411d53d3c5c42990aebb7cb0bf4964f8d0a6f0bc
movie
http://www.imsdb.com/scripts/Donnie-Brasco.html
DONNIE BRASCO by
: CREDITS ROLL
 Aging gangster Benjamin "Lefty" Ruggiero is introduced to a jewel thief named Donnie Brasco. Donnie impresses Lefty by threatening a diamond dealer whom Donnie suspects of selling Lefty a fake ring. Lefty teaches Donnie the rules of the Mafia and introduces him to several "made men" including Dominick "Sonny Black" Napolitano, and Nicholas Santora, as well as caporegime Alphonse âSonny Redâ Indelicato to whom Lefty owes money and is disliked by Sonny Black.
Donnie Brasco is actually Joseph D. Pistone, an undercover FBI agent. His wife hates his job, and the couple have heated arguments throughout the film. At home, Joseph's behavior becomes more and more like the criminal he pretends to be.
After the Bonanno family's street boss is killed, Sonny Red assumes the new position. Sonny Black is promoted to captain, angering Lefty, as he provided for Sonny Black's family while the latter was in prison. As the crew runs a series of successful shakedowns and hijackings in Brooklyn, Donnie collects more information for the FBI.
Due to Joseph's success at infiltrating the Mafia, a man from Washington, Dean Blanford, takes an interest in the case. He asks Joseph to incorporate a Miami-based FBI agent, Richard "Richie" Gazzo, into the operation. Joseph is reluctant but convinces Sonny Black and crew to meet Richie in Miami.
In Miami, Donnie and Lefty plan to run Richie's club on their own and attempt to impress Florida mob boss Santo Trafficante Jr. with a yacht trip. However, Sonny Black reaches out to Trafficante first, angering Lefty, especially when Sonny Black tells Donnie to work for him and run the club as an unofficial made man. Donnie reconciles with Lefty when Lefty's son nearly dies of a drug overdose. On its opening day, Sonny Black's club is raided by Miami police on orders from Trafficante himself, who was in allegiance with Sonny Red. Suspecting the latter is responsible, the crew, without Donnie, kill Sonny Red and two rival gangsters, as well as Nicky Santora (who, Sonny Black suspects, tipped off Sonny Red about the club). With Sonny Black the new street boss, Donnie is tasked with finding and killing Sonny Red's son, Bruno.
One last dispute between Donnie and his wife becomes physical. Joseph hits his wife and is then remorseful: "I am not becoming like them, Maggie, I am them."
Knowing he will have to end his case and make arrests, Donnie tries convincing Lefty to escape his criminal life. Lefty confronts Donnie about working with the FBI. If Donnie does not kill Bruno, Lefty will kill Donnie. Before either murder can be committed, FBI agents rush in to arrest both potential killers. FBI agents reveal Donnie's true identity to Sonny Black and the crew. Lefty walks off to his implied death for letting Donnie infiltrate the gang, and Joseph is awarded with a $500 check and medal for his work.
Aging gangster Benjamin Lefty Ruggiero is introduced to a jewel thief named Donnie Brasco . Donnie impresses Lefty by threatening a diamond dealer whom Donnie suspects of selling Lefty a fake ring . Lefty teaches Donnie the rules of the Mafia and introduces him to several made men including Dominick Sonny Black Napolitano , and Nicholas Santora , as well as caporegime Alphonse âSonny Redâ Indelicato to whom Lefty owes money and is disliked by Sonny Black . Donnie Brasco is actually Joseph D. Pistone , an undercover FBI agent . His wife hates his job , and the couple have heated arguments throughout the film . At home , Joseph s behavior becomes more and more like the criminal he pretends to be . After the Bonanno family s street boss is killed , Sonny Red assumes the new position . Sonny Black is promoted to captain , angering Lefty , as he provided for Sonny Black s family while the latter was in prison . As the crew runs a series of successful shakedowns and hijackings in Brooklyn , Donnie collects more information for the FBI . Due to Joseph s success at infiltrating the Mafia , a man from Washington , Dean Blanford , takes an interest in the case . He asks Joseph to incorporate a Miami-based FBI agent , Richard Richie Gazzo , into the operation . Joseph is reluctant but convinces Sonny Black and crew to meet Richie in Miami . In Miami , Donnie and Lefty plan to run Richie s club on their own and attempt to impress Florida mob boss Santo Trafficante Jr. with a yacht trip . However , Sonny Black reaches out to Trafficante first , angering Lefty , especially when Sonny Black tells Donnie to work for him and run the club as an unofficial made man . Donnie reconciles with Lefty when Lefty s son nearly dies of a drug overdose . On its opening day , Sonny Black s club is raided by Miami police on orders from Trafficante himself , who was in allegiance with Sonny Red . Suspecting the latter is responsible , the crew , without Donnie , kill Sonny Red and two rival gangsters , as well as Nicky Santora ( who , Sonny Black suspects , tipped off Sonny Red about the club ) . With Sonny Black the new street boss , Donnie is tasked with finding and killing Sonny Red s son , Bruno . One last dispute between Donnie and his wife becomes physical . Joseph hits his wife and is then remorseful : I am not becoming like them , Maggie , I am them . Knowing he will have to end his case and make arrests , Donnie tries convincing Lefty to escape his criminal life . Lefty confronts Donnie about working with the FBI . If Donnie does not kill Bruno , Lefty will kill Donnie . Before either murder can be committed , FBI agents rush in to arrest both potential killers . FBI agents reveal Donnie s true identity to Sonny Black and the crew . Lefty walks off to his implied death for letting Donnie infiltrate the gang , and Joseph is awarded with a $ 500 check and medal for his work .
http://en.wikipedia.org/wiki/Donnie_Brasco_(film)
Donnie Brasco (film)
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<pre>        DONNIE BRASCO

               by
        Paul Attanasio


Based on the book, "Donnie Brasco,"
by Joseph D. Pistone with Richard
Woodley




<b>                           REVISED DRAFT
</b>                           July 27, 1992
<b>
</b><b>1   EXT. DAY.    WASHINGTON, D.C.
</b>    An AERIAL VIEW of the nation's capital, MOVING IN on the stolid
    limestone box of FBI HEADQUARTERS. Supered below:
<b>                FBI HEADQUARTERS.   WASHINGTON,
</b><b>                D.C. 1981.
</b><b>                                                  CUT TO:
</b>
<b>2   INT. DAY.    FBI HEADQUARTERS
</b>    A spacious corner OFFICE. American flag, FBI seal, and a plush
    c arpet-- Fed eral blue .
    CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon glasses,
    PRESIDES behind a vast desk. The impressive mien of earned
    authority. Before him:
    JULES BONOVOLONTA, late 40s, Green Beret veteran, SUPERVISOR, 140
    pounds of pugnacity and gristle. Ex-street agent cramped by
    headquarters.
    PAT MARSHALL, late 30s, a CASE AGENT, compulsively organized, with
    haunted choirboy's eyes.
    CLARENCE LEBOW, early 40s. Assistant SECTION CHIEF. Brooks
    Brothers, heavy starch.
<b>                          LEBOW
</b>                It's going down tonight.
<b>                          JULES
</b>                Says who? A fucking wire.
<b>                           LEBOW
</b>                A reliable wire.
<b>                           JULES
</b>                A fiction writer.
    Hogue peruses SURVEILLANCE PHOTOS of Sonny Red and Sonny Black. Then
    reads the INFORMANT'S REPORT.
<b>                          MARSHALL
</b>                is that the 209, sir?
<b>                          LEBOW
</b>                There's going to be a war between
                Sonny Red and Sonny Black--it's
                all over the streets.
<b>                           JULES
</b>                Clarence, you couldn't find the
                streets with an asphalt detector.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                               2.
</b>
<b>2   CONTINUED:
</b><b>                            MARSHALL
</b>                 Sonny Black goes, everyone with
                 him goes.
<b>                            JULES
</b>                 That's doesn't mean it's tonight.
<b>                            LEBOW
</b>                 Even if it's not tonight--and I ' m
                 not saying it's not tonight--it
                 could still be tonight because it
                 could be any night.
<b>                        JULES
</b>             Fuck you, Clarence.
<b>                        LEBOW
</b>             Heyl I'm a Mormon 1
<b>                       HOGUE
</b>             You have some objection to these
             guys killing each other?       .
<b>                           MARSHALL
</b>             It's just that--one of them's one
             of us.
<b>                       HOGUE
</b>             An informant?
<b>                       JULES
</b>             An agent. Undercover.
<b>                        HOGUE
</b>             Then why are you depending on an
             informant? What does the agent
             say?
                   (off awkward looks)
             When's the last time you spoke to
             him?
<b>                        JULES
</b>             Three weeks.
<b>                        MARSHALL
</b>             Three weeks and two days.
<b>                        HOGUE
</b>             He checks in every three weeks?
<b>                           MARSHALL
</b>             He checks in when he checks in,
             sir.
<b>                        JULES
</b>             We had to make up the rules as we
             went along--
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                 3.
</b>
<b>2   CONTINUED:    (2)
</b><b>                           HOGUE
</b>                 My predecessor started this?
<b>                            JULES
</b>                 His predecessor.
<b>                            LEBOW
</b>                 It's been five years.
<b>                           MARSHALL
</b>                 Five years and three months.
<b>                              JULES
</b>                 I am   not gonna blow a chance to
                 cripp  le the entire fucking Mafia
                 just   because some fucking empty
                 suit   in Blue Carpet Land--
<b>                               LEBOW
</b>                 I am so sick of your superior New
                 Y or k a tt it ud e--
<b>                               JULES
</b>                 --thinks there's gonna be a
                 Shootout tonight after the
                 fucking tarantella.
<b>                              LEBOW
</b>                 You're going to risk a man's life
                 just to make cases.
<b>                            JULES
</b>                       (right back)
                 Making those cases is his life.
<b>                            HOGUE
</b>                 And how many cases do we have?
<b>                            MARSHALL
</b>                       (guessing)
                 A hundred, two hundred...
<b>                              HOGUE
</b>                 Which one?
<b>                              JUL ES
</b>                 The truth is we don't know.
<b>                              HOGUE
</b>                 Let me get this straight. Nobody
                 knows where he is. Nobody's
                 spoken to him. He's been
                 undercover five years. He might
                 very well get killed tonight--at
                 a fucking wedding-- not because
                 he's one of us. but because he's
                 one of t;hem.                         -
                             (more)
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                   4-
</b><b>2   CONTINUED:        (3)
</b>                               HOGUE (Cont'd)
                     I've been on the job one fucking
                     wee k. An d it' s my fuck ing
                     decision? How the hell did this
                     happen?
    Awkward looks and foot shuffling all around.
<b>                               MARSHALL
</b>                     What time's the wedding?
<b>                               LEBOW
</b>                     Eight o'clock tonight.
<b>    THE CLOCK                                   .
</b>    on the wall reads *9:36."
<b>                               HOGUE
</b>                     Who is this fucking guy?
<b>                                                    DISSOLVE TO:
</b>
<b>3   INT. NIGHT.         BAR--WASHINGTON (1975)
</b><b>    C L OS E ON --
</b>    JOE PISTONE, 30s, athlete's build, body languid with a killer's
    confidence. Eyes dead as a shark's. He chafes at his rep-striped
    tie and off-the-rack suit.
<b>    WIDER
</b>    LeBow, Marshall, and two other SUITS around the table. Jules
    delivers a TOAST. Supered below:
<b>                 BLACKIE'S.      WASHINGTON, D.C.
</b><b>                 1975.
</b><b>                               JULES
</b>              ...And so, Joe, we wish you bon
              voyage with this farewell drink.
              We'd give you a farewell dinner -
              but why spend all that money when
              you'll just come crawling back to
              your old desk?
    Laughter around the table. The CLINK of glasses...
<b>                               LEBOW
</b>                 I would love to know how you sold
                 them on this.
<b>                               DONNIE
</b>                 I told them I wanted to get far
                 away from you, Clarence, They
                 got it instantly.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                  5.
</b>
<b>3   CONTINUED:
</b><b>                            LEBOW
</b>                 We've had our best guys on this
                 s ince, wha t, Va lachi ? Twe nty
                 years?
<b>                            MARSHALL
</b>                 W ho knows? We never tried
                 anything like this.
<b>                            LEBOW
</b>                 What does that tell you?
<b>                           MARSHALL
</b>                 The Director thought it would be
                 too corrupting.
<b>                           JULES
</b>                 Then maybe I should do it. I'm
                 in a mood to be corrupted.
<b>                            LEBOW
</b>                 You know what these people are
                 l ike. They 're a ll ma rried to
                 each other's cousin.
<b>                            JULES
</b>                       (shrugs)
                 It's six months.
<b>                           MARSHALL
</b>                 I think it's great. Undercover's
                 a new area. Get in on the ground
                 floor.
<b>                           LEBOW
</b>                 It's a wild goose chase. I'm
                 saying this as a friend.
<b>                           JOE
</b>              What do I know? I'm just a dumb
              guinea.
<b>                         LEBOW
</b>              Don't talk that way, Joe.
                    (beat)
              Because, you know, you are just
              a dumb guinea.
    LAUGHTER from the group. Joe doesn't know whether to join in or
    punch somebody. Jules hands him a large beribboned BOX.
<b>                         JULES
</b>              Here you go, Joe.
    Joe opens the box. A wide-brimmed Al Capone FEDORA. Uproarious
    laughter from the group.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                      6.
</b>
<b>3   C O NT I NU E D:    (2)
</b><b>                                  LEBOW
</b>                       If you already have one, you can
                       return it.
<b>                                    JULES
</b>                       Put it onl
    Against his will, Joe puts on the hat. More laughter from the group.
<b>                                                        CUT TO:
</b>
<b>4   EXT. DAY.           SUBURBS
</b>    Three exuberant TOMBOYS play football on the front lawn of a modest
    split-level home: TERRY, 13, rebel in a hurry; KERRY, 10, the good
    girl; and SHERRY, 8, the baby.
    Terry hikes the ball, drops back to throw...
<b>    A PASS
</b>    spirals up into the air...where it's INTERCEPTED by Joe, who appears
    out of nowhere.
<b>                                 SHERRY
</b>                       Daddy, Daddy1
    Joe feints, tries to dodge the girls...Then sidesteps...
<b>                         JOE
</b>              I ' m out of bounds. Stopl This--
              look-- this is out of bounds 1
    They tackle him anyway. Grab his legs till he TOPPLES in a laughing
    heap.
    MAGGIE PISTONE, a pretty, strong-willed blonde in her 30s, emerges at
    th e f ront do or. SM ILE S at th e s cen e. Then FR OWN S a s s he r eal ize s--
                                                        CUT TOr

<b>5   INT. LATER.           LAUNDRY ROOM
</b>    Joe stands in his suit jacket and boxer shorts while Maggie tries to
    remove the GRASS STAINS on the pants knees.
<b>                         MAGGIE
</b>               I swear to God, Joe, I have to
              spray you with Scotchgard every
              morning.
    Joe embraces her from behind.
<b>                                  JOE
</b>                       W hat am I s upposed t o do? Terr y -
                       tackles like her mother.
<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                                    7.
</b>

<b>5      CONTINUED:
</b>
    He gropes      at her.            She moves his     hands off...

<b>                              MAGGIE
</b>                   Illegal holding.

    Hi s   hands       go back to groping.            She smacks them. ...

<b>                              JOE
</b>                   Roughing the passer.

<b>                              MA GGIE
</b>                   I suppose I should be grateful
                   tha t it's not blood stains, or
                   pow der burns. Like the old days.

<b>                               JOE
</b>                   I got some good news today.
                   We're going back to Jerse y.

<b>                              MAGGIE
</b>                   You're kidding1   You got
                   transferred?

<b>                               JOE
</b>                   Th e kids can see their
                   grandparents.    Plus it' s              GS-13.
                   That's two thousand more.

<b>                                       MAGGIE
</b>                   My Godl            When did this all
                   ha ppen?                 -

<b>                                       J OE
</b>                   Just today.

<b>                               MAGGIE
</b>                   What aren't you telling me?

<b>                                       JOE
</b>                   Nothing.

<b>                                       MA GGIE
</b>                   I    k   now    enough about the Bureau
                   t   ha   t no   thing happens th is
                   q   ui   ckly   , Joe.     Especi ally if it
                   i   nv   olve   s a raise.

<b>                                JO E
</b>                   Remember that guy          I me   t at
                   Qu antico, that su         perv   isor?
                   Berada?    Be asked         for    me.    Safe
                   an d Hijackings, i         n Ne   w York.

<b>                                       MAGGIE
</b>                   But this i         s a desk job, right?
                         (bea         t)
                   I thought          we agreed about you
                   going back          on the street again.

<b>                                                                     (CO NTINUED)
</b><b>
</b><b>                                                                    8.
</b>

<b>                   (2)
</b><b>5   CONTINUED:
</b>
<b>                         JOE
</b>            This is different.          It' s
            u ndercover.

<b>                       MAGGIE
</b>            What does that mean,      undercover?

<b>                          JOE
</b>            Undercover.     You know,
            undercover.

<b>                        MAGGIE
</b>            Will you come home at night ?

<b>                        JOE
</b>            It's   a good opportunit y.

<b>                       M AGGIE
</b>            Undercover in what?

<b>                        JOE
</b>            An FBI wife doesn't ask,       Maggie.

<b>                        MAGGIE
</b>            Will you be home on the we ekends?

<b>                        J 9E
</b>            It's   just six months.

<b>                        MAGGIE
</b>            Y ou waited till this was all
            decided.    You never asked me--you
            k new what I was going to say.
            What do you want from m e, Joe?

<b>                       JOE
</b>            I want you to say,    'It's okay'.
            'It's great'.

<b>                       MA GGIE
</b>            You finally got to headqu arter?
            and now you're going back on the
            street.

<b>                         JOE
</b>            Don't you understand?    I b uy a
            Brooks Brothers suit but th ere's
            al ways a button that comes off or
            a stain that won't come out ---it's
            li ke the suit knows I don't
            belong in it.    I sit in a room
            w ith Clarence and the rest of
            them and the only way I know
            something's funny is when
            everyone else laughs.
            Everything, all day, it' s just
            (gestures) this much off.

<b>                                                     ( CONTINUED)
</b><b>
</b><b>                                                                             9.
</b>

<b>5      CONTINUED:         ( 3)
</b>
<b>                            MA GGIE
</b>                You 're as smart as they are.

<b>                                JOE
</b>                I    could be a fucking Ph.D. from
                Ha   r vard and it wouldn't matter--
                I    cannot win.    To do something
                th   at's never been done, that they
                sa   y can't be done, that they
                ca   n't do-- don't you see?   That's
                th   e only way I'm ever gonna fit
                in     with them.   On my terms.

    She looks at him.    Smile s.        She loves him for who he is,   as
    frustrating as that can be.         She embraces, ki sses him.

<b>                           M AGGIE
</b>                Well, at least you warned me.
                Re member?    'Maggie, if you marry
                me...

<b>                             JOE
</b>                       (unison)
                ...you're in for a big
                ad venture.'

    They kiss again.       And ki ss.   Joe kicks the door to the laundry room
    SHUT behind him.

<b>                                                       CUT TO:
</b>
<b>    MONTAGE           .                                                           .
</b>
    --Present day.  The CLOCK a t FBI headquarters:       10:07.   Hogue RIPS
    through the case file.   A LETTER addressed to         the Director of the
<b>    FBI:
</b>
<b>                           BERADA (V.O.)
</b>               'To Director: Surveillance and
               inf ormant contacts to date have
               been negative...'

    --Jo e is ushered through the fluorescent-lit warren that is the
    BULLPEN of the New York FBI office.     Shakes hands with GUY BERADA,
    50s , a Bronx bull with an unlit cigar.

<b>                           BE RADA (V.O.)
</b>               '. ..regarding being able to
               pe netrate the conveyance of
               stolen property by La Cos a
               Nostra...'

    --Joe lines up at the DMV.   FLASH1--his photo for a driver's license.
    Now he's DONNIE BRASCO.    The name types out:

