] [ bottom
] [ top
] [ Act 3
EXT. WEST 79TH STREET - DAY
NICK stands, hands in pocket, at corner, watching WORKMEN
construct a brand-new metal newsstand. SID approaches from
Hey, Nick --
A state-of-the-art newsstand.
Shlomo's dream come true.
Sadly, NICK turns, walks away towards Tattinger's with SID.
In distance, WORKERS board up broken window.
Bartholomew says we can get a
window that looks just like the old
And at forty percent more cost.
How am I gonna explain this to
Edward Everett Tunson?
Edward -- Ed-Ev-Ed --
Don't you start with me. The
bankroll I told you about.
Everything's gotta be perfect
today. Make sure the food's great,
I'll put the staff on red alert.
Keep the details to yourself.
Don't let 'em know the financial
trouble we're in.
Believe me, they know. By the way,
I need you to co-sign that loan
application for my niece.
Give me the papers.
Unfortunately, I left them home.
I'll bring them in tomorrow.
Rachel Lund's husband's waiting.
INT. MAIN ROOM - DAY
Lunchtime. NICK and SID enter. FREDERICK LUND stands at
Thanks for letting me come by.
Yeah, well, Frederick, as I said on
the phone, there's not much I can
As they head up stairs, FREDERICK is emotionally distraught.
I went to the jail but she won't
talk to me or our lawyer either...
I can't figure out what's going on.
We had such a perfect life, a
Must've been some warning signs.
Some change in her behavior.
I'm not going to lie to you. There
were quite a few changes. Did you
know Rachel was a ranked bridge
Sure. Shlomo used to brag like
Suddenly, she stopped playing,
stopped doing lots of things.
Instead, she's been coming into
Is that unusual?
Every day? Yes. For a while, I...
I thought she was seeing another
man. After this morning, I realize
that's not the case.
(turns to NICK)
Well, what would you've thought?
She'd come back from town, her
clothes stinking of perspiration.
Even when they didn't, she'd rush
right up and take a shower...
As they enter Office, PAN TO SID, returning to Maitre d'
Station. MARCO enters.
Marco, here for your severance pay?
Is Nick around?
I met Sonny Franks today. I'm
worried about what he's gonna do.
A COUPLE enters. SID smiles at them.
Be with you in a moment.
(turns back to MARCO)
We're all worried. If there was a
way to get Sonny off the streets
I'd breathe a heavy sigh of relief.
Sid, what're the chances Nick'll
reconsider hiring me?
That door is closed, kid.
You've lost his respect. And I
know Nick. Once you've done that
you are history.
SID approaches the COUPLE. On MARCO,
INT. NICK'S OFFICE - DAY
NICK, at sink, gets glass of water as FREDERICK stares
Muffie's never struck me as the
She isn't. She's no more Jewish
than I am Episcopalian.
The cops said she made a big deal
outta being Jewish.
That's odd. She never goes to
Temple. In fact, I was the one who
pushed our oldest to study Judaism
as well as the Gospels.
The children know what's happened?
Yes. Teenagers -- they try to be
"cool." Ever since Shlomo died,
they're used to their mother's
At the funeral, Muffie was saying
how the kids didn't need her
anymore. Maybe between the death
of her father and the empty nest...
But why would she break my window?
I'll, of course, pay for the
NICK looks up at FREDERICK, half-smiles, then after a beat.
Who else does she know in New York?
I mean, that could tell us where
she's been going every day.
A few friends...
And her mother.
That's the last place she'd spend
Didn't Rachel tell you? She and
Honey don't speak anymore. Not for
months. Not a word.
On FREDERICK, looking sad,
INT. KITCHEN - DAY
CERVANTES mixes pasta dough. SHEILA comes up behind him.
I said, use the machine.
Use the machine, Cervantes, or I'm
going to tilt your windmill.
As CERVANTES starts to transfer the dough into the machine,
ALPHONSE rushes over, takes dough, plops it on counter.
Mix the dough by hand.
(puts dough back in
(takes dough out, puts on
(puts dough in machine)
(puts dough back on
(puts dough in machine)
No mas. No mas.
He screams again and runs into the Main Room.
INT. MAIN ROOM - DAY
CERVANTES runs, yelling, toward front door, to the surprise
of the lunchtime PATRONS.
No mas. No mas.
At a gallop, he approaches SID, who moves out of his way.
