GOOD FELLAS
by Nicholas Pileggi
and
Martin Scorcese
Based on the book Wiseguys
by
Nicholas Pileggi
Shooting Draft
January 3, 1989
Revised 1/12/89
FADE IN:
JUNE 11, 1970S QUEENS, NEW YORK. THE SUITE - NIGHT
A smoky, overdecorated cocktail lounge and nightclub on
Queens Boulevard. Sergio Franchi is in full voice on the
jukebox. It is after midnight. It has bean a long night..
Balloons and empty glasses litter the place. BILLY BATTS,
a 50-year-old hood in an out-of-date suit, court at the
bar. WE SEE a younger, more sharply-dressed HOOD walk in
with a BEEHIVE GIRLFRIEND and hug BATTS.
HOOD
Billy. You look beautiful. Welcome
home.
BAITS
(laughing and turning
to the bartender)
What are you having? Give 'em what
they're drinking.
WE SEE FOUR OTHER MEN, including HENRY HILL and JIMMY BURKE,
standing near BILLY BATTS at the bar, raise their glasses
in salute. TOMMY DESIMONE and ANOTHER BEEHIVE BLONDE enter.
BILLY BATTS looks up and sees TOMMY.
BILLY
Hey, look at him. Tommy. You grew
up.
TOMMY
(preening a little)
Billy, how are you?
BILLY
(smiling broadly at
Tommy and the girl)
Son of a bitch. Get over here.
TOMMY walks over and BILLY, too aggressively, grabs TOMMY
around the neck. TOMMY doesn't like it.
TOMMY
(forcing a laugh)
Hey, Billy. Watch the suit.
BILLY
(squeezing Tommy's
cheek, a little
too hard)
Listen to him. "Watch the suit,"
he says. A little pisser I've
known all my life. Hey, Tommy,
don't go get too big.
TOMMY
Don't go busting my balls. Okay?
BILLY
(laughing, to the
crowd at the bar)
Busting his balls?
(to Tommy)
If I was busting your balls, I'd
send you home for your shine box.
TOMMY'S smile turns to a glare as he realizes BILLY is
making fun of him. The Men at the bar are roaring with
laughter. His GIRL is looking glumly at her shoes.
BILLY
(to the hoods at
the bar)
You remember Tommy's shines? The
kid was great. He made mirrors.
TOMMY
(almost a threat)
No more shines, Billy.
BILLY
Come ooonnn. Tommeeee. We're only
kidding. You can't take a joke?
Come ooonn.
WE SEE that TOMMY is still angry, but begins to relax with
BILLY'S apparent apology, but as soon as BILLY sees that
TOMMY is beginning to relax, he contemptuously turns his
back on TOMMY.
BILLY
(facing the bar)
Now get the hell home and get your
shine box.
HENRY quickly steps in front of TOMMY who is about to
explode. BATTS is facing the bar and does not see just how
furious TOMMY has become.
HENRY
(gently wrestling
Tommy away from
the bar)
Come on, relax. He's drunk. He's
been locked up for six years.
TOMMY
I don't give a shit. That guy's
got no right.
HENRY
Tommy. He. doesn't mean anything.
Forget about it.
TOMMY
(trying to wrestle
past Henry)
He's insulting me. Rat bastard.
He's never been any fuckin' good.
HENRY
Tommy. Come on. Relax.
TOMMY
(to Henry)
Keep him here. I'm going for a
bag.
TOMMY roughly grabs his GIRL'S arm and storms out.
HENRY
(rejoining Jimmy
and Billy Batts at
the bar)
Batts. I'm sorry. Tommy gets
loaded. He doesn't mean any
disrespect.
BATTS
He's got a hot head.
WE SEE the LAST TWO GUESTS get up to leave. HENRY puts
another dollar in the jukebox and moves back behind the
bar and starts to total the register receipts.
CUT TO:
From HENRY'S POV behind the bar, WE SEE the GUESTS leave
and suddenly WE SEE TOMMY in the doorway. HENRY walks around
the bar and approaches TOMMY.
WE SEE JIMMY and BATTS are still seated at bar with their
backs to the door.
BATTS
They're fucking mutts.
WE SEE JIMMY nod.
BUTTS
I seen them. They walk around
like big shots and they don't know
shit.
JIMMY
A guy gets half a load on. He
mouths off.
BATTS
When I was a kid, I swear on my
mother, you mouth off, you got
your fucking legs broke.
CUT TO:
HENRY
Approaching TOMMY who is carrying a large folded package
under one arm.
TOMMY, followed by HENRY, walks over to the bar where JIMMY
and BILLY BATTS are talking. TOMMY drops the package on
the floor.
BILLY BATTS looks up.
JIMMY turns around and sees that TOMMY has a gun in his
hand.
JIMMY immediately grabs BATTS's arms and WE SEE TOMMY smash
the gun into the side of BATTS's head. WE SEE TOMMY hit
BATTS again and again as JIMMY continues to hold BATTS's
arms.
JIMMY
(to Henry, while
pinning Batts's
arms)
Quick! Lock the door.
WE SEE TOMMY club BATTS to the ground with JIMMY holding
BATTS's arms.
CUT TO:
HENRY locking the door.
CUT TO:
BATTS'S INERT FORM -
on the floor.
WE SEE TOMMY unfold the package he had dropped near the
bar.
It is a plastic, flower-printed mattress cover.
TOMMY and JIMMY start putting BAITS's legs into the mattress
cover.
HENRY is standing over them as JIMMY and TOMMY struggle to
fit BAITS' s body into the mattress cover.
HENRY
What are we going to do with him?
We can't dump him in the street.
JIMMY
(to Henry)
Bring the car round back. I know a
place Upstate they'll never find
him.
TOMMY is looking brightly at HENRY, as he and JIMMY finally
zip BATTS in the mattress cover.
TOMMY
I didn't want to get blood on your
floor.
EXT. REAR DRIVEWAY - THE SUITE - NIGHT
Darkness. The open trunk of HENRY 's car. The mattress
cover is being shoved into the trunk by the THREE MEN. It
is heavy work.
HENRY
Batts's made. His whole crew is
going to be looking for him. This
is fucking bad.
TOMMY
There's a shovel at my mother's.
INT. TOMMY'S MOTHER'S HOUSE - KITCHEN - NIGHT
Darkness in the kitchen. We hear noise of doors opening
and tools being banged around in the dark.
TOMMY
SSHHH. You'll wake 'er up.
Suddenly the light in the entryway goes on, and WE SEE
TOMMY'S MOTHER, in housecoat, beaming at her SON and his
FRIENDS.
CUT TO:
where TOMMY'S MOTHER' hovers over the seated TOMMY, HENRY
and JIMMY. The table is filled with plates and coffee cops
and the debris of dirty dishes.
MOTHER
(to all)
Have some more. Yon hardly touched
anything. Did Tommy tell you about
my painting? Look.
WE SEE her reach next to the refrigerator and pull up a
couple of oil paintings she props on the edge of the table.
MOTHER (CONTD)
(proudly)
They want me to do a portrait next.
I'm gonna do the Moan Lisa.
CUT TO:
WINDOW
where WE SEE HENRY 's car with the body in the trunk, still
parked at the curb.
INT. HENRY'S CAR - NIGHT
Finally on their way, HENRY is driving. JIMMY, in the
passenger's seat, and TOMMY, in the rear seat, embracing
the shovel, are dozing off. The sleepy humming of the wheels
is suddenly interrupted by a thumping sound. At first,
HENRY thinks he has a flat, but the thumping is too
irregular. JIMMY awakens. His eyes are on HENRY. TOMMY
leans forward from the rear seat. Silence. Thump Silence.
EXT. MERRITT PARKWAY - NIGHT
Car pulls off the road onto the grass. HENRY, JIMMY and
TOMMY, still holding the shovel, get out of the car.
TOMMY
Jesus Christ! Miserable bastard!
HENRY opens the trunk and steps back. In the trunk light
WE SEE the mattress cover squirming around. We hear muffled
groans.
TOMMY
(raising the shovel)
Can you believe this no-good fuck?
The prick! He's still alive.
TOMMY suddenly smashes the shovel into the moving, bloody
mattress cover. He smashes it again and again and again.
Cursing BATTS with every swing.
TOMMY
Rat bastard.
(he swings shovel)
No-good, low-life fuck.
TOMMY swings shovel again and again.
Soon the mattress cover stops squirming and TOMMY stops
swinging the shovel. He is exhausted. TOMMY and JIMMY get
back in the car. HENRY is facing the open trunk.
TILT UP and FREEZE ON HENRY'S face slamming the trunk shut.
HENRY (V.O.)
As far back as I can remember, I
always wanted to be a gangster.
MAIN TITLE:
GOOD FELLAS
UNFREEZE and
DISSOLVE TO:
HENRY - AS A CHILD
looking out his bedroom window.
TITLE - EAST NEW YORK: BROOKLYN. 1955.
HENRY (V.O.)
To me, being a gangster was better
than being President of the United
States.
EXT. CABSTAND - NIGHT
HENRY'S POV - A GRIMY ONE-STORY CABSTAND
with faded "Pitkin Avenue Cabs" sign above the door. Its
after midnight. WE SEE A HALF-DOZEN, immaculately-dressed
HOODS wearing diamond pinky rings and silk shirts, lounging
around the cabstand talking and sipping coffee.
HENRY (V.O.)
Even before I first wandered into
the cabstand for an after-school
job, I knew I wanted to be a part
of them. It was there I belonged.
HENRY'S POV
WE SEE a Cadillac pull up to the cabstand. WEE SEE the
car rise slightly when TWO huge, dapper HOODS get out.
