Based on the book, "Donnie Brasco,"
by Joseph D. Pistone with Richard
July 27, 1992
1 EXT. DAY. WASHINGTON, D.C.
An AERIAL VIEW of the nation's capital, MOVING IN on the stolid
limestone box of FBI HEADQUARTERS. Supered below:
FBI HEADQUARTERS. WASHINGTON,
2 INT. DAY. FBI HEADQUARTERS
A spacious corner OFFICE. American flag, FBI seal, and a plush
c arpet-- Fed eral blue .
CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon glasses,
PRESIDES behind a vast desk. The impressive mien of earned
authority. Before him:
JULES BONOVOLONTA, late 40s, Green Beret veteran, SUPERVISOR, 140
pounds of pugnacity and gristle. Ex-street agent cramped by
PAT MARSHALL, late 30s, a CASE AGENT, compulsively organized, with
haunted choirboy's eyes.
CLARENCE LEBOW, early 40s. Assistant SECTION CHIEF. Brooks
Brothers, heavy starch.
It's going down tonight.
Says who? A fucking wire.
A reliable wire.
A fiction writer.
Hogue peruses SURVEILLANCE PHOTOS of Sonny Red and Sonny Black. Then
reads the INFORMANT'S REPORT.
is that the 209, sir?
There's going to be a war between
Sonny Red and Sonny Black--it's
all over the streets.
Clarence, you couldn't find the
streets with an asphalt detector.
Sonny Black goes, everyone with
That's doesn't mean it's tonight.
Even if it's not tonight--and I ' m
not saying it's not tonight--it
could still be tonight because it
could be any night.
Fuck you, Clarence.
Heyl I'm a Mormon 1
You have some objection to these
guys killing each other? .
It's just that--one of them's one
An agent. Undercover.
Then why are you depending on an
informant? What does the agent
(off awkward looks)
When's the last time you spoke to
Three weeks and two days.
He checks in every three weeks?
He checks in when he checks in,
We had to make up the rules as we
2 CONTINUED: (2)
My predecessor started this?
It's been five years.
Five years and three months.
I am not gonna blow a chance to
cripp le the entire fucking Mafia
just because some fucking empty
suit in Blue Carpet Land--
I am so sick of your superior New
Y or k a tt it ud e--
--thinks there's gonna be a
Shootout tonight after the
You're going to risk a man's life
just to make cases.
Making those cases is his life.
And how many cases do we have?
A hundred, two hundred...
The truth is we don't know.
Let me get this straight. Nobody
knows where he is. Nobody's
spoken to him. He's been
undercover five years. He might
very well get killed tonight--at
a fucking wedding-- not because
he's one of us. but because he's
one of t;hem. -
2 CONTINUED: (3)
I've been on the job one fucking
wee k. An d it' s my fuck ing
decision? How the hell did this
Awkward looks and foot shuffling all around.
What time's the wedding?
Eight o'clock tonight.
THE CLOCK .
on the wall reads *9:36."
Who is this fucking guy?
3 INT. NIGHT. BAR--WASHINGTON (1975)
C L OS E ON --
JOE PISTONE, 30s, athlete's build, body languid with a killer's
confidence. Eyes dead as a shark's. He chafes at his rep-striped
tie and off-the-rack suit.
LeBow, Marshall, and two other SUITS around the table. Jules
delivers a TOAST. Supered below:
BLACKIE'S. WASHINGTON, D.C.
...And so, Joe, we wish you bon
voyage with this farewell drink.
We'd give you a farewell dinner -
but why spend all that money when
you'll just come crawling back to
your old desk?
Laughter around the table. The CLINK of glasses...
I would love to know how you sold
them on this.
I told them I wanted to get far
away from you, Clarence, They
got it instantly.
We've had our best guys on this
s ince, wha t, Va lachi ? Twe nty
W ho knows? We never tried
anything like this.
What does that tell you?
The Director thought it would be
Then maybe I should do it. I'm
in a mood to be corrupted.
You know what these people are
l ike. They 're a ll ma rried to
each other's cousin.
It's six months.
I think it's great. Undercover's
a new area. Get in on the ground
It's a wild goose chase. I'm
saying this as a friend.
What do I know? I'm just a dumb
Don't talk that way, Joe.
Because, you know, you are just
a dumb guinea.
LAUGHTER from the group. Joe doesn't know whether to join in or
punch somebody. Jules hands him a large beribboned BOX.
Here you go, Joe.
Joe opens the box. A wide-brimmed Al Capone FEDORA. Uproarious
laughter from the group.
3 C O NT I NU E D: (2)
If you already have one, you can
Put it onl
Against his will, Joe puts on the hat. More laughter from the group.
4 EXT. DAY. SUBURBS
Three exuberant TOMBOYS play football on the front lawn of a modest
split-level home: TERRY, 13, rebel in a hurry; KERRY, 10, the good
girl; and SHERRY, 8, the baby.
Terry hikes the ball, drops back to throw...
spirals up into the air...where it's INTERCEPTED by Joe, who appears
out of nowhere.
Joe feints, tries to dodge the girls...Then sidesteps...
I ' m out of bounds. Stopl This--
look-- this is out of bounds 1
They tackle him anyway. Grab his legs till he TOPPLES in a laughing
MAGGIE PISTONE, a pretty, strong-willed blonde in her 30s, emerges at
th e f ront do or. SM ILE S at th e s cen e. Then FR OWN S a s s he r eal ize s--
5 INT. LATER. LAUNDRY ROOM
Joe stands in his suit jacket and boxer shorts while Maggie tries to
remove the GRASS STAINS on the pants knees.
I swear to God, Joe, I have to
spray you with Scotchgard every
Joe embraces her from behind.
W hat am I s upposed t o do? Terr y -
tackles like her mother.
He gropes at her. She moves his hands off...
Hi s hands go back to groping. She smacks them. ...
Roughing the passer.
I suppose I should be grateful
tha t it's not blood stains, or
pow der burns. Like the old days.
I got some good news today.
We're going back to Jerse y.
You're kidding1 You got
Th e kids can see their
grandparents. Plus it' s GS-13.
That's two thousand more.
My Godl When did this all
ha ppen? -
What aren't you telling me?
I k now enough about the Bureau
t ha t no thing happens th is
q ui ckly , Joe. Especi ally if it
i nv olve s a raise.
Remember that guy I me t at
Qu antico, that su perv isor?
Berada? Be asked for me. Safe
an d Hijackings, i n Ne w York.
But this i s a desk job, right?
I thought we agreed about you
going back on the street again.
This is different. It' s
What does that mean, undercover?
Undercover. You know,
Will you come home at night ?
It's a good opportunit y.
Undercover in what?
An FBI wife doesn't ask, Maggie.
Will you be home on the we ekends?
It's just six months.
Y ou waited till this was all
decided. You never asked me--you
k new what I was going to say.
What do you want from m e, Joe?
I want you to say, 'It's okay'.
You finally got to headqu arter?
and now you're going back on the
Don't you understand? I b uy a
Brooks Brothers suit but th ere's
al ways a button that comes off or
a stain that won't come out ---it's
li ke the suit knows I don't
belong in it. I sit in a room
w ith Clarence and the rest of
them and the only way I know
something's funny is when
everyone else laughs.
Everything, all day, it' s just
(gestures) this much off.
5 CONTINUED: ( 3)
You 're as smart as they are.
I could be a fucking Ph.D. from
Ha r vard and it wouldn't matter--
I cannot win. To do something
th at's never been done, that they
sa y can't be done, that they
ca n't do-- don't you see? That's
th e only way I'm ever gonna fit
in with them. On my terms.
She looks at him. Smile s. She loves him for who he is, as
frustrating as that can be. She embraces, ki sses him.
Well, at least you warned me.
Re member? 'Maggie, if you marry
...you're in for a big
They kiss again. And ki ss. Joe kicks the door to the laundry room
SHUT behind him.
MONTAGE . .
--Present day. The CLOCK a t FBI headquarters: 10:07. Hogue RIPS
through the case file. A LETTER addressed to the Director of the
'To Director: Surveillance and
inf ormant contacts to date have
--Jo e is ushered through the fluorescent-lit warren that is the
BULLPEN of the New York FBI office. Shakes hands with GUY BERADA,
50s , a Bronx bull with an unlit cigar.
BE RADA (V.O.)
'. ..regarding being able to
pe netrate the conveyance of
stolen property by La Cos a
--Joe lines up at the DMV. FLASH1--his photo for a driver's license.
Now he's DONNIE BRASCO. The name types out:
...UC A Joseph D . Piston©
utilizing the name 'Donnie
Brasco'. . .
--An FBI COMPUTER prints out a "yellow sheet" of his prior arrests
fo r b urgl ary -- " a.k .a. DON TH E J EWE LER "...
--In the jewelry district, a HASIDIC JEW tutors Donnie, who looks at
a diamond through a loupe. . . Donnie surveys a small APARTMENT with a
REALTOR...Donnie opens a BANK ACCOUNT. . .
BACK TO PRESENT DAY
--Hogue reads down the BUDGET for the operation...
Utilities..... 35.00 Rental
car.... 220.00 Spending money
'...This would be accomplished by
UCA frequenting locations listed
below and attempting to engage in
conversation and do business with
--Donnie sits in Carmelo's drinking club soda and watching
basketball. At the other end of the bar, twoTOUGH GUYS play
BACKGAMMON...DISSOLVE to another night, another game, another
barstool--CLOSER to the Tough Guys...On the backgammon board, as the
pieces move closer to the goal...DISSOLVE to another night, as Donnie
moves closer to the game...On the board again, as the pieces move
closer...DISSOLVE to another night, as Donnie moves closer...And
another...On the board, as the pieces move closer, and the hand
moving them...belongs to Donnie.
--Donnie enters his apartment, sparsely furnished with a bed, TV,
weight bench and weights. . . Gets on the phone...
STEVE BURSEY, 30s, Donnie's wiry and wild-eyed CONTACT AGENT, on the
"hello phone" at the FBI office in New Yorfc.
Donnie at a PAY PHONE.
Is this Bursey?
Bursey cradles the phone on his shoulder, TYPES...
To the file: Contact with UCA on
July 7, 1976...
BACK TO PRESENT DAY
--Hogue reviews SURVEILLANCE PHOTOS of Donnie in Carmelo's...In the
...UCA reported no significant
contacts. . .
--Donnie in Separate Tables, a restaurant on Third Avenue...
. . . n o significant contacts...
--Donnie wanders the aisles at a drug store, searching for a GREETING
CARD. Selects one. MATCH CUT to Maggie opening the same card.
Inside it reads, "MISS YOU, LOVE,"--and NO SIGNATURE.
--A TRUCK HIJACKING takes place on an access road to Kennedy Airport.
In a choreographed ballet, the DRIVER gives up the keys to a crew of
TOUGH GUYS...Then Donnie and VINNIE THE FENCE help unload cartons of
PERFUME from the truck...