CERVANTES leaps up the stairs, past a distinguished-looking
gentleman in an American-made suit, EDWARD EVERETT TUNSON.
TUNSON stares after CERVANTES for a beat, then turns, crosses
to Maitre d' Station.
Excuse me, I'm looking for Mister
And whom shall I say is calling?
Edward Everett Tunson.
On SID'S recognizing the name,
INT. KITCHEN - DAY
ALPHONSE and SHEILA argue, nose to nose.
You and that machine destroyed him
Mixing by hand wastes too much prep
time and doesn't make the pasta
taste any better.
Man is what counts. Skill, art.
Not blenders, dicers, slicers --
Awh, take your ass back to Alsace,
Vache. For four intolerable weeks
I have stood by, watching you
destroy my kitchen.
You couldn't boil an egg, if you
had Paul Bocuse and Julia Child
light the stove.
Enough. We shall see who's the
best cook once and for all.
(tosses side towel on
I challenge you, madam, name your
Don't give me that macho bullhorn,
you neo-anthropod escargot. You
want a contest? Fine. I'll wipe
Wiping is all you're good for.
Tomorrow we'll each make the same
dish and let the customers decide.
Fine. If I win -- you give me
complete autonomy over pasta.
And if I win -- you go to Hunt's
Point every morning for a month.
Then I assume my challenge has been
SHEILA picks up side towel from floor.
As she swats him across face with towel,
INT. SECOND FLOOR LANDING - DAY
NICK and TUNSON stand outside NICK'S Office, looking down.
My advisors have informed me that
Tattinger's is a financial fiasco.
After seeing that man run out of
here, screaming, I can understand
Then you're not interested...
I didn't say that. My wife and I
first had dinner here nine years
ago. Every time she travels to New
York with me, we have to eat at
Tattinger's. When she heard she
could be an owner -- Well, I like
to give Daisy May her due.
Mister Tunson, I promise I will
treat your money as carefully as I
do my own.
That's what worries me. Perhaps
tomorrow or the next day, I could
carve out a chunk of time and
really get the chance to explore.
Be my guest.
As NICK heads off, TUNSON walks to double doors, peeks in,
closes it. LOUIS CHATHAM enters with vase of flowers, puts
them on table.
What kind of flowers are there?
On TUNSON, as LOUIS keeps going,
EXT. THIRD AVENUE BROWNSTONE - SUNSET
INT. HONEY'S LIVING ROOM - SUNSET
C.U. on rowing machine, PULL BACK to REVEAL NICK, who calls
What'd I ever do to her?
She's crazy, Nick, always been
HONEY enters, carrying tray of coffee and cake.
Here we go...
She places tray on table, but doesn't sit -- she never stops
I know you and Rachel haven't spent
much time together --
The last few months we've exchanged
maybe ten words. After Shlomo
passed away, we... Well, he was
like a bridge between us. Now...
My daughter and I have nothing in
Cutting down. Is that why you
ordered her out? Told her to stop
Where'd you hear that?
Yes, I told her not to come around
(pours coffee for herself)
You want to know why? She sent a
priest to see me. A Catholic
priest, from St. Theresa's. A
priest in this house.
As HONEY continues moving,
INT. HOLDING CELL - NIGHT
RACHEL stands in cell, still facing wall, in bathrobe, her
hands cuffed behind her back. CHARLENE TWEED, thirty-seven,
approaches, with POLICEMAN who unlocks door. CHARLENE goes
RACHEL stops, turns toward CHARLENE, who smiles.
My name's Charlene Tweed. The
court appointed me to defend you,
since you've refused to deal with
your family lawyer.
The law requires that someone
represent you at tomorrow's
No response from RACHEL.
The police are concerned that
you'll try to hurt yourself. But
if you give me your word not to
undress again, I'll have them
remove the handcuffs.
I'm fine as I am.
About what you did this morning...
They have to learn, have to know.
We all have to know. I only wish I
had more -- something -- to teach
I'm sure you do.
No... Oh, I know plenty of things,
but not... You know... Anything
I spoke to your husband.
I have no husband. I don't want
Well, like it or not, I am... Now,
about this morning...
RACHEL turns away, facing wall. On CHARLENE, studying her,
INT. ST. THERESA'S CENTER - NIGHT
Clearly, a depository for the neglected and forgotten of the
city. NICK and Father THOMAS SMARALDO walk through rows of
beds filled with HOMELESS, HOOKERS, and DRUG ADDICTS.
