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ACT THREE
FADE IN
INT. MAIN ROOM - DAY
SID stands outside Men's Room door.
SID
This was once the grand ballroom of
the Saint James Hotel. Archduke
Ferdinand of Austro-Hungary polkaed
on this very floor.
TUNSON exits Men's Room.
TUNSON
The hand dryer in there doesn't
reach far enough.
SID
I'll get someone right on it.
(calls to BUSBOY)
A little more hose, Hans.
TUNSON
Where's Mister Tattinger? I've
been here over an hour. He doesn't
seem to be actively involved --
SID
Quite the opposite, sir, he's very
much involved. Too involved...
But not overly involved. I mean,
involved is an involved word...
TUNSON
First thing I'd do is get rid of
you.
SID
Yessir.
TUNSON
I have a meeting on Wall Street.
Be back tomorrow, sometime. Tell
Mister Tattinger to be here.
SID
Yessir.
TUNSON
And make yourself scarce.
As TUNSON exits, SID nods, smiles. On SID, sweating,
CUT TO
EXT. MANHATTAN - DUSK
Establishing.
EXT. THIRD AVENUE BROWNSTONE - DUSK
NICK stands with FREDERICK, as HONEY guides two DELIVERYMEN
who carry large wire sculpture out of her apartment.
FREDERICK
I saw it, Honey, this place she has
-- Come with me --
HONEY
I sold another sculpture.
FREDERICK
You've got to see her apartment, so
you can appreciate Rachel's
deterioration --
HONEY
I won't be party to her self
indulgence.
In b.g., DELIVERYMEN load sculpture onto truck.
FREDERICK
Look, I know you never forgave us
for marrying outside your faith --
HONEY
That's not true, Frederick. I
always thought you were a good man
-
FREDERICK
For heaven's sake, stop this. Do
you understand what I'm facing?
The prospect of having my wife
declared insane. Putting Rachel
away.
HONEY
Maybe you should. She doesn't
hear, doesn't see. She turns her
face to the wall... She's a
Muslim.
NICK
An Arab?
HONEY
A term we used in the camps. The
walking dead. Those prisoners who
surrendered their hope, who willed
themselves to death. Some threw
themselves at the electric fence.
You could see it in their eyes.
You avoided them... My daughter
has given up living in the present.
That's why I chased her out. All
she ever talks about is the
Extermination.
(suddenly changing
subject)
Get her out of jail, Nick, please.
I can't stand the thought of anyone
being caged like that, least of all
my own flesh and blood...
On HONEY, turning back to DELIVERYMEN as they slam doors of
truck closed,
CUT TO
INT. MAIN ROOM - NIGHT
Dinner time. BILLIE LOW sits at piano, playing, as LOUIS
stands at Maitre d' Station. NICK enters.
NICK
Hiya. Where's Sid?
LOUIS
Around somewhere. That man Tunson
was here, snooping.
NICK
Oh yeah, anything else go wrong?
LOUIS
Let me put it this wayinstead of
finding an investor, we should have
a telethon.
NICK
I'm in no mood for Noel Coward.
Did a Charlene Tweed show up?
LOUIS
Table Nine.
As NICK crosses to table, he smiles at TWO MEN, waves.
NICK
Tom, Jerry, hi. See you two have
stopped playing cat and mouse.
NICK arrives at table where CHARLENE sits, looking at menu.
NICK (CONT.)
Charlene Tweed? Nick Tattinger.
CHARLENE
Thanks for inviting me up.
NICK
I have to admit -- public defender
- I was expecting someone a little
more like Charles Laughton.
CHARLENE
And I thought you'd look like
Ronald McDonald.
NICK
(sits, smiles)
I can see where this conversation's
headed.
(calls)
Louis.
NICK signals LOUIS, who comes over to table.
NICK (CONT.)
Give Ms. Tweed anything she'd like,
on me.
CHARLENE
Thank you. But would you do as
much for Charles Laughton?
NICK
If he had your legs.
CHARLENE
I'll have the caviar as an
appetizer.