<b>                                                        (CO NTINUED)
</b><b>
</b><b>                                                               10.
</b>
<b>                  (4)
</b><b>5   CONTINUED:
</b><b>    D-0-N-A-L-D B-R-A-S-C-O
</b><b>                              BERADA (V.O.)
</b>                 ...UC A Joseph D . Piston©
                 utilizing the name 'Donnie
                 Brasco'. . .
    --An FBI COMPUTER prints out a "yellow sheet" of his prior arrests
    fo r b urgl ary -- " a.k .a. DON TH E J EWE LER "...
    --In the jewelry district, a HASIDIC JEW tutors Donnie, who looks at
    a diamond through a loupe. . . Donnie surveys a small APARTMENT with a
    REALTOR...Donnie opens a BANK ACCOUNT. . .
<b>    BACK TO PRESENT DAY
</b>    --Hogue reads down the BUDGET for the operation...
                 Apartment.... $491.60
                 Furniture..... 90.30
                 Utilities..... 35.00 Rental
                 car.... 220.00 Spending money
<b>                 800.00
</b><b>                           BERADA (V.O.)
</b>                 '...This would be accomplished by
                 UCA frequenting locations listed
                 below and attempting to engage in
                 conversation and do business with
                 said fences...'
<b>    FLASH BACK
</b>    --Donnie sits in Carmelo's drinking club soda and watching
    basketball. At the other end of the bar, twoTOUGH GUYS play
    BACKGAMMON...DISSOLVE to another night, another game, another
    barstool--CLOSER to the Tough Guys...On the backgammon board, as the
    pieces move closer to the goal...DISSOLVE to another night, as Donnie
    moves closer to the game...On the board again, as the pieces move
    closer...DISSOLVE to another night, as Donnie moves closer...And
    another...On the board, as the pieces move closer, and the hand
    moving them...belongs to Donnie.
    --Donnie enters his apartment, sparsely furnished with a bed, TV,
    weight bench and weights. . . Gets on the phone...
    STEVE BURSEY, 30s, Donnie's wiry and wild-eyed CONTACT AGENT, on the
    "hello phone" at the FBI office in New Yorfc.
<b>                         BURSEY
</b>                    (to phone)
              Hello?
<b>    CROSSCUTTING
</b>    Donnie at a PAY PHONE.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                1.
</b><b>                                                                 1
</b><b>                  (5)
</b><b>5   CONTINUED:
</b><b>                           DONNIE (O.C.)
</b>                 Is this Bursey?
    Bursey cradles the phone on his shoulder, TYPES...
<b>                           BURSEY (V.O.)
</b>                 To the file: Contact with UCA on
                 July 7, 1976...
<b>    BACK TO PRESENT DAY
</b>    --Hogue reviews SURVEILLANCE PHOTOS of Donnie in Carmelo's...In the
    Rainbow Room.
<b>                           BURSEY (V.O.)
</b>                 ...UCA reported no significant
                 contacts. . .
<b>    FLASH BACK
</b>    --Donnie in Separate Tables, a restaurant on Third Avenue...
<b>                            BURSEY (V.O.)
</b>               . . . n o significant contacts...
    --Donnie wanders the aisles at a drug store, searching for a GREETING
    CARD. Selects one. MATCH CUT to Maggie opening the same card.
    Inside it reads, "MISS YOU, LOVE,"--and NO SIGNATURE.
    --A TRUCK HIJACKING takes place on an access road to Kennedy Airport.
    In a choreographed ballet, the DRIVER gives up the keys to a crew of
    TOUGH GUYS...Then Donnie and VINNIE THE FENCE help unload cartons of
    PERFUME from the truck...
<b>                           BURSEY (V.O.)
</b>               ...UCA purchased two dozen
               cartons Yves St. Laurent 'Eau My
               Sin' perfume...
    --Donnie plays backgammon at Carmello's...On the board, as the pieces
    move CLOSER...Vinnie introduces him to JILLY GRECA, a tough-looking
    WISEGUY in his late 40s.
<b>                           BURSEY (V.O.)
</b>                 ...UCA was introduced to Giuliano
                 Gr eca , a. k.a . J ill y.. .
    --Donnie opens a carton of WATCHES. . .
<b>                           DONNIE
</b>              These go for 80 apiece. My end's
<b>              20.
</b><b>                           BURSEY (V.O.)
</b>              ...UCA sold 50 Pateau Mitsu Boshi
              Boeki digital watches. . .
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                   12.
</b>
<b>5   CONTINUED:    (6)
</b>    He hands them to...Jilly. Who inspects them. Takes the carton.
    Peels off bills to Donnie.
<b>    BACK TO PRESENT
</b>    --Hogue, with headphones on, stubs out a cigarette...
<b>    FLASH BACK
</b>    --Donnie sits in Hippopotamus...Casa Bella...An after hours
    joint...The pieces on the backgammon board as they move
    CLOSER...Donnie collapses heavily on his bed, amidst the spare
    furnishings of his apartment...
<b>                            BURSEY (V.O.)
</b>                 . . . UCA reported no significant
                 contacts. . .
<b>    BACK TO PRESENT
</b>    ·--Hogue opens a BUDGET FOLDER...
<b>                            BERADA (V.O.)
</b>                 ,New York office requests an
                  extension of six months due to...
<b>    FLASH BACK
</b>    --Donnie and Berada at a booth in the Cockeyed Clam, a manila FILE
    between them.
<b>                            BERADA
</b>                 I got you another six months. I
                 told them it takes time.
<b>                           DONNIE
</b>                 Same budget?
<b>                            BERADA
</b>                 Same budget. Look, Joe, not that
                 I don't see any movement, but--do
                 you see any movement? I got my
                 neck out on this.
<b>                            DONNIE
</b>                 Whatever it takes, I'm gonna get
                 these bastards.
<b>                            BERADA
</b>              Do me a favor. Just get one
              bastard.
    Donnie READS from the file.
<b>                              DONNIE
</b>                        (frustrated)
                 ' . . . n o significant contacts...'   '
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                         13.
</b>
<b>5   CONTINUED:    (7)
</b><b>                             BERADA
</b>                 One other thing. You know how it
                 is with the ' B ' . They saw some
                 of the surveillance pictures...
<b>                             DONNIE
</b>                 What?
<b>                             BERADA
</b>                 They want you to shave the
                 mo ust ache .    .
<b>                              DONNIE
</b>                 I ' m undercover 1
<b>                             BERADA
</b>                 You're still in the FBI. That's
                 the rules.
<b>                                                     CUT TO:
</b>
<b>6   INT. DAY.     CASA BELLA
</b>    WI NTE R--fo g o n t he win dows . D ISC O p lay s on th e j uke box . Dr ink ing
    DEMITASSE in the late afternoon:
    BENJAMIN "LEFTY" RUGGIERO, early 50s, gaunt and raspy-voiced,
    SWITCHED-ON with nerves, testy and restless. He lights up an English
    Oval.                  ·
    Sitting around him:
    DOMINIC "SONNY BLACK* NAPOLITANO, middle 40s. Fireplug muscles, dyed
    black hair. Sle epy as a l ion after a big mea l. Don't f uck with the
    lion.
    NICHOLAS "NICKY" SANTORA, late 30s, teddy bear paunch. Plays the
    fool.
    JOHN -BOOBIE" CERASANI, early 40s, gun-metal hard. All business.
    Nobody's fool. Supered below:
<b>                 CASA BELLA RESTAURANT.       LITTLE
</b><b>                 ITALY. 1976.
</b><b>                            LEFTY
</b>                 You can't say to me a Lincoln is
                 better than a Cadillac.
<b>                           NICKY
</b>                 It's the better automobile, no
                 question. Head and shoulders.
<b>                            LEFTY
</b>                 Geddadaheah. Geddadaheah before
                 you make me mad.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                   1.
</b><b>                                                                   4
</b>
<b>6   CONTINUED:
</b><b>                                 SONNY
</b>                    Lefty, how you gonna be mad at
                    Nicky?
<b>                                 LEFTY
</b>                    I ain't mad at him. I'm mad at
                    his stupidity.
<b>    AT THE BAR
</b>    A man sits, unfolds a newspape r. The ba rtender lo oks up--it' s
    Donnie.
<b>                                 DONNIE
</b>                    Coffee.
<b>    B A C K O N --T A B L E
</b><b>                                 LEFTY
</b>                    A in't no c ompar ison. Cadi llac
                    got more acceleration, more
                    power, more-- better handling,
                    better looking, more legroom for
                    yo ur legs , m ore po wer --
<b>                                BOOBIE
</b>                    You said that.
<b>                                 LEFTY
</b>                    Said what?
<b>                              BOOBIE
</b>                    More power.
<b>                                 LEFTY
</b>                    Be got me so fucking aggravated,
                    Boobie, I forgot what I said.
<b>                                 NICKY
</b>                    I' 11 tell you one thing--the
                    Lincoln is longer.
<b>                              LEFTY
</b>                    Longer what?
<b>                                 BOOBIE
</b>                   Whaddaya talkin' about? Longer
                   wheelbase?
<b>                             NICKY
</b>                   Longer. Like longer. In inches.
                   It's a longer car.
<b>                                 LEFTY
</b>                   You know something, Nicky, you
                   don't make no fucking sense
                   sometimes.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                       15.
</b>
<b>                   (2)
</b><b>6   CONT INUED:
</b><b>                             NICKY
</b>                  You got two cars. One's longer.
                  All things being equal, the
                  longer car is the one gonna get
                  there first.
<b>                             LEFTY
</b>                  Ain't the question all things
                  being equal. One's a Cadillac
                  and one's a Lincoln.
<b>                             NICKY
</b>                  The one's longer gets there
                  first. That's scientific fact.
                        (to Sonny)
                  What's better, a Lincoln or a
                  Cadillac?
<b>                            LEFTY
</b>                  Why're you asking him?
<b>                              NICKY
</b>                  I ' m asking him.
<b>                            LEFTY
</b>                  Why don't you ask me?
<b>                            NICKY
</b>                  I asked you already.
<b>                             LEFTY
</b>                  That's right. And I told you
                  there's no comparison.
<b>                             SONNY
</b>                  what the fuck are you arguing
                  about? Mercedes got it all over
                  both of them.
<b>                             NICKY
</b>                Fugged aboudit. Mercedes? That's
                a Jewish car. They didn't get it
                enough from the Germans in the
                war-- now they gotta be robbed by
                them.
    JU DY app roac hes --th e W AIT RESS , e arl y 2 0s. NEW to th e j ob. Son ny
    takes her hand, KISSES it.
<b>                             SONNY
</b>                Angel, how about some pastries
                for the table?
<b>    LEFTY WATCHES DONNIE
</b>    sipping coffee at the bar. Leans over to Nicky.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                   16,
</b>
<b>                  (3)
</b><b>6   CONTINUED:
</b><b>                           LEFTY
</b>                 Who's that?
<b>                           NICKY
</b>                 Don. Don the Jeweler. Jilly
                 brought him around.
<b>                           LEFTY
</b>                 Jilly Four Eyes?
<b>                           NICKY
</b>                 Not Jilly Four Eyes. You know,
                 Jilly. From Queens Jilly.
<b>                           LEFTY
</b>                 He's a jewel guy? He knows
                 jewels?
<b>                            NICKY
</b>                 What--you got a thing to lay off?
<b>                            LEFTY
</b>                 Ain't the question,    I got a
                 thing. I ' m saying,   if I had a
                 thing, he could lay    it off?
<b>                            NICKY
</b>                 Whaddayou got to lay   off?
<b>    SONNY WITH JUDY
</b>    as he punctuates his order with KISSES of her hand.
<b>                            SONNY
</b>                 A little cannoli. (kiss) Svingi.
                 (kiss) Zeppole. (kiss)
                 Sfogliateli'. (kiss)
<b>                            JUDY
</b>                 We're out of sfogliatelli.
<b>                            SONNY
</b>                 Oh. Then you gotta give me that
                 kiss back.
    She giggles, kisses Sonny on the cheek.
<b>                         JUDY
</b>              Can I ask you guys something?
              You guys are wiseguys, right?
<b>                         SONNY
</b>              What makes you think we're
              wiseguys?
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                  17.
</b>
<b>                  (4)
</b><b>6   CONTINUED:
</b><b>                            JUDY
</b>                 What other grown men would have
                 nothing better to do than sit
                 here all afternoon drinking
                 coffee and nobody says anything?
    They all look at each other.
<b>                            NICKY
</b>                 We could be cops.
    LAUGHTER all around. Lefty steals another look at Donnie as he sits
    placidly drinking his coffee.
<b>                                                CUT TO:
</b>
<b>7   EXT. LATER.     LITTLE ITALY
</b>    Lefty RUMMAGES in the trunk of his Cadillac. Takes out several
    DESIGNER DRESSES, on hangers. Two cartons of TUNA FISH. Two large
    STEREO SPEAKERS. Rummages some more. Finds
<b>    A JEWEL BOX                                               .
</b><b>                                                CUT TO:
</b>
<b>8   INT. LATER.     CASA BELLA
</b>    Donnie sips his coffee at the bar/ reads the paper. The restaurant
    is otherwise DESERTED--Sonny and the other guys have left. Lefty
    approaches him.
<b>                            LEFTY
</b>                 You Don the Jeweler?
    Donnie looks up to the Bartender. The Bartender nods. Lefty reaches
    in his pocket, produces
<b>    A FIVE-CARAT DIAMOND RING
</b><b>                           LEFTY
</b>              That's a beauty, eh? That's some
              beautiful thing.
    Donnie looks it over. Gives it to Lefty.
<b>                            DONNIE
</b>                 Give it to your wife.
<b>                           LEFTY             .
</b>                 How'm I gonna give it to my wife?
                 I ain't married.
<b>                           DONNIE
</b>                 You got a girlfriend?               ,
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                               18.
</b>
<b>8    CONTINUED:
</b><b>                        LEFTY
</b>              Yeah. Louise.
    He returns the diamond to Lefty.
<b>                           DONNIE
</b>              Marry her.
<b>                        LEFTY
</b>              Are you for real? I'm asking if
              you want to middle a diamond
              here. All I want for my end's
              eight thousand.
<b>                         DONNIE
</b>              I ' m saying give it to somebody
              don't know any better. It's a
              fugazy.
<b>                           LEFTY
</b>              How can you say it's a fugazy?
              You looked at it two seconds.
<b>                         DONNIE
</b>              Go ahead, try and sell it, you
              wanna be a dunsky.
<b>                         LEFTY
</b>                    (angry)
              I ' m a dunsky? Let me tell you
              something, my friend--do you know
              who you're talking to?
    The Bartender, SCARED--he knows what Lefty's capable of. Quickly
    mixes a SPRITZER.
<b>                        BARTENDER
</b>              Here, Left, have a spritzer.
<b>                           LEFTY
</b>                    (sputtering)
              My family, my children--my mother
              can hold her head up in any
              neighborhood in the city when she
              walks down the Clock. In all the
              Five Boroughs I'm known,
              fuggedaboudit--I'm known all over
              the world. You ask around--ask
              anybody about Lefty from Mulberry
              Street.
<b>                        DONNIE
</b>              I'm sorry. It was just a
              misunderstanding. Okay?
    Donnie backs off, EXITS. Lefty takes the diamond out, looks at i-
    FUMES. The Bartender slides the spritzer over.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                      19.
</b>
<b>     C ON T IN U ED :    (2)
</b><b> 8
</b><b>                                  BARTENDER
</b>                        On the arm.
<b>                                  LEFTY
</b>                        Fugazy. Fugazy my fucking ass.
<b>                                                        CUT TO:
</b>
<b> 9   EXT. LATER.           CASA BELLA
</b>     Donnie exhales out his tension--unwinds from the dicey moment with
     Lefty. Pulls his collar up against the cold, heads up the block.
     Takes a last look back inside at Lefty.
<b>                                                        CUT TO:
</b>
<b>10   INT. LATER.           JEWELER
</b>     A JEWELER, loupe in his eye, examines the diamond.
<b>                                   JEWELER
</b>                        It's a fake.
<b>                                  LEFTY
</b>                        This's a fake?
<b>                                  JEWELER
</b>                        Nothing is what it seems.
     Lefty takes the fugazy back. Pockets it.
<b>                                  LEFTY
</b>                        Because that's what I'm thinking.
                        I thought it was a fake, (beat)
                        It's a good fake, though, ain't
                        it.
<b>                                  JEWELER
</b>                        It's a very good fake.
<b>                                  LEFTY
</b>                        Tha t's w hat I'm s aying . I
                        thought it was a fake. That's
                        what I thought.
     Lefty takes the fugazy back. Pockets it.
<b>                                                        CUT TO:
</b>
<b>11   EXT. DAY.           NEW JERSEY--SUBURBS
</b>     Donnie drives the big station wagon, Maggie alongside him. The girls
     in back.
<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                      20.
</b>
<b>11   CONTINUED:
</b><b>                            SHERRY
</b>                  Daddy, will you be home Easter?
<b>                            MAGGIE
</b>                  Don't ask Daddy those questions.
<b>                            SHERRY
</b>                  Mommy, will Daddy be home Easter?
<b>                               TERRY
</b>                  You still believe in the Easter
                  bunny?
<b>                            KERRY
</b>                  You're such a snot, Terry.
<b>                             MAGGIE
</b>                        (to Terry)
                  He'll try his best.
<b>                             TERRY
</b>                        (to Kerry)
                  Don't look at me. I think it's
                  great he's never home.
<b>                             SHERRY
</b>                  Denise in school asked me today
                  what Daddy's job is.
<b>                            MAGGIE
</b>                  What'd you tell her?
<b>                             SHERRY
</b>                  None of her beeswax.
<b>                             TERRY
</b>                  Just tell her he's a salesman on
                  the r oad a lot. I mean, who
                  cares what he really does?
<b>                             MAGGIE
</b>                        (stern)
                  You be proud of what your father
                  does. Do y ou underst and me?
                  Your father is an outstanding
                  individual.
<b>                               TERRY
</b>                  Jes us . L ig ht en up . T ha t' s n ot
                  the point.
<b>                               KERRY
</b>                  Shut up, Terry.
<b>                                                            CUT TO:
</b><b>
</b><b>                                                                    21.
</b>
<b>12   EXT. LATER.     GRANDPARENTS' HOUSE
</b>     The station wagon pulls up. The kids run out into the embrace of
     Maggie's PARENTS. Maggie clijmbs out, turns.
<b>                              MAGGIE
</b>                  You said it was going to be six
                  months, Joe.
<b>                                                    CUT TO:
</b>
<b>13   INT. DAY.     ACERG, INC.
</b>     A storefront for fenced goods. WISEGUYS play cards, smoke
     ci gar ett es. The PA Y P HON E ri ngs . J ill y p icks it up .
<b>                                                    CUT TO:
</b>
<b>14   INT. SAME TIME.       FBI SAFEHOUSE
</b>     A phone line patched into a reel-to-reel TAPE RECORDER among rows of
     tap e rec order s. VO ICE- ACTIV ATED-- it cl icks on, UNSPO OLS.. .
<b>                              JILLY (O.C.)
</b>                  Hello?
<b>                                                    CUT TO:
</b>
<b>15   INT. MORNING.     CASA BELLA
</b>     Lefty talks on a pay phone. Watches a MAN, indistinct in the
     background, sipping coffee at the bar.
<b>                              LEFTY
</b>                 He's okay?
<b>                              PHONE (O.C.)
</b>                 Don the Jeweler? Stand-up guy.
                 Ain't a leech, good earner.
                 Keeps to himself.
<b>     RACK FOCUS
</b>     to Donnie at the bar, sipping coffee. Lefty watches him.
<b>                                                    FLASH CUT TO:
</b>
<b>16   INT. THE PRESENT.      FBI HEADQUARTERS
</b>     Hogue listens o n headpho nes.
<b>                           LEFTY (O.C.)
</b>                 Where's he from?
<b>                             PHONE (O.C.)          · ' '.
</b>                 Cali for nia . H e's a j ewe l g uy.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                   22.
</b>
<b>16   CONTINUED:
</b><b>                            LEFTY (O.C.)
</b>                  Where California? L.A.?
<b>                            PHONE    (O.C.)
</b>                  Do you know how    fucking big
                  California is?    How the fuck
                  should I know?    He's a jewel guy.
     THE CLOCK reads "10:25*.
<b>                            LEFTY (O.C.)
</b>                  Jilly--he's a stand-up guy,
                  Jilly?
<b>                            PHONE (O.C.)
</b>                  Look, Left, I said I knew him.
                  I didn't say I fucked him.
     Hogue hits FAST FORWARD...The tape SQUEALS. . .
<b>     MATCH SOUND
</b><b>                                                   FLASH CUT TO:
</b>
<b>17   EXT. THE PAST.     CADILLAC
</b>     The SCREECH of rubber and
<b>     THE CADILLAC LOGO
</b>     as Donnie pulls away from the curb in a screaming-yellow Coupe de
     Ville. Lefty lights an English Oval.
<b>                            LEFTY
</b>                  Nice car. (beat) Go to 46th and
                  1st, I gotta make a collection.
<b>                            DONNIE
</b>                  What happened with that fugazy?
<b>                            LEFTY
</b>               Man oh man, I gotta school you,
               my friend. Di'n't Jilly school
               you?
     The smoke is thick now...Donnie powers down his window.
<b>                         DONNIE
</b>               School me in what?
<b>                            LEFTY
</b>               Donnie/ put your window up,
               Donnie. I ' m gonna catch a draft.
     Donnie powers his window back up.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               23.
</b>
<b>17   CONTINUED:
</b><b>                            LEFTY
</b>                  A non-wiseguy never asks a
                  wiseguy a question. A non-
                  wiseguy don't even talk to a
                  wiseguy unless the wiseguy talks
                  to him first. Capeesh?
<b>                            DONNIE
</b>                  Yeah. I got it.
<b>                              LEFTY
</b>                  You don't raise your hands to a
                  wiseguy. You don't mess with his
                  wome.n---wife or girlfriend or
                  daughter. Just keep your mout h
                  shut--don't put business on the
                  street.
<b>                              DONNIE
</b>                  Follow the rules.
     A CAB cuts them off. Lefty leans over/ HONKS the horn.
<b>                          LEFTY
</b>                CocksuckerJ Motherfucker cutting
                you off. (resuming) You gotta
                have rules. Otherwise, what are
               w e? We're like anima ls.
     He leans over. VICIOUSLY honks the horn again. RESUMES with one eye
     on the cab...
<b>                         LEFTY
</b>              Wiseguy has a bag, you pick up
              the bag. wiseguy runs a tab, you
              pick u p the tab . wiseguy is
              always right-- even if he's wrong
              he's r ight. All the way u p the
              l ine. Conne cted guy to wiseguy
              to skipper to boss.
<b>                         DONNIE
</b>              Like the Army.
<b>                           LEFTY
</b>              What?
<b>                           DONNIE
</b>              I said it's like the Army. Chain
              of command.
<b>                                                                     \
</b><b>                           LEFTY
</b>              Ain't nothing like the Army. The
              Army, it's some guy you don't
              know sends you to whack out some
              other guy you don't know. The
              Army's a jerkoff outfit.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                  24.
</b>
<b>                     (2)
</b><b>17   CON TINUED:
</b><b>                             DONNIE
</b>                   I mean the same principle.
<b>                              LEFTY
</b>                   Ain't the question, Donnie. You
                   see, that's why I gotta school
                   you. Because otherwise you get
                   everything upside down.
                         (beat)
                   You got a girl?
<b>                              DONNIE
</b>                   Yeah. In California.
<b>                              LEFTY                     ·
</b>                   Good. Let her enjoy herself in
                   California.
     The cab CUTS OFF Donnie again...And Lefty BLOWS...
<b>                              LEFTY
</b>                   Donnie, catch up with that
                   cocksucker.
<b>                              DONNIE
</b>                   Which cocksucker?
<b>                           LEFTY
</b>               He cut you off again, (pointing)
               That fucking--The cabl That one!
               Do nn ie --
     Donnie SPEEDS up, chases the cab...Lefty opens the GLOVE COMPARTMENT.
     Hits a BUTTON and the TRUNK pops OPEN.
<b>     A RED LIGHT
</b>     The cab stops. Lefty JUMPS out of the Cadillac...
<b>     IN THE TRUNK
</b>     Lefty pulls out a JACK, hustles up to the cab.
<b>     THE CABBIE
</b>     A PAKISTANI, 30s, oblivious. Then he-sees Lefty approach in his side-
     view mirror.
<b>                              LEFTY
</b>               What's fucking wrong with you?
               Hah ? The re's no fu ckin g
               etiquette of the road with you?
     The Cabbie flips a "FUCK YOU" signal with his middle finger...Rolls
     up his window.
<b>                              LEFTY             ·   .   ,
</b>                   Fuck wh o? Fuc k m e?
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                25.
</b>
<b>                  (3)
</b><b>17   CONTINUED:
</b><b>     DONNIE OUT
</b>     of the Cadillac, running toward Lefty... INSIDE the cab, a nervous
     PASSENGER gathers her shopping bags...
<b>     SMASH 1
</b>     as the Cabbie's window CAVES IN...Lefty with the JACK. . . SWINGS down
     hard on the windshield. From INSIDE, a spider's web of shattered
     glass.
<b>     DONNIE APPROACHES
</b>     Worry on his face. The Passenger FLEES down the block.
<b>     THE CABBIE
</b>     hangs out the window, grabbing and punching at Lefty. Lefty YANKS
     him out of the car.
<b>                         DONNIE                             -,
</b>               Left, c'mon. En ough.
     Donnie grabs Lefty, trying to pull him off. A DRIVER heckles from a
     passing car.
<b>                              DRIVER
</b>                  Fuck youl
<b>                            DONNIE
</b>                  Hey, fuck youl
     The Cabbie hangs onto Lefty. Lefty SNAPS off the cab's ANTENNA,
     starts to WHIP the Cabbie with it. The Cabbie BITES Lefty. Lefty
     YELPS, backs off.
<b>     ON--T HE ACCE LERATO R
</b>     as the Cab bie SLAMS his foot down. The light tur ns RED. Th e cab
     FISHTAILS through crossing traffic...The Cabbie trembles with fear,
     looks in his rear-view mirror as he speeds away.
<b>     WATCHING HIM
</b>     Donnie and Lefty, as DRIVERS in passing cars shoot looks of
     disapproval their way. Lefty lights a cigarette.
<b>                           LEFTY