...UCA purchased two dozen
cartons Yves St. Laurent 'Eau My
--Donnie plays backgammon at Carmello's...On the board, as the pieces
move CLOSER...Vinnie introduces him to JILLY GRECA, a tough-looking
WISEGUY in his late 40s.
...UCA was introduced to Giuliano
Gr eca , a. k.a . J ill y.. .
--Donnie opens a carton of WATCHES. . .
These go for 80 apiece. My end's
...UCA sold 50 Pateau Mitsu Boshi
Boeki digital watches. . .
5 CONTINUED: (6)
He hands them to...Jilly. Who inspects them. Takes the carton.
Peels off bills to Donnie.
BACK TO PRESENT
--Hogue, with headphones on, stubs out a cigarette...
--Donnie sits in Hippopotamus...Casa Bella...An after hours
joint...The pieces on the backgammon board as they move
CLOSER...Donnie collapses heavily on his bed, amidst the spare
furnishings of his apartment...
. . . UCA reported no significant
contacts. . .
BACK TO PRESENT
·--Hogue opens a BUDGET FOLDER...
,New York office requests an
extension of six months due to...
--Donnie and Berada at a booth in the Cockeyed Clam, a manila FILE
I got you another six months. I
told them it takes time.
Same budget. Look, Joe, not that
I don't see any movement, but--do
you see any movement? I got my
neck out on this.
Whatever it takes, I'm gonna get
Do me a favor. Just get one
Donnie READS from the file.
' . . . n o significant contacts...' '
5 CONTINUED: (7)
One other thing. You know how it
is with the ' B ' . They saw some
of the surveillance pictures...
They want you to shave the
mo ust ache . .
I ' m undercover 1
You're still in the FBI. That's
6 INT. DAY. CASA BELLA
WI NTE R--fo g o n t he win dows . D ISC O p lay s on th e j uke box . Dr ink ing
DEMITASSE in the late afternoon:
BENJAMIN "LEFTY" RUGGIERO, early 50s, gaunt and raspy-voiced,
SWITCHED-ON with nerves, testy and restless. He lights up an English
Sitting around him:
DOMINIC "SONNY BLACK* NAPOLITANO, middle 40s. Fireplug muscles, dyed
black hair. Sle epy as a l ion after a big mea l. Don't f uck with the
NICHOLAS "NICKY" SANTORA, late 30s, teddy bear paunch. Plays the
JOHN -BOOBIE" CERASANI, early 40s, gun-metal hard. All business.
Nobody's fool. Supered below:
CASA BELLA RESTAURANT. LITTLE
You can't say to me a Lincoln is
better than a Cadillac.
It's the better automobile, no
question. Head and shoulders.
Geddadaheah. Geddadaheah before
you make me mad.
Lefty, how you gonna be mad at
I ain't mad at him. I'm mad at
AT THE BAR
A man sits, unfolds a newspape r. The ba rtender lo oks up--it' s
B A C K O N --T A B L E
A in't no c ompar ison. Cadi llac
got more acceleration, more
power, more-- better handling,
better looking, more legroom for
yo ur legs , m ore po wer --
You said that.
Be got me so fucking aggravated,
Boobie, I forgot what I said.
I' 11 tell you one thing--the
Lincoln is longer.
Whaddaya talkin' about? Longer
Longer. Like longer. In inches.
It's a longer car.
You know something, Nicky, you
don't make no fucking sense
6 CONT INUED:
You got two cars. One's longer.
All things being equal, the
longer car is the one gonna get
Ain't the question all things
being equal. One's a Cadillac
and one's a Lincoln.
The one's longer gets there
first. That's scientific fact.
What's better, a Lincoln or a
Why're you asking him?
I ' m asking him.
Why don't you ask me?
I asked you already.
That's right. And I told you
there's no comparison.
what the fuck are you arguing
about? Mercedes got it all over
both of them.
Fugged aboudit. Mercedes? That's
a Jewish car. They didn't get it
enough from the Germans in the
war-- now they gotta be robbed by
JU DY app roac hes --th e W AIT RESS , e arl y 2 0s. NEW to th e j ob. Son ny
takes her hand, KISSES it.
Angel, how about some pastries
for the table?
LEFTY WATCHES DONNIE
sipping coffee at the bar. Leans over to Nicky.
Don. Don the Jeweler. Jilly
brought him around.
Jilly Four Eyes?
Not Jilly Four Eyes. You know,
Jilly. From Queens Jilly.
He's a jewel guy? He knows
What--you got a thing to lay off?
Ain't the question, I got a
thing. I ' m saying, if I had a
thing, he could lay it off?
Whaddayou got to lay off?
SONNY WITH JUDY
as he punctuates his order with KISSES of her hand.
A little cannoli. (kiss) Svingi.
(kiss) Zeppole. (kiss)
We're out of sfogliatelli.
Oh. Then you gotta give me that
She giggles, kisses Sonny on the cheek.
Can I ask you guys something?
You guys are wiseguys, right?
What makes you think we're
What other grown men would have
nothing better to do than sit
here all afternoon drinking
coffee and nobody says anything?
They all look at each other.
We could be cops.
LAUGHTER all around. Lefty steals another look at Donnie as he sits
placidly drinking his coffee.
7 EXT. LATER. LITTLE ITALY
Lefty RUMMAGES in the trunk of his Cadillac. Takes out several
DESIGNER DRESSES, on hangers. Two cartons of TUNA FISH. Two large
STEREO SPEAKERS. Rummages some more. Finds
A JEWEL BOX .
8 INT. LATER. CASA BELLA
Donnie sips his coffee at the bar/ reads the paper. The restaurant
is otherwise DESERTED--Sonny and the other guys have left. Lefty
You Don the Jeweler?
Donnie looks up to the Bartender. The Bartender nods. Lefty reaches
in his pocket, produces
A FIVE-CARAT DIAMOND RING
That's a beauty, eh? That's some
Donnie looks it over. Gives it to Lefty.
Give it to your wife.
How'm I gonna give it to my wife?
I ain't married.
You got a girlfriend? ,
He returns the diamond to Lefty.
Are you for real? I'm asking if
you want to middle a diamond
here. All I want for my end's
I ' m saying give it to somebody
don't know any better. It's a
How can you say it's a fugazy?
You looked at it two seconds.
Go ahead, try and sell it, you
wanna be a dunsky.
I ' m a dunsky? Let me tell you
something, my friend--do you know
who you're talking to?
The Bartender, SCARED--he knows what Lefty's capable of. Quickly
mixes a SPRITZER.
Here, Left, have a spritzer.
My family, my children--my mother
can hold her head up in any
neighborhood in the city when she
walks down the Clock. In all the
Five Boroughs I'm known,
fuggedaboudit--I'm known all over
the world. You ask around--ask
anybody about Lefty from Mulberry
I'm sorry. It was just a
Donnie backs off, EXITS. Lefty takes the diamond out, looks at i-
FUMES. The Bartender slides the spritzer over.
C ON T IN U ED : (2)
On the arm.
Fugazy. Fugazy my fucking ass.
9 EXT. LATER. CASA BELLA
Donnie exhales out his tension--unwinds from the dicey moment with
Lefty. Pulls his collar up against the cold, heads up the block.
Takes a last look back inside at Lefty.
10 INT. LATER. JEWELER
A JEWELER, loupe in his eye, examines the diamond.
It's a fake.
This's a fake?
Nothing is what it seems.
Lefty takes the fugazy back. Pockets it.
Because that's what I'm thinking.
I thought it was a fake, (beat)
It's a good fake, though, ain't
It's a very good fake.
Tha t's w hat I'm s aying . I
thought it was a fake. That's
what I thought.
Lefty takes the fugazy back. Pockets it.
11 EXT. DAY. NEW JERSEY--SUBURBS
Donnie drives the big station wagon, Maggie alongside him. The girls
Daddy, will you be home Easter?
Don't ask Daddy those questions.
Mommy, will Daddy be home Easter?
You still believe in the Easter
You're such a snot, Terry.
He'll try his best.
Don't look at me. I think it's
great he's never home.
Denise in school asked me today
what Daddy's job is.
What'd you tell her?
None of her beeswax.
Just tell her he's a salesman on
the r oad a lot. I mean, who
cares what he really does?
You be proud of what your father
does. Do y ou underst and me?
Your father is an outstanding
Jes us . L ig ht en up . T ha t' s n ot
Shut up, Terry.
12 EXT. LATER. GRANDPARENTS' HOUSE
The station wagon pulls up. The kids run out into the embrace of
Maggie's PARENTS. Maggie clijmbs out, turns.
You said it was going to be six
13 INT. DAY. ACERG, INC.
A storefront for fenced goods. WISEGUYS play cards, smoke
ci gar ett es. The PA Y P HON E ri ngs . J ill y p icks it up .
14 INT. SAME TIME. FBI SAFEHOUSE
A phone line patched into a reel-to-reel TAPE RECORDER among rows of
tap e rec order s. VO ICE- ACTIV ATED-- it cl icks on, UNSPO OLS.. .
15 INT. MORNING. CASA BELLA
Lefty talks on a pay phone. Watches a MAN, indistinct in the
background, sipping coffee at the bar.
Don the Jeweler? Stand-up guy.
Ain't a leech, good earner.
Keeps to himself.
to Donnie at the bar, sipping coffee. Lefty watches him.
FLASH CUT TO:
16 INT. THE PRESENT. FBI HEADQUARTERS
Hogue listens o n headpho nes.
Where's he from?
PHONE (O.C.) · ' '.
Cali for nia . H e's a j ewe l g uy.
Where California? L.A.?
Do you know how fucking big
California is? How the fuck
should I know? He's a jewel guy.
THE CLOCK reads "10:25*.
Jilly--he's a stand-up guy,
Look, Left, I said I knew him.
I didn't say I fucked him.
Hogue hits FAST FORWARD...The tape SQUEALS. . .
FLASH CUT TO:
17 EXT. THE PAST. CADILLAC
The SCREECH of rubber and
THE CADILLAC LOGO
as Donnie pulls away from the curb in a screaming-yellow Coupe de
Ville. Lefty lights an English Oval.
Nice car. (beat) Go to 46th and
1st, I gotta make a collection.
What happened with that fugazy?
Man oh man, I gotta school you,
my friend. Di'n't Jilly school
The smoke is thick now...Donnie powers down his window.
School me in what?
Donnie/ put your window up,
Donnie. I ' m gonna catch a draft.
Donnie powers his window back up.
A non-wiseguy never asks a
wiseguy a question. A non-
wiseguy don't even talk to a
wiseguy unless the wiseguy talks
to him first. Capeesh?
Yeah. I got it.
You don't raise your hands to a
wiseguy. You don't mess with his
wome.n---wife or girlfriend or
daughter. Just keep your mout h
shut--don't put business on the
Follow the rules.
