Original subtitles

[MUSIC - BUDAPEST STRING QUARTET,

"STRING QUARTET IN F MAJOR"]

[music - ace, "gangsta"]

[SINGING]: I know where to go with that.

Do it. Uh-huh.

Come on. Uh-huh.

What, what.

It isn't lucrative.

Yeah, you've got to consider--you've got to always

consider the cost preparation.

Ask Uri.

Hold on a second.

the Hello?

Yo, what's up?

[MUSIC - RIA, "WHEN WILL I BE LOVED"]

[SINGING]: I've beencheated, been mistreated.

When will I be loved?

I'm good.

I had a great meeting today.

Damon Dash.

Great meeting.

Yeah, yeah.

Hold on a second.

Let me take this, man.

[SINGING]: You don't want me to settle down.

You don't want me to come around.

See my face ain't distorted brown.

Then you wonder why I'm so far down.

Then you want to come into me, tell me

how my life's supposed to be.

Damon is definitely-- hello?

Damon is definitely building a studio.

I'm definitely producing.

And you are in.

[SINGING]: I've beencheated, been mistreated.

When will I be loved?

I've been put down.

I've been pushed around.

When will I be loved?

I started out of the gutter pumping butter,

providing hustlers on theblock with a Jefferson.

Living the life of a gangster.

Listen to me very carefully.

This is my year.

I have two guaranteed shots at blowing up.

Number one, Damon Dash is buying a movie studio

and making me his top producer.

And number two, if by some freak accident,

his deal falls through, then Count Tommaso

Lupo, this billionaire Italian media mogul,

is desperate to hire me as his right hand guy.

[MUSIC - RIA, "WHEN WILL I BE LOVED?"]

[SINGING] I've been made blue, I've been lied to.

When will I be loved?

When I find a new man that I want for mine,

he always breaks my heart.

It happens all the time.

When I find a new man that I want for mine,

he always breaks my heart.

It happens all the time.

I've been cheated, been mistreated.

When will I be loved?

I've been cheated, I've been mistreated.

When will I be loved?

When will I be loved?

Yeah.

No, check out Belize.

It's off the coast of Mexico.

It seems to me they have very bribe-able cops.

Ford!

- They've got, like, a-- - Ford!

- I'll call you back. - Where have you been?

Hey, sweetie.

It's been two years!

How are you?

No. Where have you been?

It's been two years.

You remember $9,300, what Igave you when you were a bum?

Are you still a bum?

I want my money. $9,300.

You're seriouslyhitting me up for $9,300?

I have called you.

I have sent you emails.

You haven't returned any of my messages.

Are you crazy? - This is incredible.

Where is my money?

I was just talking about you.

I had a meeting a couple of hours ago--

No! $9,300.

We'll talk about that right now.- --with Damon Dash.

Are you finished?- I don't care about Damon Dash.

And no, I'm not finished. Do I look finished?

Do I look like I'm finished?- Go ahead, finish.

No. I want $9,300.

- By all means. - Do you remember that?

By all means--

Do you remember when I gave that to you,

and I didn't even have it?- You should definitely finish.

And I felt sorry for your punk ass?

I'm producing two films for Damon Dash.

I want $9,300.

He's building a film studio.

I don't care about Damon Dash.

I showed him your picture.

I don't care.

We could make you a second tier star.

- I don't care. $9,300. - I was thinking about--

I don't care about being a star!

I was just talking aboutyou, and he loves the idea.

Let's talk about $9,300.

You know what? This is classic.

You know what? I don't care.

- This is classic. - I want my money.

- You are crazy. - I want my money.

Get away from me.- I'm offering you $93 million.

I want my money.

I want my $9,300.

I'm offering you $93 million.

I don't want a million dollars.

And you can't-- you're going for chump change.

We'll talk about that afteryou show up with the money.

You know what?

I used to think you were a moron.

I'm wrong. You're sick!

You are wrong!

You've got a fucking psychosis!

I want my money! I want my money.

It's like aself-destructive disease.

You're crazy! You're crazy!

I wish you were a moron. - I want my money.

Look around. Look around.

$9,300. I'm not looking around!

Because you will always remember this moment.

I'm not even talking about that.

I'm talking about my money that you owe me.

The moment that you blew it,your one chance at stardom--

- I want it now!- --for fucking cigarette money!

- Now! - You want it?

Yes!

I'm going to a meeting right now.

Give it to me right now!

- I've got $10,000 in my jacket.- Hand it over.

- I've got it in my jacket.- Hand it over.

I want it right now. - Are you sure?

I want it right now.

Give it to me right now!Don't look at me like that!

- Are you positive? - I want my money!

- This is the moment. - Now!

- The ship is sailing away--- No!

Give me my money!-- and you're letting it.

You're killing the golden goose--

Right now! --for a goose sandwich.

That's all I want.

Right now, give it to me.- Fine.

You're pissing me off so much--- I bet you don't have it.

--I'm going to fucking give it to you.

You don't have it. Liar!

You know what?

I'm not going to give it to you--

You're a liar!

--on principle, becauseyou're such a fucking moron!

Such a liar! You make me sick!

I want my money! - You're sick.

You're self-destructive.

And I'm not giving it to you on principle.

- I want my money! - Goodbye, moron.

Remember this moment.

- Give me-- oh, my god! - You're an idiot!

Ford!

Don't walk away from me, Ford!

Excuse me, are youProfessor Ben Rabinowitz?

- Yes, and you must be-- - Vera Barrie.

Right. Oh, hi.

Great to meet you.

I had no idea you were this lovely.

Wow. - Thank you.

Thank you.

What's up?

You're god damn late, Ford.That's what's up.

I had a meeting in the park.

It ran over.

This is not a meeting?

What have you got?

All right, listen.

1-900 calls.

Are you familiar with that kind of stuff?

I'm sure you've made a couple.

- A few. - Listen.

We could set up an accountoutside the country.

Let me ask you a question.

Because I'm always interestedwhen someone applies

for a job as an assistant,because it's a job

that could be any number of things.

What do you want from this job,and what do you want from life?

Where are you in your life right now?

Wow, that's a big question.

You're going to need bribemoney for the local cops.

That-- listen, it's not-- it'snot a lot of money, you know?

You've got to check out what's the best place--

Bermuda, you, know whenever they're weak.

It's a safe-- it's a safe kind of thing.

Because they're out of ourjurisdiction out there.

That's good.

I read the book that you just had published

"Horror of Horrors," yeah.

Very, very interesting.

Professor Rabs!

Hey, hey!

- My man, my friend. - How you doing?

How are you doing?

- What's going on with you?- Hey.

This is your friend? How are you doing?

How are you doing? - Yeah, this is my--

I hope, my new assistant, Vera.

Right.

This is my guy I was telling you about.

Yeah. Well, listen.

I'm ready to do the damn thing.

What's up? - Good, good.

Because what I'm going to do-- these guys are

going to come into my class.

It's like open season, you know.

I'm trying to mix races, mix colors, mix creeds.

You're going to work for this guy?

I'm going to try to.

Yo, Carol!

Yo, Carol!

Gas.

Gasoline prices going up like crazy.

I've got a guy bringing in-- he owns

a gas station out in Brooklyn.

What we do is we mix alittle water with gasoline.

They're going to come in thinking

that they're going to get thelecture that I had prepared.

And instead, I'm going tostep back and turn over

the hour to you and just say to them,

"Experience this reality."

Hey, Carol!

Carol!

And not enough to mess up the actual cars,

but just enough to, you know, make it--

make it worth our while, you know what I mean?