On HOOD #1 WE SEE large diamond pinky ring on a sausage-
thick finger.
On HOOD #2 WE SEE a broken-nosed hood's tie hanging loosely
across his monogrammed shirt like a silk bandolier.
HENRY (V.O.)
To me it meant being somebody in a
neighborhood full of nobodies.
On the sidewalk WE SEE the TWO HOODS who just got out of
the car hug and playfully shove TUDDY VARIO, the sloppily-
dressed, solidly-built HOOD who runs the cabstand.
HENRY (V.O.)
They weren't like anyone else.
They did whatever they wanted.
They'd double-park in front of the
hydrant and nobody ever gave them
a ticket. In the summer when they
played cards all night, nobody
ever called the cops.
WE SEE TODDY laughingly try to push them away.
HENRY (V.O.)
Tuddy Vario ran the cabstand and a
pizzeria and a few other places
for his brother, Paul, who was the
boss over everybody in the
neighborhood.
WE SEE a laughing HOOD #1 slyly slip behind TUDDY and grab
him around the neck, while HOOD #2 starts feigning punches
to TODDY's ample midsection.
Suddenly TODDY VARIO and HOODS see that PAUL VARIO, the
boss, is standing in the cabstand's doorway. VARIO is
A large man, standing six-feet tall and weighing over 240
pounds. He appears even larger.
HENRY (V.O.)
Paulie might have moved slow, but
it was only because he didn't have
to move for anybody.
TODDY and HOODS immediately stop horsing around.
TITLES CONTINUE.
CHILD'S BEDROOM - MORNING
CARMELLA HILL, HENRY'S mother, shoves his books under his
arm and pushes him into the hallway. WE SEE. HENRY'S TWO
BROTHERS putting on their jackets and picking up their
books and almost tripping over another brother's, MICHAEL,
wheelchair. WE CATCH A GLIMPSE OF TWO SISTERS eating
breakfast.
WE SEE HENRY'S construction worker FATHER sipping coffee
in kitchen before going to work.
HENRY (V.O.)
At first, my parents loved that I
found a job across the street. My
father, who was Irish, was sent to
work at the age of eleven, and he
liked that I got myself a job. He
always said American kids were
spoiled lazy.
CARMELLA
(to the brood)
Come on. Come on. You'll all be
late.
HENRY (V.O.)
And my mother was happy after she
found out that the Varios came
from the same part of Sicily as
she did. To my mother, it was the
answer to her prayers.
WE SEE HENRY'S MOTHER shove him out the door with his school
books.
EXT. STREET SIDE OF DOOR - DAY
CARMELLA, in doorway, watches HENRY go down the block toward
school. When HENRY turns the corner, along with
OTHER school-bound' YOUNGSTERS, WE SEE he suddenly stops.
The OTHER SCHOOLCHILDREN keep walking. HENRY carefully
sticks his head around the corner. His MOTHER is no longer
there.
WE SEE HENRY race across the street toward the cabstand.
HENRY (V.O.)
I was the luckiest kid in the world.
EXT. CABSTAND - DAY
WE SEE HENRY leap into the air to catch a set of car keys.
HENRY (V.O.)
I could go anywhere.
EXT. CABSTAND PARKING LOT - DAY
WE SEE HENRY, who can hardly see over the dashboard,
jockeying a MOBSTER'S Caddy around the cabstand parking
lot. WE SEE OTHER KIDS, HENRY'S age, watching HENRY, in
awe, from behind a fence.
HENRY (V.O.)
I could do anything.
INT. CABSTAND BACKROOM - DAY
WE SEE HENRY watching TWO UNIFORMED COPS laughing with
TODDY and SOME HOODS while stuffing whisky bottles under
their tunics.
HENRY
I knew everybody and everybody
knew me.
EXT. SIDEWALK OUTSIDE CABSTAND - DAY
WE SEE HENRY trying to sip hot espresso coffee just like
the BIG GUYS, except WE SEE HENRY grimace because the coffee
is too hot and far too bitter.
HENRY (V.O.)
But it wasn't too long before my
parents changed their minds. For
them, the cabstand was supposed to
be a part-tie job, but for me,
it was full-time.
CUT TO:
INT. REAR OF CABSTAND
TODDY is folding and placing long sheets with policy bets
into a brown paper bag. In the BG, WE SEE HOODS going
through boxes of stolen orange and blue cardigan sweaters.
HENRY waits at TUDDY'S side until TODDY finishes making a
notation on a slip of paper. TODDY holds the paper bag in
his hands and
TODDY
(to Henry, with a
smile)
Okay.
EXT. CABSTAND
WE SEE HENRY running out the cabstand door carrying the
paper bag. He runs past HALF A DOZEN HOODS, lounging outside
on wooden chairs, wearing orange and blue sweaters.
HENRY
People like my father could never
understand, but I was a part of
something. I belonged. I was
treated like a grown-up. Every day
I was learning to score.
INT. KITCHEN - HENRY'S HOUSE
FATHER
(in mock concern)
Did you study hard in school today?
Did you learn a lot? Huh?
HENRY is silent and begins backing away.
FATHER
I can't hear you, you little liar.
(waving the letter)
I got this from the school. They
say you haven't been there in
months.
HENRY tries to dart past his FATHER, but he cannot escape.
HENRY gets a blow on the back of his head. HENRY'S MOTHER
starts to interfere, but is pushed back.
FATHER
(beating Henry, but
glaring at Carmella)
Little lying bastard.
CARMELLA screams. HENRY doubles up. HENRY'S FATHER keeps
pounding away.
CLOSE ON HENRY'S FACE
FREEZE IN ACTION ON HENRY'S FATHER'S FACE
HENRY (V.O.)
My father was always pissed off.
He was pissed that he had to work
so hard. He was pissed that he
made such lousy money. Be was pissed
that there were seven of us living
in a tiny house. But after a while,
he was mostly pissed that I hung
around the cabstand. He said they
were bums and that I was a bum.
He said I was going to get into
trouble. I used to say I was only
running errands after school, but
he knew better. He knew what went
on at the cabstand and, every once
in a while, usually after he got
his load on, I had to take a
beating. But by then, I didn't
care. No matter how many beatings
I took, I wouldn't listen to what
he said. I don't think I even
heard him. The way I saw it,
everybody has to take a beating
some time.
UNFREEZE and continue the beating.
CUT TO:
HENRY'S SWOLLEN AND BEATEN FACE
INT. CABSTAND BACKROOM
TODDY
What happened to you?
HENRY
I can't make any more deliveries.
TODDY
Whadda you mean, you can't make
any more deliveries? You're going
to fuck up everything?
HENRY
My father got a letter from the
school. He said the next time he'll
kill me.
CUT TO:
INT. AUTOMOBILE
THREE HOODS and HENRY in parked car outside the post office.
HOOD #1
(pointing to one
postman)
Is that the one?
HENRY
NO.
HOOD ยป2
(pointing at another)
Him?
HENRY
No.
(pause)
There. That's him. That's the guy.
HOOD #1 and HOOD #2 get out of the car and grab the stunned
MAILMAN. He loses his hat and spills some mail as they
shove him into the car's rear seat.
INT. A NEIGHBORHOOD PIZZERIA
TODDY VARIO is standing in front of a pizza oven. HENRY
watches the HOODS shove the MAILMAN against the side of
the oven. WE SEE PAUL VARIO in the BG.
TODDY
(pointing to Henry)
You know this kid?
MAILMAN
(barely able to
speak)
Yes.
TUDDY
You know where he lives?
MAILMAN nods.
TODDY
You deliver mail to his house?
MAILMAN nods again.
TODDY
From now on, any letters to the
kid from his school come directly
here. Do you understand? One more
letter from the school to the kid's
house and ...
TODDY looks at PAUL VARIO, who nods, and the HOODS pull
down the door or the pizza oven and shove the MAILMAN up
close.
TODDY
... you're going in the oven head-
first.
FREEZE ON MAILMAN'S face, smeared against the hot stove.
RENKY (V.O.)
That was it. No more letters from
truant officers. No more letters
from school. In fact, no more
letters from anybody. How could I
go back to school after that and
pledge allegiance to the flag and
sit through good government
bullshit.
EXT. MOB SOCIAL CLUB - DAY
WE SEE HENRY entering a mob social club, nodding to a
friendly COP lounging outside, past WISEGUYS in sleeveless
underwear sunning themselves in front of the club. WE SEE
A COUPLE OF MENACING HOODS smile and nod hello at HENRY.
REAR YARD OF SOCIAL CLUB
HOODS are cooking sausages and peppers on grill. There are
bottles of homemade wine and keg of beer.
WE SEE PAUL VAHIO holding court while eating a sausage
sandwich. There are HOODS standing around him at a
respectful distance. Only TODDY approaches him with ease.
WE SEE A HOOD talk to TODDY. WE SEE TODDY relay the message
to PAUL. WE SEE PAUL say something to TODDY, who nods back
to the HOOD and then motions to HENRY to come over. WE
SEE TODDY bend down a little and whisper in HENRY's ear.
DOLLY IN ON PAUL's face.
HENRY (V.O.)
Hundreds of guys depended on Paulie
and he got a piece of everything
they made. It was tribute, just
like the old country, except they
were doing it in America. All
they got from Paulie was protection
from other guys looking to rip
them off. That's what it's all
about. That's what the FBI can
never understand -- that what Paulie
and the organization does is offer
protection for people who can't go
to the cops. They're like the police
department for wiseguys.
EXT. USED CAR LOT - NIGHT
WE SEE TUDDY in his car, hand HENRY a hammer, some rags, -
and a five-gallon can of gasoline.
TODDY
(driving away)
I'll be up at the corner.