A CAB cuts them off. Lefty leans over/ HONKS the horn.
CocksuckerJ Motherfucker cutting
you off. (resuming) You gotta
have rules. Otherwise, what are
w e? We're like anima ls.
He leans over. VICIOUSLY honks the horn again. RESUMES with one eye
on the cab...
Wiseguy has a bag, you pick up
the bag. wiseguy runs a tab, you
pick u p the tab . wiseguy is
always right-- even if he's wrong
he's r ight. All the way u p the
l ine. Conne cted guy to wiseguy
to skipper to boss.
Like the Army.
I said it's like the Army. Chain
Ain't nothing like the Army. The
Army, it's some guy you don't
know sends you to whack out some
other guy you don't know. The
Army's a jerkoff outfit.
17 CON TINUED:
I mean the same principle.
Ain't the question, Donnie. You
see, that's why I gotta school
you. Because otherwise you get
everything upside down.
You got a girl?
Yeah. In California.
Good. Let her enjoy herself in
The cab CUTS OFF Donnie again...And Lefty BLOWS...
Donnie, catch up with that
He cut you off again, (pointing)
That fucking--The cabl That one!
Do nn ie --
Donnie SPEEDS up, chases the cab...Lefty opens the GLOVE COMPARTMENT.
Hits a BUTTON and the TRUNK pops OPEN.
A RED LIGHT
The cab stops. Lefty JUMPS out of the Cadillac...
IN THE TRUNK
Lefty pulls out a JACK, hustles up to the cab.
A PAKISTANI, 30s, oblivious. Then he-sees Lefty approach in his side-
What's fucking wrong with you?
Hah ? The re's no fu ckin g
etiquette of the road with you?
The Cabbie flips a "FUCK YOU" signal with his middle finger...Rolls
up his window.
LEFTY · . ,
Fuck wh o? Fuc k m e?
of the Cadillac, running toward Lefty... INSIDE the cab, a nervous
PASSENGER gathers her shopping bags...
as the Cabbie's window CAVES IN...Lefty with the JACK. . . SWINGS down
hard on the windshield. From INSIDE, a spider's web of shattered
Worry on his face. The Passenger FLEES down the block.
hangs out the window, grabbing and punching at Lefty. Lefty YANKS
him out of the car.
Left, c'mon. En ough.
Donnie grabs Lefty, trying to pull him off. A DRIVER heckles from a
Hey, fuck youl
The Cabbie hangs onto Lefty. Lefty SNAPS off the cab's ANTENNA,
starts to WHIP the Cabbie with it. The Cabbie BITES Lefty. Lefty
YELPS, backs off.
ON--T HE ACCE LERATO R
as the Cab bie SLAMS his foot down. The light tur ns RED. Th e cab
FISHTAILS through crossing traffic...The Cabbie trembles with fear,
looks in his rear-view mirror as he speeds away.
Donnie and Lefty, as DRIVERS in passing cars shoot looks of
disapproval their way. Lefty lights a cigarette.
These fucking guys. They come to
this country, they flaunt the
r ules of t he road. T hey give the
'fuck you' sign to a man in the
. street. . .
What kind of bullshit is that?
17 CO NTI NUE D: (4)
Fucking sand nigger. I will
never fucking understand it. Why
is it always the guy who drives
a car for a living is the worst
fucking driver there is?
18 INT. DAY. RESTAURANT
Donnie sits at a bar with a drink. Lefty listens to the OWNER, tough-
looking, 30s, as he WRIGGLES.
I just want what's owed.
You know, you're not the only
guy's owed money.
You didn't wanna pay it you
shouldn't've borrowed it.
Who's this cocksucker?
Like LIGHTNING, Donnie SLAPS the owner hard--forehand, backhand.
Grabs his collar
BELTS HIM HARD
an uppercut in the solar plexus. The Owner SAGS to his knees.
NAUSEA in waves. Do nnie finds the Owner's WALLET in his jacket
pocke t. Takes t he money from the wallet. Peels off a five, STUFFS
it in the Owner's mouth.
That's for the drink.
19 INT. LATER. CADILLAC
CASH as Lefty counts it out. Donnie drives through the Lower East
Don nie--w hy'd you pay f or th at
drink? wiseguy never pays for a
Okay. I didn't know.
Always on the arm. (chuckles)
You scared that guy, though,
manag gia-- that cracks me up. I
got 26 fucking hits under my belt
and you're the one he's scared
Lefty CATCHES himself--shouldn't have said that about the hits.
BROODS a beat.
Hey, Donnie, pull over.
20 INT. LATER. CADILLAC
TOOLS out on the front seat. Lefty UNSCREWS the dashboard. Donnie
Hand me them pliers.
The vise grip or the needle nose?
Fuggedaboudit. I'll get it
He leans out. Takes the pliers. Goes back to work dismantling the
I don't know, Left. This is the
best car I ever had.
You didn't hear that? That
I never had any trouble with this
Give me a hand with this.
Lefty and Donni e PULL OFF the dashb oard. Lef ty looks i nside. Fe els
Hey, you got something to say to
me, Left, say it to my face.
I ain't saying nothing, Donnie.
You think I got a fucking wire in
Did I say that?
What do you think--you think I ' m
a fucking rat stoolpigeon?
You can't be too careful these
day s. Even the ears have ears.
C'm on. They need some bodies on
the street down at Toyland.
21 EXT. DAY. TOYL AND--LITTLE ITALY
A CAR pulls up and two prosperous-looking SKIPPERS get out-- DOMINICK
"BIG TRIN" TRINCHERA, fat and fortyish, and PHILIP "PHILLY LUCKY"
GIACCONE, 40s, shrewd eyes behind glasses. They disappear into an
unimposing SOCIAL CLUB. WISEGUYS stand guard in the cold outside.
Lefty arrives with Donnie in tow.
Nicky/ this's Donnie.
How'd Minx's Magic do in the
r, .·- ·
How could he lose?
What the fuck does he give a
fuck? He's a horse. You're the
one that's out ten grand.
FuckI Now I gotta bet another
dime Sunday just to get to where , .
I was yesterday.
RED COWBOY BOOTS
move up the block...They belong to ALPHONSE "SONNY RED" INDELICATO,
50s, barrel chest. With him, his son, ANTHONY BRUNO INDELICATO, 20s,
pale and balding, COKED OUT.
(aside, to Donnie)
Fucking Sonny Red.
Sonny Red stops, confronts Lefty.
(nods to Donnie)
This's Donnie, a friend of mine.
Just stand there and look
Yeah, he does look dangerous,
Bruno SNORTS in disgust as he and his father move along.
Sonny Red, everything's a beef
with him, him and Bruno, that son
He don't look so dangerous
Ah, he's a stone degenerate, he's
coked-up half the time. Like all
these fucking kdds nowadays.
A h uge L INCOL N pu lls u p. BO DYGUA RDS j ump out o f th e car. And
CARMINE "LILO" GALANTE, 69, fat and bald, huge CIGAR , emerges from
the Lincoln. AWESTRUCK, all watch as, surrounded by WISEGUYS,
Galante disappears into the club. Lefty watches/ st ubs out his
cigare tte. Turn s to Donni e.
22 EXT. SUNSET. ROOF
Lefty tends to the PIGEON COOPS on his roof, Donnie alongside him.
LOUISE, early 30s, a good-looking woman in stretch pants, brings
Lefty a SPRITZER.
Here you go, Bennie. You sure
you don't wanna spritzer, Donnie?
No thanks, Louise.
You change your mind, I'm
She heads downstairs. Donnie turns back to Lefty.
LEFTY . . -
Not for nothing, but... how'd you
know that was a fugazy?
Jewels are my business. If I buy
a fugazy, I lose. I hate to
That's a good business, jewels?
Good money in it?
You keep your nose clean, be a
good earner, listen to what I
s chool you -- there ai n't a
crystal ball big enough for what
we could do.
Did you know there used to be
falcons in Hew York?
They got everything in this
Peregrine falcons. They lived
across the river.
In the Palisades,
The Palisades is Jersey, Donnie.
I ' m saying that's why there's so
many pigeons now. The falcons
used to hunt 'em and kill 'em
I love these fucking pigeons.
I ' d die before I ' d let anybody
touch these pigeons.
_ DO NN IE
Those falcons could read a
newspaper from a mile up.
A bird could read the newspaper?
I'm saying their eyesight.
Hey, Donnie--you got a couple
hundred, Donnie? I got some
things I gotta take care of.
Donnie reaches in his wallet.
What do you want/ two hundred?
Lefty leans over, PEERS into his wallet.
Whaddaya got there, three
hundred? Gimme three hundred.
Donnie hands over the $300--EMPTIES his wallet. Lefty takes it,
folds it ito a ROLL. Puts the hundred on the outside...
Don't be carrying your money in
a wallet no more. Wiseguy got
his money in a roll, like this.
Beaner on the outside.
You're the boss.
I'm not the boss, Donnie. The
boss ends up dead or in jail.
Why the fuck would I want to be
22 CONTINUE D: (2)
It's just an expression.
And shave off that moustache.
That's against the rules.
Hey, Left, if it's okay, I'm
gonna run. I'll see you
Do I gotta school you in
everything? Tomorrow's Mother's
Day. Wiseguys don't work on
23 INT. NIGHT. THE COCKEYED CLAM
Donnie sits with Berada as he reads over some documents.
Benjamin Ruggiero. a.k.a.
'Lefty,' 'Lefty Guns,' 'Lefty Two
Guns.' A couple of bullshit
cases, never did time.
This is way beyond what we talked
about---"fences and hijackers.
T his is a made guy. Do you kno w
what that means ? The re's only
maybe 3000 made guys in the whole
It means you're in, kid.
Can you believe it--a made guy?
(muses) A very peculiar made guy.
FLASH CUT TO:
24 INT. THE PRESENT. FBI HEADQUARTERS
Hogue reads a memorandum. LeBow on the phone.
. . . In light of the above
contacts, we request an
additional six months. . .
Berada's the guy who ran this?
I took over when he retired.
LeBow covers the receiver with his hand.
The surveillance is in place at
the church hall.
25 EX T. DAY. C HUR CH HAL L--NE W J ERS EY
A large RECEPTION HALL adjoining a Catholic CHURCH. Sounds of a BIG
BAND tuning up inside. Up the block:
A MA BELL REPAIR VAN
parked by a telephone pole. FBI #1, in the guise of a telephone
LINESMAN, climbs the pole...
26 INT. SAME TIME. SURVEILLANCE VAN
An FBI TECH TEAM monitors listening devices. An array of
SURVEILLANCE PHOTOS and MUG SHOTS as they're spread over a small
table. TECH #1 looks with BINOCULARS through ONE-WAY GLASS.
...By tonight we'll have a guy
27 INT. SAME TIME. FBI HEADQUARTERS
LeBow covers the phone, turns to Hogue.
They're gonna put in one of our
guys as a busboy tonight.