Oh, shit.

No, you get a layover on--

listen, this isn't even--

you get a little layover on the money.

You save the gas--

Well, what are we?

We're the consultants?

No, the fucking thing adds up.

What we do is we go in, we set up the guy.

We set up--

Unbelievable.

Why is this funny to you?

It's remarkable how one book and one course

can serve to bring out all kinds of people,

and connect and eraseartificial boundary lines.

People are plagued by sexual--

Is that Mike Tyson back there?

Hey, Carol!

I don't believe this shit.

Uh, excuse me.

Excuse me, Mike Tyson.

I'm-- I'm HassanAl-Ibrahim Ben Rabinowitz.

I'm a professor of AfricanStudies at the University here.

And I would love it ifyou would come to my class

to talk to my students.

Because I think they couldbenefit greatly from you.

Listen, brother.

I'm not-- who you believe I'm to be.

I'm Buck, nigger.

I'm Buck from Minnesota.

You don't know me.

You take the finance pages.

There used to be two stockswith the same symbol, all right?

One of them was on NASDAQ, one of them

was on the American StockExchange or whatever, right?

One of them was worth, like, $0.50 of stock.

The other one was worth, like, $75 of stock.

- Please, man. - You're not Mike Tyson?

No, nigger.

I'm Buck.- I thought you were Mike Tyson.

Excuse me. - I'm Buck.

I don't give a fuck. [phone rings]

Fucking Christ. Hold on a second.

It's perfectly legal if you got the--

[speaking spanish] Shit.

I'm sorry, Ford.

It's Buck, nigger.

I'm pimping-- bigpimping in the light now.

Come on, go on.

If you knew better, you'd do better.

So get the fuck away from me.

All right, OK.

You know?

Bin Laden, Sharon, intermediator,

Midwest crisis motherfucker.

Good luck, um, Buck.

Good luck, Buck. Whoa.

- I don't believe this bitch.- Whoa.

You should look intothis other thing I've got.

I've got this--

What are you fucking looking at?

Look over here, over here.Over here.

Over here.

Listen, I've got this porn thing happening.

What do you got?

Distribution of porn.

I'm bringing in these little beautiful girls.

Beautiful girls.

I'm bringing them in from Kiev.

I'm bringing them in fromMoscow, from Saint Petersburg.

I'm bringing them in.

These girls are working for nothing.

VERA BARRIE: What do you do?

I'm retired, actually. I work out a lot.

Oh, you do? Where do you work out?

- Sport Club Reebok. - Oh, really?

- Yeah. - Oh, me too.

- Do you? - Yeah, I do.

Your name is?

Vera Barrie. Yeah.

And yours? - Michael.

Michael, right. Of course, yes.

- Nice to meet you again, yeah.- Hi.

Hi. Hi.

Hello. Hi.

Uh, I didn't want to interrupt anything.

But that turns out not to be Mike Tyson.

At least he says he's not.- Are you serious?

Really?

Well, I don't know.

I mean, he says he's not Mike Tyson.

It looks a lot like him.

This is my daughter, Vera.

Hi.

How are you doing? Nice to meet you.

That's an amazing bracelet.

Where did you, uh--

Oh, I just bought it downtown in Soho.

Would you like something like that?

Yeah, it's nice.

So uptown or downtown?

- I'm on the Upper West Side.- OK.

Well, um, maybe I'll see you there.

- That'd be great. - OK.

Nice to meet you. - Nice to meet you.

OK. Right.

That's a friend of yours?

Yeah, it's-- yeah, my friendMichael I've known for a while.

Um, so anyway, where-- oh, anyway, I was

saying that actually-- oh, god.

- Professor Rabinowitz. - Yeah.

[non-english speech]

I'm jammed.

I'm overwhelmed.

Maybe the week after next, I would love to.

I'm sorry.

[non-english speech]

Can you set up, like, a makeshift--

like, a makeshift set?

You know? - Yeah.

These girls are coming in.

They'll work for free, basically.

Then you got to redistributeall over North Hollywood.

You distribute all over California.

There's a lot ofcompetition for that, though.

But that's good. That's good.

I will absolutely try to.

We'll have some surprises for you too.

OK? All right, sorry.

I should have called. But OK, thank you.

VERA BARRIE: That would be interesting.

Thank you.

I don't know what I'm supposed to say.

Pardon?

I don't know what I'm supposed to say.

Oh, no. It's OK.

You don't have to know.What are you doing today?

Are you having a good day?

Just hanging around.

I had to go to class.

Oh, really?

Are you waiting for someone here?

You.

No?

No?

Well, I-- do you think I couldget your number sometime?

- Yeah. - Yeah?

I got it.

Ended up being a beautiful day, huh?

Yeah, it's beautiful weather.

80 degrees, sunshine.

[giggles]

Know what I'm saying?

You stay here in the country.

You put a little suit on.

Call from somebody else's phone.

You go into a big business, like a hotel,

something like that, right?

Hotel's good.

You doing anything tonight?

I'm not sure yet.

But I'll let you know. - All right.

OK, cool.

Thank you.

Nice meeting you.

Sorry about that.

Are they students of yours?

No, those are actually teachers.

Oh, really?

Oh, OK.

Yeah.

And I assume that's an old friend of yours.

Yeah, that's a friendfrom about five years back.

I haven't seen him in a while.

Like the other guy is too, huh?

Yeah.

Actually, it's weird that I saw both of them.

That is weird.

It is weird.

I'm the mouthpiece.

So I'm taking most of the risk.

- What, like a 60-40? - Wait.

60-40.

When did you become a negotiator?

First of all, I'm taking all the risk.

You're here in the country.

I'm in the country.

If shit goes down, you get five months tops.

I'm the one outside dealing with-- dealing

with all the bullshit. - Yeah, whatever.

Whatever.

That raises an interesting question.

Did you actually know thosetwo guys you strangely enough

approached, or were they new?

No, like I said.

One of them, this last guy, I haven't seen in,

like, five years, I think.

So it was a shock to see him.

And the other one, I haven'tseen in a couple of years.

Now, if we're going to work together,

the only way to make it worthwhile

is if we're truthful.

So I'm going to say something abrupt to you.

I think you're lying.

I think you took the occasionof my odd sudden encounters

to, in effect, explore the possibility

of knowing two men on one streetwhom you found attractive.

And there's no reason youshouldn't be able to admit

that to me, if that's the case.

OK, you're right.

[clears throat] Yeah.

No, I hadn't met them before.

Forget it.

Listen, mail order brides.

Are you familiar with the concept of that?

Nothing judgmental.

In fact, to tell you the truth, it intrigues me.

And I believe that you're--

you know, obviously, you're early-middle 20s.

You're on a journey, as we all are.

And that journey is just beginning.

I'm in a different stage in my life.

I feel it necessary, now, to have

a social/philosophical context to feel that I'm

doing some good inbringing races, and colors,

and creeds together.

You're finding out who you are.

And that's a legitimate place to be.

Um, what are you thinking right now?

Um, I think that this--

this extremely wonderful salespitch that you're giving to me

about how you might be able to help my life

or help me discover myself might possibly--

I don't want to offend you-- but might

possibly be an intelligent ruseto see whether I'll fuck you.

Um, you are absolutely andcompletely and totally wrong.

Really?

Yeah.

I don't believe it.

You're right.

You get me to admit something, I'm going

to make you admit something.

Yes, you did.

You're partially right.

The thing is it is a side benefit, maybe.

What I'm really interested in is can I

be of use in someinteresting way to somebody

who is on a journey?