WE SEE HENRY break the windows of about six cars parked
facing the sidewalk.
HENRY (V.O.)
People locked at me differently.
They knew I was with somebody.
HE SEE HENRY shove the gas-soaked rags through the broken
car windows. HENRY looks up the block where TODDY has
parked. HE SEE TODDY (from HENRY'S LOT) look around and
nod. HENRY immediately begins tossing lighted matchbooks
through the smashed car windows.
HENRY (V.O.)
I didn't have to wait on line at
the bakery on Sunday morning anymore
for fresh bread. The owner knew
who I was with, and he'd come from
around the counter, no matter how
many people were waiting. I was
taken care of first.
Suddenly the night explodes in orange brightness. WE SEE
HENRY begin to run toward TUDDY"s car as the cars he has
ignited begin to explode behind him.
HENRY (V.O.)
Our neighbors didn't park in our
driveway anymore, even though we
didn't have a car. At thirteen, I
was making more money than most of
the grownups in the neighborhood.
I had more money than I could spend.
I had it all.
FREEZE ON HENRY'S a silhouette against the darkness like a
man in hell.
HENRY (V.O.)
One day some of the kids from the
neighborhood carried my mother's
groceries all the way home for
her. It was out of respect.
CUT TO:
EXT. HENRY'S HOUSE - DAY
HENRY'S MOTHER opens door of house, bright daylight.
MOTHER'S POV
She sees grey lizard shoes, grey pinstriped trousers, grey
silk shirt, Billy Eckstein collar, yellow silk tie, and
double-breasted jacket. She looks up and sees HENRY'S
smiling face.
MOTHER
(aghast)
My God! You look like a gangster.
CUT TO:
SCREAMING MAN
Running toward the pizzeria, holding his hand.
EXT.: PIZZERIA - DAY
WE SEE HENRY standing near front of store.
MAN
(screaming)
I've been shot! Help! Help!
TUDDY
(from rear of store,
to Henry)
Close the door. Don't let him in.
HENRY grabs a chair, takes it outside for the MAN to sit
on and closes the pizzeria door.
The MAS collapses in the seat and HENRY immediately starts
wrapping the MAN'S shredded and bleeding hand in his apron.
The MAN is turning white and praying.
HENRY
(soothing the man)
It's okay. It's okay. They're
getting an ambulance.
WE SEE HENRY prop the MAN in his chair and race into the
pizzeria for more aprons which he takes outside and wraps
around the MAN'S bleeding hand, just as an ambulance pulls
up.
WE SEE TODDY come up behind HENRY as the MAN is rushed
away.
HENRY (V.O.)
It was the first time I had ever
seen anyone shot.
TODDY
(angry)
You're some fucking jerk.
WE SEE that HENRY is stunned.
TODDY
I You wasted eight fucking aprons
on that guy. :
HENRY (V.O.)
I remember feeling bad about the
guy. But I remember feeling that
maybe Tuddy was right. I knew
Paulie didn't want anybody dying
in the building.
CUT TO:
INT. CABSTAND - NIGHT
HENRY is making a ham and cheese sandwich.
CAMERA TRACKING through room full of PEOPLE playing cards,
through professional CARD DEALERS skittering cards across
green felt tables, through BODYGUARDS watching the door,
through TUDDY VARIO walking around the tables, through
PAUL VARIO standing quietly on the side, through HENRY
giving the sandwich to ONE of the PLAYERS.
HENRY (V.O.)
It was a glorious time. Wiseguys
were all over the place. It was
before Apalachin and before Crazy
Joey decided to take on a boss and
start a war. It was when I met the
world. It was when I first met
Jimmy Burke.
CAMERA COMES TO REST when JIMMY BROKE walks in the door.
CUT TO:
HENRY
Looking at JIMMY
HENRY (V.O.)
He couldn't have been more than
twenty-four or twenty-five at the
time, but he was already a legend.
He'd walk in the door and everybody
who worked the room went wild.
He'd give the doorman a hundred
just for opening the door. He
shoved hundreds in the pockets of
the dealers and who ran the games.
The bartender got a hundred just
for keeping the ice cubes cold.
HENRY sees VARIO give BURKE a hug around the shoulder.
HENRY sees JIMMY handing money to the DOORMAN. HENRY
watches PLAYERS timidly move their chairs slightly to make
room for JIMMY. HENRY sees JIMMY pull out a wad of bills
and sit down.
JIMMY
(to Henry, who is
standing near the
bar)
Hey, kid! Get me a seven and seven.
WE SEE HENRY make the drink and bring it to JIMMY.
VARIO is standing next to JIMMY.
VARIO
(his arm around
Henry's shoulder)
Henry. Say hello to Jimmy Burke.
WE SEE JIMMY slip a $20 bill in Henry's shirt pocket.
JIMMY
(lifting his drink
to Henry)
Keep 'em coming.
FREEZE FRAME OH JIMMY.
HENRY (V.O.)
Jimmy was one of the most feared
gays in the city. He was first
locked up at eleven and was doing
hits for mob bosses when he was
sixteen. Hits never bothered him.
It was business. But what he really
loved to do was steal. I mean, he
actually enjoyed it. Jimmy was
the kind of guy who rooted for the
bad guys in the movies. He was
one of the city's biggest hijackers.
Clothes. Razor blades. Booze.
Cigarettes. Shrimp and lobsters.
Shrimp and lobsters were the best.
They went fast.
EXT. TRAILER TRUCK - NEAR IDLEWILD AIRPORT - NIGHT
The trailer truck is stopped at a light in a deserted area
near JFK Airport. WE SEE the DRIVER being quietly led to a
car where JIMMY BURKE is standing. WE SEE JIMMY routinely
take the DRIVER'S wallet. There is absolutely no resistance.
HENRY (V.O.)
And almost all of them were
gimmie's.
CUT TO:
CLOSE UP - WALLET
WE SEE JIMMY put a $50 bill in the DRIVER'S wallet.
HENRY
They called him Jimmy the Gent.
The drivers loved him. They used
to tip him off about the really
good loads. Of course, everybody
got a piece. And when the cops
assigned a whole army to stop him,
(pause)
Jimmy made them partners.
CUT TO:
EXT. CABSTAND PACKING LOT - DAY
CLOSE UP - ROWS OF CIGARETTE CARTONS
piled inside a large trailer truck.
JIMMY and TOMMY DESIMONE, a youngster about HENRY's age,
are moving large cigarette cartons toward truck tailgate.
While JIMMY is dressed like a truck driver, TOMMY is -
very nattily dressed in a sharply-cut suit and highly buffed
shoes.
JIMMY and TOMMY are loading the cartons into the arms of a
WOMAN SCHOOL-CROSSING GUARD who is having difficulty
carrying the load.
JIMMY
Tommy. Help the lady.
WE SEE TOMMY scramble down from the truck and help the
SCHOOL-CROSSING GUARD to her own car where WE SEE she
already bad a load of the cartons.
WE SEE HENRY standing near her car and watching.
SCHOOL-CROSSING GUARD
(driving off)
Thank you, sweetheart.
CUT TO:
JIMMY standing between TOMMY and HENRY.
JIMMY
(to Henry)
Say hello to Tommy. You'll do good
together.
CUT TO:
POLICE CAR
pulling onto the sidewalk where HENRY, TOMMY and JIMMY are
standing. The COPS recognize JIMMY.
COP #1
Anything good?
HENRY watches JIMMY smile and toss a couple of cartons of
cigarettes into their radio car.
The COPS wave and drive off.
EXT. FACTORY GATE - QUITTING TIME
WE SEE HENRY busily selling cartons to WORKERS. TOMMY is
getting cartons out. of the trunk of a car parked nearby.
HENRY is so busy he can hardly keep the money and cash
straight. Instead of the neat roll we saw on JIMMY, HENRY's
cash is a wrinkled mess. Some of it is rolled, some folded,
some in different pockets. WE SEE HENRY approached by TWO
CITY DETECTIVES.
DETECTIVE #1
What do you think you're doing?
DETECTIVE #2
Where did you get these cigarettes?
(offering them
cartons)
It's okay.
DETECTIVE #l roughly grabs HENRY's arm. DETECTIVE #2 grabs
HENRY's cigarette cartons. WE SEE HENRY pull his arm away
and ONE of the DETECTIVES slaps him across the face.
WE SEE that TOMMY is about to say something, but runs away
instead.
INT. CABSTAND - DAY
WE SEE TOMMY talking to TUDDY and ASSORTED HOODS at the
cabstand.
INT. COURTROOM - "AR-1" (ARRAIGNMENT PART 1)
HENRY is waiting along with DOZENS OF HOOKERS, nodding
JUNKIES, MUGGERS and SHOPLIFTERS. When HENRY'S case is
called, WE PAN to a well-dressed MOB LAWYER. HENRY, who
has never seen the LAWYER before, walks to the
PROSECUTOR'S, rather than the DEFENDANT'S table. A COURT
CLERK nods him over toward his own LAWYER.
Without acknowledging HENRY, the LAWYER nods and smiles at
the JUDGE, who smiles and nods back.
JUDGE
Councilor, proceed.
CUT TO:
INT. COURTROOM - CENTER AISLE
HENRY is walking out of the court. HENRY sees JIMMY BURKE
smiling and waiting for him in the rear of the courtroom.
JIMMY puts his arm around HENRY like a father, and tacks a
one-hundred dollar bill into HENRY's chest pocket. They
walk out into the court corridor in silence together and
then, suddenly, HENRY sees PAUL VARIO, TOMMY, TUDDY, and
the WHOLE CREW from the cabstand waiting for him. They
start clapping and whistling and slapping his back and
cheering. VARIO, TUDDY and BURKE embrace him.