</b>                These fucking guys. They come to
                this country, they flaunt the
                r ules of t he road. T hey give the
                 'fuck you' sign to a man in the
          .    street. . .
<b>                           DONNIE
</b>                What kind of bullshit is that?
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                    26
</b>
<b>17   CO NTI NUE D:    (4)
</b>
<b>                                LEFTY
</b>                     Fucking sand nigger. I will
                     never fucking understand it. Why
                     is it always the guy who drives
                     a car for a living is the worst
                     fucking driver there is?
<b>                                                      CUT TO:
</b>
<b>18   INT. DAY.        RESTAURANT
</b>     Donnie sits at a bar with a drink. Lefty listens to the OWNER, tough-
     looking, 30s, as he WRIGGLES.
<b>                               LEFTY
</b>                     I just want what's owed.
<b>                               OWNER
</b>                     You know, you're not the only
                     guy's owed money.
<b>                                DONNIE
</b>                     You didn't wanna pay it you
                     shouldn't've borrowed it.
<b>                                OWNER
</b>                     Who's this cocksucker?
     Like LIGHTNING, Donnie SLAPS the owner hard--forehand, backhand.
     Grabs his collar
<b>     BELTS HIM HARD
</b>     an uppercut in the solar        plexus. The Owner SAGS to his knees.
     NAUSEA in waves. Do nnie        finds the Owner's WALLET in his jacket
     pocke t. Takes t he money       from the wallet. Peels off a five, STUFFS
     it in the Owner's mouth.
<b>                           DONN     IE
</b>                That's for the      drink.
<b>                                                      CUT TO:
</b>
<b>19   INT. LATER.        CADILLAC
</b>     CASH as Lefty counts it out. Donnie drives through the Lower East
     Side WATERFRONT.
<b>                                  LEFTY
</b>                           (scolding)
                     Don nie--w hy'd you pay f or th at
                     drink? wiseguy never pays for a
                     drink.
<b>                               DONNIE
</b>                     Okay. I didn't know.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                27.
</b>
<b>19   CONTINUED:
</b><b>                            LEFTY
</b>                  Always on the arm. (chuckles)
                  You scared that guy, though,
                  manag gia-- that cracks me up. I
                  got 26 fucking hits under my belt
                  and you're the one he's scared
                  of.
     Lefty CATCHES himself--shouldn't have said that about the hits.
     BROODS a beat.
<b>                            LEFTY
</b>                  Hey, Donnie, pull over.
<b>                                                 CUT TO:
</b>
<b>20   INT. LATER.     CADILLAC
</b>     TOOLS out on the front seat. Lefty UNSCREWS the dashboard. Donnie
     leans in.
<b>                            LEFTY
</b>                  Hand me them pliers.
<b>                            DONNIE
</b>                  The vise grip or the needle nose?
<b>                            LEFTY
</b>                Fuggedaboudit. I'll get it
                myself.
     He leans out. Takes the pliers. Goes back to work dismantling the
     dashboard.
<b>                            DONNIE
</b>               I don't know, Left. This is the
               best car I ever had.
<b>                            LEFTY
</b>               You didn't hear that? That
               rattling?
<b>                            DONNIE
</b>               I never had any trouble with this
               car.
<b>                         LEFTY
</b>               Give me a hand with this.
     Lefty and Donni e PULL OFF the dashb oard. Lef ty looks i nside. Fe els
     around.
<b>                            LEFTY
</b>                     (satisfied)
               It's clean.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                   28.
</b>
<b>20   CONTINUED:
</b><b>                              DONNIE
</b>                         (getting it)
                   Hey, you got something to say to
                   me, Left, say it to my face.
<b>                             LEFTY
</b>                   I ain't saying nothing, Donnie.
<b>                                DONNIE
</b>                   You think I got a fucking wire in
                   my car?
<b>                              LEFTY
</b>                   Did I say that?
<b>                             DONNIE
</b>                   What do you think--you think I ' m
                   a fucking rat stoolpigeon?
<b>                                LEFTY
</b>                   You    can't be too careful these
                   day   s. Even the ears have ears.
                           (beat)
                   C'm   on. They need some bodies on
                   the    street down at Toyland.
<b>                                                   CUT TO:
</b>
<b>21   EXT. DAY.      TOYL AND--LITTLE ITALY
</b>     A CAR pulls up and two prosperous-looking SKIPPERS get out-- DOMINICK
     "BIG TRIN" TRINCHERA, fat and fortyish, and PHILIP "PHILLY LUCKY"
     GIACCONE, 40s, shrewd eyes behind glasses. They disappear into an
     unimposing SOCIAL CLUB. WISEGUYS stand guard in the cold outside.
     Lefty arrives with Donnie in tow.
<b>                              LEFTY
</b>                   Nicky/ this's Donnie.
                         (they nod)
                   How'd Minx's Magic do in the
                   fifth?
              r,      .·-               ·
<b>                                   LI
</b><b>                               WISEGUY #1
</b>                   He lost.
<b>                             LEFTY
</b>                   How could he lose?
<b>                               WISEGUY #1
</b>                 What the fuck does he give a
                 fuck? He's a horse. You're the
                 one that's out ten grand.
<b>                               LEFTY
</b>                 FuckI Now I gotta bet another
                 dime Sunday just to get to where ,          .
                 I was yesterday.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                       29.
</b>
<b>21   CONTINUED:
</b><b>     RED COWBOY BOOTS
</b>     move up the block...They belong to ALPHONSE "SONNY RED" INDELICATO,
     50s, barrel chest. With him, his son, ANTHONY BRUNO INDELICATO, 20s,
     pale and balding, COKED OUT.
<b>                            LEFTY
</b>                       (aside, to Donnie)
                  Fucking Sonny Red.
     Sonny Red stops, confronts Lefty.
<b>                            SONNY RED
</b>                       (nods to Donnie)
                  Who's this?
<b>                            LEFTY
</b>                  This's Donnie, a friend of mine.
<b>                            BRUNO
</b>                  Just stand there and look
                  dangerous, friend.
<b>                            LEFTY
</b>                       (proud)
                  Yeah, he does look dangerous,
                  don't he?
     Bruno SNORTS in disgust as he and his father move along.
<b>                            LEFTY
</b>                Sonny Red, everything's a beef
                with him, him and Bruno, that son
                of his.
<b>                            DONNIE
</b>                He don't look so dangerous
                himself.
<b>                            LEFTY
</b>                 Ah, he's a stone degenerate, he's
                 coked-up half the time. Like all
                 these fucking kdds nowadays.
     A h uge L INCOL N pu lls u p. BO DYGUA RDS j ump out o f th   e car. And
     CARMINE "LILO" GALANTE, 69, fat and bald, huge CIGAR          , emerges from
     the Lincoln. AWESTRUCK, all watch as, surrounded by            WISEGUYS,
     Galante disappears into the club. Lefty watches/ st           ubs out his
     cigare tte. Turn s to Donni e.
<b>                            LEFTY
</b>                The boss.
<b>                                                   CUT TO:
</b><b>
</b><b>                                                                  30.
</b>
<b>22   EXT. SUNSET.   ROOF
</b>     Lefty tends to the PIGEON COOPS on his roof, Donnie alongside him.
     LOUISE, early 30s, a good-looking woman in stretch pants, brings
     Lefty a SPRITZER.
<b>                           LOUISE
</b>               Here you go, Bennie. You sure
               you don't wanna spritzer, Donnie?
<b>                         DONNIE
</b>               No thanks, Louise.
<b>                          LOUISE
</b>               You change your mind, I'm
               downstairs .
     She heads downstairs. Donnie turns back to Lefty.
<b>                           LEFTY                              .    .        -
</b>               Not for nothing, but... how'd you
               know that was a fugazy?
<b>                           DONNIE
</b>               Jewels are my business. If I buy
               a fugazy, I lose. I hate to
               lose.                                                    .
<b>                        LEFTY
</b>              That's a good business, jewels?
              Good money in it?
<b>                        DONNIE
</b>              Pretty good.
<b>                           LEFTY
</b>              You keep your nose clean, be a
              good earner, listen to what I
              s chool you -- there ai n't a
              crystal ball big enough for what
              we could do.
<b>                         DONNIE
</b>                    (off pigeon)
              Did you know there used to be
              falcons in Hew York?
<b>                           LEFTY
</b>              They got everything in this
              fucking city.
<b>                           DONNIE
</b>              Peregrine falcons. They lived
              across the river.
<b>                         LEFTY
</b>              In Queens?
<b>                        DONNIE
</b>              In the Palisades,
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                     31.
</b>
<b>22   CONTINUED:
</b><b>                            LEFTY
</b>                  The Palisades is Jersey, Donnie.
<b>                             DONNIE
</b>                  I ' m saying that's why there's so
                  many pigeons now. The falcons
                  used to hunt 'em and kill 'em
                  off.
<b>                              LEFTY
</b>                  I love these fucking pigeons.
                  I ' d die before I ' d let anybody
                  touch these pigeons.
<b>                           _ DO NN IE
</b>                  Those falcons could read a
                  newspaper from a mile up.
<b>                            LEFTY
</b>                  A bird could read the newspaper?
<b>                            DONNIE
</b>                  I'm saying their eyesight.
<b>                             LEFTY
</b>               Hey, Donnie--you got a couple
               hundred, Donnie? I got some
               things I gotta take care of.
     Donnie reaches in his wallet.
<b>                          DONNIE
</b>               What do you want/ two hundred?
     Lefty leans over, PEERS into his wallet.
<b>                         LEFTY
</b>               Whaddaya got there, three
               hundred? Gimme three hundred.
     Donnie hands over the $300--EMPTIES his wallet. Lefty takes it,
     folds it ito a ROLL. Puts the hundred on the outside...
<b>                             LEFTY
</b>               Don't be carrying your money in
               a wallet  no more. Wiseguy got
               his money in a roll, like this.
               Beaner on  the outside.
<b>                          DONNIE
</b>               You're the boss.
<b>                             LEFTY
</b>               I'm not the boss, Donnie. The
               boss ends up dead or in jail.
               Why the fuck would I want to be
               the boss?
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                   32
</b>
<b>22   CONTINUE D:   (2)
</b><b>                             DONNIE
</b>                   It's just an expression.
<b>                               LEFTY
</b>                   And shave off that moustache.
                   That's against the rules.
<b>                               DONNIE
</b>                   Hey, Left, if it's okay, I'm
                   gonna run. I'll see you
                   tomorrow.
<b>                             LEFTY
</b>                   Do I gotta school you in
                   everything? Tomorrow's Mother's
                   Day. Wiseguys don't work on
                   Mother's Day.
<b>                                                   CUT TO:
</b>
<b>23   INT. NIGHT.     THE COCKEYED CLAM
</b>     Donnie sits with Berada as he reads over some documents.
<b>                             BERADA
</b>                   Benjamin Ruggiero. a.k.a.
                   'Lefty,' 'Lefty Guns,' 'Lefty Two
                   Guns.' A couple of bullshit
                   cases, never did time.
<b>                              DONNIE
</b>                   This is way beyond what we talked
                   about---"fences and hijackers.
                   T his is a made guy. Do you kno w
                   what that means ? The re's only
                   maybe 3000 made guys in the whole
                   fucking country.
<b>                               BERADA
</b>                          (smiles)
                   It means you're in, kid.
<b>                             DONNIE
</b>                   Can you believe it--a made guy?
                   (muses) A very peculiar made guy.
<b>                                                   FLASH CUT TO:
</b>
<b>24   INT. THE PRESENT.        FBI HEADQUARTERS
</b>     Hogue reads a memorandum. LeBow on the phone.
<b>                               BERADA (V.O.)
</b>                   . . . In light of the above
                   contacts, we request an
                   additional six months. . .
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                  33.
</b>
<b>24   CONTINUED:
</b><b>                            HOGUE
</b>                  Berada's the guy who ran this?
<b>                            JULES
</b>                  I took over when he retired.
     LeBow covers the receiver with his hand.
<b>                            LEBOW
</b>                  The surveillance is in place at
                  the church hall.
<b>                                                    CUT TO:
</b>
<b>25   EX T. DAY.    C HUR CH HAL L--NE W J ERS EY
</b>     A large RECEPTION HALL adjoining a Catholic CHURCH. Sounds of a BIG
     BAND tuning up inside. Up the block:
<b>     A MA BELL REPAIR VAN
</b>     parked by a telephone pole. FBI #1, in the guise of a telephone
     LINESMAN, climbs the pole...
<b>                                                    CUT TO:
</b>
<b>26   INT. SAME TIME.     SURVEILLANCE VAN
</b>     An FBI TECH TEAM monitors listening devices. An array of
     SURVEILLANCE PHOTOS and MUG SHOTS as they're spread over a small
     table. TECH #1 looks with BINOCULARS through ONE-WAY GLASS.
<b>                          TECH #1
</b>                     (to phone)
                ...By tonight we'll have a guy
               inside...
<b>                                                    CUT TO:
</b>
<b>27   INT. SAME TIME.     FBI HEADQUARTERS
</b>     LeBow covers the phone, turns to Hogue.
<b>                             LEBOW
</b>                  They're gonna put in one of our
                  guys as a busboy tonight.
<b>                             JULES
</b>                  Who?
<b>                             LEBOW
</b>                  I don't know.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                   34.
</b>
<b>27   CONTINUED:
</b><b>                             JULES
</b>                  I want to know. If we're gonna
                  put a guy inside, I want it to be
                  one of our best guys.
     LeBow goes back to the phone. Hogue turns to Jules.
<b>                             HOGUE
</b>                  I want to talk to Berada.
<b>                                                   FLASH CUT TO:
</b>
<b>28   INT. THE PAST.      PISTONE HOME
</b>     Donnie SHAVES his moustache in the bathroom. Sounds of the FRONT
     DOOR unlocking and then closing downstairs.
<b>                             MAGGIE (O.C.)
</b>                  Joe?
<b>                             DONNIE
</b>                  Up here.
<b>     ON MAGGIE
</b>     as she heads up the stairs...
<b>                             MAGGIE
</b>               I had no idea you were coming
               home. I'm supposed to go to the
               movies tonight with the Grants.
     She enters the bathroom as he wipes the shaving cream off his face.
     He looks up, half his moustache SHAVED OFF. Her face FALLS.
<b>                             MAGGIE
</b>                 Oh, Joe, don't--
                       (beat)
                 Forget it.
<b>                           DONNIE
</b>                 What's the matter?
<b>                             MAGGIE
</b>                 I liked your moustache. It's the
                 only thing I liked about this
                 thing of yours.
<b>                             DONNIE
</b>                 Well, what do you want me to do
                 now?
<b>                           MAGGIE
</b>                 I want you to ask me.
<b>                            DONNIE
</b>                 You could've said something.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                  35.
</b>
<b>28   CONTINUED:                           '
</b><b>                            MAGGIE
</b>                  What would you suggest I do--tell
                  Berada to get a message to you
                  that I like your moustache?
<b>                             DONNIE
</b>                  That's not the point.
<b>                            MAGGIE
</b>                  I have to ask you about every
                  frigging thing.
     She jockeys for room at the mirror to put on her makeup.
<b>                             DONNIE
</b>                  Maggie, I'll be two seconds.
<b>                            MAGGIE
</b>                  They were supposed to pick me up
                  five minutes ago.
<b>                            DONNIE
</b>                  You're going to the movies with
                  the Grants?
<b>                            MAGGIE
</b>                  Why don't you come?
<b>                            DONNIE
</b>                  The last thing I want to do
                  tonight is go to the movies with
                  the Grants.
<b>                            MAGGIE
</b>                  I'm not cancelling.
     Agitated, he starts to compulsively organize the medicine chest, the
     shelves.
<b>                            DONNIE
</b>               Where is everybody? I didn't say
               anything? I'm sure I said
               something.
<b>                          MAGGIE
</b>               Joseph--I think I'd remember.
<b>                          DONNIE
</b>               Well, they should be home anyway.
               What time is it?
<b>                            MAGGIE
</b>              Sherry's sleeping over at Mom's,
              she's teaching her how to sew.
              Kerry's at choir practice.
<b>                         DONNIE
</b>              Where's Terry?
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                 36.
</b>
<b>                   (2)
</b><b>28   CONTINUED:
</b><b>                            MAGGIE
</b>                  She's with her boyfriend.
                       (off his rearranging)
                  Leave my stuff alone.
<b>                            DONNIE
</b>                  What boyfriend?
<b>                             MAGGIE
</b>                  K enny. Wha t are you worri ed
                  about? I was 14 when we started
                  dating.
<b>                             DONNIE
</b>                  That's what I ' m worried about.
<b>                            MAGGIE
</b>                  He's a nice kid. Nice family.
                  He's on the wrestling team.
<b>                            DONNIE
</b>               I ' m sure he is. I ' m sure he's
               practicing his takedowns right
               now.
<b>                            MAGGIE
</b>               Maybe I'11 shave my head next
               time--· see how you like it.
     A car horn HONKS outside. Donnie's rearranging grows more
     agitated...
<b>                           DONNIE
</b>                      (angry)
               I expect you to have some sense
               of priorities. I put a roof over
               y our he ad. I put clo the s o n
               e very body' s bac k. I put g as i n
               the car.
     Maggie grabs his wrists...He wrestles her off.
<b>                         MAGGIE
</b>               Leave my stuff alone.
<b>                            DONNIE
</b>               I give you whatever I can       give.
               What I can't give you is        a
               moustache. I don't have         a
               choice. I have to shave         the
               moustache.
<b>                         MAGGIE
</b>              I don't give a shit about the
              m oustache. But if yo u're gonna
              live your life however the fuck
              you want then let me live mine.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                      37.
</b>
<b>                     (3)
</b><b>28   CONTINUED:
</b>     She storms out. He balls up a towel, HURLS it against the wall.
<b>                                                    CUT TO:
</b>
<b>29   I NT. NIGHT .    PISTONE HOME--BEDR OOM
</b>     Maggie sleeps. Donnie, WIDE AWAKE, stares at the ceiling. Hears an
     EfNGINE. A car door.
<b>     4:32 A.M.
</b>     on t he cl oc k. He ge ts u p. Lo oks t hr oug h the b li nds . See s hi s
     daughter Terry as she kisses her boyfriend good night.
<b>     DONNIE'S POV
</b>     Terry kisses and kisses...And kisses...Falls back onto the hood of
     the car and slides down it. Donnie senses that he's losing control
     of his family.
<b>                                                    CUT TO:
</b>
<b>30   INT. DAY.     FBI HEADQUARTERS
</b>     Hogue looks up at the clock.
<b>     12 NOON
</b>     A tape plays on the TAPE RECORDER...
<b>                             LEFTY (O.C.)
</b>                  Hello?
<b>                             DONNIE (O.C.)
</b>                 Left? Donn ie. I ' m ju st ch eckin g
                 in.
<b>                             LEFTY (O.C.)
</b>                 Where you been, Donnie? You
                 gotta check in.
<b>                             DONNIE (O.C.)
</b>                 That's what I said. I'm checking
                 in.
<b>                           LZFTY (O.C.)
</b>                 Did you see the paper?
<b>                            DONNIE (O.C.)
</b>                  I just woke up.
<b>                            L EFTY (O.C.)
</b>                 How come every morning you're
                 reading the paper except this
                 morning?                      ',
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                38.
</b>
<b>30   CONTINUED:
</b><b>                            DONNIE (O.C.)
</b>                  I just woke up, Left.
<b>                              LEFTY (O.C.)
</b>                  Fuggedaboudit. You better
                  fucking get down here.
     Clickl and a DIAL TONE...
<b>                                                  CUT TO:
</b>
<b>31   INT. DAY.    CADILLAC
</b>     The FRONT PAGE of the New York Post--a PHOTOGRAPH of Carmine Galante,
     his cigar still clenched in his teeth, sprawled bloody, DEAD in a
     Brooklyn restaurant. Under the headline:
<b>     RUBOUT
</b>     Lefty folds the paper in disgust, lights an English Oval--even more
     JUMPY than usual. Donnie drives Lefty's Cadillac across the Brooklyn
     Bridge.
<b>                              LEFTY
</b>                 The B oss gets w hacked. T he
                 fucking boss--you don't even know
                 the fucking boss exists until he
                 gets whacked, and then your whole
                 fucking life gets turned around.
<b>                            DONNIE
</b>                 Where're we going?
<b>                            LEFTY
</b>                 Brooklyn. I got sent for.
                      (mutters)
                 The boss gets whacked. Another
                 thing I get left out of.
<b>                              DONNIE
</b>                 What does that mean, you got sent
                 for?
<b>                              LEFTY
</b>                 What do you think it means? I
                 got sent for by Sonny Black. I'm
                 telling you, I'm sick with this.
<b>                              DONNIE
</b>                 Sonny Red?
<b>                              LEFTY
</b>                 Did I say Sonny Red? Not Sonny
                 Red. Sonny Black.
                       (gestures)
                 And don't ride the brake,
                             (more)
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                39
</b>
<b>31   CONTINUED:
</b>                            LEFTY (Cont'd)
                  Don't drive my Cadillac the way
                  you drive your car.
<b>                            DONNIE
</b>                  How do you know what he wants?
<b>                            LEFTY
</b>                  That fucking Sonny Black. I know
                  him. He gets upped to skipper,
                  first thing he's gonna do is go
                  out and buy a big fucking
                  Mercedes.
<b>                            DONNIE
</b>                  They should up you before they up
                  Sonny Black.
<b>                            LEFTY
</b>                  It's his reward for whacking the
                  boss. Do I have to explain every
                  fucking thing to you?
<b>                            DONNIE
</b>                  I thought you and Sonny Black
                  were friends.
<b>                            LEFTY
</b>                  If you ever whacked a guy,
                  Donnie, you wouldn't ask such
                  stupid questions.
<b>                            DONNIE
</b>                  I whacked a guy once.
<b>                            LEFTY
</b>              When?
<b>                        DONNIE
</b>              In an argument.
<b>                        LEFTY
</b>·             An argument don't count.
              (derisive) An argument--you whack
              your wife in an argument.
<b>                        DONNIE
</b>              I'm just saying.
<b>                            LEFTY
</b>              Ain't the question. Don't say
              you know when you don't know.
<b>                            DONNIE
</b>              It could be anything Sonny sent
              for you for.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                       40.
</b>
<b>31       CONTINUED:    (2)
</b><b>                                LEFTY
</b>                      I got sent for, Donnie.     With This
                      Thing, you go in alive     and you
                      come out d ead. And t he    o ne th at
                      kills you is your best     fucking
                      friend.
         Lefty lights another cigarette. Donnie powers the window down a
         cra ck. L efty glar es at him. Donn ie p owers the windo w bac k up .
<b>                                                         CUT.TO:
</b>
<b>32       E XT. DAY . TEE M OTION L OUNGE-- BROOKLY N
</b>     t                                       -     *
         Donnie drives up Withers Street. Pulls up to a three-story building
         in a working-class neighborhood. Lefty takes a last drag of his
         cigarette, climbs out.
<b>                                LEFTY
</b>                      Anything happens, make sure
                      Louise gets the Cadillac.
<b>                                                         CUT TO:
</b>
<b>33       INT. DAY.     MOTION LOUNGE
</b>         Nicky and Boobie play gin. Neil Diamond's "Love on the Rocks" plays
         o n the JUKE BOX. Left y enters.
<b>                                 NICKY
</b>                            (sings)
                      'Love on the rocks, ain't no
                      surprise.' Looklt this hand.
                      This ain't a hand. This's a
                      deformed fucking Creature of the
                      Black Lagoon fucking claw.
<b>                                BOOBIE
</b>                     Left.
<b>                                NICKY
</b>                     Left. 'Love on the rocks, ain't
                     no surprise.' (to Boobie) Ming'1
                     I knew you was gonna grab that!
         Lefty, white with fear, sits down with his back to the wall.
<b>                                NICKY
</b>                     'Love on the rocks, ain't no
                     surprise.'
<b>                                BOOBIE
</b>                     It ain't no fucking surprise
                     neither.
<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                  41.
</b>
<b>33   CONTINUED:
</b><b>                              NICKY
</b>                         (laying out cards)
                  Gin.
<b>                            BOOBIE
</b>                  Nicky, that ain't gin.
<b>                            NICKY
</b>                  Geddadaheah, that's gin.
<b>                            BOOBIE
</b>                  You got two sevens.
     Boobie shows him his cards.
<b>                            NICKY
</b>                  Whaddaya mean I got two sevens?
                  I know I had three sevens.
<b>                             BOOBIE
</b>                  From now on we play the honor
                  system. You don't even show me
                  your hand.
<b>                                                CUT TO:
</b><b> ·
</b>