I like to feel connected to people who are young.

That's why I teach. - Absolutely.

And it fascinates me totake someone who is smart,

and lovely, and just starting out in life,

and to be part of that journey if I can.

Well, that's lovely.

If that's the intention, that's lovely.

And I would be grateful for that.

Because I'm looking for that in my life.

Just not-- I'm just not lookingfor any mentors who are looking

for something sexual from me.

OK.

Then we'll have a great relationship.

Great working relationship, yeah.

We'll start next week?

OK.

Thank you.

I cannot believe I allowedyou three to talk me into this.

You should be home grooming yourselves.

Instead, you're getting allmessed up and disheveled.

Oh, can we talk about this later?

OK, but I'm not introducingyou to Damon if you're

not crisp and neat and clean.

[inaudible].

[chamber music plays]

[indistinct conversations]

I'm not going, OK?

You OK?

You're, uh, Lori Singer, right?

Oh, yeah.

I thought I knew you from somewhere.

Oh, I'm Vera.

No, we don't know each other.

I love your work.

- Thank you very much.- I've always enjoyed it.

I really liked you in "Short Cuts," actually.

Oh, thank you.It was wonderful working with--

Is that your boyfriend?

He's a friend of mine.

Yeah, very good friends.

[sexual moaning]

This is unbelievable.

Look, there's no wayyou're meeting Damon today.

Your feet and knees are muddy.

Your clothes are wet.

I love the right cheek of your ass.

It's-- it's good.

The right cheek is perfect.

So, um, what do you do?

Oh, I'm just searching.

Walking around and searching.

Really?

Yeah.

I haven't quite figured it out yet, as they say.

Yes.

What have you been up to?

Actually, I'm going towork on a Woody Allen film.

- You are? - Yes.

- Oh, he's great. - Yeah.

Oh, that's cool. That's cool.

Have you worked with him before?

I've just spoken with himabout a number of things.

And I like his work a lot.

So I look forward to that.

Oh, fun.

Fun.

So you're still doing films?You're still acting?

Yes.

And I've got a couple of concerts this summer.

Concerts?

That kind of thing. Yeah.

What kind of concerts?

- I play cello. - Come on, let's go.

- You do? - Yes.

All right, OK. I'm sorry.

- It was nice to meet you.- Nice to meet you.

Good luck, whatever you choose.

Thank you.

[speaking french]

[rap music]

[moaning]

MAN: "They are neither man nor woman.

They are neither brute nor human.

They are Ghouls.

And their king it is who tolls.

And he rolls, rolls, rolls,rolls a paean from the bells.

And his merry bosom swellswith the paean of the bells.

And he dances and he yells,keeping time, time, time,

in a sort of Runic rhyme, to the paean

of the bells-- of the bells.

Keeping time, time, time,in a sort of Runic rhyme,

to the throbbing of the bells--the bells, bells, bells.

To the sobbing of the bellskeeping time, time, time.

What are you looking at?

What?

What are you looking at?

What am I looking at?

You're looking at that girl.

I'm not looking at that girl.

I'm Looking at the fuckingsquirrels running around.

There are no squirrels.

[classical music]

[rap music]

GIRL: Why can't you let uscome and meet him now, Ford?

Because you're sweaty andunrepresentable, that's why.

I'll make it for tomorrow.Now go home and get ready.

I think we look great.

[classical music]

Yeah, Ford Welles.

Yeah, no, no, no.

I told Damon Dash.

Damon Dash and Bigs were both going

to meet me here at 11 o'clock.

That was two and a half hours ago.

I've left like three messagesfor them in the last hour.

Have I received any messages?

[rap music]

Ford.

F-O-R-D-- hold on.

Hold on.

This Damon's car?

What's going on, fella?

What's going on?

No females!

Nice ride.

You were just going to let him get in the car?

- How's it going? - What's up, man?

- It's going well. - How's it going?

Good to meet you. - Hold on a second.

You know what? - Good to meet you.

I'm going to call you-- look,can I call you right back?

Ford Welles. How's it going.

Good to meet you.- I'll call you right back.

What's up, man? What you need?

I was getting worried y'allweren't going to show up,

you know what I'm saying?

I've been here, uh-- you know, the last--

What you talking about? You want an autograph?

You got a pen?- No, no, no, I asked you to--

- Hurry up. - No, no.

11 o'clock.

Uh, Ford Welles. - Who?

Ashley set up a meeting.

We were going to meet at 11 o'clock right here.

I can't meet you.

I got a meeting here, but it ain't with you.

Oh, well she told me, uh, we were

going to meet here at 11 o'clockabout meeting some girls.

Girls, homeboy.

[classical music]

[phone ringing]

Hello?

Hello?

Hey, sweetie.

Hey, Mom.

Did all the furniture arrive yet?

No, but they delivered the bed.

I hope it's a firm, hard mattress.

Oh.

It's great. - Great.

Yeah.

It's really hard, really firm.

A firm, hard mattress isessential for your back, honey.

[beep]

Oh, hang on.

OK

Hello. - Hey.

Vera.

What's up?

Hey, you.

I'm actually in your neighborhood.

- Are you? - Yes.

What are you doing?

I'm done with class.

Can I come up?

- Of course. - OK.

I'll see you in five. - Come straight up.

Bye.

Bye.

Sorry, Mom.

How's Dad?

[rap music]

I've got a whole stable full of beautiful girls.

Most of them-- - What, you like a pimp?

Uh, no, I'm not a pimp.

I'm a friend of theirs.

Oh, but you're kind of like a pimp?

I-- [laughter]

I've got a stable--

[chuckling] - No, I--

He got his choker on. [laughter]

Seriously, though, man, thesegirls-- you've not seen girls

like these before, all right?

These are girls who can--

I'm talking about models.

I'm talking about actresses.

One of the, was in "Vanity Fair."

One of them was-- - All right--

--a daughter of a debutante.

All right.

I-- you know, I'm involvedin this business--

One of them-- one-- one of them was a ballerina.

Hold up.Let me explain it to you.

I'm-- I'm just going toexplain something to you.

There's other people that do that--

I mean, I'm in the videos.I love the girls.

- One of them raps. - Hold on a second.

Two of them rap, actually.

[music - ria, "butterflies"]

Hey, mama.

What are you doing?

Capturing your radiance.

Oh, great.

Is this a new hobby?

I'll make it one.

You're hot.

Stop.

You're hot.

Stop.

You are.

Look at you. - Go away.

You're making me uncomfortable.

You need to own it, girl.

So.

We can have some lunch?

Yes, we're going to have some lunch.

OK.

Put the camera down.

Vera.

You're hot.

You're hot, Sam.

Stop, Vera.

No.

Yes.

I don't want to.

I don't want to be filmed.

Don't hide from me.

Stop.

I want to kiss you.

Can I kiss you?

Yes.

Good.

[fade to classical music]

[rap music]

Listen, if you want to setup just a-- just a, like, a--

like a 20-minute thing and youmeet these girls, you can help,

you know, uh-- you'd imme--

I really-- honestly, tobe quite honest with you,

I don't need any girls.

I-- d-- well, I'mtalking about, like, rap--

rappers, singers, actresses, multi-talented models.

My man wants to know exactlywhat it is you're selling.

This is my partner Bigs.

How's it going?

Great to meet you. I-- I'm a fan.

I--

Who you talking aboutsomeone who called somebody?

These girls are beautiful.

I-- I-- met your girl AshleyD-- or, uh, what's her name?

Uh, hangs out in that, uh, club on Avenue C.