While bewildered COPS and LAWYERS watch!
CHORDS OF HOODS
You broke your cherry! You broke
your cherry!
LAST FREEZE.
TITLE UP - IDLEWILD AIRPORT: 1955
EXT. WIDE SHOT - IDLEWILD CARGO AREA
HENRY (V.O.)
By the time I grew up, there was
thirty billion a year in cargo
moving through Idlewild Airport
and we tried to steal every bit of
it.
EXT. AIRPORT DINER - PARKING LOT - DAY
ANGLE - GREY LIZARD SHOES AND SHARP GREY PANTS
and UP TO SEE HENRY standing in parking lot, when a large
truck pulls up. WE SEE TOMMY DESIMONE standing with him.
HENRY (V.O.)
You've got to understand, we grew
up near the airport.. It belonged
to Paulie. We had friends and
relatives who worked all over the
place and they tipped as off about
what was coming in and what was
going out.
WE SEE DRIVES get out of track with engine still running
and leave door open. He nods to HENRY who does not respond
and the DRIVES casually walks toward the diner.
HENRY (V.O.)
If any of the truckers or airlines
gave as trouble, Paulie had his
people scare then with a little
strike. It was beautiful. It was
an even bigger money-major than
numbers, and Jimmy was in charge.
Whenever we needed money, we'd rob
the airport. To us, it was better
than Citibank.
INT. TABLE IN DINER
WE SEE DRIVER rise from debris of breakfast dishes, leave
a tip and pay the CASHIER. Be walks out the door toward
his truck in the parking lot.
HOLD ON the door.
DRIVER rushes back in through the door toward the CASHIER.
DRIVER
(flushed and agitated)
Hurry, gimme the phone. Two niggers
just stole my track.
INT. SONNY'S BAMBOO LOUNGE - DUSK
A cavernous room within earshot of the airport that looks
like a movie nightclub. No matter when you walk into the
Bamboo Lounge it's always the middle of the night.
CAMERA TRACKS past the zebra-striped banquettes and bar
stools, past sharpy BUSINESSMEN, BOOKMAKERS and HOODS.
HENRY (V.O.)
There was Jimmy and Tommy and me.
And there was Anthony Stabile,
Angelo Sepe, Fat Andy, Frankie the
Wop, Freddy No Nose, Pete the
Killer, Nicky Blanda, Mikey
Franzese, and Johnny Echoes, who
got that nickname because he said
everything twice. Like*, "You
wanna get the papers, get the
papers."
CAMERA TRACKS to the backroom which WE SEE is filled with
racks of clothes, boxed television sets, new toaster ovens
and stereos. WE SEE MAN rolling racks of fur coats into
the room which looks like a discount store warehouse.
MAN
(to Sonny)
Sonny, we got the coats.
SONNY
(ignoring the man,
and to Henry)
You got any suits?
HENRY
Not till Thursday.
SONNY
(closing door to
backroom)
I need suits.
CUT TO:
HENRY, JIMMY, TOMMY, AND ASSORTED HOODS AND THEIR
GIRLFRIENDS
are having a party. There are champagne buckets around the
table which is littered with steak and lobster dishes. The
table is a mess and everyone is laughing. WE SEE HENRY
look at his watch and look at the lounge's entrance.
HENRY (V.O.)
For us to live any other way was
nuts. To us, those goody-good people
who worked shitty jobs for bum
paychecks, who took the subway to
work every day and worried about
their bills, were dead. They were
suckers. They had no balls. If we
wanted something, we just took it.
If anyone complained twice, they
got hit so bad they never complained
again. It was routine. You didn't
even think about it.
CUT TO:
DOORWAY or BAMBOO LOUNGE WE SEE FRENCHY MCMAHON, a beefy
man in a leather wind-breaker, enter.
WE SEE HENRY get up and go over to greet him.
CUT TO:
THE BAR
HENRY and FRENCHY embrace.
FRENCHY is still wearing his Air France cargo worker's -
coveralls under his leather jacket and WE SEE the "Air
France" logo and the name "Frenchy" in script over the
coverall's breast pocket.
FRENCHY
(trying to whisper
above the din)
It's all there. I can get you past
the alarms and I can get the key.
WE SEE HENRY torn to table and wave at JIMMY to join the
at the bar.
CUT TO:
THE TABLE
WE SEE JIMMY get up and go to the bar.
WE SEE TOMMY at the table with SONNY BAMBOO, the owner,
hovering around. SONNY BAMBOO is holding a thick sheaf of
bills. WE SEE SONNY timidly approach TOMMY by whispering
in his ear. In the BG, WE ALSO SEE the face of a terrified
WAITER.
TOMMY
(putting his arm
around Sonny's
shoulder)
It's okay. Put it on the tab.
SONNY
(whispering with
fear a11 over his
face)
Tommy, it's not just this. Tommy,
please. It's seven grand here.
WE SEE TOMMY just stare menacingly at SONNY.
SONNY
(he started, he
might as well finish)
Tommy, I need the money, Tommy,
please. I owe the world.
TOMMY
(leaping from the
table in a rage)
You Sonofabitch fuck. Are you
calling me a deadbeat? The money
I spent here? Embarrassing me in
front of my friends. You miserable
fuck.
(turning to his
pals)
Can you believe this bastard?
(back to a terrified
Sonny)
Ungrateful fuck! I oughta break
your fucking legs!
WE SEE SONNY BAMBOO flee toward his office, with TOMMY
making a half-hearted gesture to follow, but instead, he
walks over and joins HENRY, JIMMY and FRENCHY at the bar.
He is smiling.
FRENCHY
(to Tommy)
Hey, Tommy. Have a drink.
INT. BACKROOM - CABSTAND - DAY
WE SEE SONNY BAMBOO meekly seated at table facing PAUL
VARIO. HENRY is standing behind SONNY BAMBOO for support.
VARIO
(groaning)
If you knew those fucking kids.
They're nuts. Especially that Tommy.
What am I going to do with them?
SONNY
(sweating)
But I'm worried. I'm hearing all
kinds of things. Paulie. You know
me all my life. I've always done
the right thing.
VARIO
You think that matters? You think
they give a shit about anything?
The little bastards.
SONNY
But it isn't right, Paulie.
That Tommy, he's making trouble
for me all over town. I can't go
here. I can't go there.
VARIO
You? You think you're the only
one? I've talked to them a million
times, but they don't listen.
SONNY
(weakly)
But, Paulie, please.
VARIO
(barely listening)
Someday they'll get what's coming
to them. That's the only way they'll
stop.
SONNY
(pleading)
Paulie, I swear, I'm afraid. The
guy's nuts. What do I have to do?
Whatever I gotta do, I'll do.
VARIO
(arms outstretched
like a saint)
What can I do? If I could do
something, don't you think I would?
SONNY looks up at HENRY for support.
HENRY
(to Sonny)
Tell him. It's okay.
VARIO
What?
SONNY
I was thinking that maybe you could
come in with me. Take a piece of
the place. If you were with me,
maybe than they'd have to lay off.
VASIO
What, do I need ...
SONNY
(interrupting)
I mean it. We could do good.
VARIO
You want a partner?
SONNY
Please?
EXT. BAMBOO LOUNGE - OUTSIDE - DAY
WE SEE trucks with liquor, beer, sides of beef, even
furniture like bar stools and large mirrors being unloaded
and delivered into the front door.
HENRY (V.O.)
Now the guy's got Paulie for a
partner. Any problems, he goes to
Paulie. Trouble with the bill? He
can go to Paulie. Trouble with the
cops? Deliveries? Tommy? He can
call Paulie.
INT. BAMBOO LOUNGE - DAY
WE SEE HENRY AND TWO HOODS from cabstand checking the cases
of liquor being delivered into the lounge. The entire room
is filled floor to ceiling with cases of whiskey, wine,
crates of lobster, and shrimp, and stacks of table linen
and sides of beef. The place looks like a warehouse.
HENRY (V.O.)
But now the guy has got to come up
with Paulie 's money every week,
no matter what. Business bad? Fuck
you, pay me. You had a fire? Fuck
you, pay ma. The place got hit by
lighting? Fuck you, pay me. Also,
Paulie could do anything. Especially
run up bills on the joint's credit.
Why not? Nobody's gonna pay for it
anyway.
EXT. BAMBOO LOUNGE - REAR ALLEYWAY - DAY
WE SEE cases of liquor, wine, etc., being carried out of
the rear door of the lounge by HOODS from the cabstand and
loaded onto U-Haul trucks.
HENRY (V.O.)
As soon as the deliveries are made
in the front door, you move the
stuff out the back and sell it at
a discount. You take a two hundred
dollar case of booze and sell it
for a hundred. It doesn't matter.
It's all profit.
INT. BAMBOO LOUNGE OFFICE
HENRY, JIMMY and TOMMY are standing around the small
workman's table. There is no desk. The office looks denuded
of furniture. A LAWYER is going over papers.
A terrified, unshaven SONNY BAMBOO is seated behind the
desk. The LAWYER is showing him where to sign.
HENRY (V.O.)
And, finally, when there's nothing
1 left, when you can't borrow
another buck from the bank or buy
another case of booze, you bust
the joint out.
CUT DIRECTLY TO:
LARGE CLOSE UP OF - HANDS
making rolls of toilet paper being kneaded into long rolls
with Sterno.
CUT TO:
HENRY AND TOMMY shoving wads of Sterno paper into the
ceiling rafters.
HENRY (V.O.)
You light a match.
CUT TO:
CLOSE UP - MATCH
Lighting rolls of Sterno paper.