<b>34   EXT. DAY.    MOTION LOUNGE
</b>     Donnie sits in the car. Drums his fingers on the wheel.
     THINKS...Then reaches behind himself--
<b>     UNSNAPS THE HOLSTER
</b>     strapped to his belt, holding his COMBAT KNIFE. Climbs out of the
     car. Up a couple of steps. And through the door...
<b>                                                CUT TO:
</b>
<b>35   INT. MOTION LOUNGE
</b>     ...into the Motion Lounge. Nicky and Boobie shoot wary looks at him.
     Who's this? Lefty turns to them.
<b>                             LEFTY
</b>                It's okay. He's a friend of
               mine.
     Lefty glares at Donnie--ACCUSES him with his eyes: who told you to
     come in here? Donnie sits down--something in the placid atmosphere
     that tells him: this is how it happens. Nicky peers over as Boobie
     writes on the SCOREPAD.
<b>                          NICKY
</b>               You giving me credit for that?
     Boobie slides him the scorepad.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             42.
</b>
<b>35   CONTINUED:
</b><b>                            BOOBIE
</b>                  Fine. You keep score.
<b>                            NICKY
</b>                  I don't know how.
<b>                            BOOBIE
</b>                  How the hell can you play gin if
                  you don't know how to keep score?
<b>                              NICKY
</b>                  I ' m a natural.
<b>     THE FLUSH OF A TOILET
</b>     as Sonny emerges from the bathroom, reading a slip of paper.
     Crumples it, throws it in the trash.
<b>                            SONNY
</b>                      (complaining)
                 Two hundred in action and we came
                 out with 35. That" fucking Boots-
                 he runs that book like an old
                 lady. That 's gonna c hange.
                      (off Donnie)
                 Who's this fucking guy?
<b>                           BOOBIE
</b>                 He's with Lefty.
<b>                            SONNY
</b>                       (to Lefty)
                 C'mon. Let's go take a ride,
                 (to Donnie) You too.
     Donnie and Lefty share a look of FEAR.
<b>                                                CUT TO:
</b>
<b>36   EXT. DAY.    MOTION LOUNGE
</b>     They emerge. Parked in the back--a brand-new MERCEDES. Lefty looks
     at it. Turns to Donnie.
<b>                          LEFTY
</b>                     (mutters)
               What the fuck did I tell you?
     Sonny unlocks the car.
<b>                          SONNY
</b>               Hey, Left--ride up front with me.
<b>                                                CUT TO:
</b><b>
</b><b>                                                                     43.
</b>
<b>37   INT. DAY.    MERCEDES
</b>     Sonny drives on the Long Island Expressway. Lefty in the front seat,
     EDG Y. Bo obie and Nicky flan k Don nie i n ba ck. H e gla nces nervo usly
     at th em. Sizes them up.
<b>                           SONNY
</b>                 Ain't this beautiful, the ride on
                 this?
<b>                             NICKY
</b>                 H ey, Sonny --can' t you driv e an y
                 faster? I got a date tonight out
                 in Jersey.
<b>                            SONNY
</b>                 Which broad is this?
<b>                            NICKY
</b>                 This is the one from the
                 calendar. Remember that calendar
                 I show ed you? M iss Pennzo il Air
                 Filter of 1976.
     Sonny and Boobie MIME holding two big BREASTS.
<b>                            SONNY AND BOOBIE
</b>                      (unison)
                 Che mennel
<b>                           NICKY
</b>                 That's the one.
     Lefty, NERVOUS, pulls down the sun visor. Looks at Boobie in the
     mirror.
<b>                         SONNY
</b>               Hey, Left, what'cha doing?
<b>                           LEFTY
</b>                 Just checking my part.
<b>                             SONNY
</b>                       (chuckling)
                 Ah, Le ft--what a m I gonna    do
                 without you? (to Donnie)       What
                 would you do without this     guy,
                 hah, kid? You'd have to       find
                 yourself a new goombah.
     Lefty getting VERY NERVOUS...
<b>                             NICKY
</b>                 That was something about the
                 boss, wasn't it?
<b>                            SONNY
</b>                 We all gotta go sometime.
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                             44.
</b>
<b>37   CONTINUED:
</b>     Lefty, TERRIFIED, looks at Boobie again. Boobie nods. Donnie
     WATCHES this...Thinks: what to do?
<b>                                                               CUT TO:
</b>
<b>38   EXT. DAY.    KENNEDY AIRPORT
</b>     They walk from the parked Mercedes toward a FREIGHT HANGAR. The
     scene is otherwise DESERTED. Lefty NERVOUS, lights a cigarette.
     Planes periodically ROAR overhead.
<b>                             NICKY
</b>                        (sings)
                  'Love on the rocks, ain't no
                  surprise.'
<b>                             LEFTY
</b>                  Sonny, what is this? we glomming
                  something?
     Sonny opens the door.
<b>                               SONNY
</b>                  After you.
     Lefty walks into the DARKNESS...A terrifying SILENCE...Then--
<b>     RRRRRRROAR1
</b><b>                                                               CUT TO:
</b>
<b>39   INT. HANGAR
</b>     The LIGHTS come up. A pale and shaken Lefty looks straight into the
     eyes of a LION CUB as it GROWLS. A bluff FREIGHT HANDLER holds the
     lion on a leash.
<b>                           LEFTY
</b>                 Christ. I think I shit my pants.
<b>                               FREIG    HT HANDLER
</b>                 It was supposed         to go to some
                 an i ma l de al er .    Fu ck h im . I' l l
                 tell him it got         lost.
<b>                            SONNY
</b>                 Look, Left, he likes you.
     The cub nuzzles and sniffs at Lefty.
<b>                            LEFTY
</b>                       (to Lion)
                 Get the fuck outta here.
<b>                                                               (CONTINUED)
</b><b>
</b><b>                                                              45.
</b>
<b>39   CONTINUED:
</b><b>                            SONNY
</b>                  That's for you, Left. For your
                  birthday. Batter late than
                  never.
<b>                            LEFTY
</b>                  That's why you sent for me?
<b>                          SONNY
</b>               Yeah, why? Whaddayou think, you
               was gonna get whacked?
                (laughing) Lefty thought he's
              : gonna get whackedl
<b>                          NICKY
</b>                     (laughing)
               What a pisserl
<b>                         SONNY
</b>               What, over that 175 grand you owe
               down in Little Italy? Don't
               worry, chooch. (hard) Now you
               owe it to me.
<b>                                                CUT TO:
</b>
<b>40   EXT. NIGHT.    THE MOTION LOUNGE
</b>     Donnie, Lefty and the Lion pile into the Cadillac. Sonny, Nicky and
     Boobie wave as they drive off.
<b>                                                CUT TO:
</b>
<b>41   INT. NIGHT.    CADILLAC
</b>     They drive back to Manhattan, the Lion GROWLING in the back seat.
     Lefty turns around.
<b>                          LEFTY
</b>                     (to Lion)
               Jesus Christ--shaddup already!
<b>                          DONNIE
</b>               He's hungry, Left,
<b>                                                CUT TO:
</b>
<b>42   INT. NIGHT.    WHITE CASTLE
</b>     "Home of the Square Hamburger." Lefty and Donnie approach the
     counter.
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                       46.
</b>
<b>42   CONTINUED:
</b><b>                            LEFTY
</b>                  Forty hamburgers.
<b>                                                             CUT TO:
</b>
<b>43   EXT. NIGHT.     WHITE CASTLE
</b>     Donnie and a melancholy Lefty sit on the hood of the Cadillac,
     throwing hamburgers to the Lion.
<b>                               LEFTY
</b>                  Thirty years, there ever was a
                  piece of work t o be done-- call
                  Lef ty --I ne ve r c om pla in ed . B ut
                  do I get upped? They passed me
                  by. Sonny Black gets upped. I
                  don't get fucking upped.
<b>                            DONNIE
</b>                  At least you got Louise.
<b>                               LEFTY
</b>                  Sonny Black has four broads don't
                  add up t o Lo uise. You got a
                  girl?
<b>                             DONNIE
</b>                  Yeah. I told you, in California.
<b>                               LEFTY
</b>                  That's a good thing. One broad's
                  enough. She's a good woman,
                  Louise. My son Tommy, she's more
                  of a mother to him than my ex-
                  wife, that bitch, (beat) My own
                  fucking son's a junkie, you
                  believe it?
<b>                              DONNIE
</b>              You should give him a smack in
              the mouth once in a while.
<b>                              LEFTY
</b>              Believe me, I got bruises on my
              h an ds . My d au gh te r, J an e t-- 28
              years old, she ain't married. My
              daughter Francine, she's out in
              California. She ain't married.
              I'm telling you, Donnie, I gotta
              worry 24 h ours a day . A woman
              like Louise, I can't do right by
              her--l ain't got three bucks in
              my pocket. I got can cer of th e
               r ick. My ex -wife, sh e still
              Eives in the building. I see her
              on the stairs, I gotta have three
              spritzers just to calm down.
<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                  47.
</b>
<b>43   CONTINUED:
</b><b>                            DONNIE
</b>                  What do you mean, cancer of the
                  prick?
<b>                            LEFTY
</b>                  Cancer of the prick. Oh, yeah,
                  you didn't know that?
                  Fuggedaboudit. I ' m in the
                  medical books with that.
<b>                            DONNIE
</b>                  I never heard of that.
<b>                              LEFTY
</b>                  I ain't a mutt--30 years busting
                  m y hump, f or what? S onny Black
                  they up to skip per. Do I get
                  upped? I ' m like Claude Rains--
                  I ' m the Invisible fucking Man.
<b>                            DONNIE
</b>                  You know, Left, not for nothing,
                  but six hours ago you thought
                  you's gonna get whacked.
<b>                            LEFTY
</b>              Ain't the question, Donnie. Did
              I say I was gonna get whacked?
<b>                            DONNIE
</b>              No.
<b>                            LEFTY
</b>              Don't say you know when you don't
              know, Donnie. You d o n ' t know.
<b>                            DONNIE
</b>              I don't know 'cause you don't
              tel l me. How co me yo u didn 't
              tell me about that money you owe?
<b>                         LEFTY
</b>              Fuggg edabq udit. You know what
              ·the vig is on that? That fucking
              Blackstein is gonna have the arm
              on me every fucking week.
<b>                         DONNIE
</b>              Maybe I could help you out.
<b>                            LEFTY
</b>              I'll tell you something--I went
              in front of all the skippers,
              Sonny Red and Philly Lucky and
              all of them. I went on the
              record with you. You know what
              that means?
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                48.
</b>
<b>43   CONTINUED:    (2)      .   :
</b>
<b>                            DONNIE
</b>                  I don't know.
<b>                            LEFTY
</b>                  You don't?
<b>                            DONNIE
</b>                  I do?
<b>                            LEFTY
</b>                  You got no fucking idea, my
                  friend. I ' m your man now--Jesus
                  Christ can't touch you because I
                  represent you.
<b>                            DONNIE
</b>                  You and me, Left.
<b>                            LEFTY
</b>                  I got Louise and I got you.
     They toss hamburgers to the Lion, the White Castle beside them, lit
     bright against the bleak urban landscape.
<b>                                                 CUT TO:
</b>
<b>44   INT. DAY.     PISTONE HOME
</b>     A party for Kerry's CONFIRMATION. A PRIEST hobnobs with Donnie's
     extended family. UNCLE BOB arrives, looks for Kerry.
<b>                          UNCLE BOB
</b>               Where's Kerry?
                     (finding her)
               Kerry, that's the prettiest
               confirmation dress I've ever
               seen.
     Terry sulks in a corner. Maggie enters with a tray of cookies.
<b>                            UNCLE BOB
</b>                  Is Joe here?
<b>                            MAGGIE
</b>                  He's on the phone.
     The cheery hubbub subsides as the noise of Donnie's hollering
     CRESCENDOES in the next room...
<b>                            DONNIE (O.C.)
</b>                  I don't give a fuck, Left!...What
                  the fuck do you want me to
                  do?...I don't give a fuck what
                  that mothe rfuck er sa ys--y ou
                  believe him or me?
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                49.
</b>
<b>44   CONTINUED:
</b>     Awkward looks all around. MRS. PISTONE, 60s, Donnie's MOTHER, sidles
     up to Maggie.
<b>                            MRS. PISTONE
</b>                  Who's bothering Joseph?
<b>                                                  CUT TO:
</b>
<b>45   INT. NIGHT.     PISTONE BEDROOM
</b>     Donnie sleeps. Maggie lies awake.
<b>                            MAGGIE
</b>                  I want a divorce.
<b>                              DONNIE
</b>                  There hasn't been a divorce in my
                  family back to Julius Caesar.
                  Divorce someone else.
<b>                              MAGGIE
</b>                  I ' m serious.
<b>                             DONNIE
</b>                  Maggie, I ' m tired. Go to sleep.
<b>                            MAGGIE
</b>                  will you see a therapist?
<b>                            DONNIE
</b>                  It's just another six months.
<b>                            MAGGIE
</b>                  I can't sleep for six months,
                  Joe.
<b>                                                  CUT TO:
</b>
<b>46   INT. DAY.     OFFICE
</b>     SHELLY BERGER, late 40s, flannel shirt, earth shoes--PSYCHOTHERAPIST--
     sits with Donnie and Maggie.
<b>                            MAGGIE
</b>                 ...He comes home at all hours of
                 the night, without announcing
                 when or why, or where he's been
                 for three weeks. Or three
                 months. Then he expects
                 everything to be just the way he
                 wants it. Be vacuums the entire
                 house. Do you know another man
                 who vacu ums? It's abno rmal. Of
                 course, he expects the girls to
                 drop their lives when he shows
                 u. . .
                  p
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                  50,
</b>
<b>46   CONTINUED:
</b><b>                             DONNIE
</b>                  I ' m their father, Maggie. I ring
                  that doorbell I expect them home.
<b>                                MAGGIE
</b>                  They think it's a Jehovah's
                  witness. (to Berger) You'd think
                  he'd tell me where he goes or
                  w ha t h e' s d o in g--
<b>                                DONNIE
</b>                  That's for your own protection.
<b>                               MAGGIE
</b>                  Hal (to Berger) I know he's
                  ch ea t in g o n m e--
<b>                            DONNIE
</b>                  I don't have to listen to that
                  bullshit.
<b>                             MAGGIE
</b>                  No, why don't you just leave?
                  That's what you're good at.
<b>                                BERGER
</b>                  Please just listen without saying
                  a nyt hin g--t hat 's t he tas k f or
                  today. Oth erwise you just rep lay
                  the old pathology. (beat)
                  Maggie, you were talking about
                  Joe's disappearances.
<b>                             MAGGIE
</b>                  I nev er go o ut any mor e. What
                  couple wants to go out with a-
                  t hird whee l? Even wh en he's ho me
                  it's not like we have any friends
                  any more.
<b>                             BERGER
</b>                  So you resent him for expressing
                  your autonomy needs?
<b>                             MAGGIE
</b>                  Yes, I resent him.
<b>                             BERGER
</b>                  For expressing your autonomy
                  needs.
<b>                             MAGGIE
</b>                        (unsure)
                  Yes.
<b>                             BERGER
</b>                  And you, Joe--what do you think
                  you're running from?
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                      51.
</b>
<b>46   CONTINUED:    (2)
</b><b>                            DONNIE
</b>                  I ain't runnin' from nothin'.
<b>                            MAGGIE
</b>                       (mimics)
                  'I ain't runnin' from nuttin'.
                  The man I married was a college
                  man. (to Berger) Sorry.
<b>                              BERGER
</b>                        (resuming, to Donnie)
                  Being the distancer forces Maggie
                  into the role of the pursuer.
                  That gives you a feeling of
                  power. Simultaneously you resent
                  Maggie for expressing the very
                  intimacy needs that in your own
                  li fe yo u 'v e--
<b>                               DONNIE
</b>                  . I ' m an undercover agent for the
<b>                  FBI!
</b><b>                               MAGGIE
</b>                  I didn't marry the FBI, Joe.
     He writes on a pad. Donnie tries to peek at what he's writing.
<b>                          BERGER
</b>               Okay. I want yo u to spli t the
               week in half. Monday, Wednesday
               and Friday are Joe's intimacy
               days. Tuesdays, Thursday s, and
               Saturdays are Maggie' s. On your
               day, you make one intimacy
               request. Your partner agrees in
               advance to meet it. Whatever it
               is.
<b>                         DONNIE
</b>               What's that---an intimacy request?
<b>                             BERGER
</b>                  A n i nti mac y r eque st. Li ke 'Ru b
                  my back,' or 'Help me work out
                  this problem with the kids.' Odd
                  day, even day, Sunday's off.
                         (beat)
                  And mastur bate. I r ecommend i t,
                  for both of you. It's a good way
                  to blow off stress.
<b>                                                     CUT TO:
</b>
<b>47   INT. EVENING.       CADILLAC
</b>     Donnie drives. Maggie SULKS, looks out the window.
<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                             52
</b>
<b>47   CONTINUED:
</b><b>                         DONNIE
</b>               Can I ask you something?
<b>                         MAGGIE
</b><b>               NO.
</b><b>                         DONNIE
</b>               How much is this costing?
     Maggie doesn't say anything.
<b>                          DONNIE
</b>               Okay, Maggie--I want you to
               answer my question. This is my
               intimacy request.
<b>                          MAGGIE
</b>               A hundred dollars.
<b>                         DONNIE
</b>               That was a hundred dollars?
<b>                         MAGGIE
</b>               That's what I said, Joe.
<b>                        DONNIE
</b>              A hundred dollars. And how many
              of these do you think we'll need?
<b>         .              . MAGGIE
</b>              I don't know.
<b>                        DONNIE
</b>              One hundred dollars.
<b>                         MAGGIE
</b>              Is this still your intimacy
              request? Because otherwise I'd
              rather not discuss it anymore.
<b>                         DONNIE
</b>              I gotta work a ten hour day
              risking my life to make a hundred
              dollars!
<b>                         MAGGIE
</b>              Who are you risking your life
              for? Not me, Joe.
<b>                         DONNIE
</b>                    (mincing)
              'Will you rub my back'?
              Va'a'fonaooll
<b>                         MAGGIE
</b>              You're an animal.
<b>                                               (CONTINUED)
</b><b>
</b><b>                                                                 53.
</b>
<b>                   (2)
</b><b>47   CONTINUED:
</b><b>                             D O N NI E
</b>                  You know wha   t my intimacy request
                  is fo r him?   It' s very in timate.
                  He can take    that bill he's gonna
                  send me and    shove it up his ass.
     Maggie starts to PUNCH him.
<b>                         MAGGIE
</b>               You're an animal1 Animal1
     Donnie tries to fend her off while he drives. The car swings wildly.
     Approaching the opposite way:
<b>     A TRACTOR TRAILER
</b>     Donnie SWERVES. The car tumbles off the road onto a soft shoulder.
     Maggie continues to hit at Donnie. He wrestles with her.
<b>                             MAGGIE
</b>                  I hope (punch) those guys you're
                  hanging out with (punch) are
                  laying you (punch) because I ' m
                  (punch) not anymore!
     He looks at her. She looks at him. And they
<b>     KISS PASSIONATELY
</b>     grappling in the front seat...He grabs her. Pulls her toward him.
     Realizes that she is encumbered by something. She deftly unhooks the
     bel t. Ki sses his neck. ..
<b>                             MAGGIE
</b>                        (under her breath)
                  Do it.
     But he's not buying.
<b>                            DONNIE
</b>                  Maggie--who told you to wear a
                  seat belt?
<b>                             MAGGIE
</b>                  What?
<b>                            DONNIE
</b>              It's a simple question. You
              never wore a seat belt before/
              Maggie.
<b>                            MAGGIE
</b>              Wait a minute--is this--you think
              I'm having an affair?
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                            54.
</b>
<b>                   (3)
</b><b>47   CONTINUED:
</b><b>                             D O N N IE
</b>                  I didn't s ay that. It's
                  interesting that you would say
                  that, though.
<b>                             MAGGIE
</b>                  You're right--I ' m secretly seeing
                  a man who wants me to 'Buckle Up
                  for Safe ty'. We h ave t hree
                  child ren, Joe--r emember t hem?
                  One of us has to play it safe.
     She SLAMS out of the car...
<b>     OUT ON THE SHOULDER
</b>     with cars whipping by...Donnie chases after her.
<b>                            DONNIE
</b>                  I just asked a simple question.
                  You're the one that brought it up
                  with the affair.
<b>                            MAGGIE
</b>                  Bulls hit. It's so fr iggi ng
                  ironic that you'd think I ' m up to
                  s omet hing. My n ights are
                  homework and basketball games.
                  What are your nights?
<b>                              DONNIE
</b>                  You know what I'm doing.
<b>                            MAGGIE
</b>                  I don't know a goddam thing.
<b>                            DONNIE
</b>                  I'm doing the job. That's the
                  job.
<b>                            MAGGIE
</b>                  I live like a widow, Joe. That's
                  the only way I can deal with
                  this, with the photographs and
                  memories and our children, and I
                  go on with my life. Like you're
                  already dead.
<b>                            DONNIE
</b>                  It's for your own protection.
<b>                            MAGGIE
</b>                  It's not protecting me--it's
                  killing me.
<b>                                                  CUT TO:
</b><b>
</b><b>                                                                55.
</b>
<b>48   INT. NIGHT.     PISTONE HOME
</b>     Maggie sleeps. Donnie lies awake.
<b>                            DONNIE
</b>                  When did you all of a sudden from
                  nowhere start saying, 'Do it',
                  Maggie?
<b>                            MAGGIE
</b>                  what? Go to sleep.
<b>                            DONNIE
</b>                  'Do it.' You never said that--
                  'Do it'. You never talked that
                  way before.
<b>                                                  CUT TO:
</b>
<b>49   INT. MORNING.     PISTONE HOME
</b>     Kerry wakes up to an odd groaning and whining noise...
<b>     DOWNSTAIRS                                                            .
</b>     Donnie compulsively vacuums the living room.
<b>                                                  CUT TO:
</b>
<b>50   INT. LATER.     PISTONE BEDROOM
</b>     Bursey INSTALLS a special BLACK PHONE. The girls WATCH with Donnie.
<b>                            BURSEY
</b>                  This is a New York number--it
                  patches through to here.
     Maggie flutters through wearing her SWEATSUIT.
<b>                          MAGGIE
</b>               I ' m sorry to run out, honey. I
               hav e an aero bics class . Tak e
               care of yourself.
     She gives him a peck on the cheek, exits. Donnie turns to the girls
<b>                          DONNIE
</b>               Tha t's a spe cial phone . You
               d on't call on i t. Yo u don 't
               answer it. Nobody touches that
               phone under any circumstances.
               Understood?
<b>                          TERRY ·
</b>               Jawohl, Herr Commandantl
     Terry gives Donnie a NAZI SALUTE. Goosesteps out of the bedroom.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                  56.
</b>
<b>50   CONTINUED:
</b><b>                                DONNIE
</b>                  Hey.   Heyl
     Donnie CHASES her a couple of steps. She HURTLES down the stairs.
     SLAMS out the door. Donnie turns back. Bursey shrugs, continues to
     install the phone. Kerry and Sherry indict him with their eyes.
     Exit the bedroom.
<b>                                                  CUT TO:
</b>
<b>51   INT. MORNING.       CADILLAC
</b>     Donnie drives through a driving RAIN. Looks in the REAR-VIEW MIRROR.
     Gets suspicious. Turns. A car turns with him...FOLLOWING' him.
<b>     DONNIE TENSE
</b>     He turns again. Again, the car FOLLOWS. Donnie looks again in the
     rear-view mirror. Something FAMILIAR about that car...Turns again.
     A scowl of RECOGNITION plays across Donnie's face. And he goes
     COLD...Approaching an intersection:
<b>     A YELLOW LIGHT
</b>     Donnie slows, then SPEEDS through the intersection as the yellow
     light goes RED...Checks his mirror--the other car is STUCK at the
     light.
<b>     INSIDE THE OTHER CAR
</b>     It's Maggie. She SMACKS the steering wheel in ANGER.
<b>                            MAGGIE
</b>                  Fuck you. Fuck fuck fuck you.
<b>                                                  FLASH CUT TO:
</b>
<b>52   EXT. THE PRESENT.      FBI HEADQUARTERS
</b>     A HELICOPTER whips across the familiar face of Washington, D.C. Lands
     on the roof of FBI headquarters. FBI MEN, including Marshall, rush
     to me et it. Eme rgi ng fro m th e c hop per --
<b>     IT'S BERADA                                                        .
</b>     Indomitable black eyes burn in a face grey with illness.
<b>                                                  CUT TO:
</b>
<b>53   INT. DAY.     FBI HEADQUARTERS
</b>     Berada, surrounded by suits. Hogue paces with DOCUMENTS.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                          57
</b>
<b>53   CONTINUED:
</b><b>                              HOGUE
</b>                  . . . $ 9 , 0 0 0 for miscellaneous--
                  miscellaneous what?...A $22,000
                  car...$40,000 for X-rated
                  videotapes?
<b>                                                          FLASH CUT TO:
</b>
<b>54   INT. THE PAST.      THE COCKEYED CLAM
</b>     Donnie meets with a younger Berada.
<b>                              BERADA
</b>                  . . . I got an agent down in
                  Florid a, Fred C alvin--I go t my
                  finger in the dike and he's got
                  his thumb up his ass. A million
                  bucks in it and Calvin's got
                  nothing.
<b>                              DONNIE
</b>              Meanwhile three years I've been
              .undercover and I can't get a
              fucking two thousand dollar
              raise.
<b>                              BERADA
</b>               joe--
<b>                              DONNIE
</b>                     (correcting him)
              Do nn ie. C al l m e Don ni e-- I d on 't
              wanna get confused.
<b>                             BERADA
</b>              We've been through this. To get
              a raise you gotta go up to
              supervisor grade.
<b>                             DONNIE
</b>              I supervise my prick. Not even
              t hree year s--thr ee an d a h alf
              years.
<b>                             BERADA
</b>              GS-14 is supervisors. That's the
              rules.
<b>                        DONNIE
</b>              Fuggedaboudit.
<b>                             BERADA
</b>              Now what the hell's this about
              porno tapes?
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                  58
</b>
<b>54   CONTINUED:
</b><b>                              DONNIE
</b>                  I need 40 grand, I gotta middle
                  some porno tapes.
<b>                            BERADA
</b>                  Forty grand for porno tapes?
<b>                              DONNIE
</b>                  you'll get it back. It's
                  nothing. Half of them are for
                  fags.
<b>                              BERADA
</b>                  Oh, that makes me feel much
                  better. You don't watch it,
                  you're gonna be back in the
                  buckets listening to the
                  Bulgarians all day.
<b>                                                  FLASH CUT TO:
</b>
<b>55   INT. THE PRESENT.       FBI HEADQUARTERS
</b>     Berada addresses Hogue from his wheelchair.
<b>                              BERADA
</b>                  He has to do some not-so-nice
                  things, sir. He's not undercover
                  in the Camp Fire Girls.
<b>                              HO G U E
</b>                       (r ead ing )
                  'UCA requests four handguns,
                  preferably .38 caliber, to assist
                  in a bank robbery'?
<b>                                                  CUT TO:
</b>
<b>56   INT. THE PAST.    THE COCKEYED CLAM
</b><b>                              DONNIE
</b>                  You take out the firing pin. The
                  guns don't work. What the fuck
                  are you worried about?
<b>                              BERADA
</b><b>              NO.
</b><b>                              DONNIE
</b>              Why not?
<b>                              BERADA
</b>              How'm'I gonna explain that to
              Washington?
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                          J
</b><b>                                      ·         .                   59.
</b>
<b>56   CONTINUED:
</b><b>                             DONNIE
</b>                  Hey, Guy, you have to explain
                  this to Washington, that's your
                  fucking job. For me to do my job
                  I need the fucking guns.
<b>                            BERADA
</b>                  There's no procedures for this.
<b>                            DONNIE
</b>                  I don't give a fuck about the
                  fucking procedures. You think
                  (gestures) they have fucking
                  procedures? Hah? I want the
                  fucking guns and I want the
                  fucking money. Understood?
     Berada stares at Donnie, frightened. On his face we see his doubts
     about what's happening to Donnie.
<b>                                                    FLASH CUT TO:
</b>
<b>57   INT. THE PRESENT.     FBI
</b><b>                            BERADA
</b>                  You guys said no to the guns. I
                  don't see why it's coming up now.
<b>                            LEBOW
</b>                  There's a 209 that says Sonny
                  Black might get hit tonight. And
                  Joe would get hit as one of his
                  crew.
<b>                            BERADA
</b>                  What does Joe say?
<b>                            MARSHALL
</b>                  We don't know where Joe is.
<b>                            BERADA
</b>                  What do you mean--you lost him?
<b>                            HOGUE
</b>                  Didn't you think at any point
                  that this was getting a little
                  out there?
<b>                            BERADA
</b>                  Everything in this operation was
                  a judgement call, sir. And we
                  relied on his judgement. He was
                  the one in the field.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                    60.
</b>
<b>57   CONTINUED:
</b><b>                            HOGUE
</b>                       (with documents)
                  These requests have your name on
                  them. Why the h ell did yo u go
                  ahead with this?
<b>                                                      CUT TO:
</b>
<b>58   INT. THE PAST.    THE COCKEYED CLAM
</b><b>                            DONNIE
</b>                  Santo Trafficante--how long's he
                  been the boss o f Florida? You
                  could put his head on your wall.
                        (Berada thinks)
                  If I go down to Florida and vouch
                  for this jerkoff, whatever his
                  n ame is--
<b>                            BERADA
</b>                  Fred Calvin.
<b>                            DONNIE
</b>               Every door in Florida will open
               for this guy Calvin like it. was
               on ball fucking bearings. But I
               w an t t he gu ns . T h e mo n ey . A nd
               no more fucking bullshit.
<b>                            BERADA
</b>               Don't talk to me like you're
               talking to them, Joe.
<b>                         DONNIE
</b>               Donnie.
<b>                            BERADA
</b>               Joe.
<b>                            DONNIE
</b>               Don't waste my time.       With all
               this bullshit about pr     ocedures,
               you'11 do whatever it       takes to
               get t hese guys. Same      as m e.
     Berada mulls it over a beat.
<b>                            BERADA
</b>               You really think we could get
               Trafficante?
     Donnie gets up. Turns.
<b>                            DONNIE
</b>               If I vouch for this guy and he
               fucks up--I'll put a bullet in
               his fucking head.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                    61 .
</b>
<b>58   CONTINUED:    '                          ·
</b>     Donnie exits. Berada WORRIES that this is getting out of hand.
<b>                                                     CUT TO:
</b>
<b>59   INT. THE PRESENT.     FBI HEADQUARTERS
</b>     Berada stares at Hogue, stone-faced.
<b>                            BERADA
</b>                  There was never any moment when
                  I thought Joe or the operation
                  was out of control, sir.
<b>                                                     CUT TO:
</b>
<b>60   EXT. THE PAST.     MOTION LOUNGE
</b>     A LION IN WINTER. Le fty in hi s overcoat , the Lio n on its l eash. A
     cold DRIZZLE falls. The Lion stops, sniffs at an AUTOMOBILE. Lifts
     a leg:
<b>     PEES ON THE TIRE
</b>     Lefty, embarras sed, looks .around. N EIGHBORS watch from windows--
     some amused, some disapproving. The Lion moves to the next car.
     Sni ffs. Pees on t he ti re. A nd th en to the next :
<b>     SONNY'S MERCEDES
</b>     The Lion sniffs. Lefty tugs on the leash. The Lion resists, sniffs
     some more. Lefty tugs harder. The Lion lifts its leg...Lefty YANKS
     o n the lea sh--the Lio n ROARS. L efty DRAG S the Lion into the Motion
     Lounge.
<b>                                                     CUT TO:
</b>
<b>61   INT. DAY.     MOTION LOUNGE
</b>     Donnie takes a football bet on the pay phone.
<b>                            DONNIE
</b>                  .. .We got the Colts giving two-
                  and-a -half. Yea h, (writ ing)
                  Nickel on the Colts.
<b>     INSIDE
</b>     Sonny presides over a BOARD MEETING of the Sonny Black Corporation.
     Nic ky, B oobie and othe r WIS EGUYS --incl udin g BOO TS an d LEG S-- po re
     over crumpled scraps of paper. Sonny makes notes in a little spiral
     NOTEBOOK. Donnie ;joins them.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                        ·.                        62.
</b>
<b>61   CO NTI NUE D:
</b><b>                               BOOBIE
</b>                     We ha d tha t loa d of jean s--
                     remember? Two hundred grand on
                     that. . .
     The Lion shakes its mane, SPRAYS WATER over everyone.
<b>                             NICKY
</b>                 Va'n'aool'. all over everything1
                 L efty--how'm I gonna read this?
<b>                               LEFTY
</b>                     That'll teach you to improve your
                     penmanship.
     Lefty lays a PARKING METER out on a card table. Picks up a SLED<
<b>     HAMMER.
</b><b>                               BOOTS
</b>                 There's that guy that's making
                 the Quaaludes for us.
<b>                               DONNIE -
</b>                 What're we selling that for? I
                 know a guy I think I could off
                 them to.
<b>                            NICKY
</b>                 Sixty cents apiece. I think it's
                 60. Is it 60?
<b>                           BOOTS
</b>                 We're doing a dime a week.
<b>     WHAM!
</b>
     an echoing CLANGOR as Lefty whacks at the parking meter with the
     sledge hammer.
<b>                               SONNY
</b>                 If you're holding out on me,
                 Boots, I'm gonna chop you up.
<b>                               BOOTS
</b>                 I ain't ho lding out. It's ten
                 g ra nd a w ee k. Th a t' s i t.        -
<b>                               SONNY
</b>                 It should be 25.
                       (to Boobie)
                 You ever off that load of
                 sunglasses?
     Boobie nods, gives thumbs up.
<b>                            NICKY
</b>                 Bullshit, Boobie.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                63
</b>
<b>                    (2)
</b><b>61   CONTINUED:
</b><b>                            BOOBIE
</b>                  I did so, Nicky.
<b>                            NICKY
</b>                  Who you gonna lay off 18 cases of
                  sunglasses to?
<b>                             BOOBIE
</b>                  I laid it off...to the same guy
                  I heisted it from.
                        (to Sonny)
                  Twenty-five grand.
     Sonny writes in his notebook.
<b>     WHAM1
</b>     another deafening smash at the parking meter.
<b>                            SONNY
</b>                  Will you stop it with that?
<b>                            LEFTY
</b>                  How else'm I gonna open it? Open
                  sesame?
<b>                            SONNY
</b>                  What are you gonna get out of
                  that, Left? Fifty bucks?
<b>                            LEFTY
</b>                  Ain't the question.
<b>                            SONNY
</b>                  You know, you guys--you don't
                  fucking think. I'm the skipper
                  now-- I gotta answer. Sonny
                  Red's got 75 million alone }ust
                  with that trucking company out in
                  Jersey and I got fifty bucks of
                  fucking dimes.
<b>                            LEFTY
</b>                  A score's a score.
<b>                            SONNY
</b>              You're like a bunch of fucking
              niggers on welfare.
<b>                         DONNIE
</b>              W hat about Florida? I know a g uy
              down there, he has some vending
              machines he's trying to move.
<b>                         LEFTY
</b>              Let him move them to New York.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                        6 4.
</b>
<b>61   C O NT IN U ED :    (3)
</b>
<b>                                     DONNIE
</b>                        Plus he has a club down there.
                        He's looking for partners that
                        can give him peace of mind.
                                  SpNNY
                        You know this guy?
     WHAMl
     a nother ba ng at the parking me ter. Left y GLOWERS at Donnie . A look
     that says: SHUT UP.
<b>                                  DONNIE
</b>                        I knew him ten years ago, in
                        Baltimore. He was okay then.
<b>                                  SONNY
</b>                        Where in Florida? The Beach?
<b>                                     DONNIE
</b>                        Tampa.
<b>                                     LEFTY
</b>                        For your information they got
                        their own outfit down there and
                        their own boss.
<b>                                  LEGS
</b>                        Santo Trafficante.
<b>                                     LEFTY
</b>                        Thank you.
<b>                                     NICKY
</b>                        All the economy's moving down
                        there, Florida, 'cause of the Oil
                        Crisis. I heard it on the news.
<b>                                     BOOBIE
</b>                        The economy gotta be good for
                        there to be good moneymaking for
                        crooks.
<b>                                     LEGS
</b>                        Who can get a fucking thing going
                        in this fucking city? It's 5000
                        wiseguys all chasing the same
                        nickel.
<b>                                    NICKY
</b>                        Hey, Sonny, maybe we could do
                        something with Disneyworld down
                        t here. Wis eguy Mount ain.
                        Wiseguys of the Caribbean.
                        Everybody fucks Minnie Mouse up
                        t he a ss. C an yo u ima gine?
                                     (more)
<b>                                                          (CONTINUED)
</b><b>
</b><b>61   C O N T I N UE D :    (4)
</b>                                     NICKY (Cont'd)
                          (gestures) You grab her by those
                          big fuc kin g e ars --
     Uproarious LAUGHTER from the group. Then suddenly--
<b>     SONNY EXPLODES
</b>     In a RAGE, he stands up, THROWS HIS CHAIR, knocks over the card
     table.
<b>                                     SONNY
</b>                          You think this is a fucking joke?
                          Hah? One day I ' m gonna die, and
                          I ' m gonna be in this same fucking
                          room, with these same fucking
                          guys, talking about these same
                          fucking scams that never amount
                          to anything, and that's how I'll
                          know I got sent to fucking Hell.
     Sonny STORMS out. The guys sit, look at each other. Some dazed.
     Some calculating. Boobie picks up the toppled table.
<b>                                     BOOBIE
</b>                          We better start earning or
                          somebody's gonna get clipped.
     Then Sonny RETURNS. Pale and shaken.
<b>                                     SONNY
</b>                          I can't even imagine it. What
                          kind of people--in broad fucking
                          dayli ght-- what kind of a worl d--
<b>                                      NICKY
</b>                          What happened?
<b>                                     SONNY
</b>                          They stole the Mercedes.
<b>                                                           CUT TO:
</b>
<b>62   EXT. DAY.            MOTION LOUNGE
</b>     The guys file out. STARE at the EMPTY SPACE where the Mercedes used
     to be.
<b>                                                           CUT TO:
</b>
<b>63   EXT. NIGHT.             LAGUARDIA AIRPORT
</b>     From the runway, as a JETLINER takes off...
<b>                                                           CUT TO:
</b><b>
</b><b>                                                               6 6.
</b>
<b>64   INT. NIGHT.     AIRPLANE
</b>     Nicky and Boobie play GIN in the second row of the FIRST CLASS
     section. Their GIRLFRIENDS sit beside them. Sonny SNOOZES behind
     them on the shoulder of Judy, the waitress we met at the outset.
     Lefty and Donnie sit along the opposite wall, in the smoking section,
<b>                              LEFTY
</b>                         (sotto)
                   Donnie?
<b>                                DONNIE
</b>                   What?
<b>                          LEFTY
</b>               Why'd you inject that, Donnie,
               with Florida?
<b>                          DONNIE
</b>               I didn't inject anything, Left.
<b>                         LEFTY
</b>               You injected that. Don't tell me
               no. I know you, Donnie, you
               don't say nothing unless there's
               a reason for it.
<b>                         DONNIE
</b>               I don't know, Left. I was just
               bullshitting around.
<b>                             LEFTY
</b>               Listen to me, D onnie. I s wear on--
               I don't know which to swear on,
               my dead father, my mother, who I
               love, my children--I swear to
               you, something's going on that
               you don't know about.
<b>                             DONNIE
</b>               I know.          ·
<b>                           LEFTY
</b>                     (flaring)
               That's the problem is, you don't
               ko. ' . : ' " . - '
                nw
<b>                           DONNIE
</b>               You don't explain it to me.
<b>                             LEFTY
</b>               You think you can trust Sonny
               Black? Sonny Black is one big
               fat fucking snake in the, uh,
               uh...
<b>                          DONNIE
</b>               Snake in the grass,
<b>                                                 (CONTINUED)
</b><b>
</b><b>64   CONTINUED:
</b><b>                            LEFTY
</b>                  You can't say that, Donnie.
                  Sonny Black is the skipper. You
                  don't open your mouth about 'him.
<b>                            DONNIE
</b>                  I was agreeing with you.
<b>                            LEFTY
</b>                  Ain't the question. Now you're
                  r espon sibl e for this . And
                  because I represent you I ' m
                  responsible -- for the whole
                  fucking Magilla fucking Gorilla
                  I ' m responsible.         .
<b>                            DONNIE
</b>                  What are you so upset for? This
                  could be great.
<b>                            LEFTY
</b>                  I die wit'cha, you understand?
                  You walk on a chalk fucking line,
                  Don nie. I got two gren ades at
                  home-- I ' d blow up Mulberry
                  Street, you did something wrong.
<b>                              DONNIE
</b>                  I ' m not gonna do nothing wrong.
<b>                                                   CUT TO:
</b>
<b>65   INT. DAY.     KING'S COURT
</b>     Cracked leatherette and gaffer's tape. TOPLESS DANCERS move greyly
     through their paces, ignored by the scattered customers. Donnie
     watches through the glass of a PHONE BOOTH. Supered below:
<b>                  KING'S COURT.   TAMPA., FLORIDA.
</b><b>                  1979.
</b><b>                            DONNIE
</b>                       (to phone)
                  I'm in Florida.
<b>                            MAGGIE (O.C.)
</b>                  What are you doing in Florida?
<b>                            DONNIE
</b>                 What do you thi nk I'm doi ng? I'm
                 working.
<b>     DONNIE 'S POV
</b>     as a Dancer bends over, waggles her bare butt...
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                    DO .
</b>

