please, Dolly, just go
upstairs. Take the kids and go
upstairs!
DOLLY POLITO
Alright, alright.
IRVING ROSENFELD
I want to make this right. I came
here because I want to make it
right.
Irving is in tears. Very upset.
CARMINE POLITO
Look at my face. You tell me that
I'm lying to you when I say that
everything I do is for the good of
the people of New Jersey.
Everything I do is for them. Am I
lying to you?
143.
IRVING ROSENFELD
I never had a friend like you
before.
CARMINE POLITO
I used that money for the goddamn
casino.
IRVING ROSENFELD
I got some leverage, alright? I can
help you out.
CARMINE POLITO
This is all shit. It's all
bullshit.
Carmine picks up the knife the Sheik gave him.
CARMINE POLITO (CONT'D)
Look at this thing. Look at this.
Ceremonial fucking knife. What is
this bullshit? Some toy?
He drops it on the table. Irving stares at his friend,
removes his glasses.
IRVING ROSENFELD
Carmine, Syd and I got a plan for
you. We can help you out.
CARMINE POLITO
Please get out of my house, Irving.
Will you please leave? I'm asking
you nicely, please leave.
Irving gets up to go and is pushed towards the door by
Carmine. Dolly joins Carmine in tears. Carmine's kids stand
on the stairs.
DOLLY POLITO
Get out of our house!
IRVING ROSENFELD
I don't want to -- (seeing kids)
I'm sorry. I didn't mean for this
to happen.
CARMINE POLITO
(to kids)
This is not our friend!
IRVING ROSENFELD
Truly, I didn't mean for this to
happen.
144.
Carmine points to his family.
CARMINE POLITO
This is what matters to me most and
you're crushing it! You're going to
take me away from them you fucking
son of a bitch? Get the fuck out!
183 Carmine lunges at Irving and punches him in the face. Irving 183
goes down to the ground and his glasses fly off his face.
CARMINE kicks him one last time.
IRVING ROSENFELD
(beaten, bloody on floor)
I just want to make it right.
CARMINE POLITO
Get out of my house. Look what you
made me do!
IRVING ROSENFELD
(stumbling out the door)
I'm sorry Carmine, I'm sorry.
184 EXT. CARMINE'S HOUSE - DAY 184
Irving staggers out of the house in an emotional daze, one
hand to his heart, falls to sidewalk with bloody nose and
broken glasses --
SYDNEY ACROSS THE STREET BURST OUT OF THE CAR.
SYDNEY PROSSER
Irving!
RUNS TO HIM IN HER HIGH HEELS -- HELPS HIM SIT UP ON THE
SIDEWALK.
SYDNEY PROSSER (CONT'D)
Your heart pills. Where are your
heart pills?
She digs through his pockets, finds the pills, and feeds one
to him.
Sydney struggles to help Irving to his feet and together, an
embattled but surviving couple, they cross the street arm and
arm. She opens the door and helps him into the car.
IRVING ROSENFELD
I've got to lay down.
145.
SYDNEY PROSSER
Just rest.
She gets in and closes the door.
185 INT. IRVING'S CADILLAC - DAY 185
They both slump down on the seat, stare at each other,
emotional, humbled. Sydney gently removes Irving's broken
glasses. They stare at each other, it is quiet.
SYDNEY PROSSER
(emotional, quiet)
Are you ready?
IRVING ROSENFELD
Yes.
They stare at each other.
IRVING ROSENFELD (CONT'D)
(whispers)
I love you.
She squeezes his hand, raises it to her lips and kisses it.
206 INT. AMADO'S OFFICE - DAY 206
TILT UP FROM THE FLOOR OF THE OFFICE TO RICHIE, AMADO, AND
STODDARD INTENSELY STARING AT THE DOOR FOR A CONFRONTATION,
LIKE IN A WESTERN. THE DOOR OPENS AS IRVING AND SYDNEY ENTER
AND STARE BACK AT THEM.
ANTHONY AMADO
Please. Come in. Sit down.
They all sit.
ANTHONY AMADO (CONT'D)
Do you know where our two million
dollars is?
IRVING ROSENFELD
Two million? (Irving pushes his new
glasses up the bridge of his nose)
It's with Victor Tellegio and
Alfonse Simone.
ANTHONY AMADO
No, actually it's not with Victor
Tellegio or Alfonse Simone.
146.
Richie stands by the window, stares angrily at Irving.
RICHIE DIMASO
He fucking knows about it.
ANTHONY AMADO
It's gone missing. Did you know
that?
IRVING ROSENFELD
Where's it gone?
ANTHONY AMADO
That's interesting that you said
that because while you were on your
way over here, we got an anonymous
phone call from someone who said
that in exchange for immunity for
the two of you and a reduced
sentence for Carmine Polito we get
our two million dollars back.
IRVING ROSENFELD
That's interesting. That's very
interesting. I have no idea.
ANTHONY AMADO
No idea?
IRVING ROSENFELD
No idea what you're talking about.
Irving looks at Sydney who looks back at him and shakes her
head. She doesn't know either.