All right, you know what, man?Have a good time.

- Hold up a second, man. - Do what you got to do.

No, no. What I'm saying is--

- Good luck. - No, no.

I'm just talking about out,like, a 20-minute meeting.

You could meet these girls.- [inaudible].

You'll be blown away.

I'm saying, you want to set up, like, a--

I'm talking about setting up like, a--

you could set up a studio time.

I could produce films foryou-- start in the studio.

[classical music]

Did I tell you you were hot?

[laughter]

This window is hot.

[laughter]

It's time to try out that bed.

I'm not kidding.

[regal orchestra music]

MAN: Excuse me, Count.

I know Richard Myers' a great architect,

but the price seems a bit high, doesn't it?

LUPO: I'm not worried about the money.

I'm just not so sure I wantto be on display so people

can spy on me from the street.

[speaking italian]

By the way, Count, theColeman deal is heating up.

I figured we'd make ourmove now, short the stock.

We'll be able to clear six easily.

It'll clear 10.

You know, the word isthat Jackal's going to try

to make a problem for us.

Let him try.

Count, I've got the preliminary

agreement on theFranco-Italian telecom deal.

Want to initial it?

[phone ringing]

Not until I read it.

Talk to me.

Just say in honor of the Count Tommaso Lupo.

[speaking italian]

What Forbes article?

The 400 richest Americans.

I mean, they haven't includedyou in the list, of course,

because you're not American.

But apparently, they make reference

to you in 11 of the entries.

What kind of references?

Partnerships, stock positions, et cetera.

Et cetera?

I haven't actually seen the article.

Well, get it.

Get it for me today. What about the CDs?

I got all the Bach you wanted.

I got the Beethoven Emperor concerto

and the Beethoven sonatas.

All played by Glenn Gould?

Well, mostly by Glen Gould.

They didn't have the Gould recording

of the Beethoven, so I--

My dear Mary Angela, ifI asked you for a Mercedes,

would you bring me a Lincoln Town Car?

Of course not.

If I asked you to geta Glenn Gould, recording,

it's because I want a Glenn Gould recording.

Give the other CDs to somemusical illiterate who

doesn't know the difference.

And find me the Gould. - Yes, sir,

[phone ringing]

[italian].

Tell him if he wants tofly in from Tokyo tonight,

I can discuss it with him at breakfast

Friday at The Regency.

You have the mayor at 1:15.

8:30 to 8:45.

I can give him 15 minutes.

[speaking italian]

Count, Richard Turley, amost influential journalist,

wants to do a cover storyon you for a magazine.

What kind of magazine?

Well, I don't know yet, because he's

a freelance writer.

But anything he writes foris guaranteed to be good.

What's his angle?

Well, he's a respectful admirer

and he shares your politics.

Admirer.

Does he?

Hm.

What are my politics?

What do you want me to tell him?

Meet with him.

Make him understand that I definitely

want to see the article before he turns it in.

Count.

Count.

Uh, forgive my aggression, butI know that you of all people

appreciate theimportance of initiative.

And I was afraid-- - What do you--

- --I might miss my chance.- --have for me, Ford?

The, uh, deal I wasmentioning to you before--

models, movies, andmusic-- the entertainment

company I'm putting together--it's on the verge of fruition.

I have these three actress model rappers.

All blond. Very high-brow.

All beautiful, unbelievably talented.

Uh, a global appeal, like a different--

like a higher breed, like amore elegant breed of rap.

Not the kind of thing that you usually, uh--

Hey, Ford. What's up?

Sorry.

Kendria, what are you doing here?

You told me to meet you in front of the--

No, no, no.I said I have a meeting here.

You're supposed to go meetme at the restaurant, OK?

Please. - Gentlemen.

Hi, Michael.

How are you? Michael.

Good to see. - Good to see you.

Listen, the count's running a bit behind,

so I'm afraid he's only goingto have a minute or two for you.

Please go wait in the restaurant.

The count and I have animportant business matter--

- A count? - --to discuss.

- For real? - That's right.

- Oh my god. - Sorry about this.

I've never met royalty before.

Kendria, this is not the time--

- That's so dope.- --and the place, all right?

This is an important business meeting.

You're barging in. - I rap.

I'm good. Listen to what I got.

D-- very different stylefrom what I was talking about.

Sh, sh, sh.

In the house I have a sitting room.

Kendria's more of a-- a niche market.

- [continues rapping] - She's not the, uh--

Get you naked. Can't wait to taste it.

OK. Sh.

- Trinity Jake - This is not--

--head like the Matrix.

The others are more of a--

don't talk about blowjob rap--- Slow pick and roll.

You can't take it.

--in front of European royalty.

- Oh, body, we get to body--- Please.

You're screwing this up.

Chill, chill, chill.

- There's a difference-- - If you like it--

- Sorry. - --you want some more--

My employees are like--

--entertainment at the palace--

--my children.

--or something, he has my number.

Relax.

I'm a little too lenientwith them sometimes.

I'll meet you at the restaurant.

Have a good day.

[rapping syllables]

- The-- it actually is-- - Ford.

--a pretty marketable type, so.

I'm very pressed for time.

I thought I made it clear,but perhaps I didn't.

I always operate in sequence.

So I'm not going to be interested in any

of your new ideas until we resolve

the matter that we were talkingabout when we first met--

which, to be frank, is the only reason I'm

standing here talking to you.

I understand fully.

I. Understand

So are you going to introduce me

to this particular person Iwish to meet, as you said,

or are you not? - I am.

I absolutely am.

When?

Uh, as soon as I, uh--

You mean you haven't even mentioned it.

No, no, no. I have.

We've discussed it extensively.

She is dying to meet you.

Trust me.

She read all the articles I gave her, uh,

looked at the pictures.

She said you are elegant and stylish and

dignified and distinguished.

But did he speak to the senator?

He had me speak to the senator.

And he authorized me to tell you that it

was both economically andpolitically a complete success.

Did he get anything on paper?

Nothing on paper, nor will we.

The senator has anaversion to paper trails.

Are you happy with that?

Well, if I can't count onthe count, then who could

I count on? - My sentiments exactly.

You showed her the, uh, spread in "GQ"?

She flipped.

She went nuts.

She said you wear clothes as if they were

tailored right onto your body.

So what's the delay?

Is there a problem you'renot telling me about?

Or a personal resistance on your part?

No, no, no. Not at all.

No way. None.

Zero. Nada.

If it were, I would understand.

I'm a man of the world, you know.

I-- absolutely.

I mean, absolutely not. Zilch.

I, uh--

So when can I assume you'regoing to take care of this?

I have to be in Rome andSt. Petersburg on Saturday.

I won't be back for two weeks.

I'm with you fully and completely.

A--

When?

Now.

Now?

Meaning--

Now.

[piano music]

[doorbell]

It's open.

[door opening]

FORD: Hey, angel.

Hi, baby.

Shit.

This place is shaping up.

You rich little daddy's girl.

What the fuck are you doing?

How dare you provoke me like this?

[giggling]

Hey.

How are you?

Good.

Nice bed.

Oh.

Firm and hard, just like you like it.

That's just what I say to my mother.

I beg your pardon?

My place is good, huh?

Once I get everything unpackedand all the furniture in,

it's going to be a sensational loft.

I'm sure it is.

I'm sure it is.

It's nice when money's not an issue.

I am going to whack you.

Where's your sense of humor?

Bend over and I'll look for it.

Bend over?

Yeah.

- Bend over? - Ow.

[giggling]

Ow.

I saw this really interestingfilm last night, by the way,

on cable. - Did you?