<b>65   CONTINUED:    .
</b><b>                               MAGGIE ( O . C . )
</b>                  It' s tw el ve d eg re es h er e.
<b>     INSIDE
</b>     FRED CALVIN, a.k.a. "CALVINO", late 30s, beefy and bluff, tours
     Lefty through the club. Shows him the LOCKERS behind the bar...
<b>                               CALVINO
</b>                  You run it as a 'bottle club,'
                  members only--keep your own
                  liquor in the lockers, pay for
                  setups. That way there's no
                  liquor license.
<b>                               LEFTY
</b>                  What kind of name is that,
                  'Calvino'?
<b>                             CALVINO
</b>                  Napolitan'.
                        (resuming)
                  Banquet room, six tennis courts,
                  swimming pool in the back...
<b>                             LEFTY
</b>                  You gonna put any money in this?
<b>                               CALVINO
</b>                  First class all the way, Left--
                  that was my original plan. Then
                  the minute I opened the joint I
                  discovered I had partners--these
                  goombahs. 'Gimme two hundred.'
                  'Gimme three hundred.' I said,
                  'Hey--I got a wife for thatl'
     Lefty shoots him a withering look.
<b>                               LEFTY
</b>                  Wait here.
<b>     INSIDE THE PHONE BOOTH
</b>     Donnie watches Lefty approach.
<b>                               MAGGIE
</b>                  It's Terry's Sweet Sixteen on
                  Friday. Did you forget?
<b>                             DONNIE
</b>                  No, I didn't forget.
<b>                         MAGGIE (O.C.)
</b>               Are you going to be here?
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               69.
</b>
<b>                   (2)
</b><b>65   CONTINUED:
</b><b>                            DONNIE
</b>                  I ' m gonna try. Look, Maggie, I
                  gotta go.
<b>                            MAGGIE (O.C. )
</b>                  Because it's less disappointing
                  if you'd just say so.
<b>                            DONNIE
</b>                I'll be there, okay? I gotta go.
                ' Bye.
     Donnie moves to hang up. Remembers. Puts the phone back to his
     mouth. . .
<b>                          DONNIE
</b>                I love you.
     ...into a DIAL TONE. Lefty lights an English Oval as Donnie emerges.
<b>                         DONNIE
</b>               So whaddaya think?
<b>                            LEFTY
</b>               I hate Neapolitans. You vouch
               for this guy, Donnie?
<b>                           DONNIE
</b>               Lik e any body else . I k new h im
               ten years ago, he was okay then.
<b>                            LEFTY
</b>               What kind of man begrudges his
               wife?
<b>                           DONNIE
</b>               Look, I'm just making the
               introduction. You make the
               decision.
     Lefty look s aro und. SMIL ES.
<b>                            LEFTY
</b>               You imagine--we have our own
               joint down here?
<b>                         DONNIE
</b>               It's up to you, Left.
<b>                         LEFTY
</b>               I just gotta sit down with the
               man down here.
<b>                         DONNIE
</b>               You know him? Trafficante?
<b>                                                 (CONTINUED)
</b><b>
</b><b>     CONTINUED: ' ( 3 )
</b><b>65
</b><b>                               LEFTY
</b>                 Fuggedaboudit. All over the
                 world I ' m known.
                       (getting an idea)
                 Like a yacht. We gotta take him
                 out on a yacht, have a drink,
                 relax, then he knows these are
                 men of men he's dealing with.
<b>                               DONNIE
</b>                 I know a broad down here, her
                 brother has a boat. Big fucking
                 yacht.
<b>                               LEFTY
</b>                 Get that boat, Donnie. Stay away
                 from the broad.
     Calvino joins them.
<b>                            CALVINO
</b>                 Hey--who's the best looking guy
                 in Florida?
     He slaps a HUNDRED DOLLAR BILL to his forehead.
<b>                               CALVINO
</b>                 Mel
     He laughs, puts his arm around an unamused Lefty.
<b>                                                   CUT TO:
</b>
<b>66   EXT. DAY.    THE TAHITIAN
</b>     Sonny broods by the motel pool. Judy and the other girlfriends sit
     a cro ss the wa y. Q UIE T i n t he heat . B oob ie rub s su nta n o il on
     hi mse lf. Nic ky rea ds his pap er. Le fty and Do nni e a rri ve i n t hei r
     street clothes.
<b>                               SONNY
</b>                          (morose)
                 Broad daylight. I still can't
                 get over it. You have to ask
                 yourself-- what kind of people?
                 They take a Mercedes--a man's
                 private property, they take it
                 right off the street.
<b>                            BOOBIE
</b>                 Sonny, fuggedaboudit. It's over.
<b>                            SONNY
</b>                 I don't know what the world's
                 coming to. I honestly don't.
<b>                                                   (CONTINUED)
</b><b>
</b><b>66   CONTINUED:    .
</b><b>                               NICKY
</b>                  Ever since they got rid of the
                  death penalty, the whole fucking
                  society's going down the tubes.
                  Like I ' m watching the news last
                  n ig h t--
<b>                            SONNY
</b>                  Hey, Lefty, why didn't you bring
                  Louise?
<b>                               LEFTY
</b>                  Don't equate Louise with them
                  broads, Sonny. I bring Louise
                  when you bring your wives.
<b>                             SONNY
</b>                        (shouts)
                  Hey, Judy--come over here and
                  give everybody a blow job.
     Judy gives him the finger. Sonny smiles, turns to the others.
<b>                         SONNY
</b>               Isn't she spunky?
<b>                               NICKY
</b>                  I'm     watching the news last night.
                  I'm     lying there in bed and I see
                  thes   e guys from Iran, and these
                  guys    are whipping themselves.
<b>                               LEFTY
</b>                  Who?
<b>                               NICKY
</b>                  Iranians. You imagine? They
                  whip themselves, with whips.
<b>                            SONNY
</b>                  Lot of broads into that.
<b>                               LEFTY
</b>                  Geddaddaheah, Nicky--whipping
                  themselves. I never heard of
                  that.
<b>                             NICKY
</b>                  Donnie, am I right?
<b>                               DONNIE
</b>              What?
<b>                               LEFTY
</b>              How come you're asking him? How
              come you don't ask me?
<b>                                                    (CONTINUED)
</b><b>
</b><b>66   CONTINUED:    (2)
</b><b>                               NI C KY
</b>                  You just said you never heard of
                  it.
<b>                               LEFTY
</b>                  That's right. I never heard of
                  such a fucking thing.
<b>                               DONNIE
</b>               It's like part of their religion,
               Left . I t's ca lle d se lf-
               flage llation. T hey think it'll
              . bring them closer to God.
<b>                              BOOBIE
</b>                  I ' d like to bring them closer to
                  God.
<b>                               SONNY
</b>                  You see how smart he's getting,
                  Donnie, reading that paper?
<b>                               NICKY
</b>                  That's what they oughtta do.
                  Send over a bunch of wiseguys.
                  Put a gun in your pocket,
                  straighten them right out.
<b>                            LEFTY
</b>                  Nicky, why'd I wanna go to Iran?
<b>                               NICKY
</b>                  I ' m saying you gotta be strong
                  with these people.
<b>                               LEFTY
</b>                  Don't tell me where I go and
                  don't go.
<b>                               NICKY
</b>                  We didn't have these problems
                  with Nixon. And there was law
                  and order in the streets.
     Donnie watches as the group offers a unanimous AMEN with their eyes.
<b>                               SONNY
</b>                          (to Lefty)
                  Everything check out with the
                  club?
<b>                              LEFTY
</b>                  Yeah.
                        (to Nicky)               '
                  I ain't got three dollars in my
                  pocket, Nicky, I'm gonna go to
                  Iran?
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                  73.
</b>
<b>                   (3)
</b><b>66   CONTINUED:
</b><b>                            NICKY
</b>                  Fuggedaboudit.
<b>                            SONNY
</b>                  The man down here says okay?
<b>                             LEFTY
</b>                  I ' m taking care of it. I gotta
                  reach out--in a month I'll come
                  back and sit down with the man.
<b>                             SONNY
</b>                  He knows who you are?
     ZZZZH! the whir of an autowinder and a black-and-white FREEZE FRAME,
<b>                             LEFTY
</b>                  Fuggedaboudit, Sonny,     All over
                  the world I ' m known.
<b>                            NICKY
</b>                  You are not known in Iran.
              and another freeze frame. Boobie gets up, dives in the pool
<b>     ZZZZH!
</b>              and another FREEZE FRAME.
<b>     ZZZZH!
</b><b>                                                   CUT TO:
</b>
<b>67   INT. NIGHT.     SAFE HOUSE
</b>     A nerve center set up in a hotel suite. FBI AGENTS with headphones
     listen to WIRETAPS, bustle in and out. Donnie, exhausted, sits with
     Bursey and Jules.
<b>                             DONNIE
</b>                  I need a boat. Lefty loves
                  boa ts. B e wan ts s ometh ing
                  special to show off for
                  Trafficanta.
<b>                              BURSEY
</b>                  Anything else?
<b>                             DONNIE
</b>                  Yeah. What happened to my
                  expense check? It's gotta be
                  three months already.
     Bursey gets called to the phone,        BARBARA JONES, 30s, a PROSECUTOR,
     approaches.
<b>                             JULES
</b>                  Joe, this's Barbara Jones. She's
                  an assistant US Attorney.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                 74
</b>
<b>67   CONTINUED:
</b><b>                             DONNIE
</b>                  Donnie. Call me Donnie.
                        (to Jules)
                  I gotta get reimbursed, Jules.
                  It's fucking ridiculous.
<b>                              JONES
</b>               We're missing bits and pieces on
               a lot of these cases. On the
               lo a ns ha rk in g--
<b>                            DONNIE
</b>                  Donnie Brasco has the worst
                  fucking credit rating in the
                  history of the Mafia.
<b>                         JONES
</b>               Like I was saying, with the
               loansharking-- we have to get
               somebody on tape with what the
               rate of interest is.
     Bursey covers the phone.
<b>                         BURSEY
</b>               Does Sally Paintglass report to
               Nicky?
<b>                         DONNIE
</b>               Not Nicky. Nicky Cigars.
<b>                         BURSEY
</b>                    (to phone)
               Not Nicky. Nicky Cigars.
<b>                        DONNIE
</b>              Kiss Jones, how many do I have
              solid?
<b>                             JONES
</b>              Indictments? I don't know.
              F i ft y . Si x ty .
<b>                           BURSEY
</b>                   (calling out)
              Who's Nicky Glasses?
<b>                        DONNIE
</b>              Nicky Glasses. Little Nicky.
<b>                           JONES
</b>              Joe--
<b>                           DONNIE
</b>              Donnie. Call me Donnie. I don't
              wanna get confused.
                            (more)
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                  75.
</b>
<b>                     ( 2)
</b><b>67   CONTI NUED:
</b>                                 DONNIE (Cont'd)
                            (to Jules)
                   What about the club? When's it
                   gonna be ready?
<b>                             JULES
</b>                   It'll be ready when you come back
                   down.
<b>                                DONNIE
</b>                   You gonna spend any money to fix
                   it up or is it gonna stay a dump?
     Bursey moves to the coffee machine. Jules sits with Donnie, hands
     him the NAGRA TAPE RECORDER. He sticks it inside his COWBOY BOOT.
<b>                         BURSEY
</b>               You want some coffee, Joe?
<b>                              DONNIE
</b>                         (correcting him)
                   Donnie.
<b>                                JONES
</b>                   The loansharking predicates are
                   very specific. It's really
                   important that you focus on these
                   things.
<b>                                DONNIE
</b>                   What about the boat? I need that
                   fucking boat. You know, I ask
                   Berada to do something and he
                   just says, 'Done'.
<b>                                JULES
</b>                   Maybe that's why he's in the
                   hospital.
<b>                                JONES
</b>                   The stat says twice the lawful
                   rate. Can you get that on tape?
<b>                          DONNIE
</b>               Just get me that fucking boat,
               okay?
     Bursey rejoins them, stirring his coffee.
<b>                                BUPSEY
</b>               They got that boat down here on
               t hat other inve stiga tion--
               wha tcham acall it. B ig f uckin g
               yacht.
<b>                                DONNIE
</b>               Perfect.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                          76.
</b>
<b>                         (3)
</b><b>67   C ON T IN UE D :
</b><b>                                  BURSEY
</b>                             (laughing)
                        The agents dress up as Arab
                        sheiks trying to bribe
                        Congressmen. You think that'll
                        ever amount to anything?
<b>                                                         CUT TO:
</b>
<b>68   EXT. NIGHT.           MARINA
</b>     Lefty talks to a CAPTAIN, 50s, topsiders and cutoffs.
<b>                                    LEFTY
</b>                        Five grand for that bucket for
                        one day?
<b>                                  CAPTAIN
</b>                        Just listen to me--
<b>                                    LEFTY
</b>                        I listen to my prick. How can
                        you say five grand?
<b>                                  CAPTAIN
</b>                        You don't want it, don't rent it.
     Lefty looks up.            DOUBLETAKES.
<b>     LEFTY'S POV
</b>     as he looks down the dock, where BOOBIE meets with             two COLOMBIANS by
     a cigarette boat. He hands them a paper bag full              of cash to the
     Colomb ians. The y hand him a BRIEFCA SE. Lefty bac           ks int o the
     shadows. Watches, TROUBLED, as Boobie climbs into              his car, drives
     away.
<b>                                   LEFTY
</b>                              (sotto)
                        What the fuck is he up to?
<b>                                                         CUT TO:
</b>
<b>69   EXT. MORNING.             TAMPA AIRPORT
</b>     The guys head toward the terminal, followed by Calvino, burdened by
     their LUGGAGE. He lumbers like a pack-animal.
<b>                                    SONNY
</b>                        Left, you wanna take care of the
                        bags? We'll be in the lounge.
     Sonny heads inside with Nicky and Boobie. Lefty looks around.
<b>                                  LEFTY
</b>                        Where's that fucking redcap?
<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                  77.
</b>
<b>69   CONTINUED:
</b>     Lefty wanders off, looks up the block. Calvino stands on the curb
     with Donnie. Looks up and down. DOUBLETAKES.
<b>                             CALVINO
</b>                       (aside)
                  Oh, Jesus--that's Hollman, Joe.
     "Joe." RAGE flickers almost imperceptibly in Donnie's eyes.
<b>     CALVINO'S POV
</b>     HOLLMAN, 50s, a sharply-dressed LAWYER, climbs out of a Mercedes.
     Moves to the trunk, opens it.
<b>                            CALVINO
</b>                  He'll make us for sure. He was
                  the USD A w ith --
<b>                            DONNIE
</b>                       (hard)
                Shut up and calm down. I'll take
               c a re o f it .   -
     Lefty rejoins them.
<b>                            LEFTY
</b>               Now listen to me, Fred--you
               listening to me?
<b>     CALVINO'S POV
</b>     Hollman helps his wife out of the car. Shuts the door...The REDCAP
     shows up. Starts ticketing the bags.
<b>                            LEFTY
</b>                Just get that club fixed up.
                Anybody says anything, you just
                tell them to have their people
                get in touch with your people in
                New YorJc.
     Hollman drops his bags--in line behind our guys. His wife fishes ir
     her pocketbook for the tickets. . .
<b>                          LEFTY
</b>               Mulberry Street. Ask for Lefty.
<b>                          CALVINO
</b>               Okay, Left.
<b>                         REDCAP
</b>                    (to Lefty)
               Excuse me, sir--your tickets?
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                               78.
</b>
<b>69   CONTINUED:    (2)
</b><b>                            LEFTY
</b>                        (ignoring Redcap)
                  When we come back down, we'll sit
                  down with Who's Who and
                  straighten everything out.
<b>                             HOLLMAN
</b>                        (to Lefty)
                  Excuse me^-he needs your tickets.
     And then he...RECOGNIZES Donnie.
<b>                            HOLLMAN
</b>                  Joe?
     Donnie ignores him.
<b>                             DONNIE
</b>                        (to Calvino)
                  Help this fucking guy put the
                  bags up on the cart. You got the
                  tickets, Left?
<b>                            HOLLMAN
</b>                       (persisting)
                  Joe Pistone?
     Lefty's SUSPICION rises. Hollman moves to take Donnie by the elbow.
     And Donnie WHIRLS on him.
<b>                            DONNIE
</b>                       (angry)
                  Hey, buddy--what the fuck are you
                  selling?
<b>                            HOLLMAN
</b>                  I'm sorry--I thought I recognized
                  you.
<b>                             DONNIE
</b>                        (to Lefty)
                  Get a load of this g uy. The
                  oldest fucking scam in the book.
                  Pretend you recognize someone and
                  meanwhile his partner here takes
                  your w allet, (t o Wife) He fuck
                  you, honey, or does he just
                  thieve with you?
<b>                            HOLLMAN
</b>                  That's my wife.
<b>                            MRS. HOLLMAN
</b>                  C'mon, honey.
<b>                            DONNIE
</b>                  Hah? with his fucking pencil
                  prick?
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                               79.
</b>
<b>69   CONTINUED:    (3)
</b><b>                            HOLLMAN
</b>                       (ironic)
                  My mistake.
     She draws him away. They move toward the terminal.
<b>                             DONNIE
</b>                        (after them)
                  'Cause if he ain't fucking you,
                  honey, coine up to First Class.
                  We got two toilets up there.
     Calvino gives the bag to a REDCAP. Looks in his wallet.
<b>                            DONNIE
</b>                  Fucking guy pissing up my leg.
<b>                              LEFTY                  .
</b>                  Relax. You're gonna bust a blood
                  vessel.
<b>                              DONNIE
</b>                  You can't even go to the fucking
                  airport any more without some
                  fucking Hare Krishna or somebody
                  puts his hand in your pocket.
<b>                            CALVINO
</b>                       (to Lefty)
                  You got change for a twenty?
     Lefty takes the twenty, gives the REDCAP two dollars. KEEPS the
     twenty.
<b>                              LEFTY
</b>                  Send the tickets for me and
                  Donnie. We'll come back down in
                  a month.
<b>                              CALVINO
</b>                  Sounds good to me. (about the
                  twenty^ 5ey Left'--
     But Lefty's already on his way inside. Donnie lingers a beat.
<b>                             CALVINO
</b>                  I wanted change from a twenty.
                  He took the twenty--
<b>                              DONNIE
</b>                         (sotto)
              You ever call me Joe again I'll
              cut your throat.
<b>                                                   CUT TO:
</b><b>
</b><b>                                                                80.
</b>
<b>70   INT. NIGHT.    PISTONE HOME--MINNESOTA
</b>     The door unlocks, and Donnie tiptoes into the house. The middle of
     the night. Goes into the kitchen for a snack. Opens the
     refrigerator.
<b>     A BIRTHDAY CAKE
</b>     half-eaten, with the elided legend, "HAPPY SWEET SIXTEEN, TERRY." He
     missed the party.
<b>                           DONNIE
</b>                Shit.
<b>                                                  CUT TO:
</b>
<b>71   INT. NIGHT.   TERRY'S ROOM
</b>     Terry lies awake. A shaft of light hits her face as Donnie opens the
     door.
<b>                          DONNIE
</b>               Terry ? You awak e?
<b>                           TERRY
</b>               Yeah.
     Donnie goes to her. Sits on the bed.
<b>                           DONNIE
</b>               I ' m sorry I missed your party.
<b>                         TERRY.
</b>               It's okay. Uncle Bob flew in.
<b>                          DONNIE
</b>               I ' m not the kind of guy that
               breaks his promises.
<b>                           TERRY
</b>               That's what Mom said.
<b>                          DONNIE
</b>               I'm sure that's only part of what
               Mom said.
<b>                         TERRY
</b>               That's between you two.
<b>                             DONNIE
</b>               W ha t' d s he sa y-- sh e w an ts a
               divorce? That's just her way of
               blowing off steam.
<b>                          TERRY
</b>               She was worried something
               happened to you.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                               81.
</b>
<b>71   CONTINUED:
</b><b>                          DONNIE
</b>                Nothing's gonna happen to me,
                Terry. Nothing's gonna happen to
                us -- I won't le t it. Okay ?
<b>                          TERRY
</b>                Look, I understand. It's your
                job.
<b>                          DONNIE
</b>                I ' m doing the right thing. I
                know i t's a sac rifice. It 's the
                same thing I always tell you kids --
                do your best, work hard, never
                quit. That's how I live my life.
                I just had no way of knowing it
                would go this far.
<b>                          TERRY
</b>                It was just a birthday party,
                D ad. You d on't have to go
                through this big apology.
<b>                          DONNIE
</b>               You're getting grown-up now. I
               want you to understand.
<b>                          TERRY
</b>               Half the kids in school don't
               have fathers.
<b>                          DONNIE
</b>               You have a father, Terry.
<b>                          TERRY
</b>               That's not what I meant.
<b>                          DONNIE
</b>               Maybe I'm not there for the good
               times, but I'm there if you need
               me.
<b>                          TERRY
</b>               I know that, Dad.
<b>                         DONNIE
</b>               It's just another six months.
     "Another six months." That phrase. Like a knife in her heart.
<b>                         TERRY
</b>               Whenever. It's no big deal.
<b>                         DONNIE
</b>               Come here. Give me a hug.
     Terry sits up, hugs her f ather. St ruggles ag ainst the tears. An d
     loses.
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                   82.
</b>
<b>71   CONTINUED:     (2)
</b><b>                                 TERRY
</b>                          (so bb in g)
                  I ha te yo u. I' m so rry . I h at e
                  you so much.
     He takes this like a blow. Hugs her tighter.
<b>                                                     CUT TO:
</b>
<b>72   INT. M ORNING.       PISTONE HO ME
</b>     Donnie convenes a FAMILY MEETING over breakfast. Terry, Kerry and
     Maggie sit, sullen, around the kitchen table. Sherry runs down the
     stairs, sits down.
<b>                           SHERRY
</b>               Sorry I ' m late.
<b>                               DONNIE
</b>               Okay. I called this family
               meeting because there's something
               we have to t alk a bout. I kn ow
               what I'm doing involves a lot of
               sacrifice from everyone, but this
               is something patriotic for the
               country that you can all be proud
               of.
                    (beat)
               I called the meeting because
               we're gonna have to move.
<b>                              TERRY
</b>                  I ' m not moving.
<b>                               DONNIE
</b>               This isn't a democracy, Terry.
               This is a dictatorsh ip. And
               that's my decision. It's getting
               too dangerous.
<b>                          MAGGIE
</b>               Well, I don't want to move
               eithe r, Joe. Mo ve where?
<b>                               DONNIE
</b>               There's too many people here who
               know us.
<b>                         MAGGIE
</b>               Those people are known as
               'friends,' Joe. You told me when
               we started this that we'd be
               moving back close to the family.
               That was the deal.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                 83.
</b>
<b>72   CONTINUED:
</b><b>                            DONNIE
</b>                  We're moving to Minnesota and
                  changing our name to 'Anderson'.
                  That's the deal. It's done.
<b>                            SHERRY
</b>                  'Anderson'? Yeeccch..
<b>                            TERRY
</b>               Fuck that. I ' m staying here.
               I'll live with Kenny.
<b>                          DONNIE
</b>               That language is unacceptable,
               y oung lady . You sit down.
     Terry gets up, walks out. Maggie gets up, too.
<b>                            MAGGIE
</b>                  Well, Mr. 'Anderson', you've
                  topped yourself. Where'd you get
                  that name-- 'Father Knows Best'?
<b>                            DONNIE
</b>                  Where are you going? Don't you
                  want to discuss this?
<b>                            MAGGIE
</b>               Apparently there's nothing to
               discuss. I'm going to get the
               mail.
<b>                         KERRY
</b>               What about our friends?
<b>                         DONNIE
</b>               You'll make new friends.
<b>                          SHERRY
</b>               We're not in the FBI, Dad.
<b>                           DONNIE
</b>               Minnesota's great. Lakes and
               everything. We can get a nice
               piece of land there. Maybe we
               can even get a horse.
     Maggie comes back inside, reading the MAIL. Flips a letter to
     Donnie.                 ·      ~
<b>                           MAGGIE
</b>               You know the US government? The
               one you're doing this patriotic
               work for, that we can all be
               proud of?
<b>                         DONNIE
</b>               What's this?
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                         84
</b>
<b>72   CONTINUED:     (2)
</b><b>                            MAGGIE
</b>                  The IRS. We got audited.
<b>                                                           CUT TO:
</b>
<b>73   EXT. DAY.     TAMPA HARBOR
</b>     A magnificent hand-built 75-foot motor yacht docked at the marina.
     Lefty BEAMS, arms folded in satisfaction, beside Donnie. Sonny,
     Nicky, Boobie and the girls arrive, carrying COOLERS. They marvel at
     the boat.
<b>                            NICKY
</b>                  Left, that's some fucking boat.
<b>                            SONNY
</b>                  Cozz'. that's beautiful.
     Judy gives Lefty a kiss. He blushes.
<b>                               LEFTY
</b>                  Sonny--lookit what the name is.
                  That's like my name.
     Sonny looks at the stern. Emblazoned across it:
<b>     "THE LEFT HAND"
</b><b>                            SONNY
</b>                  That's some fucking irony, ain't
                  .it?
<b>                               LEFTY
</b>                  That's hand-built in Taiwan, that
                  boat.
<b>                            BOOBIE
</b>                  What is that, half a million?
<b>                               LEFTY
</b>                  Fuggedaboudit. There's one thing
                  I know, it's boats. This'8 gotta
                  be a million dollars, this boat.
                         (gestures toward boat)
                  G o ah e ad . G et co m fo rt a bl e . I' m
                  gonna wait for the man.
     Sonny and the others head toward the boat. Lefty turns to Donnie.
<b>                               LEFTY
</b>                 Can y ou im agine this ? I' m gon na
                 sit down with the boss . Rem ember
                 that day when we were freezing
                 our nuts off, watching all of
                 them going to sit down with the
                 boss?                                <
<b>                                                           (CONTINUED)
</b><b>
</b><b>                                                                85.
</b>
<b>73   CONTINUED:
</b><b>                               DONNIE
</b>                  Sonny Red and all them big
                  puffers.
<b>                               LEFTY
</b>                  In New York I never sat down with
                  t he boss in my life. This was a
                  great idea I had, Florida.
<b>                               DONNIE
</b>                  Hey, Left.
     Donnie nods toward the parking lot. Lefty looks, sees a LINCOLN TOWN
     CAR pull up.
<b>                            LEFTY
</b>                  That's him. That's Trafficante.
     Lefty jogs up the dock as STEVE DISALVO, 40s, Trafficante's ENFORCER,
     emerges from the Lincoln.
<b>                          DISALVO
</b>               You Lefty?
<b>                            LEFTY
</b>                  Nice to meet you, Mr.
                  Trafficante.
<b>                            DISALVO
</b>                  This's Mr. Trafficante.
     Lefty turns as SANTO TRAFFICANTE, 70s, a feeble old man with a pork
     pie hat, is helped from the car by his entourage of FLORIDA WISEGUYS.
     He and Lefty shake hands.
<b>                            LEFTY
</b>                  That's the boat I arranged for
                  you, Mr. T raffi cante . We got a
                  full bar, every kind of music,
                  telephone, everythin g. You wa nt
                  anything-- anything you want--you
                  just ask Lefty.
     Trafficante peers down the dock through thick prescription
<b>     SUNGLASSES.
</b><b>                            TRAFFICANTE
</b>                  Which one's Sonny Black?
<b>                                                FLASH CUT TO:
</b>
<b>74   INT. NIGHT.     FBI
</b>     Hogue looks at large color SURVEILLANCE PHOTOS of "The Left Hand" as
     it tools around Tampa harbor. As the party progresses, Sonny Black
     and Trafficante split off and move to the bow. Then Donnie joins
     Sonny and Trafficante. Sonny introduces them...
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                       86.
</b>
<b>    74   CONTINUED:
</b><b>         OVER THIS
</b>         taped dialogue from the group in the stern, with seagulls, surf, and
         the sounds of a party...
<b>         C LOSE ON-- HOGU E
</b>         as his face turns grim...
<b>         H OL D ON-- SU RVE IL LA NCE P HOT O
</b>         as Donnie shakes hands with Trafficante.
<b>                                     HOGUE
</b>                      An FBI man shaking hands with the
                      boss o f Florida ? Did it e ver
                      occur to anyone that that is
                      simply not possible?
<b>                                 JULES
</b>                      Score one for our side.
<b>                                     HOGUE
</b>                      What makes you so sure he's on
<b>                                                                        .
</b>                      our side?
<b>·
</b><b>                                                       FLASH CUT TO:
</b>
<b>75       EXT. THE PAST.       BOAT
</b>         Sonny and Donnie stand in the bow, look out over the water.
<b>                                   SONNY
</b>                     You can live your life like a man
                     d own here. I bet if you took m y
                     blood pressure right now it'd be
                     down o ne hundre d per cent . Sonny
                     Red's got Jersey and we got
                     Florida, and Florida's better
<b>                                                            '
</b>                     than Jersey, right?
<b>                                DONNIE
</b>                     He can stick Jersey up his ass.
<b>                                   SONNY
</b>                     This is a great idea I had,
                     Florida.
<b>                                   DONNIE
</b>                     Once Lefty arranged it with
                     Trafficante--
<b>                                   SONNY
</b>                     Fuggedaboudit. What Lefty don't
                     understand is guys like
                     Trafficante, their day is done.
                                (more)
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                87.
</b>
<b>75   CONTINUED:
</b>                            SONNY (Cont'd)
                  A 70 year old brain can't compare
                  with guys like us, because where
                  he's got like 20 more years
                  experience .in his day, we got 50
                  more years in our day. And we're
                  l iving in our day. C apeesh?
<b>                            DONNIE
</b>                  Simple arithmetic.
<b>                            SONNY
</b>                  Lik e wit h jea ns, who h ad th e
                  idea with ^eans and now look how
                  much money they're making?
<b>                              DONNIE
</b>                  Some young guy.
<b>                            SONNY
</b>                  Lefty's a dynamite-guy, no
                  q uesti on. But y ou kn ow, t he
                  thing with him is. . . he's trying
                  to help you but he hurts you. He
                  gets those two or three wines in
                  him...
<b>                            DONNIE
</b>                  You just gotta take it with a
                  grain of salt.
<b>                         SONNY
</b>               The books open up in December,
               I'm gonna propose you. You know                         <
               what that means?
<b>                            DONNIE
</b>               Fuggedaboudit. Be a made guy?
               That would be unbelievable.
<b>                            SONNY
</b>               What I'm saying is this. You
               don't have to report to Lefty no
               more. From now on you can report
               to me.
<b>     CLOSE ON--DONNIE
</b>     as he calculates the advantages and dangers of his new offer...
<b>     IN THE STERN
</b>     Lefty broods, nurses a spritzer. Watches Donnie with eyes full of
     anger and resentment. Boobie sidles up to him.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                 88.
</b>
<b>                   (2)
</b><b>75   CONTINUED:
</b><b>                             B OO BI E
</b>                  Can I ask you something? Did you
                  get this boat or did Donnie get
                  this boat?
<b>                            LEFTY
</b>                  Some broad down here he used to
                  know, it belongs to her brother.
<b>                            BOOBIE
</b>                  He knows a lot of broads, Donnie.
<b>                            LEFTY
</b>                  If Donnie had a dollar for every
                  broad of all his broads, he could
                  buy the fucking boat himself.
<b>                            BOOBIE
</b>                  If Donnie's got so many broads,
                  how come we never seen none of
                  them?
<b>                            LEFTY
</b>                  He uses them broads like Kleenex.
                  He won't spend a dollar to take
                  a lady out.
     Boobie drinks, takes a beat.
<b>                            BOOBIE
</b>                  You ever notic   e Donnie'11 buy
                  guns from you,    if you're offing
                  guns, but you    never see him be
                  the one offing    guns?
     Lefty thinks a beat.
<b>                                                       CUT TO:
</b>
<b>76   INT. NIGHT.     TAHITIAN
</b>     Donnie takes off his cowboy boots. Takes the Nagra out of his boot
     Rewinds the tape. Plays it.
<b>                            DONNIE (O.C.)
</b>                  I just got some things I gotta
                  take care of, back in the city.
<b>                            SONNY (O.C.)
</b>               When you come back, you represent
               me in Florida.
     He SNAPS it off. Hides it back in his cowboy boot.
<b>                                                    CUT TO:
</b><b>
</b><b>                                                                89.
</b>
<b>77   INT. DAY.     LAGUARDIA AIRPORT
</b>     Donnie and Lefty wait with the crowd at the BAGGAGE CAROUSEL.
<b>                            LEFTY
</b>                 I'm telling you, it's good to be
                 back in New York. That fucking
                 Florida baked everybody's brain.
                 when Sonny gets out of the
                 fucking sun he's gonna realize
                 what a miserable fucking idea you
                 had.
<b>                           DONNIE
</b>                 How long's he gonna stay down
                 there?
<b>                            LEFTY
</b>                 Do I know? (resuming) I never
                 saw so many old people in my
                 life. Who the fuck wants to go
                 to Florida? Sometimes you are
                 one stupid cocksucker, Donnie.
     Donnie FLARES at the word "cocksucker." :
<b>     THEIR POV
</b>     as Lefty's SUITCASE moves toward them. Donnie doesn't budge.
<b>                            LEFTY
</b>                 Donnie--that's my bag, Donnie.
                 Don nie --
<b>                            DONNIE
</b>                 Nobody calls me cocksucker.
                 Understood?
<b>                           LEFTY
</b>                 You get that fucking bag.
<b>                           DONNIE
</b>                 I'm not getting it.
<b>                           LEFTY
</b>                 Pick it up.
<b>                           DONNIE
</b><b>                 NO.
</b><b>                           LEFTY
</b>                 Pick up the fucking bag.
<b>                            DONNIE
</b>                 No fucking way, Left.
<b>                           LEFTY
</b>                 Don't think you got the wood over
                 m y ey es, D onnie . I w atch you '
                 siding up to Sonny Black.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                        90,
</b>
<b>77   CON TINUED:
</b><b>                             DONNIE
</b>                   That's got nothing to do with it.
<b>                             LEFTY
</b>                   Now you're on your fucking high
                   horses.
<b>                               DONNIE
</b>                   I got no fucking loyalty to Sonny
                   Black. That ain't the issue.
<b>                              LEFTY
</b>                        (off bags)
                   Donnie--that's the other one!
<b>                              DONNIE
</b>                   Nobody calls me cocksucker.
<b>                             LEFTY
</b>                   For your information I'll call
                   you whatever the fuck I want. I
                   call you cocksucker. I call you
                   motherfucker. I call you, uh,
                   uh...
     Other PASSENGERS start to clear them a wide berth...
<b>                               DONNIE
</b>                   You're the fucking cocksucker.
                   H uh? Yo u f uck ing coc ksu cke r--h ow
                   does it feel?.
<b>                               LEFTY
</b>                   Fuck. My fucking knife's in the
                   bag.
     Lefty's chases after the suitcase...
<b>                               DONNIE
</b>                   Go ahead, Left. Fucking whack
                   m e . S t a b m e. R ig h t i n th e
                   fucking baggage claim.
<b>                             LEFTY
</b>                   You pick up that bag, Donnie.
<b>                               DONNIE
</b>                   Whack me! Because you know what?
                   You make me so fucking mad I'm
                   gonna whack you and then I'm
                   gonna get whacked for whacking
                   you anyway!
<b>                               LEFTY
</b>                   You can't call me cocksucker,
                   Donnie.
<b>                                                          (CONTINUED)
</b><b>
</b><b>                                                                 91 .
</b>
<b>                    (2)
</b><b>77   CONTINUED:
</b><b>                             DONNIE
</b>                   I ain't picking up the bag.
<b>                            LEFTY
</b>                  You pick it up.
<b>                             DONNIE
</b>                  I ain't.
<b>                            LEFTY
</b>                  You pick up that bag, Donnie.
<b>                                                  CUT TO:
</b>
<b>78   INT. LATER.     LAGUARDIA
</b>     Donnie and Lefty stand ALONE by the carousel, arms folded, as their
     suitcases go around.
<b>                                                  DISSOLVE TO:
</b>
<b>79   INT. NIGHT.     PISTONE HOME--MINNESOTA
</b>     Terry and Kerry and their new BOYFRIENDS make out on their parents'
     bed. Limbs writhing in adolescent lust. Then a RING...
<b>     THE LEFTY PHONE
</b>     by the bedside. They stop, watch it ring. Then Terry's hand MOVES
     toward the forbidden phone. This close...
<b>                             KERRY
</b>                  Terry1
<b>                                                  CUT TO:
</b>
<b>80   INT. NIGHT.    LEFTY'S APARTMENT
</b>     Lefty SLAMS the phone down. Sits with a huff in his chair. Louise
     brings him a spritzer.
<b>                            LOUISE
</b>                  Here you go, Bennie.
<b>                            LEFTY
</b>                  Did Donnie call today?
<b>                            LOUISE
</b>                  No. I don't know when's the last
                  time I heard from him. Is he out
                  of town?
<b>                             LEFTY
</b>                  Shut up, Louise.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              9 2.
</b>
<b>80   CONTINUED:
</b>     On Louise, hurt--Lefty doesn't talk to her that way. She exits.
     Lefty, frustrated, turns on the TV.
<b>                                                CUT TO:
</b>
<b>81   INT. NIGHT.   JAPANESE RESTAURANT
</b>     A Japanese MAITRE D' greets Sonny, Donnie, Nicky and Boobie at the
     door.
<b>                          MAITRE D'
</b>             . Good evening. Please step this
              way.
     The Maitre d' ushers them inside. Donnie lingers behind, NERVOUS...
<b>                          NICKY
</b>               My wife says it's very in,
               Japanese. She heard it on John
               Gambling. Very big now.
     The Maitre d' stops them.
<b>                         MAITRE D'
</b>               Please to remove your shoes.
<b>     DONNIE'S COWBOY BOOT
</b>     with the Nagra in it. The Maitre d' waits for Donnie's shoes,
     GESTURES...Donnie thinking fast...
<b>                          DONNIE
</b>               Get a load of this guy. (to
               Maitre d') How about you take off
               your fucking pants?
<b>                         NICKY
</b>              That's part of the thing of it,
              Donnie. You take off your shoes
              and sit on the floor.
<b>                        DONNIE
</b>              I'm not taking my shoes off for
              this guy.
<b>                        MAITRE D'
</b>              I'm afraid is necessary.
<b>                         S9NNY
</b>              C'mon, Donnie. Just take off
              your fucking shoes and let's eat.
<b>                         BOOBIE
</b>              What's the big deal?
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                        :       9.
</b><b>                                                                3
</b>