I don't know.
I want to know. If we're gonna
put a guy inside, I want it to be
one of our best guys.
LeBow goes back to the phone. Hogue turns to Jules.
I want to talk to Berada.
FLASH CUT TO:
28 INT. THE PAST. PISTONE HOME
Donnie SHAVES his moustache in the bathroom. Sounds of the FRONT
DOOR unlocking and then closing downstairs.
as she heads up the stairs...
I had no idea you were coming
home. I'm supposed to go to the
movies tonight with the Grants.
She enters the bathroom as he wipes the shaving cream off his face.
He looks up, half his moustache SHAVED OFF. Her face FALLS.
Oh, Joe, don't--
What's the matter?
I liked your moustache. It's the
only thing I liked about this
thing of yours.
Well, what do you want me to do
I want you to ask me.
You could've said something.
28 CONTINUED: '
What would you suggest I do--tell
Berada to get a message to you
that I like your moustache?
That's not the point.
I have to ask you about every
She jockeys for room at the mirror to put on her makeup.
Maggie, I'll be two seconds.
They were supposed to pick me up
five minutes ago.
You're going to the movies with
Why don't you come?
The last thing I want to do
tonight is go to the movies with
I'm not cancelling.
Agitated, he starts to compulsively organize the medicine chest, the
Where is everybody? I didn't say
anything? I'm sure I said
Joseph--I think I'd remember.
Well, they should be home anyway.
What time is it?
Sherry's sleeping over at Mom's,
she's teaching her how to sew.
Kerry's at choir practice.
She's with her boyfriend.
(off his rearranging)
Leave my stuff alone.
K enny. Wha t are you worri ed
about? I was 14 when we started
That's what I ' m worried about.
He's a nice kid. Nice family.
He's on the wrestling team.
I ' m sure he is. I ' m sure he's
practicing his takedowns right
Maybe I'11 shave my head next
time--· see how you like it.
A car horn HONKS outside. Donnie's rearranging grows more
I expect you to have some sense
of priorities. I put a roof over
y our he ad. I put clo the s o n
e very body' s bac k. I put g as i n
Maggie grabs his wrists...He wrestles her off.
Leave my stuff alone.
I give you whatever I can give.
What I can't give you is a
moustache. I don't have a
choice. I have to shave the
I don't give a shit about the
m oustache. But if yo u're gonna
live your life however the fuck
you want then let me live mine.
She storms out. He balls up a towel, HURLS it against the wall.
29 I NT. NIGHT . PISTONE HOME--BEDR OOM
Maggie sleeps. Donnie, WIDE AWAKE, stares at the ceiling. Hears an
EfNGINE. A car door.
on t he cl oc k. He ge ts u p. Lo oks t hr oug h the b li nds . See s hi s
daughter Terry as she kisses her boyfriend good night.
Terry kisses and kisses...And kisses...Falls back onto the hood of
the car and slides down it. Donnie senses that he's losing control
of his family.
30 INT. DAY. FBI HEADQUARTERS
Hogue looks up at the clock.
A tape plays on the TAPE RECORDER...
Left? Donn ie. I ' m ju st ch eckin g
Where you been, Donnie? You
gotta check in.
That's what I said. I'm checking
Did you see the paper?
I just woke up.
L EFTY (O.C.)
How come every morning you're
reading the paper except this
I just woke up, Left.
Fuggedaboudit. You better
fucking get down here.
Clickl and a DIAL TONE...
31 INT. DAY. CADILLAC
The FRONT PAGE of the New York Post--a PHOTOGRAPH of Carmine Galante,
his cigar still clenched in his teeth, sprawled bloody, DEAD in a
Brooklyn restaurant. Under the headline:
Lefty folds the paper in disgust, lights an English Oval--even more
JUMPY than usual. Donnie drives Lefty's Cadillac across the Brooklyn
The B oss gets w hacked. T he
fucking boss--you don't even know
the fucking boss exists until he
gets whacked, and then your whole
fucking life gets turned around.
Where're we going?
Brooklyn. I got sent for.
The boss gets whacked. Another
thing I get left out of.
What does that mean, you got sent
What do you think it means? I
got sent for by Sonny Black. I'm
telling you, I'm sick with this.
Did I say Sonny Red? Not Sonny
Red. Sonny Black.
And don't ride the brake,
Don't drive my Cadillac the way
you drive your car.
How do you know what he wants?
That fucking Sonny Black. I know
him. He gets upped to skipper,
first thing he's gonna do is go
out and buy a big fucking
They should up you before they up
It's his reward for whacking the
boss. Do I have to explain every
fucking thing to you?
I thought you and Sonny Black
If you ever whacked a guy,
Donnie, you wouldn't ask such
I whacked a guy once.
In an argument.
· An argument don't count.
(derisive) An argument--you whack
your wife in an argument.
I'm just saying.
Ain't the question. Don't say
you know when you don't know.
It could be anything Sonny sent
for you for.
31 CONTINUED: (2)
I got sent for, Donnie. With This
Thing, you go in alive and you
come out d ead. And t he o ne th at
kills you is your best fucking
Lefty lights another cigarette. Donnie powers the window down a
cra ck. L efty glar es at him. Donn ie p owers the windo w bac k up .
32 E XT. DAY . TEE M OTION L OUNGE-- BROOKLY N
t - *
Donnie drives up Withers Street. Pulls up to a three-story building
in a working-class neighborhood. Lefty takes a last drag of his
cigarette, climbs out.
Anything happens, make sure
Louise gets the Cadillac.
33 INT. DAY. MOTION LOUNGE
Nicky and Boobie play gin. Neil Diamond's "Love on the Rocks" plays
o n the JUKE BOX. Left y enters.
'Love on the rocks, ain't no
surprise.' Looklt this hand.
This ain't a hand. This's a
deformed fucking Creature of the
Black Lagoon fucking claw.
Left. 'Love on the rocks, ain't
no surprise.' (to Boobie) Ming'1
I knew you was gonna grab that!
Lefty, white with fear, sits down with his back to the wall.
'Love on the rocks, ain't no
It ain't no fucking surprise
(laying out cards)
Nicky, that ain't gin.
Geddadaheah, that's gin.
You got two sevens.
Boobie shows him his cards.
Whaddaya mean I got two sevens?
I know I had three sevens.
From now on we play the honor
system. You don't even show me
34 EXT. DAY. MOTION LOUNGE
Donnie sits in the car. Drums his fingers on the wheel.
THINKS...Then reaches behind himself--
UNSNAPS THE HOLSTER
strapped to his belt, holding his COMBAT KNIFE. Climbs out of the
car. Up a couple of steps. And through the door...
35 INT. MOTION LOUNGE
...into the Motion Lounge. Nicky and Boobie shoot wary looks at him.
Who's this? Lefty turns to them.
It's okay. He's a friend of
Lefty glares at Donnie--ACCUSES him with his eyes: who told you to
come in here? Donnie sits down--something in the placid atmosphere
that tells him: this is how it happens. Nicky peers over as Boobie
writes on the SCOREPAD.
You giving me credit for that?
Boobie slides him the scorepad.
Fine. You keep score.
I don't know how.
How the hell can you play gin if
you don't know how to keep score?
I ' m a natural.
THE FLUSH OF A TOILET
as Sonny emerges from the bathroom, reading a slip of paper.
Crumples it, throws it in the trash.
Two hundred in action and we came
out with 35. That" fucking Boots-
he runs that book like an old
lady. That 's gonna c hange.
Who's this fucking guy?
He's with Lefty.
C'mon. Let's go take a ride,
(to Donnie) You too.
Donnie and Lefty share a look of FEAR.
36 EXT. DAY. MOTION LOUNGE
They emerge. Parked in the back--a brand-new MERCEDES. Lefty looks
at it. Turns to Donnie.
What the fuck did I tell you?
Sonny unlocks the car.
Hey, Left--ride up front with me.
37 INT. DAY. MERCEDES
Sonny drives on the Long Island Expressway. Lefty in the front seat,
EDG Y. Bo obie and Nicky flan k Don nie i n ba ck. H e gla nces nervo usly
at th em. Sizes them up.
Ain't this beautiful, the ride on
H ey, Sonny --can' t you driv e an y
faster? I got a date tonight out
Which broad is this?
This is the one from the
calendar. Remember that calendar
I show ed you? M iss Pennzo il Air
Filter of 1976.
Sonny and Boobie MIME holding two big BREASTS.
SONNY AND BOOBIE
That's the one.
Lefty, NERVOUS, pulls down the sun visor. Looks at Boobie in the
Hey, Left, what'cha doing?
Just checking my part.
Ah, Le ft--what a m I gonna do
without you? (to Donnie) What
would you do without this guy,
hah, kid? You'd have to find
yourself a new goombah.
Lefty getting VERY NERVOUS...
That was something about the
boss, wasn't it?
We all gotta go sometime.
Lefty, TERRIFIED, looks at Boobie again. Boobie nods. Donnie
WATCHES this...Thinks: what to do?
38 EXT. DAY. KENNEDY AIRPORT
They walk from the parked Mercedes toward a FREIGHT HANGAR. The
scene is otherwise DESERTED. Lefty NERVOUS, lights a cigarette.
Planes periodically ROAR overhead.
'Love on the rocks, ain't no
Sonny, what is this? we glomming
Sonny opens the door.
Lefty walks into the DARKNESS...A terrifying SILENCE...Then--
39 INT. HANGAR
The LIGHTS come up. A pale and shaken Lefty looks straight into the
eyes of a LION CUB as it GROWLS. A bluff FREIGHT HANDLER holds the
lion on a leash.
Christ. I think I shit my pants.
FREIG HT HANDLER
It was supposed to go to some
an i ma l de al er . Fu ck h im . I' l l
tell him it got lost.
Look, Left, he likes you.
The cub nuzzles and sniffs at Lefty.
Get the fuck outta here.
That's for you, Left. For your
birthday. Batter late than
That's why you sent for me?
Yeah, why? Whaddayou think, you
was gonna get whacked?
(laughing) Lefty thought he's
: gonna get whackedl
What a pisserl
What, over that 175 grand you owe
down in Little Italy? Don't
worry, chooch. (hard) Now you
owe it to me.
40 EXT. NIGHT. THE MOTION LOUNGE
Donnie, Lefty and the Lion pile into the Cadillac. Sonny, Nicky and
Boobie wave as they drive off.
41 INT. NIGHT. CADILLAC
They drive back to Manhattan, the Lion GROWLING in the back seat.
Lefty turns around.
Jesus Christ--shaddup already!
He's hungry, Left,
42 INT. NIGHT. WHITE CASTLE
"Home of the Square Hamburger." Lefty and Donnie approach the
43 EXT. NIGHT. WHITE CASTLE
Donnie and a melancholy Lefty sit on the hood of the Cadillac,
throwing hamburgers to the Lion.