What was it called?

I don't remember the name of it.

It was some Italian movie.

It was really cool.

It was about this billionaire who

pays a million dollars to thisother guy to fuck his wife.

And the husband actuallyfacilitates the whole thing.

Really interesting.

How is that interesting?

Well, it leads to some intriguing questions.

It leads to the fundamentalexistential question we all

have to face before we canknow who we are-- namely,

what am capable of doing?

Are you speaking sexually?

Sexually and in every other respect.

Let's stick with sexually for the moment.

So you're saying, in orderfor me to discover who I am,

I need to find out whetherI can fuck another man

for a million dollars?

Of course not.

Of course not.

What I'm saying-- where'dyou come up with that?

That's the last thing on my mind.

Yeah, the last. The absolute last.

Well, that's a figure of speech.

But it certainly wasn't any specific proposal.

Indecent or otherwise.

Absolutely.

Conscious or unconscious.

That's right.

Well, why'd you bring it up?

Bring what up?

The movie.

Stop toying with me.

I'm not toying with you.

Yeah, you are.

I mean, now that you mention it--

Now that I mention it?

Now that you mentionit, I did happen to have,

coincidentally, a conversation totally

unrelated to this particular subject

with Count Tommaso Lupo.

Count Tommaso Lupo?

The Italian media mogul, yes.

Yeah, I know who he is, so?

What do you mean, so?

So where is this going?

What's it got to do with us?

I've been working for him recently-- odd jobs.

He's a collector. - Of what?

Women?

Antique cars, raremanuscripts, first editions.

You'd be surprised.

Drugs?

I'm not a fucking drug dealer.

This is one of the most legitimate men

in the Western hemisphere.

- Coincidentally. - Coincidentally?

You said coincidental, you had a--

Oh, right.

So the count, turns out,saw me kissing you goodbye

on the steps of the Metropolitan Museum

after we were coming outof the Caravaggio exhibit.

What's so coincidental about that?

Because he'd seen you beforein the Air France Concorde

lounge a year ago, when you were coming back

from Paris with your parents.

And here you were again,affecting him the same way.

How coincidental.

Smitten.

Smitten?

That's the word he used.

He said he was totally smitten by you.

Hm. Fascinating.

- That's my point. - No thank you.

Leading up to your own indecent proposal?

I didn't make any proposal.

Nah, but you discussed me with him.

Yeah.

And money came up in the discussion.

Money always comes up indiscussions with the count.

Did he tell you he wanted to meet me?

Yes, he did.

And what did you say?

I said I was sure you'd befascinated with the stories

he has to tell and that you'd probably

enjoy exposing yourself to someone

as accomplished as he is.

Was that the phrase you used?

Exposing myself?

Yeah, but that's not the point.

Then he said something like--

he said he would like to give you,

as a token of his appreciationfor your loveliness, $100,000.

Which I assume youassume I would give to you.

I hadn't thought that far ahead.

Oh, take a shot. Stretch your mind.

Well, if you force me to think about it,

I'd probably say, sinceyou're in pretty good shape

financially and I'm just getting started,

you might want to front it to me.

But that's not the point.

Anybody can get the money.

I can do that with my eyes closed.

That's not what I'm about here.

I'm a mentor.

I'm not a hustler.

I'm a conduit.

I'm a circuit.

Listen.

Listen to me very carefully.

My whole mission on this planetright now in relation to you

is to introduce you to yourself.

You know that.

You're a deeply sexual human being.

You have major erotic power.

The easiest thing, and the most selfish,

would be to convince you tolimit yourself to one person,

even if that one person were I myself.

That would be suffocatingto you and ignoble of me.

That's what a hustler would do.

And I refuse to hustle.

I'm looking to lead you downthe path of Ovid and Sappho,

DH Lawrence, Edna St. Vincent Millay--

to say nothing of thewhole hip hop revolution.

It's the path of the Bible--

seek and ye shall find, know thyself.

You are so ready right now to open yourself,

to discover your capacityfor multiple men--

multiple in the sense of at least a few.

Maybe not at the same time, but sequentially.

And I know I'm getting ahead of myself here

and you might not want to hear this,

because you're at least ayear away from being there,

but at some point, you'regoing to be ready to explore

women and enjoy them.

They already desire you all the time.

You're just oblivious to it.

But that's down the road.

Let's stick to the present.

For now, all I'm asking isthat you meet the count.

Set it up.

Really?

It's what you want, isn't it?

Yeah.

Uh--

I thought you wanted to make love to me.

I did.

I do.

Who's stopping you?

[classical music]

Oh!

[MUSIC - JOE TEX, "HOLD WHAT YOU'VE GOT"]

VERA'S DAD: You know what Ilove about this building, dear

sugar? Security.

24-hour concierge, multiplesurveillance monitors, and

a high-tech intercom system.

You know what I also love?

The architecture.

No one designs buildings like this anymore.

No one.

Of course no one designsbuildings like this anymore.

We live in a different era.

IM Pei is not Stanford Whiteand Rem Koolhaas isn't Meis.

Are you saying that--

are you saying with a straight face

that you think any contemporaryarchitect can do this?

No one even comes close.

Art isn't a competition.

Of course art is a competition.

Everything in life is a competition.

I can't believe I'mmarried to such a Philistine.

Having high standards makes me a Philistine?

You can drop that stuff wherever you want, Dad.

I'm starved.

I've got to get somethingin my system, honey.

- How about over here? - Yeah, that's fine.

I don't know if I have much in the fridge.

Hey, you got the curtains up.

Yes, I did.

That's incredible.

And I love them.

And thank you.

What are we on this planet for, huh?

To make our little girl happy.

She's not a little girl.

She's grown. She's a woman.

Get used to it.

Thank you, Mom.

Thank you for noticing.

Whoa. Hey.

Great mattress, pumpkin.

Firm and hard.

I thought we'd have a nice lunch.

[piano music]

What are you guys up for, huh?

Actually, I can't, Dad.

The man I'm trying to get a jobwith is coming over at four.

The professor from Columbia?

Mm-hmm.

He's black, right?

No.

What makes you think that?

Uh, your mother, uh--

your mother said something aboutsub-Saharan, you know, Africa.

VERA'S MOM: That's not what I said.

That's his book, Daddy, not his skin color.

VERA'S MOM: Horror ofhorrors-- clitorectomies--

I don't care.

VERA'S MOM: --in sub-Saharan Africa.

You know me.

Uh-huh.

I love black people.

Hey, I got an idea.

Uh, why don't we have lunch with this guy?

You know, that way, yourmother and I can meet him.

Dad, it's an interview.

He's not going to want tohave lunch with all of us.

Well, then, uh, your mother and I will

just wait here until he comes.

You know, get a little peek.

No.

For Christ's sake, Victor, she's

trying to land a fucking job.

At least, honey, I'd like youto take this golden opportunity

with this beautiful loft andeverything that your mother

and I are trying to give youto dump this character Ford.

Very funny, Daddy.

Sugar--

Get it out of the car.

I get sick when I thinkof that would-be hustler.

VERA: Come in.

You'll have to excuse the mess.

I just moved in.

I'm supposed to be a man ofthe world but all of a sudden,

I must confess, I feellike a nervous schoolboy.

Well, relax.

Make yourself at home asmuch as you can, considering.

Can I fix you a drink?

What do you have?

I have wine, champagne, water, soda, juice.

I'm a-- a thirsty girl.

A glass of champagne sounds lovely.

OK.

[italian].