EXT. BAMBOO LOUNGE - CURBSIDE - NIGHT
The street is empty. HENRY and TOMMY are seated in HENRY'S
car. They are watching the Bamboo Lounge.
TOMMY
(to Henry)
You gotta help me. Okay? This girl
I told you about? Diana? She's
from the Five Towns. She's Jewish.
She won't go out with me alone.
Can you believe this shit? She's
fucking prejudiced, but she's built.
She's never been out with an Italian
before. She says she'll only go
out on a double date with her
girlfriend. You believe this shit?
But you gotta see her. I mean,
she's beautiful.
HENRY
(laughing)
Will you get the fuck out of here.
TOMMY
Is it my fault she won't go out
without her girlfriend? For
Chrissake. Come on. You don't
even have to stay. Jeesuz! What's
the big deal?
HENRY
Tommy ...
CUT TO:
HENRY AND TOMMY
watching smoke coming out of basement windows of Bamboo
Lounge.
TOMMY (O.S.)
(back to conversation)
I swear you don't have to do
nothing. You just show up and then
leave. What do you think, I want
you around? All I need is for you
to get me started.
We hear car angina start.
INT. A QUIET PLUSH BANQUETTE IN THE VILLA CAPRA
A red damask restaurant. TOMMY and HENRY are seated on the
outside of a U-shaped banquette with their two girls, DIANE
and KAREN, seated inside. DIANE is being wooed and pawed
by a blissful TOMMY. DIANE is enjoying every bit of TOMMY'S
undivided attention. KAREN has not touched her melted baked
Alaska and is looking directly at HENRY. HENRY is stirring
his coffee.
HENRY (V.O.)
I had a meeting with Tuddy around
eleven o'clock and here I am a
back-up guy.
KAREN
(sarcastically)
Have more coffee. It'll wake you
up.
HENRY (V.O.)
I couldn't wait to get away. I was
ordering the dessert when they
were eating dinner. When they were
having coffee, I was asking for a
check.
TOMMY
(to Henry, while
hugging Diana)
Isn't she great? Isn't this great?
Let's do it tomorrow night? Okay?
KAREN (V.O.)
I couldn't stand him. I thought
he was really obnoxious. He kept
fidgeting around.
EXT. RESTAURANT - PARKING LOT - NIGHT
WE SEE HENRY pushing KAREN Into the car.
KAREN (V.O.)
Before it was even time to go home
he was pushing me into the car ...
EXT. CURBSIDE - KAREN'S HOUSE -
WE SEE HENRY hurrying KAREN out of the car.
KAREN (V.O.)
... and then pulling me out. It
was ridiculous. But Diana and Tommy
had made us promise to meet them
again on Friday night. We agreed.
Of course, when Friday night came
around, Henry stood me up.
INT. VILLA CAPRA RESTAURANT - NIGHT
WE SEE TOMMY, DIANE and KAREN seated at a table set for
four.
KAREN (V.O.)
We were a trio instead of double-
date that night, but I made Tommy
take me looking for him.
EXT. CABSTAND SIDEWALK - NIGHT
A hot night. The HOODS have moved to the sidewalk where WE
SEE them sitting in sleeveless underwear, watching the
street.
WE SEE HENRY leave the cabstand when suddenly a car
screeches up on the sidewalk directly in front of him. The
HOODS scatter and WE SEE that HENRY is terrified.
KAREN
(charging out of
the door, screaming)
You've got some nerve. Standing me
up. Nobody does that to me. Who do
you think you are? A big shot?
CUT TO:
HENRY
who sees TOMMY and DIANE in the car, laughing.
HENRY
(embarrassed and
defensive)
I didn't know, I swear. I thought
it was next week.
KAREN
Liar!
CUT TO:
HENRY
Who sees the WISEGUYS laughing.
HENRY
Take it easy. We can talk about
it.
HENRY (V.O.)
She's screaming on the street and
I mean loud, but she looked good.
She had these violet eyes. I
remember she's screaming, but mostly
I'm looking at her eyes. They were
just like Elizabeth Taylor's. That's
what everybody said.
KAREN
(furious)
Talk? To you? After what you did!
HENRY
I thought you were going to stand
me up. You looked bored. You didn't
say anything. What did you expect.
Tommy was all over me. Right?
WE SEE KAREN relax for a second.
HENRY
Come on, let me make it up.
INT. ENTRY TO KAREN'S SUBURBAN HOME - EVENING
ANGLE ON GOLD CROSS AROUND MAN'S NECK
and TILT UP. HENRY is all smiles and slicked-up.
Standing in the door wearing a grey suit and open-necked
black silk shirt with a gold cross and chain.
KAREN
(filled with alarm)
Button year shirt, quick! Hurry
HENRY buttons his shirt as KAREN'S MOTHER comes to the
door.
KAREN
Ma, this is my friend, Henry Hill.
MOTHER
My daughter says you're half-Jewish?
EXT. COPACABANA - NIGHT
HENRY gives the keys and a rolled-up twenty-dollar bill to
the DOORMAN at the building across the street and steers
KAREN toward the Copa.
KAREN
What're you doing? What about the
car?
HENRY
(while pushing her
through the crowd
waiting to get in)
He watches it for me. It's better
than waiting at a garage.
HE SEE HENRY deftly steer KAREN away from the Copa's main
entrance and down the basement steps. A HUGE BODYGUARD,
eating a sandwich in the stairwell, gives HENRY a big
"Hello." WE SEE HENRY walk right through the basement
kitchen, which is filled with CHINESE and LATINO COOKS and
DISHWASHERS who pay no attention. KAREN is being dragged
along, open-mouthed, at the scene. HENRY starts up a stained
kitchen staircase through a pair of swinging doors and
suddenly KAREN sees she is inside the main room. The harried
MAITRE D' (he is surrounded by CUSTOMERS clamoring for
their tables) waves happily at HENRY and signals to a
CAPTAIN. WE SEE a table held aloft by TWO WAITERS wedging
their way toward the stage and plant the table smack in
front of what had until that moment been a ringside table.
As HENRY leads KAREN to their seat, she sees that he is
nodding and shaking hands with MANY of the OTHER GUESTS.
WE SEE HENRY quietly slip twenty-dollar-bills to the
WAITERS.
KAREN
(sitting down)
You gave them twenty dollars each?
WE SEE the CAPTAIN approach with champagne.
CAPTAIN
This is from Mister Tony, over
there.
HENRY
Where, over there?
CAPTAIN
Over there, over there.
KAREN watches HENRY turn around and wave at a 280-POUND
HOOD.
KAREN
What do you do?
HENRY
(toasting Karen and
clinking glasses)
I'm in construction.
KAREN
(taking his hands)
They don't feel like you're in
construction.
HENRY turns to the stage where the lights begin to dim and
BENNY YOUNGMAN walks out.
HENRY
I'm a union delegate.
EXT. AIR FRANCE CARGO AREA - NIGHT
On loading platform HE SEE HENRY and TOMMY dressed in Air
France coveralls.
HENRY is carrying a large suitcase.
Suddenly WE SEE FRENCHY McMAHON come through a door, slip
HENRY a key and lead them back into the office area near
the entrance.
HENRY goes to the door marked "SECURITY AREA" that FRENCHY
points out and opens it with the key. HENRY and TOMMY go
inside.
CUT TO:
HENRY AND TOMMY
coming out with the suitcase, close the door and walk right
past FRENCHY without saying a word.
INT. CABSTAND BACKROOM - NIGHT
WE SEE the suitcase open on the desk. WE SEE VARIO, JIMMY,
HENRY and TOMMY standing around, wreathed in smiles. HENRY
is counting stacks of cash, spreading them all over the
desk.
HENRY (V.O.)
Air France made me. We walked out
with four hundred and twenty
thousand dollars without a gun.
And we did the right thing.
HENRY counts up $420,000 and slides ten packages of $l00-
bills in front of VARIO who stands up and proudly kisses
HENRY on the cheek. JIMMY and TOMMY, both aglow with the
moment, look on. It is clear that HENRY has come of age.
CUT TO:
HENRY'S FACE
VARIO
(to Henry)
It's a lot of money for a kid. If
anyone asks, just say you won it
shooting crap.
EXT. BEACH CLUB - DAY
HENRY and KAREN are at a sun-drenched table after paper-
cup and paper-plate lunch where HENRY is trying to pay
cash.
KAREN
(touching Henry's
arm)
No. No. You've got to sign for
it.
WE SEE athletic YOUNG MEN and WOMEN in white clothe*
carrying tennis and squash rackets walk by. One young man,
BRUCE, says hello to KAREN. She introduces him to HENRY.
CUT TO:
KAREN
(after Bruce walks
on)
He lives across the street.
CUT TO:
CHAMPAGNE
being sent to table.
INT. NIGHTCLUB - NIGHT
CAMERA PANS to stage where WE SEE SINGER'S back and HENRY
and KAREN at a luxurious ringside table with linen, silver,
and crystal.
KAREN (V.O.)
One night Billy Daniels sent us
champagne. There was nothing like
it. I didn't think that there was
anything strange in any of this --
you know, a twenty-one-year-old
kid with such connections.
CUT TO:
INT. HENRY'S CAR - DAWN
HENRY and KAREN are sipping champagne from Copa glasses in
car parked outside her house.
KAREN (V.O.)
He was an exciting guy. He was
really nice. He introduced me to
everybody. Everybody wanted to be
nice to him. And he knew how to
handle it.
CUT TO:
INT. MARTY KRUGMAN'S QUEENS BOUEVARD WIG AND BEAUTY SALON -
DAY
ANGLE ON MARTY'S TELEVISION COMMERCIAL
WE SEE MARTY swimming the length of a pool, surrounded by
adoring MODELS in bathing suits.