Thirty years, there ever was a
piece of work t o be done-- call
Lef ty --I ne ve r c om pla in ed . B ut
do I get upped? They passed me
by. Sonny Black gets upped. I
don't get fucking upped.
At least you got Louise.
Sonny Black has four broads don't
add up t o Lo uise. You got a
Yeah. I told you, in California.
That's a good thing. One broad's
enough. She's a good woman,
Louise. My son Tommy, she's more
of a mother to him than my ex-
wife, that bitch, (beat) My own
fucking son's a junkie, you
You should give him a smack in
the mouth once in a while.
Believe me, I got bruises on my
h an ds . My d au gh te r, J an e t-- 28
years old, she ain't married. My
daughter Francine, she's out in
California. She ain't married.
I'm telling you, Donnie, I gotta
worry 24 h ours a day . A woman
like Louise, I can't do right by
her--l ain't got three bucks in
my pocket. I got can cer of th e
r ick. My ex -wife, sh e still
Eives in the building. I see her
on the stairs, I gotta have three
spritzers just to calm down.
What do you mean, cancer of the
Cancer of the prick. Oh, yeah,
you didn't know that?
Fuggedaboudit. I ' m in the
medical books with that.
I never heard of that.
I ain't a mutt--30 years busting
m y hump, f or what? S onny Black
they up to skip per. Do I get
upped? I ' m like Claude Rains--
I ' m the Invisible fucking Man.
You know, Left, not for nothing,
but six hours ago you thought
you's gonna get whacked.
Ain't the question, Donnie. Did
I say I was gonna get whacked?
Don't say you know when you don't
know, Donnie. You d o n ' t know.
I don't know 'cause you don't
tel l me. How co me yo u didn 't
tell me about that money you owe?
Fuggg edabq udit. You know what
·the vig is on that? That fucking
Blackstein is gonna have the arm
on me every fucking week.
Maybe I could help you out.
I'll tell you something--I went
in front of all the skippers,
Sonny Red and Philly Lucky and
all of them. I went on the
record with you. You know what
43 CONTINUED: (2) . :
I don't know.
You got no fucking idea, my
friend. I ' m your man now--Jesus
Christ can't touch you because I
You and me, Left.
I got Louise and I got you.
They toss hamburgers to the Lion, the White Castle beside them, lit
bright against the bleak urban landscape.
44 INT. DAY. PISTONE HOME
A party for Kerry's CONFIRMATION. A PRIEST hobnobs with Donnie's
extended family. UNCLE BOB arrives, looks for Kerry.
Kerry, that's the prettiest
confirmation dress I've ever
Terry sulks in a corner. Maggie enters with a tray of cookies.
Is Joe here?
He's on the phone.
The cheery hubbub subsides as the noise of Donnie's hollering
CRESCENDOES in the next room...
I don't give a fuck, Left!...What
the fuck do you want me to
do?...I don't give a fuck what
that mothe rfuck er sa ys--y ou
believe him or me?
Awkward looks all around. MRS. PISTONE, 60s, Donnie's MOTHER, sidles
up to Maggie.
Who's bothering Joseph?
45 INT. NIGHT. PISTONE BEDROOM
Donnie sleeps. Maggie lies awake.
I want a divorce.
There hasn't been a divorce in my
family back to Julius Caesar.
Divorce someone else.
I ' m serious.
Maggie, I ' m tired. Go to sleep.
will you see a therapist?
It's just another six months.
I can't sleep for six months,
46 INT. DAY. OFFICE
SHELLY BERGER, late 40s, flannel shirt, earth shoes--PSYCHOTHERAPIST--
sits with Donnie and Maggie.
...He comes home at all hours of
the night, without announcing
when or why, or where he's been
for three weeks. Or three
months. Then he expects
everything to be just the way he
wants it. Be vacuums the entire
house. Do you know another man
who vacu ums? It's abno rmal. Of
course, he expects the girls to
drop their lives when he shows
u. . .
I ' m their father, Maggie. I ring
that doorbell I expect them home.
They think it's a Jehovah's
witness. (to Berger) You'd think
he'd tell me where he goes or
w ha t h e' s d o in g--
That's for your own protection.
Hal (to Berger) I know he's
ch ea t in g o n m e--
I don't have to listen to that
No, why don't you just leave?
That's what you're good at.
Please just listen without saying
a nyt hin g--t hat 's t he tas k f or
today. Oth erwise you just rep lay
the old pathology. (beat)
Maggie, you were talking about
I nev er go o ut any mor e. What
couple wants to go out with a-
t hird whee l? Even wh en he's ho me
it's not like we have any friends
So you resent him for expressing
your autonomy needs?
Yes, I resent him.
For expressing your autonomy
And you, Joe--what do you think
you're running from?
46 CONTINUED: (2)
I ain't runnin' from nothin'.
'I ain't runnin' from nuttin'.
The man I married was a college
man. (to Berger) Sorry.
(resuming, to Donnie)
Being the distancer forces Maggie
into the role of the pursuer.
That gives you a feeling of
power. Simultaneously you resent
Maggie for expressing the very
intimacy needs that in your own
li fe yo u 'v e--
. I ' m an undercover agent for the
I didn't marry the FBI, Joe.
He writes on a pad. Donnie tries to peek at what he's writing.
Okay. I want yo u to spli t the
week in half. Monday, Wednesday
and Friday are Joe's intimacy
days. Tuesdays, Thursday s, and
Saturdays are Maggie' s. On your
day, you make one intimacy
request. Your partner agrees in
advance to meet it. Whatever it
What's that---an intimacy request?
A n i nti mac y r eque st. Li ke 'Ru b
my back,' or 'Help me work out
this problem with the kids.' Odd
day, even day, Sunday's off.
And mastur bate. I r ecommend i t,
for both of you. It's a good way
to blow off stress.
47 INT. EVENING. CADILLAC
Donnie drives. Maggie SULKS, looks out the window.
Can I ask you something?
How much is this costing?
Maggie doesn't say anything.
Okay, Maggie--I want you to
answer my question. This is my
A hundred dollars.
That was a hundred dollars?
That's what I said, Joe.
A hundred dollars. And how many
of these do you think we'll need?
. . MAGGIE
I don't know.
One hundred dollars.
Is this still your intimacy
request? Because otherwise I'd
rather not discuss it anymore.
I gotta work a ten hour day
risking my life to make a hundred
Who are you risking your life
for? Not me, Joe.
'Will you rub my back'?
You're an animal.
D O N NI E
You know wha t my intimacy request
is fo r him? It' s very in timate.
He can take that bill he's gonna
send me and shove it up his ass.
Maggie starts to PUNCH him.
You're an animal1 Animal1
Donnie tries to fend her off while he drives. The car swings wildly.
Approaching the opposite way:
A TRACTOR TRAILER
Donnie SWERVES. The car tumbles off the road onto a soft shoulder.
Maggie continues to hit at Donnie. He wrestles with her.
I hope (punch) those guys you're
hanging out with (punch) are
laying you (punch) because I ' m
(punch) not anymore!
He looks at her. She looks at him. And they
grappling in the front seat...He grabs her. Pulls her toward him.
Realizes that she is encumbered by something. She deftly unhooks the
bel t. Ki sses his neck. ..
(under her breath)
But he's not buying.
Maggie--who told you to wear a
It's a simple question. You
never wore a seat belt before/
Wait a minute--is this--you think
I'm having an affair?
D O N N IE
I didn't s ay that. It's
interesting that you would say
You're right--I ' m secretly seeing
a man who wants me to 'Buckle Up
for Safe ty'. We h ave t hree
child ren, Joe--r emember t hem?
One of us has to play it safe.
She SLAMS out of the car...
OUT ON THE SHOULDER
with cars whipping by...Donnie chases after her.
I just asked a simple question.
You're the one that brought it up
with the affair.
Bulls hit. It's so fr iggi ng
ironic that you'd think I ' m up to
s omet hing. My n ights are
homework and basketball games.
What are your nights?
You know what I'm doing.
I don't know a goddam thing.
I'm doing the job. That's the
I live like a widow, Joe. That's
the only way I can deal with
this, with the photographs and
memories and our children, and I
go on with my life. Like you're
It's for your own protection.
It's not protecting me--it's
48 INT. NIGHT. PISTONE HOME
Maggie sleeps. Donnie lies awake.
When did you all of a sudden from
nowhere start saying, 'Do it',
what? Go to sleep.
'Do it.' You never said that--
'Do it'. You never talked that
49 INT. MORNING. PISTONE HOME
Kerry wakes up to an odd groaning and whining noise...
Donnie compulsively vacuums the living room.
50 INT. LATER. PISTONE BEDROOM
Bursey INSTALLS a special BLACK PHONE. The girls WATCH with Donnie.
This is a New York number--it
patches through to here.
Maggie flutters through wearing her SWEATSUIT.
I ' m sorry to run out, honey. I
hav e an aero bics class . Tak e
care of yourself.
She gives him a peck on the cheek, exits. Donnie turns to the girls
Tha t's a spe cial phone . You
d on't call on i t. Yo u don 't
answer it. Nobody touches that
phone under any circumstances.
Jawohl, Herr Commandantl
Terry gives Donnie a NAZI SALUTE. Goosesteps out of the bedroom.
Donnie CHASES her a couple of steps. She HURTLES down the stairs.
SLAMS out the door. Donnie turns back. Bursey shrugs, continues to
install the phone. Kerry and Sherry indict him with their eyes.
Exit the bedroom.
51 INT. MORNING. CADILLAC
Donnie drives through a driving RAIN. Looks in the REAR-VIEW MIRROR.
Gets suspicious. Turns. A car turns with him...FOLLOWING' him.
He turns again. Again, the car FOLLOWS. Donnie looks again in the
rear-view mirror. Something FAMILIAR about that car...Turns again.
A scowl of RECOGNITION plays across Donnie's face. And he goes
COLD...Approaching an intersection:
A YELLOW LIGHT
Donnie slows, then SPEEDS through the intersection as the yellow
light goes RED...Checks his mirror--the other car is STUCK at the
INSIDE THE OTHER CAR
It's Maggie. She SMACKS the steering wheel in ANGER.
Fuck you. Fuck fuck fuck you.
FLASH CUT TO:
52 EXT. THE PRESENT. FBI HEADQUARTERS
A HELICOPTER whips across the familiar face of Washington, D.C. Lands
on the roof of FBI headquarters. FBI MEN, including Marshall, rush
to me et it. Eme rgi ng fro m th e c hop per --
IT'S BERADA .
Indomitable black eyes burn in a face grey with illness.
53 INT. DAY. FBI HEADQUARTERS
Berada, surrounded by suits. Hogue paces with DOCUMENTS.
. . . $ 9 , 0 0 0 for miscellaneous--
miscellaneous what?...A $22,000
car...$40,000 for X-rated
FLASH CUT TO:
54 INT. THE PAST. THE COCKEYED CLAM
Donnie meets with a younger Berada.