LOUIS
Beluga, sevruga, ossetra or
pressed?
CHARLENE
Ossetra.
LOUIS nods, goes. CHARLENE turns to NICK.
CHARLENE (CONT.)
Barry Wine makes little beggar's
purses tied with chive.
NICK
Good for him.
CHARLENE
So, about Rachel Lund --
NICK
I'll vouch for her.
CHARLENE
Really? The judge will be thrilled
to hear that...
NICK
Sense of humor. Legal mind. Great
legs. What're you doing New Year's
Eve?
CHARLENE
They're releasing Missus Lund
within the hour.
NICK
Why didn't you tell me on the
phone?
CHARLENE
I heard that your restaurant is
sinking faster than the Titantic.
Thought I'd better eat here before
you went belly up.
NICK
(calling)
And, Louis, champagne...
On NICK, smiling at CHARLENE,
CUT TO
INT. WALK-IN REFRIGERATOR - NIGHT
SID enters with SHEILA.
SID
A cook-off?
SHEILA
I'm tired of that little twit doing
everything just to be contrary.
Before I got here, he had them
install a microwave. Now, all of a
sudden, he's a purist with puree.
SID
That's no reason for a shoot-out.
SHEILA
I've had a hard enough time
adjusting to living in Manhattan.
But now that I've decided this is
where to plant my roots, I'm not
about to let Alphonse usurp my
position here in the kitchen.
SID
Okay. As long as this duel doesn't
disturb regular procedures. We
have a very important visitor
coming --
SHEILA
I mean, "Alphonse," really. He
doesn't have a last name. Who does
he think he is? Cher?
As SHEILA exits, slamming door behind her, leaving SID in the
cold,
CUT TO
EXT. STREET - NIGHT
Sonny's car drives up.
INT. SONNY FRANKS' CAR - NIGHT
SONNY drives. MARCO sits in passenger seat.
SONNY
What have I been doing since Nicky
boy returned from Europe? Making
my presence felt. Making him feel
unnerved. Unsure of where and when
I might pop up next. Playing with
his mind like a yo-yo.
MARCO
Yeah...
SONNY
Tomorrow night, like the jacko who
owned the cleaners says, "I'll
strike when the ironing is hot."
(laughs)
MARCO
And I intend to be by your side,
Mister Franks, right up to and
including that moment.
SONNY laughs again. MARCO laughs.
SONNY
I like you. Call me Sonny. But to
prove your loyalty, you're gonna
have to help me with something
first.
SONNY laughs again. MARCO laughs again. As they continue
laughing,
CUT TO
EXT. EIGHTEENTH PRECINCT - NIGHT
FREDERICK and NICK wait in front. RACHEL walks down steps.
They move toward her.
FREDERICK
Rachel --
RACHEL walks right by them, without saying a word. They
follow.
FREDERICK (CONT.)
Stop.
RACHEL stops, does not face him.
FREDERICK (CONT.)
Do you want me to drive you home?
RACHEL does not respond.
FREDERICK (CONT.)
Are you coming home?
RACHEL does not respond.
FREDERICK (CONT.)
What'll I tell the children?
As RACHEL starts to go, NICK takes her arm, stopping her.
NICK
What's going on?
RACHEL
None of your business.
NICK
It sure as hell is. You made it my
business when you threw that brick.
RACHEL
(stares in his eyes)
You butchered my father.
NICK
I loved Shlomo.
RACHEL
(words spewing out)
You did nothing to stop those thugs
who killed him. You're
responsible. Like the Germans who
watched the trainloads of prisoners
pass. No more. When I stared down
that hole where they buried him, I
saw it all clearly my mother -- a
young American girl -- the same age
as my daughter -- living with her
aunts in Berlin when the Nazis
grabbed her.
(points to NICK)
You...
(points to FREDERICK)
And you let them take her.
NICK
Rachel, that doesn't make any
sense.
RACHEL
Let go of me.
She pulls herself free. As RACHEL walks off,
CUT TO
INT. LOCKER ROOM - NIGHT
ALPHONSE unties sneakers as SID stands over him.