MARTY'S TV (V.O.)
They'll stay put even in a typhoon.
And I should know. I'm the president
of the company."
WE SEE MARTY and HENRY standing near television set
commercial is repeated over and over. MARTY is taking
bets on the phone and complaining to HENRY. WE SEE an
agitated JIMMY BURKE in BG poking at wigs and looking toward
HENRY and MARTY
MARTY.
(complaining sotto
voice to Henry
while taking bets
on the phone)
Jimmy's busting my chops.
(into phone)
Okay, give 'em eight to five on
Cleveland.
(hangs up phone and
to Henry, while
nervously eyeing
in the other room)
He wants three points over the
vig. From me? I don't believe
this shit?
HENRY
(pleading)
Marty. Please. You know Jimmy.
You borrowed his money. Pay 'em.
MARTY
(so outraged his
voice gets loader)
I didn't agree to three points
over the vig.- What am I nuts? I
didn't need it that much.
HENRY
(getting exasperated)
What are you gonna do? Fight with
him? He wants his money.
MAJKTY
Fuck 'em. I never paid points. I
always did the right thing. Did I
ever bust his balls? Did I? Did
I? I could have dropped a dime a
million times, and I wouldn't
have had to pay dick.
HENRY
(getting annoyed)
Marty, you're talking crazy. Drop
a dime? Call the cops? Don't even
let anybody hear such bullshit.
Hey don't you just pay the man his
money and shut the fuck up.
WE SEE JIMMY in BG start toward HENRY and MARTY when he
hears HENRY raise his voice.
WE SEE JIMMY come up behind MARTY and wrap the long
telephone extension cord around MARTY's neck. WE SEE
MARTY's eyes begin to pop. WE SEE HENRY try to get his
hands between the wire and MARTY's neck while trying to
get JIMMY to stop.
JIMMY
(total fury)
You got money for your bullshit
television, don't you? I gotta
watch you swimming back and forth
on TV all night long, don't I?
You got money for that, but you
don't have my money?
HENRY
Jimmy. He'll be okay. He's good
for it. Relax.
WE SEE MARTY nodding in agreement that he will pay.
Suddenly, the phone rings.
WE SEE JIMMY, HENRY and MARTY frozen for a second. WE SEE
JIMMY relax the cord. WE SEE MARTY pick up the phone. The
extension cord is still loosely wrapped around his neck.
MARTY
(handing Henry the
phone)
It's for you.
HENRY takes the phone.
HENRY
(fury crosses his
face)
Wait there.
HENRY races out the door, leaving MARTY and JIMMY docilely
looking after him as he runs out the door.
EXT. ROADSIDE TELEPHONE BOOTH ON HIGHWAY
WE SEE KAREN waiting at booth as HENRY pulls up.
INT. HENRY'S CAR
KAREN
(crying and
disheveled)
I've known him all my life. He
just started grabbing at me. He
wouldn't stop. And when I hit him
across the nose with my shoe, he
got mad and shoved me over.
EXT. KAREN'S PARENTS HOUSE
HENRY's car is parked at the curb. A new red Corvette is
parked across the street.
HENRY
Go inside. I'll be right there.
KAREN
What are you gonna do?
HENRY
Get inside!
When KAREN gets out of the car, WE SEE HENRY reach under
the seat for a snub-nose .38 revolver.
EXT. CORVETTE DRIVEWAY
WE SEE HENRY walk down driveway to the backyard area where
BRUCE and TWO of his BROTHERS are talking. BRUCE sees
HENRY and walks toward him. BRUCE'S TWO BROTHERS are
smirking.
BRUCE
What do you want?
They get closer.
BRUCE
(annoyed and menacing)
Hey! Fucko! You want something?
With absolutely no warning, HENRY reaches out and grabs
BRUCE's hair with one hand and pulls his gun out of his
waistband with the other. In almost one motion, HENRY
Smashes the gun across BRUCE's face. Teeth fall from BRUCE's
mouth. The TWO BROTHERS, still not seeing the gun, start
toward HENRY, but HENRY continues to pound the gun into
BRUCE'S face like a dinner gong. BRUCE's head is still
off the ground only because HENRY refuses to let go of his
hair. BRUCE'S BROTHERS realize HENRY has a gun. They freeze
and back off.
WOMAN'S VOICE
(from a window)
HELP! Police! He's got a gun!
Police! Quick! Murder!
HENRY drops BRUCE to the ground.
EXT. KAREN'S DRIVEWAY
WE SEE KAREN standing at the side door as HENRY races up
and puts something in her hand.
HENRY
(panting)
Here, hold this.
WE SEE KAREN look down.
CUT TO:
KAREN'S HAND
holding gun.
CLOSE UP - GUN
KAREN (V.O.)
I know there are women, like my
best friends, who would have gotten
out of there the minute their
boyfriend gave them a gun to hide.
"Fha! You and your gun. Get out
of here, who needs you?" That's
what they would have said to him.
But I didn't. I've got to admit
the truth. It turned me on.
WE SEE KAREN look around to make sure no one else has seen
her. She then leans over and hides the gun in the milk box
at her feet.
INT. KAREN'S PARENTS' HOUSE
WE SEE hands carefully wrapping a white linen table napkin
around some object. WE SEE the napkin and object placed on
the fleer. WE SEE a MAN's heel cone down and smash the
object:, which turns out to be a wine glass. We are at a
small Jewish living room wedding with a canopy and RABBI
and it was HENRY who broke the glass as a part of the
ritual. KAREN'S PARENTS are glumly looking on. HENRY'S
PARENTS are even glummer. Only MICHAEL, HENRY's brother in
the wheelchair, looks pleased.
INT. CHATEAU BLEU CATERING HALL
PAULIE VARIO, FRENCHY, MARTY KRUGMAN, TOMMY DESIMONE, and
ALL of their WIVES and FIANCEES are present.
PAN from HENRY'S and KAREN'S PARENTS sitting uneasily at
different tables.
JUMP CUTS TO PAUL VARIO presiding at a sort of line,
introducing KAREN to the VARIO FAMILY and GUESTS. HENRY
stands behind KAREN, smiling proudly.
KAREN (V.O.)
It was like he had two families.
The first time I was introduced to
them all at once, it was crazy.
Paulie and his brothers had lots
of sons and nephews and almost all
of them were named Peter or Paul.
It was unbelievable. There must
have been two dozen Peters and
Pauls at the wedding. Plus, they
were all married to girls named
Marie, and they named all their
daughters Marie. By the time I
finished meeting everybody. I
thought I was drunk.
CUT TO:
HENRY AND KAREN'S TABLE
Seated nearby are a beaming JIMMY BURKE and his wife, MICKEY
BURKE.
WE SEE VARIO approach and hand KAREN an envelope.
VARIO
Here. This is for you.
KAREN
(looking down at
the envelope)
Paulie, you shouldn't.
WE SEE that VARIO's envelope is richly embossed with hearts
and flowers and has a clear window in front through which
she can see several neatly-folded hundred, dollar bills.
When KAREN looks up, she sees that EVERY WISEGUY and his
WIFE are lined up before her and that they are ALL holding
envelopes with clear windows in front.
CUT TO:
KAREN
perspiring a little as she accepts and thanks the DOZENS
OF WISEGUYS giving her the envelopes. WE ALSO SEE HENRY
has opened a plastic supermarket shopping bag under the
table where he is stuffing the envelopes just as soon as
KAREN accepts them.
CUT TO:
HENRY AND KAREN getting up to dance.
KAREN
(whispering)
My bag. My bag.
HENRY
(amused)
What bag?
KAREN
(desperate)
The bag with the envelopes.
HENRY
(chiding)
Oh that. Don't worry about that.
Nobody's gonna steal it.
INT. KAREN'S MOTHER'S HOUSE - LIVING ROOM - DAWN
WE SEE KAREN propped up, awake, in a chair. Her FATHER is
seated on a sofa, asleep. KAREN'S MOTHER is looking out
the window.
KAREN'S MOTHER
He didn't call?
KAREN
He's with his friends.
KAREN'S MOTHER
What kind of person doesn't call?
KAREN
He's a grown man. Be doesn't have
to call every five minutes.
KAREN'S MOTHER
If he was so grown up he'd get you
two an apartment.
KAREN
Don't bring that up. You're the
one who wanted us here.
KAREN'S MOTHER
(ignoring the charge)
Look. He's got the whole house in
an uproar.
CUT TO:
FATHER dozing on sofa.
KAREN'S MOTHER
He's got your father upset. Good
thing he doesn't have to go to
work in the morning. Is this what
he deserves?
KAREN
Ma! Please! You're driving me
crazy.
KAREN'S MOTHER
Driving you crazy? Don't get me
started. You're here a month and
sometimes I know he doesn't come
home at all. What kind of people
are these?
KAREN
Ma! Stop! What do you want me to
do?
KAREN'S MOTHER
Do? What can you do? What did
you expect? He wasn't Jewish. Did
you know bow they live? Your father
would never stay out this late
without calling. In thirty years
he never stayed out all night.
CUT TO:
FATHER SLEEPING ON SOFA
KAREN
Stayed out? Daddy never went out
at all.
DISSOLVE TO:
TITLE UP - 6:30 A.M.
We hear car door open in front of house.
CUT TO:
KAREN AND KAREN'S MOTHER
open the door together and WE SEE HENRY standing in doorway,
a little drunk.
Behind HENRY WE SEE a car with TOMMY DESIMONE still parked
at the curb.
KAREN is happy to see him. She smiles.
KAREN'S MOTHER
(angrily)
Where were you? Where have you
been? Why didn't you call? We were
all worried to death! A married
man doesn't stay out like this!