. . . I got an agent down in
Florid a, Fred C alvin--I go t my
finger in the dike and he's got
his thumb up his ass. A million
bucks in it and Calvin's got
Meanwhile three years I've been
.undercover and I can't get a
fucking two thousand dollar
Do nn ie. C al l m e Don ni e-- I d on 't
wanna get confused.
We've been through this. To get
a raise you gotta go up to
I supervise my prick. Not even
t hree year s--thr ee an d a h alf
GS-14 is supervisors. That's the
Now what the hell's this about
I need 40 grand, I gotta middle
some porno tapes.
Forty grand for porno tapes?
you'll get it back. It's
nothing. Half of them are for
Oh, that makes me feel much
better. You don't watch it,
you're gonna be back in the
buckets listening to the
Bulgarians all day.
FLASH CUT TO:
55 INT. THE PRESENT. FBI HEADQUARTERS
Berada addresses Hogue from his wheelchair.
He has to do some not-so-nice
things, sir. He's not undercover
in the Camp Fire Girls.
HO G U E
(r ead ing )
'UCA requests four handguns,
preferably .38 caliber, to assist
in a bank robbery'?
56 INT. THE PAST. THE COCKEYED CLAM
You take out the firing pin. The
guns don't work. What the fuck
are you worried about?
How'm'I gonna explain that to
· . 59.
Hey, Guy, you have to explain
this to Washington, that's your
fucking job. For me to do my job
I need the fucking guns.
There's no procedures for this.
I don't give a fuck about the
fucking procedures. You think
(gestures) they have fucking
procedures? Hah? I want the
fucking guns and I want the
fucking money. Understood?
Berada stares at Donnie, frightened. On his face we see his doubts
about what's happening to Donnie.
FLASH CUT TO:
57 INT. THE PRESENT. FBI
You guys said no to the guns. I
don't see why it's coming up now.
There's a 209 that says Sonny
Black might get hit tonight. And
Joe would get hit as one of his
What does Joe say?
We don't know where Joe is.
What do you mean--you lost him?
Didn't you think at any point
that this was getting a little
Everything in this operation was
a judgement call, sir. And we
relied on his judgement. He was
the one in the field.
These requests have your name on
them. Why the h ell did yo u go
ahead with this?
58 INT. THE PAST. THE COCKEYED CLAM
Santo Trafficante--how long's he
been the boss o f Florida? You
could put his head on your wall.
If I go down to Florida and vouch
for this jerkoff, whatever his
n ame is--
Every door in Florida will open
for this guy Calvin like it. was
on ball fucking bearings. But I
w an t t he gu ns . T h e mo n ey . A nd
no more fucking bullshit.
Don't talk to me like you're
talking to them, Joe.
Don't waste my time. With all
this bullshit about pr ocedures,
you'11 do whatever it takes to
get t hese guys. Same as m e.
Berada mulls it over a beat.
You really think we could get
Donnie gets up. Turns.
If I vouch for this guy and he
fucks up--I'll put a bullet in
his fucking head.
58 CONTINUED: ' ·
Donnie exits. Berada WORRIES that this is getting out of hand.
59 INT. THE PRESENT. FBI HEADQUARTERS
Berada stares at Hogue, stone-faced.
There was never any moment when
I thought Joe or the operation
was out of control, sir.
60 EXT. THE PAST. MOTION LOUNGE
A LION IN WINTER. Le fty in hi s overcoat , the Lio n on its l eash. A
cold DRIZZLE falls. The Lion stops, sniffs at an AUTOMOBILE. Lifts
PEES ON THE TIRE
Lefty, embarras sed, looks .around. N EIGHBORS watch from windows--
some amused, some disapproving. The Lion moves to the next car.
Sni ffs. Pees on t he ti re. A nd th en to the next :
The Lion sniffs. Lefty tugs on the leash. The Lion resists, sniffs
some more. Lefty tugs harder. The Lion lifts its leg...Lefty YANKS
o n the lea sh--the Lio n ROARS. L efty DRAG S the Lion into the Motion
61 INT. DAY. MOTION LOUNGE
Donnie takes a football bet on the pay phone.
.. .We got the Colts giving two-
and-a -half. Yea h, (writ ing)
Nickel on the Colts.
Sonny presides over a BOARD MEETING of the Sonny Black Corporation.
Nic ky, B oobie and othe r WIS EGUYS --incl udin g BOO TS an d LEG S-- po re
over crumpled scraps of paper. Sonny makes notes in a little spiral
NOTEBOOK. Donnie ;joins them.
61 CO NTI NUE D:
We ha d tha t loa d of jean s--
remember? Two hundred grand on
that. . .
The Lion shakes its mane, SPRAYS WATER over everyone.
Va'n'aool'. all over everything1
L efty--how'm I gonna read this?
That'll teach you to improve your
Lefty lays a PARKING METER out on a card table. Picks up a SLED<
There's that guy that's making
the Quaaludes for us.
What're we selling that for? I
know a guy I think I could off
Sixty cents apiece. I think it's
60. Is it 60?
We're doing a dime a week.
an echoing CLANGOR as Lefty whacks at the parking meter with the
If you're holding out on me,
Boots, I'm gonna chop you up.
I ain't ho lding out. It's ten
g ra nd a w ee k. Th a t' s i t. -
It should be 25.
You ever off that load of
Boobie nods, gives thumbs up.
I did so, Nicky.
Who you gonna lay off 18 cases of
I laid it off...to the same guy
I heisted it from.
Sonny writes in his notebook.
another deafening smash at the parking meter.
Will you stop it with that?
How else'm I gonna open it? Open
What are you gonna get out of
that, Left? Fifty bucks?
Ain't the question.
You know, you guys--you don't
fucking think. I'm the skipper
now-- I gotta answer. Sonny
Red's got 75 million alone }ust
with that trucking company out in
Jersey and I got fifty bucks of
A score's a score.
You're like a bunch of fucking
niggers on welfare.
W hat about Florida? I know a g uy
down there, he has some vending
machines he's trying to move.
Let him move them to New York.
61 C O NT IN U ED : (3)
Plus he has a club down there.
He's looking for partners that
can give him peace of mind.
You know this guy?
a nother ba ng at the parking me ter. Left y GLOWERS at Donnie . A look
that says: SHUT UP.
I knew him ten years ago, in
Baltimore. He was okay then.
Where in Florida? The Beach?
For your information they got
their own outfit down there and
their own boss.
All the economy's moving down
there, Florida, 'cause of the Oil
Crisis. I heard it on the news.
The economy gotta be good for
there to be good moneymaking for
Who can get a fucking thing going
in this fucking city? It's 5000
wiseguys all chasing the same
Hey, Sonny, maybe we could do
something with Disneyworld down
t here. Wis eguy Mount ain.
Wiseguys of the Caribbean.
Everybody fucks Minnie Mouse up
t he a ss. C an yo u ima gine?
61 C O N T I N UE D : (4)
(gestures) You grab her by those
big fuc kin g e ars --
Uproarious LAUGHTER from the group. Then suddenly--
In a RAGE, he stands up, THROWS HIS CHAIR, knocks over the card
You think this is a fucking joke?
Hah? One day I ' m gonna die, and
I ' m gonna be in this same fucking
room, with these same fucking
guys, talking about these same
fucking scams that never amount
to anything, and that's how I'll
know I got sent to fucking Hell.
Sonny STORMS out. The guys sit, look at each other. Some dazed.
Some calculating. Boobie picks up the toppled table.
We better start earning or
somebody's gonna get clipped.
Then Sonny RETURNS. Pale and shaken.
I can't even imagine it. What
kind of people--in broad fucking
dayli ght-- what kind of a worl d--
They stole the Mercedes.
62 EXT. DAY. MOTION LOUNGE
The guys file out. STARE at the EMPTY SPACE where the Mercedes used
63 EXT. NIGHT. LAGUARDIA AIRPORT
From the runway, as a JETLINER takes off...
64 INT. NIGHT. AIRPLANE
Nicky and Boobie play GIN in the second row of the FIRST CLASS
section. Their GIRLFRIENDS sit beside them. Sonny SNOOZES behind
them on the shoulder of Judy, the waitress we met at the outset.
Lefty and Donnie sit along the opposite wall, in the smoking section,
Why'd you inject that, Donnie,
I didn't inject anything, Left.
You injected that. Don't tell me
no. I know you, Donnie, you
don't say nothing unless there's
a reason for it.
I don't know, Left. I was just
Listen to me, D onnie. I s wear on--
I don't know which to swear on,
my dead father, my mother, who I
love, my children--I swear to
you, something's going on that
you don't know about.
I know. ·
That's the problem is, you don't
ko. ' . : ' " . - '
You don't explain it to me.
You think you can trust Sonny
Black? Sonny Black is one big
fat fucking snake in the, uh,
Snake in the grass,
You can't say that, Donnie.
Sonny Black is the skipper. You
don't open your mouth about 'him.
I was agreeing with you.
Ain't the question. Now you're
r espon sibl e for this . And
because I represent you I ' m
responsible -- for the whole
fucking Magilla fucking Gorilla
I ' m responsible. .
What are you so upset for? This
could be great.
I die wit'cha, you understand?
You walk on a chalk fucking line,
Don nie. I got two gren ades at
home-- I ' d blow up Mulberry
Street, you did something wrong.
I ' m not gonna do nothing wrong.
65 INT. DAY. KING'S COURT
Cracked leatherette and gaffer's tape. TOPLESS DANCERS move greyly
through their paces, ignored by the scattered customers. Donnie
watches through the glass of a PHONE BOOTH. Supered below:
KING'S COURT. TAMPA., FLORIDA.
I'm in Florida.
What are you doing in Florida?
What do you thi nk I'm doi ng? I'm
DONNIE 'S POV
as a Dancer bends over, waggles her bare butt...
65 CONTINUED: .
MAGGIE ( O . C . )
It' s tw el ve d eg re es h er e.
FRED CALVIN, a.k.a. "CALVINO", late 30s, beefy and bluff, tours
Lefty through the club. Shows him the LOCKERS behind the bar...
You run it as a 'bottle club,'
members only--keep your own
liquor in the lockers, pay for
setups. That way there's no
What kind of name is that,
Banquet room, six tennis courts,
swimming pool in the back...
You gonna put any money in this?
First class all the way, Left--
that was my original plan. Then
the minute I opened the joint I
discovered I had partners--these
goombahs. 'Gimme two hundred.'
'Gimme three hundred.' I said,
'Hey--I got a wife for thatl'
Lefty shoots him a withering look.
INSIDE THE PHONE BOOTH
Donnie watches Lefty approach.
It's Terry's Sweet Sixteen on
Friday. Did you forget?
No, I didn't forget.
Are you going to be here?
I ' m gonna try. Look, Maggie, I
MAGGIE (O.C. )
Because it's less disappointing
if you'd just say so.
I'll be there, okay? I gotta go.