SID
You really think this cook-off is a
good idea?
ALPHONSE
I have been a laughing stock long
enough.
SHEILA enters, with piece of paper.
SHEILA
Tomorrow's menu. We're making
seafood pate ala Grand Adieu.
She slaps menu in his hand, he stares in disbelief.
SHEILA (CONT.)
See you toot-sweet, sweetie.
SHEILA exits.
ALPHONSE
I'm doomed.
SID
What's this grand Purdue thing?
ALPHONSE
Seafood pate ala Grand Adieu. One
of the most famous -- and most
difficult -- dishes in all cuisine.
Josephine made La Grand Adieu the
night before Napoleon set sail for
Elba. I don't stand a chance.
SID
Guess you've bitten off more than
you can chew, if you'll pardon the
expression. Back out.
ALPHONSE
Never. I go into battle knowing I
shall lose, but unafraid. I smirk
at defeat and will bear high the
banner of my Alsatian ancestors.
(sings)
"...Follow every rainbow
Till you find your dream..."
As SID gives Alphonse a look,
CUT TO
INT. NICK'S FOYER - NIGHT
Once again, NICK enters, numb, his nervous system on hold.
As he heads to Bedroom, he starts taking off his clothes.
INT. NICK'S BEDR0OM - NIGHT
He enters, eyes half-closed, walks to edge of bed. He pulls
back covers to REVEAL a pile of different kinds of dead
fishMINNOWS, FLOUNDERS, ANCHOVIES. A large note reads "SOON
YOU'LL BE SLEEPING WITH THE FISHIES." Nick covers the mess,
goes to phone, picks up receiver, dials.
NICK
Hello, housekeeping?... Yes,
Gladys, there is a problem... I
have anchovies in my bed... No, I
didn't order them...
On NICK, exhausted,
CUT TO
EXT. MANHATTAN - DAY
Establishing.
INT. KITCHEN - DAY
One side of counter is lined with machines, the other with
cutlery, rolling pin, utensils. STAFF, including LOUISE,
stands around, making last bets with one another. ALPHONSE
and SHEILA enter, go to their respective sides. LOUIS steps
forward.
LOUIS
Are the combatants present and
prepared?
SHEILA
Yes.
ALPHONSE
Ici.
LOUIS
You will each prepare the seafood
pate. We have randomly selected
table twelve to recieve the two
dishes. Whoever sits there at
eight-thirty will act as
ajudicator.
(takes out stopwatch;
checks it)
Take your places. Begin.
He bangs a metal pot. ALPHONSE starts mixing as SHEILA turns
on machine. STAFF CHEERS their favorites. On SHEILA and
ALPHONSE, working feverishly,
CUT TO
EXT. TATTINGER'S - DAY
Father IAN MACMAURICE, Scottish, one arm missing, stands in
doorway, knocking, trying to get in. Cab pulls up, NICK gets
out, approaches.
NICK
Can I help you, Father?
IAN
I'm looking for Nick Tattinger.
NICK
You found him.
IAN
Father Smaraldo said you were
asking about Rachel Lund.
NICK
Are you the priest that went to see
her mother?
IAN
I am. Ian MacMaurice.
They shake hands.
NICK
Let's get more comfortable.
NICK unlocks door, they enter.
INT. MAIN ROOM - DAY
They enter. O.C. NOISE from Kitchen.
NICK (CONT.)
I wonder what the hell that is?
IAN
Is there some place we can chat
privately?
NICK
(indicating upstairs)
Why did Rachel want you to talk to
Honey?
They climb stairs.
IAN
Like her mother, I was at
Auschwitz, Buchenwald...
NICK
What were you, a chaplain?
IAN
A prisoner.
NICK
I didn't think priests --
IAN
The extermination camps were
created to eliminate the Jewish
population of Europe... and nearly
did. Others were sent there as
well. Within the gates was a
democracy of suffering and death.
They reach NICK'S Office, enter.
INT. NICK'S OFFICE - DAY
NICK enters, followed by IAN.