The last time I saw Rachel she was
looking to do volunteer work, so I
sent her here to you. Anything
come of that?
Yeah. When she first showed up, I
almost turned her away. Not that
I'm prejudiced, but most suburban
women who come to our part of town
take one look at the surroundings
and jog back up to Westchester.
But Rachel was different. She
wasn't afraid to get involved.
Until today I would've never used
that term to describe her. All her
life she's been a kitten, a
Not anymore. She's been going to
this gym around the corner.
Learning self-defense. She even
brought a fella from there over to
When was that?
A few weeks ago... Right after,
Rachel called and said she wasn't
She say why?
Only that she had something else to
do. Sometimes volunteers burn out,
give in to the futility, the
(looks at STARVING CHILD)
What happened the day you went to
see Rachel's mother?
I've never met her mother.
Honey told me a priest from St.
Theresa's came to see her.
Wasn't me. But if you want, I'll
And, Thomas, can you give me the
address of that gym?
A wild-eyed drugged-out TEENAGER flips a cot over and starts
swinging his arms madly. As SMARALDO goes to calm him down,
and NICK watches, sadly,
EXT. STREET - NIGHT
MARCO walks cautiously down dimly-lit sidewalk towards a
SHADOW leaning against a lamp post. As he gets close to the
SHADOW, we see that it's SONNY. MARCO stops.
I want in, Mister Franks.
I want to help you kill Nick
On SONNY, smiling malevolently,
INT. NICK'S FOYER - NIGHT
NICK enters, dead to the world. He starts stripping, as he
heads into Bedroom.
INT. NICK'S BEDR0OM - NIGHT
NICK crosses to bed, continues undressing. He sits on stool,
at edge of bed, slips off his shoes. But the energy drains
out of him and he leans backward onto bed, closing his eyes.
Beat. Beat. Beat. PHONE RINGS. NICK'S eyes open.
God hates me.
On NICK, trying to reach the phone,
EXT. MANHATTAN - DAY
EXT. GYMNASIUM - DAY
Establishing. Not plush.
INT. GYMNASIUM - DAY
Muscular gym instructor, RANDY McNALLY, wearing net t-shirt,
talks to NICK, as in b.g. others work out.
Rachel never missed a lesson. Not
'til last week. That's not like
her, so I went over to her place.
She wasn't there.
Larchmont? What planet are you on?
She lives on 110th Street.
She keeps an apartment in the city?
You told me you knew her.
I thought I did.
Look, Mister, I got paying members
who need supervision.
He starts to go, NICK stops him.
Another minute. She ever tell you
she wanted to learn self-defense?
She never needed to. People who
come to me do more than pump a
little iron. This town is infested
with vermin. From motorheads to
landlords. If the big bomb doesn't
get you, one of them will. My
students will be ready. Be it hand
What're you talking about?
Survival. We're a survival unit.
Survival from what?
The Twentieth century.
On NICK'S confusion,
INT. TENEMENT HALLWAY - DAY
DARK. In the half-dark hallway a family of six lives This is
their home. A slightly nervous NICK walks down hall, arrives
at a door marked "E." He knocks, no answer, checks door,
it's locked. He looks around, sees SLEAZY GUY lurking. As
GUY flashes a toothless grin, motioning NICK to follow.
INT. TENEMENT APARTMENT - DAY
C.U. WINDOW LOCK being picked, then opened. NICK climbs
through, reaches back to hand GUY ten dollars. NICK looks
around apartment, stops.
NICK'S POV Holocaust photographs, blown up full-size
A photograph of MALE CONCENTRATION CAMP PRISONERS, in striped
uniforms, in line.
A photograph of barbed wire surrounding camp and a guard
A photograph of FEMALE CONCENTRATION CAMP PRISONERS, heads
shaved, lying dead in a pile.
A photograph of inside a barracks.
A photograph of a terrified young GIRL, facing wall, arms
raised, as grinning S.S. SOLDIERS hold a gun to her head and
lift up her skirt so her bottom can be photographed.
NICK'S gaze finally rests on family photographs, a picture of
HONEY, SHLOMO, a picture of RACHEL as a young girl, and
another one, a sweet-faced two-year-old GIRL, circa 1943.
Something catches NICK'S eye. He bends down and sees an
unarmed, homemade BOMB. On NICK, rubbing his chin,
END OF ACT TWO