Donnie moves to hang up. Remembers. Puts the phone back to his
mouth. . .
I love you.
...into a DIAL TONE. Lefty lights an English Oval as Donnie emerges.
So whaddaya think?
I hate Neapolitans. You vouch
for this guy, Donnie?
Lik e any body else . I k new h im
ten years ago, he was okay then.
What kind of man begrudges his
Look, I'm just making the
introduction. You make the
Lefty look s aro und. SMIL ES.
You imagine--we have our own
joint down here?
It's up to you, Left.
I just gotta sit down with the
man down here.
You know him? Trafficante?
CONTINUED: ' ( 3 )
Fuggedaboudit. All over the
world I ' m known.
(getting an idea)
Like a yacht. We gotta take him
out on a yacht, have a drink,
relax, then he knows these are
men of men he's dealing with.
I know a broad down here, her
brother has a boat. Big fucking
Get that boat, Donnie. Stay away
from the broad.
Calvino joins them.
Hey--who's the best looking guy
He slaps a HUNDRED DOLLAR BILL to his forehead.
He laughs, puts his arm around an unamused Lefty.
66 EXT. DAY. THE TAHITIAN
Sonny broods by the motel pool. Judy and the other girlfriends sit
a cro ss the wa y. Q UIE T i n t he heat . B oob ie rub s su nta n o il on
hi mse lf. Nic ky rea ds his pap er. Le fty and Do nni e a rri ve i n t hei r
Broad daylight. I still can't
get over it. You have to ask
yourself-- what kind of people?
They take a Mercedes--a man's
private property, they take it
right off the street.
Sonny, fuggedaboudit. It's over.
I don't know what the world's
coming to. I honestly don't.
66 CONTINUED: .
Ever since they got rid of the
death penalty, the whole fucking
society's going down the tubes.
Like I ' m watching the news last
n ig h t--
Hey, Lefty, why didn't you bring
Don't equate Louise with them
broads, Sonny. I bring Louise
when you bring your wives.
Hey, Judy--come over here and
give everybody a blow job.
Judy gives him the finger. Sonny smiles, turns to the others.
Isn't she spunky?
I'm watching the news last night.
I'm lying there in bed and I see
thes e guys from Iran, and these
guys are whipping themselves.
Iranians. You imagine? They
whip themselves, with whips.
Lot of broads into that.
themselves. I never heard of
Donnie, am I right?
How come you're asking him? How
come you don't ask me?
66 CONTINUED: (2)
NI C KY
You just said you never heard of
That's right. I never heard of
such a fucking thing.
It's like part of their religion,
Left . I t's ca lle d se lf-
flage llation. T hey think it'll
. bring them closer to God.
I ' d like to bring them closer to
You see how smart he's getting,
Donnie, reading that paper?
That's what they oughtta do.
Send over a bunch of wiseguys.
Put a gun in your pocket,
straighten them right out.
Nicky, why'd I wanna go to Iran?
I ' m saying you gotta be strong
with these people.
Don't tell me where I go and
We didn't have these problems
with Nixon. And there was law
and order in the streets.
Donnie watches as the group offers a unanimous AMEN with their eyes.
Everything check out with the
(to Nicky) '
I ain't got three dollars in my
pocket, Nicky, I'm gonna go to
The man down here says okay?
I ' m taking care of it. I gotta
reach out--in a month I'll come
back and sit down with the man.
He knows who you are?
ZZZZH! the whir of an autowinder and a black-and-white FREEZE FRAME,
Fuggedaboudit, Sonny, All over
the world I ' m known.
You are not known in Iran.
and another freeze frame. Boobie gets up, dives in the pool
and another FREEZE FRAME.
67 INT. NIGHT. SAFE HOUSE
A nerve center set up in a hotel suite. FBI AGENTS with headphones
listen to WIRETAPS, bustle in and out. Donnie, exhausted, sits with
Bursey and Jules.
I need a boat. Lefty loves
boa ts. B e wan ts s ometh ing
special to show off for
Yeah. What happened to my
expense check? It's gotta be
three months already.
Bursey gets called to the phone, BARBARA JONES, 30s, a PROSECUTOR,
Joe, this's Barbara Jones. She's
an assistant US Attorney.
Donnie. Call me Donnie.
I gotta get reimbursed, Jules.
It's fucking ridiculous.
We're missing bits and pieces on
a lot of these cases. On the
lo a ns ha rk in g--
Donnie Brasco has the worst
fucking credit rating in the
history of the Mafia.
Like I was saying, with the
loansharking-- we have to get
somebody on tape with what the
rate of interest is.
Bursey covers the phone.
Does Sally Paintglass report to
Not Nicky. Nicky Cigars.
Not Nicky. Nicky Cigars.
Kiss Jones, how many do I have
Indictments? I don't know.
F i ft y . Si x ty .
Who's Nicky Glasses?
Nicky Glasses. Little Nicky.
Donnie. Call me Donnie. I don't
wanna get confused.
67 CONTI NUED:
What about the club? When's it
gonna be ready?
It'll be ready when you come back
You gonna spend any money to fix
it up or is it gonna stay a dump?
Bursey moves to the coffee machine. Jules sits with Donnie, hands
him the NAGRA TAPE RECORDER. He sticks it inside his COWBOY BOOT.
You want some coffee, Joe?
The loansharking predicates are
very specific. It's really
important that you focus on these
What about the boat? I need that
fucking boat. You know, I ask
Berada to do something and he
just says, 'Done'.
Maybe that's why he's in the
The stat says twice the lawful
rate. Can you get that on tape?
Just get me that fucking boat,
Bursey rejoins them, stirring his coffee.
They got that boat down here on
t hat other inve stiga tion--
wha tcham acall it. B ig f uckin g
67 C ON T IN UE D :
The agents dress up as Arab
sheiks trying to bribe
Congressmen. You think that'll
ever amount to anything?
68 EXT. NIGHT. MARINA
Lefty talks to a CAPTAIN, 50s, topsiders and cutoffs.
Five grand for that bucket for
Just listen to me--
I listen to my prick. How can
you say five grand?
You don't want it, don't rent it.
Lefty looks up. DOUBLETAKES.
as he looks down the dock, where BOOBIE meets with two COLOMBIANS by
a cigarette boat. He hands them a paper bag full of cash to the
Colomb ians. The y hand him a BRIEFCA SE. Lefty bac ks int o the
shadows. Watches, TROUBLED, as Boobie climbs into his car, drives
What the fuck is he up to?
69 EXT. MORNING. TAMPA AIRPORT
The guys head toward the terminal, followed by Calvino, burdened by
their LUGGAGE. He lumbers like a pack-animal.
Left, you wanna take care of the
bags? We'll be in the lounge.
Sonny heads inside with Nicky and Boobie. Lefty looks around.
Where's that fucking redcap?
Lefty wanders off, looks up the block. Calvino stands on the curb
with Donnie. Looks up and down. DOUBLETAKES.
Oh, Jesus--that's Hollman, Joe.
"Joe." RAGE flickers almost imperceptibly in Donnie's eyes.
HOLLMAN, 50s, a sharply-dressed LAWYER, climbs out of a Mercedes.
Moves to the trunk, opens it.
He'll make us for sure. He was
the USD A w ith --
Shut up and calm down. I'll take
c a re o f it . -
Lefty rejoins them.
Now listen to me, Fred--you
listening to me?
Hollman helps his wife out of the car. Shuts the door...The REDCAP
shows up. Starts ticketing the bags.
Just get that club fixed up.
Anybody says anything, you just
tell them to have their people
get in touch with your people in
Hollman drops his bags--in line behind our guys. His wife fishes ir
her pocketbook for the tickets. . .
Mulberry Street. Ask for Lefty.
Excuse me, sir--your tickets?
69 CONTINUED: (2)
When we come back down, we'll sit
down with Who's Who and
straighten everything out.
Excuse me^-he needs your tickets.
And then he...RECOGNIZES Donnie.
Donnie ignores him.
Help this fucking guy put the
bags up on the cart. You got the
Lefty's SUSPICION rises. Hollman moves to take Donnie by the elbow.
And Donnie WHIRLS on him.
Hey, buddy--what the fuck are you
I'm sorry--I thought I recognized
Get a load of this g uy. The
oldest fucking scam in the book.
Pretend you recognize someone and
meanwhile his partner here takes
your w allet, (t o Wife) He fuck
you, honey, or does he just
thieve with you?
That's my wife.
Hah? with his fucking pencil
69 CONTINUED: (3)
She draws him away. They move toward the terminal.
'Cause if he ain't fucking you,
honey, coine up to First Class.
We got two toilets up there.
Calvino gives the bag to a REDCAP. Looks in his wallet.
Fucking guy pissing up my leg.
Relax. You're gonna bust a blood
You can't even go to the fucking
airport any more without some
fucking Hare Krishna or somebody
puts his hand in your pocket.
You got change for a twenty?
Lefty takes the twenty, gives the REDCAP two dollars. KEEPS the
Send the tickets for me and
Donnie. We'll come back down in
Sounds good to me. (about the
twenty^ 5ey Left'--
But Lefty's already on his way inside. Donnie lingers a beat.
I wanted change from a twenty.
He took the twenty--
You ever call me Joe again I'll
cut your throat.
70 INT. NIGHT. PISTONE HOME--MINNESOTA
The door unlocks, and Donnie tiptoes into the house. The middle of
the night. Goes into the kitchen for a snack. Opens the
A BIRTHDAY CAKE
half-eaten, with the elided legend, "HAPPY SWEET SIXTEEN, TERRY." He
missed the party.
71 INT. NIGHT. TERRY'S ROOM
Terry lies awake. A shaft of light hits her face as Donnie opens the
Terry ? You awak e?
Donnie goes to her. Sits on the bed.
I ' m sorry I missed your party.
It's okay. Uncle Bob flew in.
I ' m not the kind of guy that
breaks his promises.
That's what Mom said.
I'm sure that's only part of what
That's between you two.
W ha t' d s he sa y-- sh e w an ts a
divorce? That's just her way of
blowing off steam.
She was worried something
happened to you.
Nothing's gonna happen to me,
Terry. Nothing's gonna happen to
us -- I won't le t it. Okay ?
Look, I understand. It's your
I ' m doing the right thing. I
know i t's a sac rifice. It 's the
same thing I always tell you kids --
do your best, work hard, never
quit. That's how I live my life.
I just had no way of knowing it
would go this far.
It was just a birthday party,
D ad. You d on't have to go
through this big apology.
You're getting grown-up now. I
want you to understand.
Half the kids in school don't
You have a father, Terry.
That's not what I meant.
Maybe I'm not there for the good
times, but I'm there if you need
I know that, Dad.
It's just another six months.
"Another six months." That phrase. Like a knife in her heart.
Whenever. It's no big deal.
Come here. Give me a hug.