<b>81   CONTINUED:
</b><b>                            DONNIE
</b>                  Hey, Boobie, who won the fucking
                  war?                                  :
<b>                               SONNY
</b>                  Donnie--I ' m hungry and I ain't in
                  the mood.
<b>                            DONNIE
</b>                  I ain't doing it.
<b>                             SONNY
</b>                  Take off your fucking shoes or
                  I ' m gonna chop off your fucking
                  legs.
<b>                             MAITRE D'
</b>                  Is house rule.
<b>                            DONNIE
</b>                  I grew up an orphan because my
                  Dad took a fucking bullet in
                  Okinawa, and I'll lose my boot up
                  his fucking asshole before I'll           '
                  take orders from fucking Mr. Moto
                  here.
<b>                            MAITRE D'
</b>                  Is house rule.
<b>                            SONNY
</b>                  I wanna fucking eat, Donnie.
<b>                         MAITRE D'
</b>               Rule of house.
     The moment of truth.
<b>     DONNIE BLOWS
</b>     GRABS the Maitre d' and RAMS him through the doors of the MEN'S   ROOM.
<b>                                                  CUT TO:
</b>
<b>82   INT. MEN'S ROOM
</b>     Donnie and the Maitre d' go at it. . The little guy's game, quick and
     tough. Then the other SWA RM inside. And the MASSACRE b egins.
<b>     FISTS AND KICKS
</b>     crunch dow n on the Maitre d'. Donnie in with the m--EXCITED by the
     fray, the adrenaline RUSH. He KICKS the Maitre d' hard....The Mait re
     d' SCREAMS...
<b>                                                  CUT TO:
</b><b>
</b><b>                                                                   94.
</b>
<b>83   INT. THE PRESENT.      FBI
</b>     Hogue listens to the tape. . . Donnie's hard breathing...The Maitre d ' s
     screams...The THUDS of Donnie's kicks...
<b>                                                   FLASH CUT TO:
</b>
<b>84   INT. THE PAST.    MEN'S ROOM
</b>     Nicky takes a roll of quarters. Holds it in his fist, PUNCHES hard
     across the Maitre d's brow. Blood TORRENTS from the gash...Blinded
     by the blood, the Maitre d' swings wildly...
<b>     BOOBIE SLIPS
</b>     on the blood and falls into the PUDDLE. . . Sees the STAINS on his
     slacks...In a rage now...Boobie grabs a GARBAGE CAN, swings it at the
     Maitre d ' , who sinks in a heap, unconscious. The guys continue to
     KICK at him...
<b>     CLOS E ON--DO NNIE
</b>     as he backs away, APPALLED by the explosion of violence--and his part
     in it.
<b>                                                   FLASH CUT TO:
</b>
<b>85   INT. SAME TIME.      FBI
</b>     PHOTOS of the Maitre d ' , bloodied and bruised, taken at the hospital
     afterwards . Hogue i nspects th em.
<b>     OVER THIS
</b>     the tape plays...
<b>                            BOOBIE (O.C.)
</b>                 How many times I gotta tell you,
                 N ic ky ? T h e he a d bleeds like a
                 motherfucker.
<b>                            N ICKY ( O.C.)
</b>                 Try club soda. Sometimes that
                 works, club soda.
<b>                           BOOBIE (O.C.)
</b>                 Goddam Brioni suit.
<b>                            HOGUE
</b>                 This is what the FBI does?
                 You're telling me this is the
                 fucking FBI?
<b>                            BERADA
</b>                 You think Joe went over to the
                 other side?
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                 95.
</b>
<b> 85   CONTINUED:
</b><b>                             HOGUE
</b>                   I think that's a question worth
                   asking, don't you?
<b>                             BERADA
</b>                   Ask him the fuck yourself.
<b>                             HOGUE
</b>                   From everything we know what he
                   did is simply not possible. Then
                   you look at the guns and the
                   porno tapes and (with photos)
                   this. That is not the behavior
                   of an FBI agent. I listen to
                   those tapes and that is not the
                   speech of an FBI agent.
<b>                              JULES
</b>                   I ' m tired of defending what we
                   did. You're so sure he went over
                   the other side? Maybe we should
                   fucking arrest him.
<b>                            LEBOW
</b>                  We should pull him out, is what
                  we should do.
<b>                            JULES
</b>                  We don't even know where the fuck
                  he is, Clarence. Remember?
<b>                             BERADA
</b>                  Joe's a seducer. He seduced
                  them.
<b>                            HOGUE
</b>                  Well, maybe he fucking seduced
                  you.
<b>      THE CLOCK
</b>      on the wall reads "9:30." The phone RINGS. Jules grabs it. Listens
      a beat. Turns to the others.
<b>                            JULES
</b>                  The guy inside spotted Sonny
                  Black at the wedding. Donnze's
                  with him.
<b>                                                   CUT TO:
</b>
<b>86    INT. SAME TIME.    CHURCH HALL
</b>      FBI #2, in the guise of a BUSBOY, pours water. Keeps an eye on our
      guys at a remote table, amidst several hundred GUESTS.
i·        .                                         '
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               96.
</b>
<b>86   CONTINUED:
</b><b>     AT THE TABLE
</b>     Our guys, dour and nervous, sit with their wives. Donnie with a
     blonde BIMBO.
<b>                            SONNY
</b>                  What kind of a fucking table is
                  this? We're in fucking Siberia
                  with this table.
<b>     RED COWBOY BOOTS
</b>     approach beneath tuxedo pants. Sonny Red, accompanied by his son
     Bruno and Big Trin, claps Sonny Black on the back.
<b>                         SONNY RED
</b>               I heard you was down in Florida.
<b>                            SONNY
</b>                  Yeah, you know--take the sun. I
                  didn't want to come back.
<b>                            SONNY RED
</b>                  You got friends in Florida?
<b>                            SONNY
</b>                  They're very friendly down there,
                  the people.
     Sonny Red pinches Sonny's cheek.
<b>                            SONNY RED
</b>                  Nice color you got. Redl
     Bruno and Big Trin laugh uproariously. They move on as our guys look
     daggers their way.
<b>                             SONNY
</b>                  I gotta go to the John.
     Sonny gets up. All the guys get up with him. Follow Sonny to the
     John.
<b>     SONNY RED
</b>     watches them from his table. Then looks up.
<b>     SONNY RED'S POV
</b>     of the FBI "busboy" as he clears the salad dishes...Sonny Red
     whispers something to Bruno.
<b>                                                 CUT TO:
</b>
<b>87   INT. SAME TIME.    FBI HEADQUARTERS
</b>     Hogue turns to LeBow.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                 97.
</b>
<b>87   CONTINUED:
</b><b>                            HOGUE
</b>                        (covering phone)
                  You're sure the informant said
                  tonight?
<b>                             LEBOW
</b>                  The hit's going down tonight.
<b>                          JULES
</b>               In about two fucking minutes
               they're gonna start getting
               suspicious about that
              . surveillance van.
<b>                             HOGUE
</b>                        (to phone)
                  Anything from the guy inside?
<b>                           ' JULES
</b>               We have a guy inside, sir--Joe's
               the gu y inside. And clear ly he
               doesn't think there's a problem.
<b>                          LEBOW
</b>               He can't stay undercover forever.
               If it's not now, it's next week.
               Or next month.
<b>                          HOGUE
</b>                    (to phone)
               If they leave/ stay with them.
<b>                         JULES
</b>               Are you out of your fucking mind?
               A fucking New Jersey telephone
               repair van in the rear-view
               mirror all the fucking way to
               Brooklyn? Why don't you }ust put
               a bullet in his head?
<b>                                                   CUT TO:
</b>
<b>88   INT. SAME TIME.    BATHROOM
</b>     Boobie and Donnie enter first, hands ready by the guns in their
     cummer bunds. Ch eck all th e stalls. Nicky pos ts himself by the d oor
     and Sonny enters wi th Lefty. Sonny goes into the STALL. Cl oses the
     door behind him.
<b>                          NICKY
</b>               I heard the zips went in with
               Sonny Red.
<b>                         BOOBIE
</b>               The only ones in with us is us.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               98.
</b>
<b>88   CONTINUED:
</b><b>     VILE NOISES
</b>     emanate from the stall. The guys stand around, awkward, nervous,
     watching.
<b>                            LEFTY
</b>                  Christ, Sonny--what'd you eat for
                  lunch?
<b>                            SONNY
</b>               Judy.
     The guys LAUGH. Then FLINCH as the door OPENS. . . Hands at their
     guns...
<b>     PHILLY LUCKY
</b>     holds his hands up, palms up.
<b>                         PHILLY LUCKY
</b>               Where's Sonny?
     The toilet FLUSHES. Sonny eme rges. Look s to Phil ly Lucky.
<b>                            PHILLY LUCKY
</b>               Sonny wanted me to tell you--he
               wants to schedule a sitdown.
               Hash everything out.
<b>                                                 CUT TO:
</b>
<b>89   INT. LATER.    FBI HEADQUARTERS
</b>     Hogue looks at the clock: "11:10". Looks at Jules. Gets back on the
     phone.
<b>                          HOGUE
</b>                     (to phone)
               What's going on?
<b>                          TECH #1 (O.C.)
</b>               They're coming out.
<b>                                                 CUT TO:
</b>
<b>90   EXT. SAME TIME.    CHURCH HALL
</b>     Sonny hands his car keys to his wife.
<b>                           SONNY
</b>               You go hom e with Ir ene. We're
               going out bouncing.
                    (to Boobie)
               C'mon. We'll take your car.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                  99.
</b>
<b>90   CONTINUED:
</b>     His wife gives Sonny a perfunctory kiss on the cheek. She and
     Boobie's wife climb into Sonny's new Mercedes.
<b>                                                    CUT TO:
</b>
<b>91   INT. SAME TIME.      FBI HEADQUARTERS
</b>     Hogue covers the phone. Turns to the others.
<b>                            HOGUE
</b>                  They're putting the wives in a
                  separate car.
<b>                            JULES
</b>                  Just get that van out of there.
<b>                            LEBOW
</b>                  We just found him. Now you want
                  to unfind him?
<b>                            MARSHALL
</b>                  Seems like a false alarm, thank
                  God.
<b>                            LEBOW
</b>                  Tonight maybe it's a false alarm.
                  So tomorrow night he gets killed.
                  O r he kill s somebody --did you
                  ever think of that?
<b>                            JULES
</b>                  You make it sound like Joe's the
                  only one in danger from these
                  g uys-- eight million people in
                  the city of New York are in
                  danger from these guys. If they
                  walk away from this because we
                  don't have the cases they'll be
                  stronger than they ever were.
<b>                              MARSHALL
</b>                  You have to make a decision, sir.
<b>                            HOGUE
</b>                  I can't make a decision this wayl
                  It's fucking insanity!
<b>                            JULES
</b>                  You have to get that van out of
                  there. Just give me the phone.
<b>                            HOGUE
</b>                  It's my watch. It's my call.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                 100,
</b>
<b>91   CONTINUED:
</b><b>                             JULES
</b>                       (right back)
                  Then make the fucking call.
                  Either you trust him or you
                  don't. That's w hat it's a lways
                  been with this. Either you trust
                  Joe or you don't.
     Hogue thinks a long beat. Gets back on the phone.
<b>                             HOGUE
</b>                        (to phone)
                  Okay. Wrap it up and get out of
                  there.
<b>                                                  CUT TO:
</b>
<b>92   EXT. NIGHT.     CHURCH HALL
</b>     Sonny, Boobie, Lefty, Nicky and Donnie walk toward the cars. Lefty
     and Nicky split off toward Lefty's Cadillac.
<b>                             SONNY
</b>                  Donnie--ride with us.
     Nicky and Lefty climb into Lefty's Cadillac. Sonny, Boobie and
     Donnxe approache Boobie's Cadillac. Donnie reaches for the back
     door.
<b>                            SONNY
</b>                     (to Donnie)
               Why don't you sit in front?
     A sudden chord of TERROR plays up Donnie's spine. Donnie looks to
     Lefty for help...For some indication. . . But his eyes are DEAD. They
     all climb in Boobie's Cadillac.
<b>     THE SURVEILLANCE VAN
</b>         ulls away from the curb, drives off...Boobie pulls out of the lot in
     g   is Cadillac, drives off in the opposite direction.
<b>                                                  CUT TO:
</b>
<b>93   INT. SAKE TIME.     FBI HEADQUARTERS
</b>     Hogue BROODS as the FBI men roll down their sleeves> pull on their
     jackets, snap closed their briefcases...
<b>                            JULES
</b>                  I told you that wire was a
                  fucking fiction writer.
<b>                             LEBOW
</b>                  He's never been wrong before,
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                 101
</b>
<b>93   CONTINUED:
</b><b>                            HOGUE
</b>                  What exactly did the informant
                  say?
<b>                            LEBOW
</b>                  He said the hit's going down
                  tonight at the. wedding.
<b>                            HOGUE
</b>                  Did he say a hit on Sonny Black?
<b>                            LEBOW
</b>                  A hit . There's a war bet ween
                  Sonny Red and S onny Black --
                  they're both at the wedding--I
                  in ter pola ted th at--
<b>                            HOGUE
</b>               Who was this informant? Where -
               does his information come from?
<b>                          LEBOW
</b>               He's close to guys who are close
               to the guys in Sonny Black's,
               crew. He's very reliable.
<b>                          HOGUE
</b>               Goddamit1
     Hogue frantically dials the phone.
<b>                            LEBOW
</b>               What?
<b>                            HOGUE
</b>               Sonny Black's not the target.
               Sonny Black's the shooter!
<b>                         LEBOW
</b>               I just assumed---
<b>                            MARSHALL
</b>               Oh my God.
<b>                                                   CUT TO:
</b>
<b>94   INT. LATER.    BOOBIE'S CADILLAC
</b>     Boobie drives, Donnie beside him. The menacing QUIET of the open
     road. Past PROSPECT PARK...
<b>                            SONNY
</b>               Hey, Boob, remember how we used
               to run around here, when we was
               kids? We used to have running
               races. . .
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                 102.
</b>
<b>94   CONTINUED:
</b><b>                            BOOBIE
</b>                  I whipped your ass many a time.
                            SpNNY
                  Fuggedaboudit.
<b>                            BOOBIE
</b>                  When I raced wit'cha, it looked
                  like you're standing still.
<b>                            SONNY
</b>                  Oh, yeah? Pull over.
<b>                            BOOBIE
</b>                  Fuggedabouit. I whipped your
                  ass. Your day is done.
<b>                         SONNY
</b>               Pull over. We're gonna see whose
               day is done. C'mon, Donnie. You
               do the on the marks.
     Boobie pulls over. They pile out of the car.
<b>                                                   CUT TO:
</b>
<b>95   EXT. NIGHT.    PROSPECT PARK
</b>     Boobie and Sonny crouch at an imaginary starting line.
<b>                          SONNY
</b>               Okay. We're running to the
               fountain.
<b>                          BOOBIE
</b>               Okay.
<b>                         SONNY
</b>               You remember the fountain?
<b>                         BOOBIE
</b>               I remember the fountain.
<b>                          SONNY
</b>               Donnie--you do the 'on your
               marks'.
<b>                          DONNIE
</b>               On yo ur ma rk s. Ge t s et . Go!
     They JUMP off the line...RUNNING through the blackness... Sonny takes
     an early lead, but Boobie's leaner...Starts to pull away...Looks over
     at Sonny, GRINS...
<b>     DONNIE PEERS
</b>     into the darkness...Sees them DISAPPEAR into the trees.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                 103.
</b>
<b>95   CONTINUED:
</b><b>     SONNY AND BOOBIE RUN
</b>     huffing and puffing. . .They disappear into the darkness .. .And Donnie
     realizes that he's
<b>     ALONE IN THE DARK
</b>     Turning, around and around... A RAT with no place to hide...
<b>     THE RACE CONTINUES
</b>     Boobie looks over at Sonny, pulls away...
<b>     DONNIE IN TERROR
</b>     Adrenaline rushes through him. As 'he turns, and turns, and
     WAITS... For the bullet that will kill him...
<b>     BOOBIE RUNS
</b>     S onny yard s behind h im. Then Sonny STOP S. Reaches into his
     w aistb and. And pulls out
<b>     A PISTOL
</b>     Boobie running FREE in the night. . .Reaches the fountain, holds up his
     a rms in vic tory. Lea ns over, h ands on k nees, WHEE ZING. Turn s,
     smiling. And his smile FRACTURES.
<b>     DONNIE FLEES
</b>     Jogs a couple of steps to find some cover... Then hears
<b>     A DISTANT GUNSHOT
</b>     as it echoes through the park. Donnie crouches by reflex. From the
     shadows, a man STAGGERS toward Donnie -- it's Boobie, bleeding
     profusely from a head wound . . . Sonny chases him. ..The champagne POP!
     of more GUNSHOTS...
<b>     SONNY AIMS
</b>     fires... His .45 JAMS...
<b>                               SONNY
</b>                Fucking son of a bitch! Donnie,
                get 'iml
     Boobie STAGGERS, bleeding from three wounds now. . .Running toward his
     car... Donnie runs toward him. ..The CRUNCH of wet grass...
<b>     DONNIE TACKLES HIM
</b>     Boobie falls heavily... BLOOD belches out of his mouth...
<b>                               BOOBIE
</b>                Help me. . .
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                        104.
</b>
<b>95   CO N TI N UE D :     (2 )
</b>     Sonny catches up. Grabs his .45 by the barrel and savagely SMASHES
     Boobie in the head. A thick sound--like a melon falling off a shelf.
     Again and again...Blood EVERYWHERE... Donnie backs off, looks up, as
<b>     LEFTY ARRIVES
</b>     in his Cadillac. Nicky beside him. Sonny tosses Boobie's keys to
     Donnie.
<b>                                   SONNY
</b>                        Pull his car around, I think he
                        has a bag in the trunk.
<b>                                                          CUT TO:
</b>
<b>96   INT. LATER.           LEFTY'S APARTMENT
</b>     Lefty pours Donnie a Scotch. Sits down with a spritzer.
<b>                                  LEFTY
</b>                        He was holding out on him.
                        Fucking coke deal Boobie was
                        running down in Florida.
<b>                                  DONNIE
</b>                        Sonny found out about it?
<b>                                   LEFTY
</b>                    Do I still gotta school you after
                    w hatever fu cking yea rs? That's
                    the worst thing you could do to
                    a m an li ke So nny Black . You
                    could pull his cock before you
                    could take a dollar out of his
                    pocket.
<b>                                DONNIE
</b>                    How'd he find out?
<b>                                   LEFTY
</b>                    Who?                               -.           '
<b>                                   DONNIE
</b>                    Sonny.
<b>                                   LEFTY
</b>                    Why the fuck are you asking so
                    many fucking questions, Donnie?
<b>                                   DONNIE
</b>                    I don't know, Left. Boobie was
                    a friend, of all of us.
<b>                                 ' LEFTY
</b>                    Boobie wasn't no friend to you/
                    Donnie/ believe me.                       -
<b>                                                          (CONTINUED)
</b><b>
</b><b>                                                                  105.
</b>
<b> 96   CONTINUED:
</b><b>                             DONNIE
</b>                   What are you talking about?
<b>                               LEFTY
</b>                   Ain't nobody gonna give you a
                   pass no more, Donnie. You walk
                   on a chalk fucking line from now
                   on.
<b>      C LOSE O N--DONNI E
</b>      as he realizes that Lefty sold out Boobie to save him.
<b>                             DONNIE
</b>                   You told Sonny that Boobie was
                   holding out?
<b>                             LEFTY
</b>                   Ain't the question.
<b>                               DONNIE
</b>                   Because of me? What was Boobie
                   saying?
<b>                             LEFTY
</b>                   Ain't the question, Donnie.
      Lefty finishes his spritzer. Gets up to make another.
<b>                              LEFTY
</b>                   I don't know what made you think
                   I'd give you up. I had too many
                   fucking disappointments in my
                   l ife. Neve r in the f ucking en d
                   of the earth will I give you up.
<b>                                                    CUT TO:
</b>
<b>97    INT. NIGHT.     DONNIE'S APARTMENT
</b>      Donnie holds the Nagra in his hand. The SOUNDS of the murder as it
      plays. . . .
<b>                                BOOBIE (O.C.)
</b>                          (on tape)
                   Help me. . .
      Then the CRUNCH as Donnie tackles him. Donnie rips the tape out of
      the Nagra, throws it in the sink. BURNS it.
<b>                                                    CUT TO:
</b>
<b>98    INT. DAY.     THE MOTION LOUNGE
</b>      Donnie watches "The Today Show" on the TV over the bar. The guys
      plan gin.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                    106.
</b>
<b>98   CONTINUED:
</b><b>                              JOHN PALMER (O.C.)
</b>                  . . . I n other news an FBI sting has
                  resulted in the arrests of over
                  100 state and Federal
                  officials...
<b>     ON THE SCREEN
</b>     Surveillance images of FBI "SHEIKS" dressed in flowing caftans...Then
     the image cuts to VIDEO of the same "sheiks" partying with
     CONGRESSMEN on a docked YACHT...
<b>                                 PALMER (O.C.)
</b>                  . . . Known as ABSCAM, it was the
                  largest such operation in the
                  Bureau's history...
     Donnie peers more closely at the TV.
<b>     CL OS E ON --T HE S TE RN
</b>     with the name "The Left Hand" emblazoned on it.
<b>                         SONNY
</b>               Donnie, pull up a chair.
     Donnie takes a last look at the TV. Joins Sonny, Nicky and Lefty at
     the card table as Nicky shuffles the cards.
<b>                          NICKY
</b>                     (to Donnie)
               You know how to keep score?
     A moment of recognition that
<b>     BOOBIE'S GONE
</b><b>                                                      CUT TO:
</b>
<b>99   EXT. DAY.     PISTONE HOME
</b>     Donnie mows the grass. Row after precise row. RAKES the clippings
     into identical, evenly spaced PILES. Fills up TRASH BAGS, piles them
     neatly on the curb.
<b>     IN THE DRIVEWAY
</b>     A STA TION WAGON parked n ext to Mag gie's CORV ETTE. Don nie notice s
     that the station wagon is filthy. RUNS a finger through the dirt on
     the hood.
<b>     DONNIE CLEANS
</b>     the pile of TRASH in the well of the car--McDonald's wrappers, Tampax
     wrappers, a copy of Mademoiselle, a lipstick, a basketball.. DUMPS
     it. Pulls out the ASHTRAY. Something that makes him suspicious...
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                       107.
</b>
<b> 99   CONTINUED:
</b><b>      DONNIE RUBS THE ASHES
</b>      between his fingers. RECOGNITION. . .He DIGS into the space between
      the se ats. Fin ds a quart er. A pape r clip. A nd then:
<b>      A SEED
</b><b>                                                         CUT TO:
</b>
<b>100   INT. DAY.    PISTONE HOME
</b>      Terry stumbles down the stairs in her bathrobe, half -asleep. She
      hears Donnie CRASH inside, and something tells her it's about her.
      ABOUT FACE into the bathroom...
<b>      IN THE LIVING ROOM
</b>      Donnie hears the bathroom door upstairs CLICK, locked. Turns as
      Maggie enters from the kitchen.
<b>                           DONNIE
</b>                Where's Terry? She still asleep?
<b>                            MAGGIE
</b>                  I think so. What's the matter?
<b>                              DONNIE
</b>                  As lee p. Perf ect . A sle ep at 1 2
                  noon. It all fits the profile.
<b>                              MAGGIE
</b>                  What profile? Joe, you're
                  scaring me.
<b>                            DONNIE
</b>                  The twelve warning signs. Our
                  daughter Terry is a drug user.
<b>      INSIDE THE BATHROOM
</b>      Terry listens by the door.
<b>                           TERRY
</b>                Shit.
<b>      BACK--IN THE LIVING ROOM
</b>      as Donnie counts off the "warning signs" of drug addiction.
<b>                             DONNIE
</b>                  Oversleeping. Short attention
                  span. Hostility to authority.
                  B in g e e at i n g--
<b>                             MAGGIE
</b>                That would apply to every
                teenager in America.
<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                  108,
</b>
<b>100   CONTINUED:
</b><b>                             DONNIE
</b>                   Don't tell me my business. Do
                   you know what this is?
      He holds out the marijuana seed. Maggie peers at it.
<b>                             DONNIE
</b>                   This is a marijuana seed.
<b>                             MAGGIE
</b>                   Where did you find that?
<b>                             DONNIE
</b>                   Maggie, I am an FBI agent.
                   That's who I am. I am out there
                   risking my life, 18, 20 hours a
                   day, weekends, Christmas--
<b>                             MAGGIE
</b>                   You don't have to tell me, Joe.
<b>                           DONNIE
</b>                Well, what do you think     I ' m doing
                it for? I am spending      my life to
                put away the guys that     make money
                off this shit, and I'm      damned to
                hell if I ' m gonna have    it in my
                house.
<b>                             MAGGIE
</b>                You know, Jules called me this
                wee k. Do you know they 're
                looking for you?
<b>                           DONNIE
</b>                Don't change the subject.
<b>                             MAGGIE
</b>                I'm not changing the subject.
                You're the subject, Joe. You're
                becoming like them.
<b>                          DONNIE
</b>                I'm not the fucking pothead.
<b>                          MAGGIE
</b>                You don't see it.
      Donnie turns, heads up the stairs, Maggie following.
<b>                            DONNIE
</b>                Geddadaheah. Go weigh yourself
                or something. Sleeping Beauty
                and I are going out to the
                woodshed.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                     109.
</b>
<b>                     (2)
</b><b>100   CONTINUED:
</b><b>                               M A GG I E
</b>                   In my next life I ' m gonna marry
                   a Jewish doctor.
<b>                               DONNIE
</b>                   In the fucking car that I make
                   the payments on, in the fucking
                   driveway of the house that I pay
                   the fucking mortgage on--a goddam
                   m ar i ju an a s e ed --
<b>                                  MAGGIE
</b>                           (defiant)
                   How do you know it isn't mine?
      Donnie stops a beat. RAGE drumming up inside him, rage that
      CRESCENDOES as he
<b>      SMACKS HER BACKHAND
</b>      Sh e l ooks up at hi m. Not hur t. But de vast ate d. Don nie mov es to
      comfort her, to apologize...Maggie
<b>      SMACKS HIM BACK                                                           \· .
</b>      Then storms out of the house. Donnie BROODS, looks up to the landing
      as Sherry and Kerry come out from their rooms. From outside, SOUNDS
      of Maggie as she SLAMS into her Corvette and zooms out of the
      driveway, engine ROARING and tires SQUEALING...
<b>                                                     SMASH CUT TO:
</b>
<b>101   INT. DAY.     HOSPITAL
</b>      Donnie BANGS through swinging doors, past ORDERLIES in white coats,
      his face tight with anxiety, his skin green in the cold fluorescent
      light.
<b>      AT THE DESK
</b>      He bulls past two waiting GUESTS, accosts the NURSE.
<b>                               DONNIE
</b>                I'm looking for my wife. Mrs.
                An der son. Ma ggi e A nde rson . S he
                was i n an accid ent? I'm h er
                husband.
      The Nurse gives him a form on a clipboard.
<b>                               NURSE
</b>                   Here you go. You're Mr.
                   Anderson?
<b>                              DONNIE
</b>                   Where is she?
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                 110,
</b>
<b>101   CONTINUED:
</b><b>                             NURSE
</b>                   Only the immediate family is
                   allowed in ICU. Do you have a
                   driver's license?
      He gives her his driver's license.
<b>                             DONNIE
</b>                   Is she okay?
<b>                             NURSE
</b>                   Excuse me. This says, 'Donald
                   Brasco'.
<b>                             DONNIE
</b>                   Christ. Let me just see her.
                   She'll tell you who I am.
<b>                          NURSE
</b>                We can't do that.
<b>                             DONNIE
</b>                   If I could see her we could clear
                   this whole thing up.
<b>                              NURSE
</b>                   I ' m sorry, sir. We need proof of
<b>                   ID.
</b><b>                           DONNIE
</b>                I need ID to see my fucking wife?
                I ' m her husband1 Who the fuck
                else would I be?
      A DOCTOR, cold-blooded, 30s, arrives.
<b>                          DOCTOR
</b>                Mr. Anderson?
<b>                                                   CUT TO:
</b>
<b>                     X-RAY ROOM
</b><b>102   INT. NIGHT.
</b>      The DOCTOR shows Donnie the X-rays.
<b>                             DOCTOR
</b>                Collapsed lung. Broken wrist,
                collarbone. ^Multiple lacerations
                from the glass. The most serious
                injury was from her contact
                lenses-- they smashed into her
                corneas. They're torn up pretty
                badly. She may lose an eye.
<b>                           DONNIE
</b>                Can't I see her?
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                  11
</b><b>                                                                   1.
</b><b>102   CONTINUED:
</b><b>                             DOCTOR
</b>                   We'll see if she stabilizes in a
                   couple of hours.
<b>                                                    CUT TO:
</b>
<b>103   EXT. LATER.     WAITING ROOM
</b>      Donnie sits, anxious. The girls sit alongside him.
<b>                             KERRY
</b>                   We had a family meeting, Dad.
                   You have to quit.
<b>                              DONNIE
</b>                   Look, Mom's gonna be okay.
<b>                              TERRY
</b>                   This isn't a democracy. This is
                   a dictatorship.
<b>                             KERRY
</b>                   A dictatorship of us.
<b>                                  DONNIE
</b>                   I know how you're feeling. But
                   i t ' s j u s t--
<b>                             SHERRY
</b>                   Just another six months.
<b>                              DONNIE
</b>                   Maybe just a few more weeks.
<b>                             KERRY
</b>                Forget it, Dad. It's the job or
                us.
<b>                          TERRY
</b>                End of discussion.
      Kerry stares hi m down. Te rry looks away. Don nie puts h is arm ar ound
      her . She shru gs i t off .
<b>                                                   CUT TO:
</b>
<b>104   INT. NIGHT.     INTENSIVE CARE
</b>      Maggie lies in bed, eyes BANDAGED, her face a web of GASHES. Wrist
      in a cast. A thick TUBE runs from a LUNG MACHINE into her mouth.
      Donnie takes her hand. She holds his HARD.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                    112.
</b>
<b>104   CONTINUED:
</b><b>                              DONNIE
</b>                   The doctor says you    're    gonna be
                   okay. We j ust have     to    get you
                   into rehabilitation     as    soon as we
                   can. You'll be as      goo   d as new
                   before you know it.
      The lung machine whirs and wheezes...
<b>                              DONNIE
</b>                 Maggie, listen to me, Maggie,
                 because this is what it is. The
                 minute I come out from under all
                 these guys I ' m with, they will
                 all be killed--because of me.
                 Because they trusted me.
                       (beat)
                 I gotta go back.
      Maggie pulls her hand back. Turns away from him. He can tell she's
<b>                                     .     .
</b>      not buying.
<b>                            DONNIE
</b>                 I have a chance here to become a
                made guy--an FBI agent a made guy
                 in th e Mafia. I t's gonna happen
                 the en d of the year. And then
                 I'll come out. Then it'll all be
                o ver. You' ll ha ve me for the
                 rest of your life.
      Maggie waves him away. Turns away from him. A NURSE enters and
      Donnie, with sadness but no regrets, exits.
<b>                                                         CUT TO:
</b><b>                                                                (
</b>
<b>105   INT. NIGHT.    LAGUARDIA AIRPORT
</b>      Donnie dials at a pay phone, cradles the receiver while it rings.
<b>                           DONHIE
</b>                Louis e? It's Do nnie.
<b>                                                         CUT TO:
</b>
<b>106   INT. NIGHT.    LEFTY'S APARTMENT
</b>      Louise on the phone in the kitchen.
<b>                             LOUISE
</b>               W h a t is i t -- Tu e s d a y? I h av e n ' t
               seen him since Sunday. I thought
               he was with you.
<b>                                                         CUT TO:
</b><b>
</b><b>                                                                  113.
</b>
<b>107   INT. SAME TIME.    AIRPORT
</b>      Donnie pumps a quarter into the pay phone. Bursey picks up at the
      other end.
<b>                          BURSEY (0.C.)
</b>                Hello, Bursey.
<b>                          DONNIE
</b>                Look, I think that sitdown's
                tonight. I can't find Lefty.
<b>                          BURSEY (O.C.)
</b>                Why didn't you go?
<b>                          DONNIE
</b>                Only made guys can go to a
                s itdown.
<b>                          BURSEY (O.C.)
</b>                So what do you want me to do?
<b>                          DONNIE
</b>                I don't know. Listen to me--I ' m
                worried.
<b>                                                    CUT TO:
</b>
<b>108   EXT. NIGHT.   BIG TRIN'S HOUSE
</b>      Big Trin drives Philly Lucky, Sonny Red and Anthony Bruno in his big
      Lincoln.
<b>                            S9NNY RED
</b>                All my fucking life I hadda be
                S onny Red. Sonn y Red and Sonny
                Bla ck . I g ot up pe d. Th en he g ot
                upped . Fin ally the n ight has
                come. Tomo rrow morni ng I can
                j u st be ' S on n y' . N ot Re d. Th e
                one and only. 'Sonny'.
<b>                            BRUNO
</b>                Where you got the guns?
<b>                          BIG TRIN
</b>                Relax. They're in the basement.
<b>                          BRUNO
</b>                The basement of your house?
<b>                            BIG TRIN
</b>               Hey, Sonny, my jacket's losing
               its crease. Will you tell your
               kid to stop breathing on me?
<b>                         BRUNO
</b>               I wanna get there in time to set '
               up.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                           114.
</b>
<b>108   CONTINUED:
</b>      Big Trin pulls into his driveway.
<b>                                SONNY RED
</b>                   The sitdown's in two hours. I
                   waited my whole life, Bruno, you
                   can wait two hours.
      They climb out of the car. Philly Lucky stays put.
<b>                             BIG TRIN
</b>                   What the hell's wrong with you?
<b>                                PHILLY LUCKY
</b>                   I ain't going in your fucking
                   basement. You got spiders all
                   over that basement.
<b>                                BIG TRIN
</b>                   He's scared of spiders. What a
                   piece of work.
<b>                                PHILLY LUCKY
</b>                   Leave me the keys. I wanna play
                   the radio.
      Big Trin flips him the keys.
<b>      TWO WOODEN DOORS
</b>      alongside the house, leading down into the basement. With a groan,
      Big Trin b ends, pul ls them op en. Flips a LIGHT S WITCH. On. Off.
      Nothing.
<b>                            _ BIG TRIN
</b>                   S h it . Bu lb m us t be o ut . W at ch
                   your step.
      Sonny Red and Anthony Bruno follow him down...
<b>      INSIDE THE CAR
</b>      Philly Lucky starts the oar. Turns on the radio. Frank Sinatra
      sings "Nice Work If You Can Get It." And PULLS AWAY.
<b>      DOWN THE STAIRS
</b>      go Big Trin, Sonny Red and Anthony Bruno, down into the dark, damp
      concrete and sawdust in their nostrils.
<b>                             BIG TRIN
</b>                   Where's that fucking flashlight?
<b>      BANG!
</b>      and the flash of a SHOTGUN firing. BANG! BANG! as shotguns
      EXPLODE. By the light of the flashes we see Sonny, Lefty and Nicky
      BANGl and another flash. BANGl BANG! BANG!
<b>                                                             (CONTINUED)
</b><b>
</b><b>                                                                       115.
</b>
<b>108   CONTINUED:    (2.)
</b>      Then a pause. Nicky reaches up, screws in the light bulb. Lights
      on. Revealing the blasted corpses of Sonny Red and Big Trin...
<b>      BRUNO
</b>      jumps out from behind a cabinet, RUNS out the door. Sonny wheels,
      FIRES. The stairs SPLINTER as the blast lands just under Bruno's
      escaping feet. Lefty moves to chase him.
<b>                             S9NNY
</b>                 Fuggedaboudit, Left. We'll give
                 the contract to Donnie.
      Nicky takes out a Hefty bag and a long-bladed BUTCHER KNIFE...Sets to
      carving up the bodies. . .
<b>                                                    CUT TO:
</b>
<b>109   INT. NIGHT.     DONNIE'S APARTMENT
</b>      Carrying his mail, Donnie enters a DARK room. MOONLIGHT filters
      through the blinds. He closes the door. Flips the light switch.
<b>      NOTHING
</b>      Instantly, he falls into a fighting crouch, knife at the ready. His
      hand trembles with adrenaline. He moves with his back to the wall,
      straining to see into the black room.
<b>      TO THE KITCHEN
</b>      He p ivo ts in a c omba t s tan ce-- nob ody. Th en piv ots aga in. Hi s f ree
      hand f umbles in the kitch en drawer. Finds a FLASHLIGHT . The bea m
      SWEEPS across the room. Donnie moves on cat feet to the bathroom.
      The shower curtains drawn shut. Donnie tears them back, THRUSTS the
      knife...Into air.
      D onnie thin ks a beat . Snaps th e flashli ght back o n. Riffles through
      h is m ail . Rip s op en
<b>      THE ELECTRIC BILL
</b>      reads by the light of the flashlight
<b>                   DISCONNECT NOTICE: NON-PAYMENT OF
</b><b>                   BILL
</b>      Donnie, a dimly-seen dervish of RAGE...He hurls the
      flashlight...Throws a chair and it SPLINTERS. . . Grabs the bar from his
      weight bench and starts to swing...
<b>      SMASE1
</b>      and an electric sizzle as the television implodes. Donnie drops the
      bar and throws a bookcase to the ground. PUNCHES at the wall...Again
      and again and again...Then sags to the ground...Weeping...Or
<b>      LAUGHING...
</b><b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                     1 16.
</b>
<b>109   CONTINUED*
</b><b>                                  DONNIE
</b>                   The electric bill...I can't get
                   over it...The fucking 'B' didn't
                   pay the fucking electric billI
<b>                                                       CUT TO:
</b>
<b>110   INT. DAY.    HOSPITAL
</b>      Maggie convalesces--her wounds have begun to heal and she's no longer
      intubated, although her eyes are still bandaged. Jules enters, sits
      down beside her. Takes her hand.
<b>                             JULES
</b>                   It's Jules, Maggie.
<b>                                  MAGGIE
</b>                   I could hear your cheap shoes all
                   the way down the hall.
<b>                             JULES
</b>                   How're you feeling?
<b>                                MAGGIE
</b>                   S ca re d. Al one .
<b>                             JULES
</b>                   Did you see Joe?
<b>                             MAGGIE
</b>                   You mean did Joe see me?
<b>                             JULES
</b>                   The 'B' wants him to come out.
<b>                             MAGGIE
</b>                   He'll never come out.
<b>                                  JULES
</b>                   Y   ou don't   believe the shit that
                   c   omes up.   I have to argue with
                   t   hem that   he hasn't gone over to
                   t   he other   side.
<b>                                  MAGGIE
</b>                   Joe? He wouldn't have the
                   imagination. I wish he'd become
                   a gangster--at least we could pay
                   our frigging bills.
<b>                                  JULE S
</b>                   Maybe you could talk to him.
<b>                                  MAGGIE
</b>                   Do you know what this is about,
                   J ules? Thi s is about a
                   promotion.
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                  117.
</b>
<b>110   CONTINUED:
</b><b>                             JULES
</b>                   I talked to him about that.
<b>                             MAGGIE
</b>                   Not from you--from them. He
                   wants to be a made guy.
<b>      CLOSE ON--JULES
</b>      as he hears this...He knows that this has gone too far.
<b>                            MAGGIE
</b>                For years I tried to figure out
                what m ade Joe t ick. And t hen I
                 finally figured it out--there's
                 nothing ti cking. He' s got his
                 rules and he's gonna live by his
                 rules . The job is the job .
                 Start what you finish. When he's
                 in the FBI he wants to be the
                best and when he's in the Mafia
                h e wants t o be the"b est--like
                it's all some frigging basketball
                game.
                       (disdainfully)
                Men.
<b>                              JULES
</b>                   Maggie...Maybe this is none of my
                   business, but--
<b>                               MAGGIE
</b>                   Don't worry--I ' m not gonna leave
                   him. I didn't h ave him w hen I
                   had him. Now that it's almo st
                   over I ' m goddamned if I'll let
                   someone else have him.
<b>                                                   CUT TO:
</b>
<b>111   INT. NIGHT.    LEFTY'S APARTMENT
</b>      Christmas decorations, and a tree. Lefty watches a NATURE PROGRAM on
      TV. A leopard moves stealthily...
<b>                             NARRATOR (O.C.)
</b>                 ...Cloaked by the high grasses of
                the African savanna, the stalking
                leopard moves stealthily...
      Louise enters with Donnie.
<b>                           LOUISE
</b>                Bennie, Donnie'8 here.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                     118.
</b>
Ill   CONTINUED:
<b>                             NARRATOR (0.C.)
</b>                   ...Separated from the herd/ the
                   gazelle senses danger...
      Lefty RAPT in his easy chair...
<b>                             LEFTY
</b>                   Bennie loves animals.
<b>      ON THE SCREEN
</b>      The leopard charges...Teeth tear at the gazelle...And soon the
      leopard and her family feed on a bloody carcass.
<b>                             NARRATOR (O.C.)
</b>                   ...Hunter and hunted, predator
                   and prey--the endless cycle of
                   nature, repeated once again...
<b>                              LEFTY
</b>                   Mino*1 You see that ?
<b>                             LOUISE
</b>                   I'll be inside if you need me.
<b>                          LEFTY
</b>                We're going out, Louise.
      Louise exits inside. SATISFIED, Lefty snaps off the show with his
      REMOTE CONTROL. Turns to Donnie.
<b>                             LEFTY
</b>                 T hey found Bruno. He 's shacki ng
                 up with a broad down City Island.
                 On a boat.
      H e ope ns u p a d rawer . Tak es ou t a GUN. Loads it w ith b ulle ts...
<b>                             LZFTY
</b>                You know what this means, don't
                you? You're gonna get
                straightened out. You become a
                made guy/ Donnie, you can lie,
                you can cheat, you can steal, you
                can whack out whoever you want
                and it's all completely
                legitimate. Being a made guy's
                the greatest thing in the world.
      Lefty reaches into the drawer. Hands another gun to Donnie.
<b>      CLOSE ON--DONNIE
</b>      as he looks at the gun in his hand.
<b>                                                    CUT TO:
</b><b>
</b><b>                                                                119.
</b>
<b>112   EXT. NIGHT.    MARINA--CITY ISLAND
</b>      Donnie and Lefty sit and wait in Donnie's Cadillac. Lefty smokes.
<b>                          DONNIE
</b>                Maybe he ain't gonna show.
<b>                          LEFTY
</b>                He'll show.
<b>                           DONNIE
</b>                I ' m just saying--maybe we should
                forget about it, pop him tomorrow
                night.
<b>                          LEFTY
</b>                We can't pop him tomorrow night,
                for your information. Tomorrow
                night we got the wake for Big
                Trin.
<b>                            DONNIE
</b>                I forgot.
<b>                          LEFTY
</b>                Fuggedaboudit--it's better this
                way anyway. Wait when nobody's
                around.
<b>      DONNIE'S POV
</b>      of the deserted marina...
<b>                          DONNIE
</b>                That's some boat this broad has.
<b>                           LEFTY
</b>                Fuggedaboudit. There's one thing
                I know, it's boats.
<b>                           DONNIE
</b>                What is that--a hundred grand?
<b>                            LEFTY
</b>                Donn ie--Wh ere*d you ge t that boat
                dow n i n Fl orid a?
<b>                            DONNIB"
</b>               I told you. That was this girl
               I used to see down there, it's
               her brother's.
<b>                         LEFTY
</b>               What's her name?
<b>                            DONNIE
</b>               Florence.
<b>                         LEFTY
</b>               Florence what?
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                  120.
</b>
<b>112   CONTINUED:
</b><b>      DONNIE'S POV
</b>      In the distance, a TRANS AM pulls up near the boat they're watching,
      Bruno emerges. Locks his car. Climbs onto the boat...
<b>                             DONNIE
</b>                   C'mon, that's him.
<b>                             LEFTY
</b>                   Florence what, Donnie?
<b>                              DONNIE
</b>                   Hey, Left--what do you care,
                   Florence what? Florence Italy.
<b>                              LEFTY
</b>                   Don  nie--why do you want to lie to
                   me,   D onnie? Did I ever li e to
                   you   once all these years about
                   the   time of day?
<b>                                DONNIE
</b>                   I ' m not lying.
<b>                             LEFTY
</b>                How many fucking times did I have
                you over for dinner at my fucking
                h ous e? Y ou f uck ing rat b ast ard --
<b>                           DONNIE
</b>                Hey, Left--that's the problem?
                Are we gonna whack this guy or
                what?
<b>                             LEFTY
</b>                I went on the fucking record     with
                you, D onnie. Yo u could wa lk   on
                the street and punch any man     in
                the mouth because I stood up     for
                you. ' . ,, . .
<b>                          DONNIE...
</b>                What is tne fucking problem?
      Lefty reaches in his pocket. A piece of paper, folded, torn from
      "Newsweek*. The headline:
<b>      ABSCAM: FBI 'SHEIKS* STING CORRUPT LAWMAKERS
</b>      Beneath the headline, a PHOTO of the "sheiks* partying ona yacht--
      "THE LEFT HAND*. Donnie looks up from the article. Sees
<b>      A GUN
</b>      in Lefty's hand.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                   121.
</b>
<b>                     (2)
</b><b>112   CONTINUED:
</b><b>                             LEFTY
</b>                   That's a fucking Federal boat,
                   Donnie. That's our boat.
<b>                              D9NNIE
</b>                   Hold on a minute, Left. The boat
                   with Trafficante? That ain't the
                   same boat.
<b>                             LEFTY
</b>               Don't tell me that ain't     the same
               boat, Donn ie1 That' s a    fuckin g
               Federal boatl That's a      Taiwan-
               made boat, there's only,    five like
               that in the world.
<b>                             DONNIE
</b>                   I really don't think that's the
                   same boat, Left.
<b>                             LEFTY
</b>               Lookit that. You see that? 'The
               LeftHand.' That's like my name.
<b>                             DONNIE
</b>               Maybe her brother's a fucking
               a ge nt . H o w wo u ld I kn o w? I
               thought he was in real estate.
<b>                             LEFTY
</b>               Ain't the quest ion, Donni e. You
               still ain't answered me why we're
               fucking on a fucking Federal
               fucking boat!
<b>                             DONNIE
</b>               You're right, Left. I'm a
               fucking rat.
<b>                         LEFTY
</b>               You're a rat?
<b>                             DONNIE
</b>               I met your girls. I talked to
               Tommy for you I don't know how
               many fucking times. I don't know
               how many times I had dinner with
               you and Louise. I lived with
               you, Left-- partners. Five
               fucking years, I ever had a
               hundred bucks in my pocket, I
               gave you half. And the whole
               time I was a fucking rat. You're
               right.
<b>                            LEFTY
</b>               Donnie--did I say you was a rat,
               Donnie?
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                  122.
</b>
<b>112   CONTINUED:     (3)
</b><b>                             DONNIE
</b>                   You'd have to be the biggest
                   fucking mutt in the history of
                   the Mafia.
<b>                             LEFTY
</b>                   You fucking laxed, Donnie. Don't
                   get on your high horses.
<b>      DONNIE'S POV
</b>      as Bruno emerges from the boat. Lights a cigarette. Looks around,
<b>                          DONNIE
</b>                Shit. He's up again.
<b>                             LEFTY
</b>                How the fuck am I supposed to
                explain this to Sonny?
<b>                           DONNIE
</b>                You ask me it's the funniest
                fucking thing in the world.
                Those fucking agents could scam
                Senators and Congressmen and
                meanwhile we had a party on their
                boat and they didn't get a
                fucking thing on us. Sonny'11
                laugh his ass off.
<b>                          LEFTY
</b>                Where is the joke, Donnie?
<b>                             DONNIE
</b>                We outsmarted the agents. We got
                a higher Z .Q. than the fuckin g
                Congressmen.
<b>                            LEFTY
</b>                You got so many black marks on
                you now, Donnie, a fucking
                Einstein couldn't count them.
<b>                          DONNIE
</b>                What black marks?
<b>                            LEFTY
</b>                That time with the luggage and/
                uh, uh...the other time.
<b>                            DONNIE
</b>                Are we gonna whack this fucking
                guy or not?
<b>                            LEFTY
</b>                I ain't no fucking mutt, Donnie.
      Donnie checks the action on his gun...
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                   123.
</b>
<b>112   CONTINUED:     (4)
</b><b>                              D ON N IE
</b>                   How the fuck did I know it was a
                   fucking Federal boat?
<b>                              LEFTY
</b>                   I die wit'cha. I ' m your best
                   friend, Donnie.
      Donnie opens the door, climbs out/ gun in hand.
<b>                          DONNIE
</b>                That's right, Left--you're my
                best friend.
      "Your best friend is the one who kills you." Donnie FREEZES. Lefty
      looks at him.
<b>      LEFTY' S GUN
</b>      pointed at Donnie's back...As his finger moves toward the trigger.
      Then su dde nly --
<b>      LIGHT EXPLODES
</b>      from police cherrytops. . . SWARMS of FBI MEN in blue windbreakers with
      big wh ite lette rs-- "FBI"-- descend o n the car, guns draw n. They G RAB
<b>                                                                      .
</b>      Donnie and Lefty. Jules hustles Donnie away.
<b>                            LEFTY
</b>                      (calling)
                 Donnie, don't say nothing. Don't
                 say nothing to them.
<b>                             JULES
</b>                 Congratulations. It's over, Joe.
<b>                             DONNIE
</b>                   What do you mean, it's over?
<b>                              JULES
</b>                   You're coming out.
<b>                             DONNIE
</b>                   What the fuck--? Nobody--. I'm
                   not coming out.
<b>                              JULES
</b>                   It's over, Joe.
<b>                             DONNIE
</b>                   It's not over. I'm too close!
      Donnie starts to run. FBI MEN are on top of him, wrestling him dovr,.
      Donnie STRUGGLES, exchanges a look with Lefty as he's dragged away.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                    124,
</b>
<b>                    (5)
</b><b>112   CONTINUED:
</b><b>                             LEFTY
</b>                   Donnie, don't say nothing!
<b>                                                      CUT TO:
</b>