I hope the, uh, slightly artificial circumstances

of this first encounter don'tmake you feel too awkward.

No. Why?

Do I seem awkward?

Quite the opposite.

I was just-- it doesn't matter.

I'm still nervous, that's all.

Tell me, did you haveanything particular in mind?

About what?

Where to go, what to do.

I have my driver outside, uh, aboat docked at the 79th Street

Bay so it would take us out tosea, and my plane and my pilot

on hold to fly you anywhere that you want.

You overwhelm me.

You don't seem too overwhelmed.

You're right.

I'm not.

I'm impressed.

Actually, I'm not really impressed, either.

I'm, uh-- I'm intrigued.

Maybe I better quit while I'm ahead.

No, I don't want you to quit.

We're just getting started.

Please, sit.

So what should I call you?

Count?

Senor Lupo?

Tommaso?

How about Tommy?

OK, Tommy.

Did any of those options appeal to you?

Boats, planes, cars?

Not really.

You want to know why?

Rushing off with youright now, even somewhere

exotic or exciting,although it might be a ball,

to me seems like it would be an evasion.

Evasion?

Evasion.

Of what?

Of what's going on.

Going on?

Between us.

What do you want with me, or from me?

You mean for you.

That's how I look at it.

OK, what would you like for me?

Novelty, pleasure, enrichment.

And where do you thinkyou can best provide those?

Running around or right here?

I see your point.

Apart from being beautiful,you're a very clever girl.

Not girl-- grown woman.

My mother just straightened my father

out on that earlier today.

Oh, yes?

Yeah.

What does your father do?

He makes money.

Heh.

There's nothing wrong with that.

No.

How, may I ask?

How does he make money?

Uh, a little of this, a little of that.

How do you make yours?

Communications.

Communications?

Yes.

Why?

We're communicating right now.

You're not going to make any money from me.

That's OK.

I make enough money from the rest of the world.

I'm curious.

Ford told me about yourreaction to me, your, uh--

Passion?

Passion.

My oh my.

I hope you won't make light of it.

No. Not at all.

I'm flattered. I'm just curious.

Can you tell me exactly howyou found a passion for me?

I mean, we haven't even spoken.

You know the story of Beatrice and Dante,

the greatest poet in Italian history.

Mm-hmm.

He was seized by her,riveted, permanently enamored

and romantically fixated from nothing

more than one fleeting glance.

I have always been a creature of instinct.

When something or someone excites me,

I know it immediately.

What happened with you--

I won't say it never happened before.

So in that sense, it's not like Dante, where

the vision only happened once.

But there was-- there isthis urgency to knowing you.

Knowing me in the biblical sense?

That's up to you.

As I said, I'm only here to please.

Oh, Santa Claus, Saint Francis, Mother Teresa

all rolled up into one, huh?

You say that with a touch of sarcasm.

What else do you think I might want from you?

You want me to take a wild guess?

The wilder the better.

Love.

Sex.

Romance.

Someone to make you feel young.

Someone to make you feel desired.

Are you married?

I've been married for 42 years.

42 years? Holy shit.

How old are you?

69-- if you pardon the expression.

You look pretty good for 69.

Not the greatest complimentI've ever received, but I--

I'll accept.

I didn't mean to offend you.

I think age is irrelevant.

You're saying that to be kind.

No.

Not really.

I once saw Picasso on film.

He was really appealing for 80.

But then Picasso was Picasso.

How much money do you have?

I'm not sure I follow that transition.

I tend to skip transitions.

Are you avoiding my question?

I have no idea how much money I have

A billion?

Depends on the day.

It fluctuates.

Do you have a mistress?

As a matter of fact, I do.

A cellist.

A lovely and gifted one.

And how old is she?

40. Ancient.

My mother's 44.

May I ask you a question?

Why do you need my permissionto ask me a question?

I will only ask it if youwill answer without any fear

of wounding my ego.

Do I seem fearful of wounding your ego?

Are you glad that I'm here?

Or would you prefer that Ileave and you never hear from me

or see me again?

I'm still curious.

What if I had no money?

What if I was a flight attendant for Alitalia?

Aren't you too old to be aflight attendant for Alitalia?

Let's say they made an exception for me.

You wouldn't be you if you had no money.

You'd be you minus a billion dollars.

That's a big minus.

Is it important to you tohave a lot of money, yourself?

No.

Not really.

I'm more interested in the idea of money--

how it controls people,what they'll do to get it.

Ford, for example.

He'd do anything to get rich.

He's a desperate,ambitious, frightening guy.

Why are you with him?

Why do you ask?

What are you implying?

That he's too young?

Is that what you're saying?

That I need to findmyself a good octogenarian

to liven things up?

I'm sorry.

That wasn't nice.

I'm being mean to you.

All you're trying to do is please me.

I'm giving you a hard time.

I'm an ingrate.

maybe I should be punished.

You're not giving me a hard time.

But you didn't answer my question.

Why am I with Ford?

I don't know.

You know, you answer a question like

that rationally, it neversounds like the truth,

even if you're not lying.

But you knew that.

You've been around longer than I have.

So let me see.

He is incredibly beautiful.

And he's a great lover.

And he's funny and smart.

And-- and he would killfor me if I asked him to.

Who would you want killed?

You don't seem like a violent person.

Oh, you never know.

When I get angry, Ireally lose it sometimes.

How much money do you havein your pocket right now?

About $10,000.

Apart from this.

- What's that? - Your $100,000.

What for?

You.

To do what with?

Whatever you like. It's yours.

No, I get that part.

But what is the purpose?

Purpose?

It's a token of my esteem.

I thought Ford had spoken to you.

I hope I'm not embarrassing you.

Embarrassing me?

If I were you, I'd be worriedabout embarrassing myself.

It's not enough?

Is that what you're saying?

How would I know if it's enough when

I don't know what it's for?

For a really nice dinner, absolutely, it's

more than enough.

Maybe even 10 dinners.

20-- 20 maybe, even, and a couple of lunches.

But, oh, for something else, I don't know.

Why?

What did you have in mind?

I told you, to make you happy.

Yeah, so you say.

Well unfortunately, I think you'd

come up a bit short if that'syour primary intention.

How much more might I needto, uh, come up, uh, [italian]----

long enough for your satisfaction?

I don't know.

Why don't you run out for a while

and come back and surprise me?

Are we talking all cash?

I'm not talking about anything.

You are.

[doorbell]

Would a million dollars interest you?

What's your rush?

[MUSIC - THE EXCITERS, "TELL HIM"]

I know something about love--

you've got to want it bad.

If that guy's got into yourblood, go out and get him.

If you want him to be the very thought

of you makes you want to breathe,

here is the thing to do.

Tell him that you'renever going to leave him.

Tell him that you'realways going to love him.

Tell him, tell him, tell him, tell him right now.

I know something about love--

you've got to show it and makehim see the moon up above.

Go out and get him.

If you want him to be always by your side,

if you want him to only think of you,

tell him that you'renever going to leave him.

There's no way to verifythat the painting is authentic.

I'm asking, is there any wayto verify that the painting is

inauthentic?

Well, find out.

Talk to you later.

Vera.

Hey, what's going on?

Vera!

Hey!

What's the matter?

Hey, would you knock it off and just talk to me?

Don't touch me. Don't touch me!

- Hey, talk to me. - I never want to--

- What happened?- --fucking see you again.

What's the problem?

I never want to talk to you again.

- What's the problem? - Fucking prick.

Wha-- what happened?

Whatever the problem is, I can fix it.

But I can't do anything unless you tell

me what's-- what's gone wrong.