ANTHONY AMADO
I got it. I understand how these
deals are made. See, someone has
leverage.
RICHIE DIMASO
Anthony, fuck them. It's over. We
got them for wire fraud, it's over.
(to Irving and Sydney) You're done.
You're both done.
IRVING ROSENFELD
I don't think so.
RICHIE DIMASO
Oh, you don't think so?
147.
IRVING ROSENFELD
Richard, think about it, YOU
requested the two million. And you
gave Brenda the account number. We
didn't do any of that. None of it.
(turns dramatically to face Richie)
How do we know that YOU don't have
the money?
RICHIE DIMASO
(Richie looks from Irving
to Sydney)
Am I living in a fucking nightmare
right now?
AMADO AND STODDARD STARE INCRIMINATINGLY AT RICHIE.
IRVING ROSENFELD
I find this a little offensive.
Really, I find this a little
offensive and I don't see that you
got any sort of solid case against--
RICHIE DIMASO
(to Amado and Stoddard)
Don't let him get in your heads.
Listen to me, we're dealing with a
very clever individual.
IRVING ROSENFELD
Richard, think about it. You got
some big arrests. You got U.S.
Congressmen. You look good. You're
gonna be all over the news. You
know what doesn't look good? A
story about gross incompetence
205 SMASH TO: 205
FLASHBACK -- RICHIE KICKS OPEN THE DOOR OF LAWYER ALFONSE
SIMONE'S OFFICE WITH A WARRANT IN HIS HAND AND TWO AGENTS
BEHIND HIM.
RICHIE DIMASO
I have a warrant for --
Richie looks around disoriented, we cannot see what he sees
yet.
RICHIE DIMASO (CONT'D)
I'm sorry, do I have the wrong
office?(checks number on the door)
Is this 701? Alfonse Simone?
148.
MAN'S VOICE (O.S.)
This is 701.
-- WE REVEAL THE VOICE BELONGS TO A BLACK ATTORNEY -- TWO
BLACK CLIENTS ACROSS FROM HIM -- SEATED AT WHAT PREVIOUSLY
APPEARED TO BE THE DESK OF LAWYER ALFONSE SIMONE.
BLACK DIVORCE LAWYER
My name is Roger Thigpen. I've had
this office for 25 years. I'm a
divorce attorney.
RICHIE IS STUNNED.
INT. AMADO'S OFFICE - DAY - BACK TO PRESENT
SYDNEY PROSSER
You lost two million dollars of
taxpayer money because you were
confused about the location and the
identity of Victor Tellegio's
attorney?
CUT TO:
INT. POOL PARTY - LONG ISLAND HOUSE - DAY - FLASHBACK
Where we first saw Irving at the pool party.
IRVING ROSENFELD (V.O.)
The role of Tellegio's attorney,
Alfonse Simone, was played by our
friend Ed Malone --
Camera pans from Irving to Ed Malone:
IRVING ROSENFELD (V.O.)
the "Cold Cut King of Long Island"--
Ed Malone holds up two packages of cold cuts. Also holding
the cold cuts are the two that frisked everyone at Simone's
office.
IRVING ROSENFELD (V.O.)
Whose party we were at when Sydney
and I first met.
Cut to Irving first meeting Sydney.
CUT TO:
149.
INT. ALFONSE SIMONE'S OFFICE - DAY - FLASHBACK
Ed Malone, dressed as Alfonse Simone, steps to camera to
shake Richie's hand.
ED MALONE
Alfonse Simone.
CUT TO:
INT. ANTHONY AMADO'S OFFICE - DAY - BACK TO PRESENT
EDITH GREENSLY
People believe what they want to
believe Richie.
RICHIE DIMASO
That's because you conned me! You
both fucking conned me. You both
got under me. You did!
IRVING ROSENFELD
Well that doesn't sound so good,
either. I mean -- and I don't know
what you're talking about, but --
let's just assume you want to go
with that story. Really? That's the
story you want to go with? That's
what you want the New York Times to
hear? That you got conned by the
very con men who you forced to
entrap the members of Congress in
the first place. That's what you
want to go with? That doesn't sound
so good for your whole thing.
Richie looks like he's going to be sick.
IRVING ROSENFELD (CONT'D)
And how ironic that the most
creative minds, the ones who are
working hardest to get the economy
of New Jersey going, those are the
ones that you round up. And why?
Because what, they're the easiest
to go after? And what about the
real bullshit artists? You didn't
even come close to the big leagues.
Those big guys. The money men.
RICHIE DIMASO
That's what I was trying to go
after.
150.
IRVING ROSENFELD
I'm sorry to tell you, you got none
of 'em.
STODDARD THORSEN
You know, Richard, I think we may
call you as a witness, but
otherwise you're done. I think you
better go home.
Richie disoriented, appeals to Stoddard.
RICHIE DIMASO
Stoddard --
STODDARD THORSEN
Go on home, Richard.
ELO's "10538 Overture" reprises on the soundtrack.
EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY
Camera tilts down from the Federal Building to find Richie
coming down the stairs, emotional. Richie walks wiping his
eyes, his innocence and Edith, lost.
