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ACT TWO
FADE IN
EXT. WEST 79TH STREET - DAY
NICK stands, hands in pocket, at corner, watching WORKMEN
construct a brand-new metal newsstand. SID approaches from
behind.
SID
Hey, Nick --
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.
SID
Bartholomew says we can get a
window that looks just like the old
one.
NICK
And at forty percent more cost.
How am I gonna explain this to
Edward Everett Tunson?
SID
Edward -- Ed-Ev-Ed --
NICK
Don't you start with me. The
bankroll I told you about.
SID
Oh, yeah.
NICK
Everything's gotta be perfect
today. Make sure the food's great,
the service...
SID
I'll put the staff on red alert.
NICK
Keep the details to yourself.
Don't let 'em know the financial
trouble we're in.
SID
Believe me, they know. By the way,
I need you to co-sign that loan
application for my niece.
NICK
Give me the papers.
SID
Unfortunately, I left them home.
I'll bring them in tomorrow.
Rachel Lund's husband's waiting.
They enter.
INT. MAIN ROOM - DAY
Lunchtime. NICK and SID enter. FREDERICK LUND stands at
door.
FREDERICK
Thanks for letting me come by.
NICK
Yeah, well, Frederick, as I said on
the phone, there's not much I can
do.
As they head up stairs, FREDERICK is emotionally distraught.
FREDERICK
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
perfect relationship.
NICK
Must've been some warning signs.
Some change in her behavior.
FREDERICK
I'm not going to lie to you. There
were quite a few changes. Did you
know Rachel was a ranked bridge
player?
NICK
Sure. Shlomo used to brag like
crazy.
FREDERICK
Suddenly, she stopped playing,
stopped doing lots of things.
Instead, she's been coming into
Manhattan.
NICK
Is that unusual?
FREDERICK
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.
SID
Marco, here for your severance pay?
MARCO
Is Nick around?
SID
He's busy.
MARCO
I met Sonny Franks today. I'm
worried about what he's gonna do.
A COUPLE enters. SID smiles at them.
SID
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.
MARCO
Sid, what're the chances Nick'll
reconsider hiring me?
SID
(distracted)
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,
CUT TO
INT. NICK'S OFFICE - DAY
NICK, at sink, gets glass of water as FREDERICK stares
blankly.
NICK
Muffie's never struck me as the
religious type.
FREDERICK
She isn't. She's no more Jewish
than I am Episcopalian.
NICK
The cops said she made a big deal
outta being Jewish.
FREDERICK
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.
NICK
The children know what's happened?
FREDERICK
Yes. Teenagers -- they try to be
"cool." Ever since Shlomo died,
they're used to their mother's
moods, depressions.
NICK
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?
FREDERICK
I'll, of course, pay for the
damage.
NICK looks up at FREDERICK, half-smiles, then after a beat.
NICK
Who else does she know in New York?
I mean, that could tell us where
she's been going every day.
FREDERICK
A few friends...
NICK
And her mother.
FREDERICK
That's the last place she'd spend
any time.
NICK
Why?
FREDERICK
Didn't Rachel tell you? She and
Honey don't speak anymore. Not for
months. Not a word.
On FREDERICK, looking sad,
CUT TO
INT. KITCHEN - DAY
CERVANTES mixes pasta dough. SHEILA comes up behind him.
SHEILA
I said, use the machine.
CERVANTES
But --
SHEILA
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.
ALPHONSE
Mix the dough by hand.
SHEILA
(puts dough back in
machine)
By machine.
ALPHONSE
(takes dough out, puts on
counter)
By hand.
SHEILA
(puts dough in machine)
Machine.
ALPHONSE
(puts dough back on
counter)
Hand.
SHEILA
(puts dough in machine)
Machine.
CERVANTES
(screams)
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.
CERVANTES (CONT.)
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.
TUNSON
Excuse me, I'm looking for Mister
Nicholas Tattinger.
SID
And whom shall I say is calling?
TUNSON
Edward Everett Tunson.
On SID'S recognizing the name,
CUT TO
INT. KITCHEN - DAY
ALPHONSE and SHEILA argue, nose to nose.
ALPHONSE
You and that machine destroyed him
SHEILA
Mixing by hand wastes too much prep
time and doesn't make the pasta
taste any better.
ALPHONSE
Man is what counts. Skill, art.
Not blenders, dicers, slicers --
SHEILA
Awh, take your ass back to Alsace,
Lorraine.
ALPHONSE
Vache. For four intolerable weeks
I have stood by, watching you
destroy my kitchen.
SHEILA
You couldn't boil an egg, if you
had Paul Bocuse and Julia Child
light the stove.
ALPHONSE
Enough. We shall see who's the
best cook once and for all.
(tosses side towel on
floor)
I challenge you, madam, name your
specialty.
SHEILA
Don't give me that macho bullhorn,
you neo-anthropod escargot. You
want a contest? Fine. I'll wipe
you out.
ALPHONSE
Wiping is all you're good for.