WE SEE HENRY look at KAREN, look at KAREN'S MOTHER and
turn around and get back in the car and drive away.
KAREN BEGINS TO CRY.
KAREN'S FATHER sleepily comes to the door.
KAREN'S MOTHER
(as Henry drives
away)
Normal people don't live this way.
INT. LIVING ROOM - JIMMY AND MICKEY'S ARCHIE-BUNKER HOUSE -
NIGHT
KAREN and MOST of the WOMEN we saw at the wedding are at
MICKEY's cosmetic party. There are large cardboard posters
of glamorous models using the cosmetic's at MICKEY'S feet.
KAREN (V.O.)
We weren't married to nine-to-five
guys, but the first time I realized
how different was when Mickey had
a hostess party.
CUT TO:
MICKEY
Brushing another woman, ANGIE's, hair while showing off a
new brush.
MICKEY
(to Angie)
Angie, sweetheart, you want it
fluff?
CUT TO:
ANGIE'S TIRED FACE
black-ringed eyes and thin mouth.
ANGIE
He's the one with the hands. I'd
like to smack his face.
WOMAN #1
The red-haired guy? He looks a
like a farmer?
ANGIE
Sonofabitch. I swear. You can't
go through the gate without his
hands. I told him. Keep' your
fucking hands off, you Sonofabitch,
or I'll cut them off.
WE SEE the WOMEN laugh.
ANGIE)
He don't know bow lucky he is. It
I just mentioned it to Vince, I
don't even want to know.
WOMAN #1
That's the problem. How can you
mention it? Vince 'd kill him.
ANGIE
You think I don't know? You think
I like to keep this inside? But I
gotta, or he'll kill the miserable
bastard and he'll be there for
life. It's disgusting what you
have to put up with.
MICKEY
(while fluffing
Angle's hair)
Look at Jeannie's kid.
ANGIE
What? What happened?
MICKEY
The oldest one. He was in an
argument. A lousy ten-dollar card
game. The kid pulls out a gun. It
goes off. The kid gets killed. The
grandmother hears it and finds out
he's been arrested. She has a heart
attack. She drops dead right on
the spot. Now Jeannie's got a
husband and son in jail and a mother
in the funeral parlor.
ANGIE
But he was always a bad kid, that
one.
MICKEY
No. Come on. It was the younger
one that was the bad one.
KAREN (V.O.)
(continuing over
dialogue)
They had bad skin and wore too
much makeup. I mean they didn't
look very good. They looked beat-
up.
CLOSE UP - WOMEN
Talking.
KAREN (V.O.)
You never saw teeth like that where
I was growing up and the stuff
they wore was thrown together and
cheap. A lot of pants suits and
double-knits. And they talked about
how rotten their kids were and
about beating them with broom
handles and leather belts, but
that the kids still didn't pay any
attention. When Henry picked me
up, I was dizzy.
INT. BEDROOM - KAREN'S MOTHER'S HOUSE - NIGHT
WE SEE they are getting ready for bed.
KAREN
I Don't know. I don't know if I
could live that way. What if, God
forbid, you go to prison. Mickey
said Jeannie's husband --
HENRY
(angrily interrupting)
Are you nuts? Jeannie's husband
went to the can just to get away
from her, she's such a pain in the
ass. Let me tell you. Nobody goes
to jail unless they want to, unless
they make themselves get caught.
They do stuff with the wrong people.
They don't have things organized.
You know who goes to jail? Nigger
stickup men. That's who. And they
only get caught because they fall
asleep in the getaway car.
KAREN looks down. She listening.
HENRY
Listen, we're beginning to make
real money for the first time.
It's business. Do you think I'm
going to walk away from that?
HENRY puts his arm around KAREN and begins to hug her.
KAREN (V.O.)
After a while, it all got to be
normal. None of it seemed like
crimes. It was more that Henry was
enterprising. That he and the guys
were making a few bucks hustling,
while other men were sitting on
their asses waiting for handouts.
Our husbands weren't brain surgeons.
They were blue collar guys, and
the only way they could get extra
money, real extra money, was to go
out and cut a few corners.
CUT TO:
INT. TRUCK - NIGHT
ANGLE ON HENRY AND TOMMY
who is carrying a brown paper bag as though it were a gun,
pulling a DRIVER out of his truck and shoving him toward
ANOTHER HOOD who pushes him into the rear seat of a car
Where WE SEE - ANOTHER HOOD.
CUT BACK TO:
HENRY AND TOMMY getting into the truck.
CUT TO:
ROAD where HE SEE the truck drive off.
CUT BACK TO:
TRUCK
Where WE SEE the paper bag in TOMMY'S hand explode in a
red burst as he wildly fixes shots into the air.
He hear HENRY's laughter.
KAREN (V.O.)
And we were also very close. I
mean, there were never any outsiders
around. Absolutely never! And
being together all the time made
everything seem even more normal.
INT. HENRY'S DOORWAY
WE SEE KAREN looking at a search warrant being shown to
her by DETECTIVES who are being very polite. The CHILDREN
are looking on.
KAREN (V.O.)
There was always a little
harassment. They always wanted to
talk to Henry about this or that.
They'd come with their subpoenas
and warrants and make me sign.
But mostly they were just looking
for a handout. A few bucks to keep
things quiet, no matter what they
found.
KAREN
(signing the paper)
Can I make you some coffee?
The DETECTIVES smile and, taking off their hats, walk into
the house where KIDS and KAREN resume watching TV.
KAREN (V.O.)
I always asked them if they wanted
coffee. Some of the wives, like
Mickey Burke, used to curse at
them and spit on the floor. Imagine.
She'd spit on her own floor.
That never made any sense to me.
It was better to be polite and
call the lawyer.
CUT TO:
IN BACKGROUND HE SEE the DETECTIVES going through the house.
CUT TO:
INT. DINING ROOM - JIMMY HORSE'S HOUSE - NIGHT
WE SEE JIMMY and MICKEY and HENRY and KAREN and TODDY and
WIFE, TOMMY and GIRLFRIEND, MARTY and FRAN KRUGMAN, ANGELO
SEPE and WIFE and the ASSORTED CHILDREN, all wearing party
hats and blowing out the candles on nine-year-old JESSE
JAMES BURKE's huge layer cake.
KAREN
We did everything together and we
were always the same crowd.
Anniversaries. Christenings. We
only want to each other's houses.
CUT TO:
SNAPSHOT OF JIMMY HOGGING KAREN AND MICKEY AT TABLE
KAREN (V.O.)
The woman played cards. When my
kids were born. Jimmy and Mickey
were always the first at the
hospital.
CUT TO:
SNAPSHOT OF BEAMING JIMMY, MICKEY AND HENRY EMBRACING
AGAINST THE WINDOW OF MATERNITY HOSPITAL WHILE A NURSE
HOLDS OP A BABY. MICKEY IS IN TEARS.
KAREN (V.O.)
When we went to the Islands or
Vegas for vacation, we always .
went together.
CUT TO:
SNAPSHOT OF JIMMY AND MICKEY AND HENRY AND KAREN IN BATH-
SUITS STANDING NEXT TO THEIR POOLSIDE CHAIRS HOLDING TALL
TRADER VIC'S-STYLE DRINKS WITH TINY UMBRELLAS AND PINEAPPLE
STICKING OUT OF THEM.
KAREN
It got to ba normal. I got to where
I was even proud that I had the
kind of husband who was willing to
go out and risk his neck just to
get us the little extras.
CUT TO:
INT. HENRY AND KAREN'S SUBURBAN HOUSE - MORNING
ANGLE ON HENRY'S BEDROOM CLOSET
CAMERA TRACKS row after row of neatly hung suits and sports
jackets and racks of sharp shoes.
WE SEE HENRY getting undressed. He neatly hangs his jacket
and then lifts the front of his sport shirt to his neck,
REVEALING thick packets of crisp $50 and $100 bills be has
wedged all around his waist.
KAREN (O.S.)
But I got my mother to watch the
kids tomorrow night.
CUT TO:
KAREN'S BEDROOM CLOSET
CAMERA TRACKS past rows of KAREN'S dresses, pants suits,
blouses, shoes and fur coats.
HENRY (O.S.)
I told you I can't.
CUT TO:
KITCHEN
WE SEE HENRY, now shaved and dressed in a different suit.
He is on his way out.
KAREN
(annoyed)
I'm gonna need some money.
HENRY
How much?
WE SEE KAREN hold her thumb and forefinger about an inch
apart.
WE SEE HENRY take about an inch and a half of money from
his inside jacket pocket, slap it on the table and go out
the door.
INT. THE SUITE - NIGHT
A plush, overdecorated cocktail lounge and nightclub on
Queens Boulevard, where we hear Sergio Pranchi on the
jukebox.
(NOTE: REPLAY THE OPENING OF THE FILM AT 9 TIMES NORMAL
SPEED -- HENRY SLAMMING THE TRUNK CLOSED.)
HENRY (V.O.)
For most of the guys, killing got
to be accepted. They were routine.
Murder was the only way everybody
stayed in line. It was the ultimate
weapon. Yon got out of line, you
got whacked. Everyone knew the
rules.
CUT TO:
TOMMY SMASHING GUN INTO BILLY BATT'S HEAD
HENRY (V.O.)
But sometimes, even if people didn't
get out of line, they'd get whacked.
Hits just became a habit for some
guys. It didn't take anything to
get yourself killed.
CUT TO:
SILHOUETTE OF TOMMY, HENRY AND JIMMY
Stuffing BILLY'S body into the trunk.
HENRY (V.O.)
Guys would get into arguments over
nothing and before you knew it,
one of them was dead. They were
shooting each other all the time.