<b>113   INT. DAY.    MOTION LOUNGE
</b><b>      PHOTOS OF DONNIE
</b>      at the FBI Academy at Quantico, then with Berada, LeBow and other FBI
      MEN, as Marshall and Jules show them to Sonny/ Nicky and Boobie.
<b>                             MARSHALL
</b>                   You know this guy as Donnie
                   Bras co. He 's an FBI age nt. We
                   just wanted to tell you.
<b>                                                      CUT .TO:
</b>
<b>114   EXT. DAY.     MOTION LOUNGE
</b>      Sonny, Nicky, Lefty, Legs and Philly Lucky watch as the FBI men drive
      off. They stand on the street corner--DEATH and disbelief written in
      their faces.
<b>                             SONNY
</b>                   You believe that fucking guy?
                   There's no fucking way Donnae
                   could be an agent.
<b>                              NICKY
</b>                   The culliones on him, bluffing us
                   like that.
<b>                              LEGS
</b>                   You think they got him?
<b>      ON A ROOFTOP
</b>      A TECH TEAM aims a PARABOLIC MICROPHONE and a TELEPHOTO LENS. The
      whir of an autowindex and a FREEZE FRAME as they stand outside.
<b>                             SONNY
</b>                  No way he could be an agent.
<b>                             LEGS
</b>                  Nowadays they can doctor a
                  picture any fucking way they
                  want.
<b>                             PHILLY LUCKY
</b>                  It still don't explain that boat.
<b>                            NICKY
</b>                  Fuggedaboudit, Philly.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                                 125.
</b>
<b>114    CONTINUED:
</b>      L ef t y li s te n s. S a ys no th i ng . H e k no w s th e t r ut h. ZZ Z H1 a n d
      another FREEZE FRAME.
<b>                                  SONNY
</b>                    That boat was a set-up. Then we
                    think Donnie's a rat and we get
                    scared and fuggedaboudit.
<b>                                  NICKY
</b>                   Maybe they brainwashed him. Like
                   in that movie, with Sinatra?
      Z Z ZH ! a no t he r s ho t . Z ZZ Hl
<b>                                  PHILLY LUCKY
</b>                   They say he's an agent, I say
                   he's a fucking agent.
<b>                             SONNY
</b>                   You're talking through your ass.
<b>                             NICKY
</b>                   You didn't know him.
<b>                             SONNY
</b>                   You didn't know Donnie, Philly.
<b>      CL OSE ON --L EFT Y
</b>      as he listens. Says nothing.
<b>                                                            CUT TO:
</b>
<b>115   INT. NIGHT.       LEFTY'S APARTMENT
</b>      Lefty sits, BROODS, watches TV. The phone rings.
<b>                                 LEFTY
</b>                  Hello? (listens)            Yeah, okay,
                  N ic ky . O k ay .
      He han gs up. Th inks a bea t       . As he l ooks into his open grave...T akes
      off his GOLD WATCH, sticks           it in a drawer. Then the CROSS he wears
      a roun d his neck . The KEYS        to his C adill ac. C loses the draw er as
      Louise enters.
<b>                             LOUISE
</b>                   Who was that?
<b>                              LEFTY
</b>                   N icky. I'm going out .
      He gives Louise a kiss.
<b>                               LEFTY
</b>                   Don't wait up for me.