The only thing that has evergone wrong in my life is you.

And the only way you canfix it is by disappearing.

I'm not going anywhere untilyou tell me what happened.

Did he hurt you? - No, he didn't hurt me.

Get the fuck away from me.

Well, he obviously did something to you

or you wouldn't be acting like this.

You know what?

Get away from me before Ireally fucking destroy you.

OK, you know what? I will.

Just tell me one thing. Did he fuck you?

Yeah. Yeah.

You know what?

He did what you arranged for him to do.

- OK, so where's the money?- What money?

The $100,000.

The $100,000.

Yeah.

How about the $1,000?

How about the $100?

I don't follow.

No, of course you don't.

That's why we're having this idiotic argument.

That's why you are who you are.

And you will always be who you are.

The richest man in Italy?

An international mogul? - That's right.

That's what he is.

No, that's not what he is.

What he is is a fraud, like you.- A fraud?

How? What did he do?

It's not what he did.

It's what he didn't do.

Are you telling me fucked youand didn't give you any money?

I'm not telling you anything.

I'm trying to get away from you.

Why didn't you get the money first,

before you had sex with him?

Oh, don't you dare!

Don't you dare blame me for this.

You set this up. - OK.

You chose him.

You promoted him.

And I'm supposed to say, cash up front?

What am I supposed to be?

Some 4:00 AM streetwalker picking

up derelicts for dinner money?

Listen to me, becausethis is a serious problem,

but I handle it.

Go back to the apartment andwait until further notice.

I'm going to drag thiscocksucker by his greasy neck

and make him personally beg you to accept the money.

[regal orchestral music]

COUNT'S AIDE: The count excuseshimself for being so late.

He's usually very punctual.

He's just-- been delayed.

There's been an emergencywithin the Italian government.

[speaking italian]

And the count at this moment is--

is meeting with theambassador here in New York.

- It's very important. - He'll be late.

He'll be late, all right?[phone ringing]

Ah, the count is just telephoning now.

- [speaking italian] - Maybe what--

Yes.

Perhaps w-- we can have achance to get some background

information about thecount while we're waiting

for him to arrive.

Absolutely.

I mean, he's-- he should be here in 15 minutes.

FORD: This is Ford Welles.

The count asked me to do him a favor

and I've taken care of it.

Do you know where I can reach him?

Which marina?

[piano music]

The count will be absolutelydelighted to meet you.

[speaking italian]

Americans are very, verycurious about this man.

He's the most mysterious man in Italy, right?

Nobody knows anything.

He says, mysterious because he's very--

He never gives interviews.He's-- everything's secret.

--the money for the public--

I have a lot of questions to ask.

There's so much our readerswant to know about this man.

- [speaking italian] - He's so mysterious.

In the White House-- why is he going

to the White House-- on secrettrips to the White House?

He doesn't really know anything.

Or what is he doing inChina with the satellites?

He's, uh, amplifying his horizons.

Of course, the count will need final approval

on the interview.

I always give that assuranceto my special subjects.

Is it true that he's actually the most

important man in Italy?

[piano music]

[regal orchestral music]

He's very busy.

He comes very quickly, yes?

[speaking italian]

He apologizes in the name of the count.

He's using very precisely on time.

How long will--

This is an emergency.

How long will he be in New York this time?

We're going to need a great deal of time

to discuss his whole backgroundand the-- the cooperation

and the projects in America.

[speaking italian]

He said you should be able to do everything.

He's very, very interested.

Doesn't he own everytelevision network in Italy?

[hip hop music]

[piano music]

[regal orchestral music]

Is he an intermediary for the Vatican?

Does he represent the Vatican?

[speaking italian]

He would rather not answer questions

to do with the Vatican.

He's not really authorization.

And I'm sure, maybe, the government--

Ah, the economy.

--we can discuss some things with--

Oh, he's coming now.

[speaking italian]

Mr. Turley.

Excellent to meet you.

Michael Burkes, the count's lieutenant.

Nice to meet you, sir.

[speaking italian]

I noticed you're lookingat the boat, Michael, huh?

- It's gorgeous. - You like it?

Here. - I love it.

- This is yours. - Mine?

For all the good work you've done.

Count!

The count is-- is a very generous man.

- Take a look. - We've all benefited--

Lupo!

--from his generosity.

- Where's my $100,000? - Oh.

Oh. What?

Hey, hey. Take it - Take it easy.

- Where's my $100,000? - Hold him.

You want to talk?

- Where's my $100,000? - Then we'll talk.

Come with me. - Yeah.

Calm down. And we'll talk.

- Yeah, that's fine. - You understand?

Yeah.

Just a minor misunderstanding.

It's nothing.

I want my $100,000.

That's between you and Vera.

Don't play dumb with me, you greasy prick.

Vera told me you fucked her and you stiffed her.

You didn't give her a dime.Now where's my money?

I gave Vera a million dollars in cash.

You gave Vera a million dollars?

I want you to come with meright now to Vera's apartment

and tell me in front of her thatyou gave her a million dollars.

[phone ringing]

[piano music]

Hello.

VERA'S DAD [ON PHONE]: Hi, sugar.

I'm in the car with Mom.

Hey, Dad.

VERA'S DAD [ON PHONE]: How about dinner

tonight at the Tribeca Grill?

No, I don't think I can tonight.

VERA'S DAD [ON PHONE]: How about tomorrow?

[beep]

Can you hang on a second?

VERA'S DAD [ON PHONE]: OK.

OK.

Hello?

FORD [ON PHONE]: I'm downstairs.

I'll leave it open.

Dad, that was my new boss.I have to go.

VERA'S DAD [ON PHONE]: Oh,yeah, your phantom boss.

Sunday at 9:00. Lane's.

All right.

VERA'S DAD [ON PHONE]: What are you painting?

We'll talk about it tomorrow.VERA'S DAD [ON PHONE]: OK.

OK.

Bye.

[door opening]

I don't feel like kissing you right now.

You're sure that there are no details

that you forgot to mentionabout what happened between you

and Lupo?

Nothing you want to add or subtract?

There is nothing I want to add or subtract, no.

Now, you say that this guy,after you allow him to do

certain things with you, refused to show

any financial appreciation.

And you say you gave mygirlfriend $1 million in cash.

Am I right so far?

LUPO: You're right in sayingI gave a gift to Vera.

As I made clear to her, it had nothing

to do with anything else that may or may

not have happened between us.

It was a gift--

purely by an act of appreciation and love.

Well?

Well, what?

What do you have tosay to what he just said?

He's lying.

Why are you doing this?

Doing what?

Standing up for my rights?

Refusing to play the fool?

I think the best thing for everybody under

the circumstances is for youto pay her the $100,000--

or better yet, to pay me,as her designated agent,

the $100,000 you owe her and then

get out of our lives for good.

I gave Vera a million dollars.

I'm not giving her another cent-- which is

the way she said she wanted it.

You told me you felt certainthings with me and for me.

That we had an understanding andwe would see each other again.

And that we would give each other pleasure

and go on privately.

That sounds just like me, doesn't it?

Believable dialogue, coming from me--

the sexual pleasure we gave to one another,

private understanding.

I'd love to hear that in a court of law.

I'm sure a lot of people would believe it.

In fact, I might as welljust stand next to you there.

I mean, we make a perfect couple.

You can say anything you like now.

You can do what you like.

But nothing can change whathappened between us last night.

I think this little escapadehas gone on long enough.

I'm sorry that it had to come to this.

I was ready to look at you as my mentor.