Shooting people was a normal thing.
It was no big deal.
CUT TO:
TOMMY'S MOTHER'S KITCHEN AND BREAKFAST.
HENRY (V.O.)
You didn't have to do anything and
nobody was immune. You just had to
be there.
CUT TO:
TOMMY
smashing shovel into soft, bloodied matress cover in the
trunk of the car.
HENRY (V.O.)
But we had a problem with Billy
Batts. This was a touchy thing.
Tommy had killed a made man. Billy
was a part of the Bambino crew and
untouchable.
CUT TO:
EXT. CONNECTICUT WOODLAND - NIGHT
WE SEE TOMMY, HENRY and JIMMY burying BATTS.
HENRY (V.O.)
Before you could touch a made guy,
you had to have a good reason.
There had to be a sit-down. And
you better get an okay, or you'd
be the one who got whacked.
HENRY slams down trunk.
CUT TO:
INT. COPACABANA - LATE SHOW - NIGHT
ANGLE ON TABLE
being quickly set up by WAITERS and MAITRE D' as HENRY,
TOMMY, ANGELO SEPE, and JOE MANRI sit down. In BG, WE SEE
OLDER HOODS with YOUNG SHOWGIRL TYPES.
WE SEE LINDA, a cheery, California blonde, and SOME
GIRLFRIENDS seated at a table directly behind HENRY'S table.
CUT TO:
STAGE AND AS STAGE LIGHTS DIM:
HENRY (V.O.)
Saturday night was for wives, but
Friday night at the Copa was always
for the girlfriends.
CUT BACK TO:
HENRY'S TABLE
HENRY is now sitting next to LINDA. TOMMY is with GIRL #l.
SEPE is with GIRL #2.
GIRL #1
Last week I saw Sunny Davis. What
a performer. You gotta see him.
You gotta catch him. He does
imitations I swear you'd think it
was the real people.
GIRL #2
Yeah, the way he moves. It's
unbelievable. I mean, you can
understand how a white girl could
fall for him.
TOMMY
What are you talking about?
GIRL #2
I don't mean me. Not me. I just
mean, you can see how some girls
could. Like that Swedish girl.
You can see how she fell for him.
You can see how he has this, this,
personality.
CUT TO:
COPA STAGE
spotlight. BOBBY DARKEN is singing.
EXT. LINDA'S APARTMENT BUILDING - NIGHT
HENRY'S convertible pulls up.
HENRY has his arm around LINDA'S neck. WE SEE them go
into the building.
DISSOLVE TO:
DAWN.
INT. VARIO'S HOUSE - DAY
Sunday. There are LOTS OF RELATIVES and FRIENDS present.
HENRY and KAREN arrive. KAREN ia carrying their NEW BABY
and HENRY has his TWO-YEAR-OLD DAUGHTER by the hand. A
Great fuss is made over the NEW BABY and over KAREN by the
WOMEN, including VARIO'S WIFE. VARIO puts an arm around
HENRY and leads him into an alcove.
VARIO
What did you hear about that thing?
HENRY
What thing? The Brooklyn thing?
VARIO
No. No. The guy from downtown.
HENRY
The guy from near where Christie
used to live?
VARIO
No. The other one. The one who
disappeared up the block from
Christie. The one they made a beef
on.
HENRY
Oh I Him.
VASIO
You know the one I mean?
HENRY
Oh yeah. Sure. That guy. I know
him.
VASIO
That Batts was a miserable fuck,
but his people are looking still
for him.
HENRY
Oh yeah. Yeah. I know. I even looked
into it myself. Nobody knows what
the fuck happened to him. He came
in the joint that one night and
then he disappeared.
VARZO
Hell, keep your eyes open. They're
busting my balls looking for the
fuck.
INT. THE SUITE - NIGHT
HENRY and LINDA, with the CREW, are drinking. MARTY KRUGMAN
is reluctantly paying off a bet at the bar. JIMMY calls
HENRY aside.
JIMMY
We got a problem, that thing we
took care of upstate?
HENRY
(surprised)
Paulie was just talking about him.
JIMMY
Well, we gotta dig him up again.
HENRY
(shocked)
What?
JIMMY
The guy just sold the property.
They're gonna build condominiums
and I don't want anybody digging
up the little bastard.
HENRY
(horrified)
It's been six months.
JIMMY
It's still better than letting
somebody find him.
HENRY
(nodding in agreement
and concerned)
If Paulie finds out, we got
problems.
JIMMY
Fuck Paulie. If Batts' crew finds
we whacked him, we got real
problems.
EXT. HENRY'S CAR PARKED ON DESERTED COUNTRY ROAD - NIGHT
A hot summer night. The car trunk is open. HENRY, JIMMY
and TOMMY are struggling with shovels. HENRY, sickened by
the stench, is wearing his handkerchief over his nose and
mouth. HENRY looks at JIMMY and TOMMY. They do not appear
to be bothered by the stench.
EXT. HENRY AND KAREN'S SUBURBAN HOME
HENRY is homing out the trunk of his car. He has all of
the mats, the spare tire, and the jack out of the trunk.
KAREN
What happened to the car?
(annoyed at Karen's
prying)
I hit a skunk.
HENRY sprinkles in a bottle of perfume and slams the trunk
shut.
INT. LINDA'S APARTMENT - BEDROOM - NIGHT
WE SEE LINDA showing off her new apartment to the GIRLS,
including ROBIN, a sexy, dark-haired girl. We hear HENRY,
TOMMY, SEPE and MANRI laughing in BG. The apartment is
decorated in Ocean Parkway Ring. There are thick velvet-
covered sofa and blue-glass coffee table in bedroom and WE
SEE a satin-covered, king-size bed with a doll propped
against the pillows. WE SEE LINDA lean over and show her
GIRLFRIENDS, including ROBIN, the bed ruffles.
HENRY (V.O.)
I set up Linda in an apartment
around the corner from the Suite.
That way I was able to stay over a
couple of nights a week. Karen was
home with the kids anyway and she
never asked any questions anyway.
INT. BRIDAL SHOP - BACKROOM
HENRY is strangling the OWNER of a bridal shop with his
own tie while TOMMY and JIMMY laugh.
HENRY (V.O.)
Linda and I were having so much
fun, she started screwing up at
work, and I had to straighten out
her boss a little bit.
INT. LINDA'S APARTMENT - BEDROOM - CONTINUOUS NIGHT
WE SEE LINDA suddenly lifted off her feet and thrown on
the bed. WE SEE HENRY and the GIRLS laughing. As HENRY
lifts LINDA off her feet, he winks at ROBIN, who smiles
back.
INT. THE SUITE - A BASEMENT CARD SAME - NIGHT
Glazed walls, ornate sconces, and a rumpus room bar. HENRY,
JIMMY, TOMMY and OTHER WISEGUYS are playing cards. TOMMY
is a little drunk. SPIDER, a 22-year-old apprentice hood,
is waiting on the PLAYERS, bringing then drinks. The sort,
of thing we saw HENRY doing earlier. TOMMY is feeling
expansive. He throws his jacket open TO REVEAL a gun tacked
in his belt.
TOMMY
(impatiently)
Spider. C'mon, get me a seven and
seven.
WE SEE SPIDER deliver a drink to HENRY and slowly back
toward the bar.
TOMMY
Spider, what did I say? Did I say
I was dying over here? Come on.
Move it. Don't walk, dance.
(to his fellow
players)
Did you ever see in the cowboy
movies where they make them dance?
Did you see The Oklahoma Kid, the
only cowboy movie Cagney ever made?
Come on, dance, you varmit.
WE SEE TOMMY taking out his guns.
SPIDER
Tommy, don't fuck around.
TOMMY
Yahooo.
HENRY
Tommy, don't fuck around. Put the
gun away. Tommy!
TOMMY
No, no. It's okay.
HENRY
Tommy, come on. Put the gun away.
TOMMY
No. It's okay. Just watch this.
Watch it.
The gun explodes and WE SEE SPIDER shot in the foot.
EXT. HENRY'S HOUSE - EVENING
WE SEE a set of keys come flying out the window. TILT DOWN
to keys.
CUT TO:
BEDROOM
HENRY is furious. He pushes past KAREN and looks out window
HENRY
I gotta go out!
KABEN
Not tonight, you're not. Not without
the car keys, you're not.
HENRY
Are you nuts?
KAREN
I don't care. Something's going
on.
HENRY
(exasperated)
That again.
KABEN
(shrieking and in
tears)
You're a liar. I look at you and I
know you're a liar.
HE SEE HENRY pick up a large lamp and throw it at KAREN.
He misses.
HENRY
(suddenly calm and
walking out)
I need some air. I need a little
peace. At least at home.
WE SEE KABEN sit down on bed and begin to cry. We hear the
CHILDREN crying in BG.
INT. THE SUITE - BASEMENT CARD GAME - NIGHT
ANGLE ON SPIDER
With bandaged foot and HENRY walking in and TILT UP TO
both of them.
JIMMY, TOMMY and SOME HOODS are playing cards. TOMMY Is
already drunk.
TOMMY
Hey! Look at this. Fred Astaira,
back from the wars. Can you believe
this guy? That bandage. It's bigger
than his foot.
SPIDER ignores him.
The card game is going on. Shirts are unbuttoned. The table
filled with empty glasses. SPIDER limps over with drinks.
TOMMY
Spider. You're so full of shit.
Even with that foot, I bet you can
dance.
SPIDER puts the drinks down and tries to ignore TOMMY again.
TOMMY
Come on. Spider. Come on. Let's
see you dance.
SPIDER
Why don't you go fuck yourself.
JIMM