<b>                                                            (C ONTINUED)
</b><b>
</b><b>                                                                           126.
</b>
<b>115   CONTINUED:
</b>

<b>                              LEFTY
</b>                   e
                   i
                   n
                   o
                   D     c
                         a
                         l
                         s
                         ,    e
                              t
                              l       h
                                      i
                                      m    i
                                           f      i
                                                  t     w
                                                        s
                                                        a
                   n
                   o
                   g
                   a     b
                         e    a
                              y
                              o
                              e
                              n
<b>                              ,       I
</b>                                      'm   d
                                           a
                                           g
                                           l      t
                                                  i     s
                                                        a
                                                        w

<b>                                                      CUT TO:
</b>
<b>116   INT. DAY.     FBI HEADQUARTERS
</b>      i
      n
      o
      De sits at his desk, preparing his testimony., Marshall drops
      some SURVEILLANCE PHOTOS off.
<b>                             MARSHALL
</b>                   They just took these yesterday.
      Donnie picks them up.
<b>      DONNIE'S POV
</b>      Photos of Lefty's rooftop. As the PIGEON COOPS are dismantled.
<b>      JULES
</b>      in his office. Donnie ducks in. Jules looks up, sees Donnie struggle
      a beat with his emotion. Then the mask descends again.
<b>                          DONNIE
</b>                You can stop looking for Lefty.
<b>                                                      CUT TO:
</b>
<b>117   INT. ANOTHER DAY. FEDERAL COURTHOUSE--MANHATTAN
</b>      Under heavy guard, Donnie walks up a b      ack stairca    se   . Up a marble
      hallway. Doors open and he enters the       courtroom.     A    HUSH falls as
      the MAFIA DEFENDANTS, lined up in the       docks--all f   ac   es we've seen
      earlier, including Sonny, Nicky, Legs,       and Philly     L   ucky--turn and
      look at him.
<b>                             PROSECUTOR
</b>                   The government calls Special
                   Agent Joseph D. Pistone.
<b>      CLOSE ON--DONNIE
</b>      as he takes in the proof of his accomplishment. With the knowledge
      of what it has cost him.
      FREEZE FRAME. A final CRAWL runs over this*
      The evidence collected by "Donnie Brasco" led to over 200
      indictments.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               127.
</b>
<b>117   CONTINUED:
</b>
      After testifying. Special Agent Joseph D. Pistone left the FBI. He
      lives with his wife under an assumed name in an undisclosed location .
      There is an $500,000 open contract on his head.

      The FBI denied him a pension.   The IRS assessed him $7,000 in back
      taxes and penalties.
<b>                                              FADE TO BLACK:
</b>

<b>      CREDITS ROLL
</b><b>
</b></pre><br>
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	<td><h1>Donnie Brasco</h1><br><br>
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Who is Richie Gazzo?
Who is Richie Gazzo ?
Richie is a FBI agent based in Miami.
Richie is a FBI agent based in Miami .
FBI Agent
FBI Agent