I was ready to do jobs foryou, to deliver for you,

to share with you, to bring alittle youth and fun and light

into your life in exchange for afew simple favors and some cash

that you can readily afford.

But you turned out to be exactly what

Vera said you were-- a fraud.

And I have no respect for you anymore.

And I want my fucking $100,000 now!

Lupo.

Lupo, can you hear me?

Fuck!

Lupo!

Lupo, wake up!

Shit.

Lupo!

Shit!

Lupo.

Yes, I'm calling from 55Niagara Street, apartment 13.

FORD: Lupo!

I need to report a homicide.

FORD: Homicide? - My boyfriend--

FORD: That's not a homicide.- --has just--

FORD: It was an accident!- --killed Tommaso Lupo.

FORD: It was an accident!

It wasn't a homicide!

Hello.

Hello.

Hello.

[dial tone]

MAN 1: I'm going to check it out,

but I think this count isa major figure in Italy.

MAN 2: Tommaso Lupo.

FORD: This is fucking crazy.

Why am I in handcuffs right now?

It was an accident.

Hello, sir.

FORD: An old guy fell down.That's it.

Well, your rights have been read to you.

- How you doing, Lieutenant?- What?

Can't complain about nothing, all right?

- Yeah. - What do you got?

Yeah.

And if you don't contradictme, I'm taking that as a yes.

Ask Vera.

Ask her. It was an accident.

I'm innocent. He fell.

Death by blunt trauma to the head.

He died instantly, boss.

It was an accident.

He fell.

He hit his head on the thing.

You got anything else?

Yeah, I got a witness. Girlfriend.

Said she saw him do it. - Saw me do it?

It was an accident. - Hey.

- He's an old guy who fell.- I said stay down.

What the fuck?

I'm innocent.

This is crazy.

She's in a state of shock.

She doesn't know what she's saying.

It looks like you've got it under control.

- I do. - Good work.

Thanks.FORD: Detective, this is crazy.

He's an old guy who fell andhit his head on the thing.

Why am I sitting here in handcuffs right now?

Why am I arrested?I was here when she called 911.

If I were a killer, why would I still be sitting here?

I stayed here to clear my name.

It was an accident.

That's not what she said.

She's in a state of shock.

Anything she says otherthan it was a total accident

is 'cause she's in a state of shock.

Look at her.

She doesn't know what she's doing.

He tripped. He fell.

He hit his head.

There was no violence.

It was a totally natural,legitimate death.

Detective, look.

I can see by looking atyou that you know your job,

that you're a guy who knows what he's doing.

Do I look like a killer to you?

I've never hurt anybody in my life, OK?

There's nothing you can saythat's going to help you now,

pal.

We're going to take you downtown.

You can get an attorney.

You talk to him. That's it.

I-- this is crazy.

It's crazy that I'm in handcuffs.

It's crazy you're taking me downtown.

All I'm saying is, I washere when she dialed 911.

If I had killed the guy, why would I

be sitting here right now?

I stayed here so I could clear my name to you.

I could be on my way to Canada right now.

What the fuck? This is nuts.

If--

I'm-- I-- I've never hurtanybody in my life, all right?

I have no record at all.

I'm a hustler, maybe-- - Let's go.

A little harmless hustler.

I've never fucking--

I've never been arrested for anything in my life.

- You have now, pal. - This is--

This is crazy.

Vera, tell him.

Don't let him do this to me.This is nuts.

I'm innocent.

Vera!

I'm innocent!

I didn't do anything! Vera!

Tell him!

I could go for a serious steak.

[piano music] - All right.

You tell me where. I'm buying.

- What do you think?- Oh, man, I can't think.

I'm too hungry.

DETECTIVE 1: How about Peter Luger?

What do you think?

DETECTIVE 2: How about Sparks?

DETECTIVE 1: How about Peter Luger?

DETECTIVE 2: Well, it's your call.

Why, do you prefer Peter Luger to Sparks?

DETECTIVE 1: The only thingSparks has over Peter Luger is,

it's where Big Paulie Castellanohad his last supper before John

Gotti had him whacked.

DETECTIVE 2: All right.

If you want Peter Luger, we'll go to Peter Luger.

Unless you want sushi instead.

Hi, Mom.

DETECTIVE 1: Sushi?

DETECTIVE 2: Yeah, we'll go tothat place De Niro owns, Nobu.

Um, not good, actually.

DETECTIVE 2: --intake by about 50% ever

since I read this article.

It says red meat causes all kind of problems.

Yeah. I-- is Dad there?

DETECTIVE 1: What kind of problems?

DETECTIVE 2: Oh, cancer, heart disease.

Clogged arteries. - OK, I, um--

DETECTIVE 1: I don't buy any of that.

I'm going to come overand talk to you guys, OK?

DETECTIVE 2: Look, the Asians have

the lowest incidents ofprostate cancer in the world.

No.

DETECTIVE 1: Oh, you don't believe that.

I mean, what what about--- No, I'm going to, um--

I'm going to t--

take a shower and get myself together.

I'd rather tell you when I get there, all right?

DETECTIVE 1: And he's Chinese.DETECTIVE 2: Yeah.

But he probably eats American, though.

OK.

DETECTIVE 1: Don't matter,make any difference.

DETECTIVE 2: I'll just get a salad.

I love you, too. DETECTIVE 1: All right.

Good to me, man.

As soon as we get out of here, we'll go.

DETECTIVE 2: All right.

DETECTIVE 1: Yeah.

[orchestral music]

[music - ria, "butterflies"]

You give me butterfliesevery time that I'm near you.

You make me smile every time that I see you.

I can't deny all thethings that you do to me.

You make me fantasize aboutthe love I'll be getting.

I realize you're the one that I'm feeling.

I can't deny all thethings that you do to me.

You give me--

It was about Saturdaynight when seen your face.

And baby, you were looking oh so right.

Approached me with a smile,thinking I was the one.

Whoa.

And now it seems as though youcome a little closer to me.

I can't believe I'm scared.

Butterflies all up in me.

All I know, all I know is, I'm having some fun.

And you give me butterfliesevery time that I'm near you.

You make me smile every time that I see you.

I can't deny all thethings that you do to me.

You make me fantasize aboutthe love I'll be getting.

I realize you're the one that I'm feeling.

I can't deny all thethings that you do to me.

You give me--

Every time I see your face,I just get so happy, baby,

I don't know what to say.

You move me with your sexy style.

And every time I'm with you,I just want to stay awhile.

Now I'm kind of scared 'causeI know you want me, baby.

Now you're telling me you wantmore than a friendship, maybe.

I don't know.

All I know is, I'm falling in love.

And you give me butterfliesevery time that I'm near you.

You make me smile every time that I see you.

I can't deny all thethings that you do to me.

You make me fantasize aboutthe love I'll be getting.

I realize you're the one that I'm feeling.

I can't deny all thethings that you do to me.

You give me butterfliesevery time that I'm near you.

You make me smile every time that I see you.

I can't deny all thethings that you do to me.

You make me fantasize aboutthe love I'll be getting.

I realize you're the one that I'm feeling.

I can't deny all thethings that you do to me.

Baby, I don't know.

I guess it's just the things you do to me.

I get the butterflies why when I see you?

And why when you're walkingby, I'm shy when I see you?

I slowly realize why when I'm near you.

Then I get so mesmerized why when I leave you?

I get the butterflies why when I see you?

And why when you're walkingby, I'm shy when I see you?

I get so mesmerized why when I leave you?

I get the butterflies why when I see you?

And why when you're walkingby, I'm shy when I see you?