CUT TO:
IRVING ROSENFELD (V.O.)
We took down some very big guys.
-REP. SANDERS SWARMED BY PHOTOGRAPHERS WALKING OUT OF
BUILDING, ESCORTED BY FBI AGENTS.
-REP. SIMMONS ESCORTED OUT OF CITY HALL.
IRVING ROSENFELD (V.O.)
Some of whom were just doing
business as usual helping their
communities or their states.
-REP. KESHOYGAN IS GRABBED AS HE APPROACHES HIS CAR IN A
GROCERY STORE PARKING LOT WITH A BAG FULL OF GROCERIES.
IRVING ROSENFELD (V.O.)
But some of them knew they had
larceny in their blood--
-REP. O'CONNELL COVERS HIS FACE AS PHOTOGRAPHERS SWARM HIM AS
HE'S ARRESTED OUTSIDE HIS HOUSE AS WIFE AND DAUGHTER LOOK ON.
151.
CARL ELWAY IS CHELSEA HOTEL OFFICE IN HIS BATHROBE WITH HIS
SECRETARY IN TEARS.
IRVING ROSENFELD (V.O.)
And they even admitted it.
GREY HAIRED SENATOR HORTON MITCHELL, wife by his side, denies
any wrongdoing and is photographed and humiliated as he then
sits with her in a Federal car.
IRVING ROSENFELD (V.O.)
But in all it was six Congressmen,
one United States Senator, and my
friend, Carmine Polito.
THE DOOR TO CARMINE'S CLAPBOARD HOUSE OPENS, CARMINE STANDS
IN THE DOOR, STARES AT THE AGENTS, HIS WIFE AND CHILDREN IN
TEARS STAND BEHIND HIM AS HE SERVED A WARRANT. CARMINE IS
HANDCUFFED.
IRVING ROSENFELD (V.O.)
We gave the two million back so
Carmine got the reduced sentence.
18 months. The loss of his
friendship would haunt me for the
rest of my life.
CROWDED FEDERAL BUILDING PRESS CONFERENCE - MANY FLASHBULBS
AS STODDARD STANDS NEXT TO AMADO WHO MAKES THE ANNOUNCEMENT.
IRVING ROSENFELD (V.O.)
And when the story was written,
Richard Dimaso's name was never
mentioned.
CAMERA PANS THROUGH CROWD TO FIND RICHIE IN THE WAY BACK,
LEANING AGAINST A PILLAR. FADE TO WHITE ON HIS SOBERED FACE.
209 EXT. LONG ISLAND ELEMENTARY SCHOOL - DAY 209
FADE IN FROM WHITE, PAN DOWN FROM WHITE SKY TO SCHOOLYARD,
CHILDREN LEAVING ELEMENTARY SCHOOL. IRVING AND SYDNEY WALK UP
TO THE SCHOOL TO PICK UP DANNY.
IRVING ROSENFELD (V.O.)
Syd and I moved in together. And
Rosalyn --
ROSALYN IN A NECK BRACE and off white trench coat and
sunglasses -
152.
ROSALYN ROSENFELD
The car is a little dinged up and
I'm a little stiff but I don't want
to talk about it.
Irving stares at Rosalyn.
IRVING ROSENFELD (V.O.)
She would always be interesting.
Rosalyn gets in to a car, revealing Pete Musane in the
driver's seat. Irving leans in.
PETE MUSANE
(to Irving)
You know my boss knows you did him
a solid.
IRVING ROSENFELD
Yes I did. He never took a nickle
so they can't get him for nothing.
I was never going to let that
happen.
Irving starts to leave --
ROSALYN ROSENFELD
Irv.
He stops and looks at her. With red lacquered nails Rosalyn
places her favorite nail finish in his hand.
ROSALYN ROSENFELD (CONT'D)
I'm done with this nail finish. Bye
for now. I'll see you next weekend.
Irving nods. Rosalyn drives off with Pete.
Sydney stands with Danny.
IRVING ROSENFELD (V.O.)
Our conning days were behind us.
Irving and Sydney walk hand and hand with Danny down the
street. Irv drops the nail finish into a trashcan.
IRVING ROSENFELD (V.O.)
You can fool yourself for just so
long and then your next reinvention
better have your damn feet on the
ground.
153.
210 INT. ART GALLERY - DAY 210
Irving and Sydney admire a piece of art on the wall.
IRVING ROSENFELD (V.O.)
We got a loan from a bank and were
able to go gallery legitimate.
INT. SMALL BANK - DAY
Irving and Sydney sit in front of a banker asking for a loan.
IRVING ROSENFELD (V.O.)
The art of survival is a story that
never ends.
INT. SYDNEY'S APARTMENT - DAY
SYDNEY PLACES THE NEEDLE ON THE RECORD PLAYING ON A
TURNTABLE: DUKE ELLINGTON'S JEEPS BLUES, begins. SHE STARES
ACROSS THE ROOM AT IRVING. IRVING STARES BACK HER.
CUT TO BLACK