IAN (CONT.)
In the big sweep of 1942, Herr
Hitler, who was Catholic,
efficiently eliminated the priests
and nuns in the section of Germany
where I was serving my novititate.
Rachel thought her mother might be
more willing to talk about her
experiences at the camps, if I was
present. But Missus Epstein
chooses not to remember. Despite
our common trials, we had a
terrible row.
NICK
Look, I make no pretense about
understanding what you and Honey
went through. I mean, the atrocity
of it. Six million...
IAN
The true atrocity is not that six
million died, but that one person
did, in that fashion. But there I
go getting doleful. Is there a nip
to drink? Non-caloric?
NICK
Tonic.
IAN
Lovely, lovely.
NICK
Is it unusual for Rachel to be so
inistent on Honey talking about the
past?
IAN
I don't know all the manifestations
suffered by children whose parents
survived the internment. But some
have a need to know. That's why
Rachel came to see me. I talked
about my time there. She was
fascinated by everything. Even my
troubles with a splinter.
NICK
A splinter?
IAN
A common, wooden, splinter. But at
Buchenwald, getting pricked was a
very grave event indeed. There
were no tools, no tweezers, to
remove the tiny piece. No
medicines or heat to combat the
infection. My hand soon swelled to
twice its normal size. Only
through the kindness of a guard who
lent me an axe was I able to cure
myself.
NICK looks at IAN'S missing arm, reacts.
IAN (CONT.)
Rachel, on hearing the story,
implanted a splinter up her own
fingernail. And let it fester,
unattended.
NICK
Why would she do that?
IAN
You'd have to ask her. I told her
what I knew, sent her to the
museums, to other places to find
out --
NICK
About what her mother and father
went through?
IAN
And her sister.
NICK
I never knew she had a sister.
IAN
Oh, yes. She died in Auschwitz.
On NICK, surprised,
CUT TO
INT. KITCHEN - DAY
C.U. on CUISINART. PULL BACK to REVEAL SHEILA smiling. She
turns off machine, transfers pate. ALPHONSE passes salmon
through a strainer, obviously behind. He stops, raises
bottle of brandy, pours liqour, but only a trickle comes out.
ALPHONSE
I need brandy. Napoleon brandy.
LOUIS
You're not allowed to leave the
kitchen once the contest is in
progress.
SHEILA
Let him have anything he wants.
Won't make a difference..
ALPHONSE
Louis, bring me a bottle from the
bar.
SHEILA
Freeze. If you want brandy, go
yourself.
ALPHONSE
Why, you --
SHEILA
(holds up egg)
Put this in your shoe and beat it.
On ALPHONSE, not sure what to do,
CUT TO
INT. MAIN ROOM - DAY
SID enters, with TUNSON following close behind.
SID
So the fireman says, "I'll take
two."
SID laughs, TUNSON doesn't.
TUNSON
I'm descended from two of our
finest Presidents McKinley and
Garfield. I run my business
affairs the way my ancestors ran
the White House -- in an orderly
fashion.
SID
Uh-huh.
TUNSON
I shun anarchy. William McKinley
was assassinated by an anarchist,
you know.
SID
I didn't... Make yourself at home,
Mister Tunson, I'll go see if
Nick's arrived yet.
SID goes upstairs. Beat. TUNSON, attracted by NOISE
emanating from Kitchen, starts walking over.
INT. KITCHEN - DAY
ALPHONSE throws up his hands.
ALPHONSE
I must have brandy.
ALPHONSE turns
INT. MAIN ROOM - DAY
Tunson is about to enter Kitchen.
INT. KITCHEN - DAY
ALPHONSE exits the same door TUNSON is entering.
INT. MAIN ROOM - DAY
ALPHONSE comes through the door full-speed, slamming door in
TUNSON'S face, knocking the old boy backwards onto his ass
and out cold. ALPHONSE continues to bar. As NICK and SID
appear at top of staircase, seeing TUNSON unconscious,
FADE OUT.
END OF ACT THREE
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