SHEILA
Tomorrow we'll each make the same
dish and let the customers decide.
ALPHONSE
Fine. If I win -- you give me
complete autonomy over pasta.
SHEILA
And if I win -- you go to Hunt's
Point every morning for a month.
ALPHONSE
Then I assume my challenge has been
accepted formally?
SHEILA picks up side towel from floor.
SHEILA
Bingo.
As she swats him across face with towel,
CUT TO
INT. SECOND FLOOR LANDING - DAY
NICK and TUNSON stand outside NICK'S Office, looking down.
TUNSON
My advisors have informed me that
Tattinger's is a financial fiasco.
After seeing that man run out of
here, screaming, I can understand
why --
NICK
Then you're not interested...
TUNSON
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.
NICK
Mister Tunson, I promise I will
treat your money as carefully as I
do my own.
TUNSON
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.
NICK
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.
TUNSON
What kind of flowers are there?
LOUIS
Cloth.
On TUNSON, as LOUIS keeps going,
CUT TO
EXT. THIRD AVENUE BROWNSTONE - SUNSET
Establishing.
INT. HONEY'S LIVING ROOM - SUNSET
C.U. on rowing machine, PULL BACK to REVEAL NICK, who calls
to Kitchen.
NICK
What'd I ever do to her?
HONEY (O.C.)
She's crazy, Nick, always been
crazy.
HONEY enters, carrying tray of coffee and cake.
HONEY (CONT.)
Here we go...
She places tray on table, but doesn't sit -- she never stops
moving.
NICK
I know you and Rachel haven't spent
much time together --
HONEY
(pours coffee)
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
common... Sugar?
NICK
Cutting down. Is that why you
ordered her out? Told her to stop
visiting you?
HONEY
Where'd you hear that?
NICK
From Frederick.
HONEY
Yes, I told her not to come around
anymore.
(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,
CUT TO
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
inside.
CHARLENE
Mrs. Lund...
RACHEL stops, turns toward CHARLENE, who smiles.
CHARLENE (CONT.)
My name's Charlene Tweed. The
court appointed me to defend you,
since you've refused to deal with
your family lawyer.
RACHEL
Go away.
CHARLENE
The law requires that someone
represent you at tomorrow's
arraignment.
No response from RACHEL.
CHARLENE (CONT.)
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.
RACHEL
I'm fine as I am.
CHARLENE
(opens notebook)
About what you did this morning...
RACHEL
They have to learn, have to know.
CHARLENE
Who?
RACHEL
We all have to know. I only wish I
had more -- something -- to teach
my children.
CHARLENE
I'm sure you do.
RACHEL
No... Oh, I know plenty of things,
but not... You know... Anything
usual...
CHARLENE
I spoke to your husband.
RACHEL
I have no husband. I don't want
you here.
CHARLENE
Well, like it or not, I am... Now,
about this morning...
RACHEL turns away, facing wall. On CHARLENE, studying her,
CUT TO
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.
NICK
The last time I saw Rachel she was
looking to do volunteer work, so I
sent her here to you. Anything
come of that?
SMARALDO
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.
She's tough.
NICK
(shakes head)
Until today I would've never used
that term to describe her. All her
life she's been a kitten, a
princess.
SMARALDO
Not anymore. She's been going to
this gym around the corner.
Learning self-defense. She even
brought a fella from there over to
demonstrate.
NICK
When was that?
SMARALDO
A few weeks ago... Right after,
Rachel called and said she wasn't
coming back.
NICK
She say why?
SMARALDO
Only that she had something else to
do. Sometimes volunteers burn out,
give in to the futility, the
degradation...
NICK
(looks at STARVING CHILD)
What happened the day you went to
see Rachel's mother?
SMARALDO
I've never met her mother.
NICK
Honey told me a priest from St.
Theresa's came to see her.
SMARALDO
Wasn't me. But if you want, I'll
ask around.
NICK
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,
CUT TO
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.
SONNY
So?
MARCO
I want in, Mister Franks.
SONNY
What?
MARCO
I want to help you kill Nick
Tattinger.
On SONNY, smiling malevolently,
CUT TO
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.
NICK
God hates me.
On NICK, trying to reach the phone,
CUT TO
EXT. MANHATTAN - DAY
Establishing.
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.
RANDY
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.
NICK
In Larchmont?
RANDY
Larchmont? What planet are you on?
She lives on 110th Street.
NICK
(reacts)
She keeps an apartment in the city?
RANDY
(suspicious)
You told me you knew her.
NICK
I thought I did.
RANDY
Look, Mister, I got paying members
who need supervision.
He starts to go, NICK stops him.
NICK
Another minute. She ever tell you
she wanted to learn self-defense?
RANDY
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
to-hand, knife-throwing,
incendiaries...
NICK
What're you talking about?
RANDY
Survival. We're a survival unit.
NICK
Survival from what?
RANDY
The Twentieth century.
On NICK'S confusion,
CUT TO
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.
CUT TO
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
tower.
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,
FADE OUT.
END OF ACT TWO
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