Terry sits up, hugs her f ather. St ruggles ag ainst the tears. An d
71 CONTINUED: (2)
(so bb in g)
I ha te yo u. I' m so rry . I h at e
you so much.
He takes this like a blow. Hugs her tighter.
72 INT. M ORNING. PISTONE HO ME
Donnie convenes a FAMILY MEETING over breakfast. Terry, Kerry and
Maggie sit, sullen, around the kitchen table. Sherry runs down the
stairs, sits down.
Sorry I ' m late.
Okay. I called this family
meeting because there's something
we have to t alk a bout. I kn ow
what I'm doing involves a lot of
sacrifice from everyone, but this
is something patriotic for the
country that you can all be proud
I called the meeting because
we're gonna have to move.
I ' m not moving.
This isn't a democracy, Terry.
This is a dictatorsh ip. And
that's my decision. It's getting
Well, I don't want to move
eithe r, Joe. Mo ve where?
There's too many people here who
Those people are known as
'friends,' Joe. You told me when
we started this that we'd be
moving back close to the family.
That was the deal.
We're moving to Minnesota and
changing our name to 'Anderson'.
That's the deal. It's done.
Fuck that. I ' m staying here.
I'll live with Kenny.
That language is unacceptable,
y oung lady . You sit down.
Terry gets up, walks out. Maggie gets up, too.
Well, Mr. 'Anderson', you've
topped yourself. Where'd you get
that name-- 'Father Knows Best'?
Where are you going? Don't you
want to discuss this?
Apparently there's nothing to
discuss. I'm going to get the
What about our friends?
You'll make new friends.
We're not in the FBI, Dad.
Minnesota's great. Lakes and
everything. We can get a nice
piece of land there. Maybe we
can even get a horse.
Maggie comes back inside, reading the MAIL. Flips a letter to
Donnie. · ~
You know the US government? The
one you're doing this patriotic
work for, that we can all be
72 CONTINUED: (2)
The IRS. We got audited.
73 EXT. DAY. TAMPA HARBOR
A magnificent hand-built 75-foot motor yacht docked at the marina.
Lefty BEAMS, arms folded in satisfaction, beside Donnie. Sonny,
Nicky, Boobie and the girls arrive, carrying COOLERS. They marvel at
Left, that's some fucking boat.
Cozz'. that's beautiful.
Judy gives Lefty a kiss. He blushes.
Sonny--lookit what the name is.
That's like my name.
Sonny looks at the stern. Emblazoned across it:
"THE LEFT HAND"
That's some fucking irony, ain't
That's hand-built in Taiwan, that
What is that, half a million?
Fuggedaboudit. There's one thing
I know, it's boats. This'8 gotta
be a million dollars, this boat.
(gestures toward boat)
G o ah e ad . G et co m fo rt a bl e . I' m
gonna wait for the man.
Sonny and the others head toward the boat. Lefty turns to Donnie.
Can y ou im agine this ? I' m gon na
sit down with the boss . Rem ember
that day when we were freezing
our nuts off, watching all of
them going to sit down with the
Sonny Red and all them big
In New York I never sat down with
t he boss in my life. This was a
great idea I had, Florida.
Donnie nods toward the parking lot. Lefty looks, sees a LINCOLN TOWN
CAR pull up.
That's him. That's Trafficante.
Lefty jogs up the dock as STEVE DISALVO, 40s, Trafficante's ENFORCER,
emerges from the Lincoln.
Nice to meet you, Mr.
This's Mr. Trafficante.
Lefty turns as SANTO TRAFFICANTE, 70s, a feeble old man with a pork
pie hat, is helped from the car by his entourage of FLORIDA WISEGUYS.
He and Lefty shake hands.
That's the boat I arranged for
you, Mr. T raffi cante . We got a
full bar, every kind of music,
telephone, everythin g. You wa nt
anything-- anything you want--you
just ask Lefty.
Trafficante peers down the dock through thick prescription
Which one's Sonny Black?
FLASH CUT TO:
74 INT. NIGHT. FBI
Hogue looks at large color SURVEILLANCE PHOTOS of "The Left Hand" as
it tools around Tampa harbor. As the party progresses, Sonny Black
and Trafficante split off and move to the bow. Then Donnie joins
Sonny and Trafficante. Sonny introduces them...
taped dialogue from the group in the stern, with seagulls, surf, and
the sounds of a party...
C LOSE ON-- HOGU E
as his face turns grim...
H OL D ON-- SU RVE IL LA NCE P HOT O
as Donnie shakes hands with Trafficante.
An FBI man shaking hands with the
boss o f Florida ? Did it e ver
occur to anyone that that is
simply not possible?
Score one for our side.
What makes you so sure he's on
FLASH CUT TO:
75 EXT. THE PAST. BOAT
Sonny and Donnie stand in the bow, look out over the water.
You can live your life like a man
d own here. I bet if you took m y
blood pressure right now it'd be
down o ne hundre d per cent . Sonny
Red's got Jersey and we got
Florida, and Florida's better
than Jersey, right?
He can stick Jersey up his ass.
This is a great idea I had,
Once Lefty arranged it with
Fuggedaboudit. What Lefty don't
understand is guys like
Trafficante, their day is done.
A 70 year old brain can't compare
with guys like us, because where
he's got like 20 more years
experience .in his day, we got 50
more years in our day. And we're
l iving in our day. C apeesh?
Lik e wit h jea ns, who h ad th e
idea with ^eans and now look how
much money they're making?
Some young guy.
Lefty's a dynamite-guy, no
q uesti on. But y ou kn ow, t he
thing with him is. . . he's trying
to help you but he hurts you. He
gets those two or three wines in
You just gotta take it with a
grain of salt.
The books open up in December,
I'm gonna propose you. You know <
what that means?
Fuggedaboudit. Be a made guy?
That would be unbelievable.
What I'm saying is this. You
don't have to report to Lefty no
more. From now on you can report
as he calculates the advantages and dangers of his new offer...
IN THE STERN
Lefty broods, nurses a spritzer. Watches Donnie with eyes full of
anger and resentment. Boobie sidles up to him.
B OO BI E
Can I ask you something? Did you
get this boat or did Donnie get
Some broad down here he used to
know, it belongs to her brother.
He knows a lot of broads, Donnie.
If Donnie had a dollar for every
broad of all his broads, he could
buy the fucking boat himself.
If Donnie's got so many broads,
how come we never seen none of
He uses them broads like Kleenex.
He won't spend a dollar to take
a lady out.
Boobie drinks, takes a beat.
You ever notic e Donnie'11 buy
guns from you, if you're offing
guns, but you never see him be
the one offing guns?
Lefty thinks a beat.
76 INT. NIGHT. TAHITIAN
Donnie takes off his cowboy boots. Takes the Nagra out of his boot
Rewinds the tape. Plays it.
I just got some things I gotta
take care of, back in the city.
When you come back, you represent
me in Florida.
He SNAPS it off. Hides it back in his cowboy boot.
77 INT. DAY. LAGUARDIA AIRPORT
Donnie and Lefty wait with the crowd at the BAGGAGE CAROUSEL.
I'm telling you, it's good to be
back in New York. That fucking
Florida baked everybody's brain.
when Sonny gets out of the
fucking sun he's gonna realize
what a miserable fucking idea you
How long's he gonna stay down
Do I know? (resuming) I never
saw so many old people in my
life. Who the fuck wants to go
to Florida? Sometimes you are
one stupid cocksucker, Donnie.
Donnie FLARES at the word "cocksucker." :
as Lefty's SUITCASE moves toward them. Donnie doesn't budge.
Donnie--that's my bag, Donnie.
Don nie --
Nobody calls me cocksucker.
You get that fucking bag.
I'm not getting it.
Pick it up.
Pick up the fucking bag.
No fucking way, Left.
Don't think you got the wood over
m y ey es, D onnie . I w atch you '
siding up to Sonny Black.
77 CON TINUED:
That's got nothing to do with it.
Now you're on your fucking high
I got no fucking loyalty to Sonny
Black. That ain't the issue.
Donnie--that's the other one!
Nobody calls me cocksucker.
For your information I'll call
you whatever the fuck I want. I
call you cocksucker. I call you
motherfucker. I call you, uh,
Other PASSENGERS start to clear them a wide berth...
You're the fucking cocksucker.
H uh? Yo u f uck ing coc ksu cke r--h ow
does it feel?.
Fuck. My fucking knife's in the
Lefty's chases after the suitcase...
Go ahead, Left. Fucking whack
m e . S t a b m e. R ig h t i n th e
fucking baggage claim.
You pick up that bag, Donnie.
Whack me! Because you know what?
You make me so fucking mad I'm
gonna whack you and then I'm
gonna get whacked for whacking
You can't call me cocksucker,
I ain't picking up the bag.
You pick it up.
You pick up that bag, Donnie.
78 INT. LATER. LAGUARDIA
Donnie and Lefty stand ALONE by the carousel, arms folded, as their
suitcases go around.
79 INT. NIGHT. PISTONE HOME--MINNESOTA
Terry and Kerry and their new BOYFRIENDS make out on their parents'
bed. Limbs writhing in adolescent lust. Then a RING...
THE LEFTY PHONE
by the bedside. They stop, watch it ring. Then Terry's hand MOVES
toward the forbidden phone. This close...
80 INT. NIGHT. LEFTY'S APARTMENT
Lefty SLAMS the phone down. Sits with a huff in his chair. Louise
brings him a spritzer.
Here you go, Bennie.
Did Donnie call today?
No. I don't know when's the last
time I heard from him. Is he out
Shut up, Louise.
On Louise, hurt--Lefty doesn't talk to her that way. She exits.
Lefty, frustrated, turns on the TV.
81 INT. NIGHT. JAPANESE RESTAURANT
A Japanese MAITRE D' greets Sonny, Donnie, Nicky and Boobie at the
. Good evening. Please step this
The Maitre d' ushers them inside. Donnie lingers behind, NERVOUS...
My wife says it's very in,
Japanese. She heard it on John
Gambling. Very big now.
The Maitre d' stops them.
Please to remove your shoes.
DONNIE'S COWBOY BOOT
with the Nagra in it. The Maitre d' waits for Donnie's shoes,
GESTURES...Donnie thinking fast...
Get a load of this guy. (to
Maitre d') How about you take off
your fucking pants?
That's part of the thing of it,
Donnie. You take off your shoes
and sit on the floor.
I'm not taking my shoes off for
I'm afraid is necessary.
C'mon, Donnie. Just take off
your fucking shoes and let's eat.
What's the big deal?
Hey, Boobie, who won the fucking
Donnie--I ' m hungry and I ain't in
I ain't doing it.
Take off your fucking shoes or
I ' m gonna chop off your fucking
Is house rule.
I grew up an orphan because my
Dad took a fucking bullet in
Okinawa, and I'll lose my boot up
his fucking asshole before I'll '
take orders from fucking Mr. Moto
Is house rule.
I wanna fucking eat, Donnie.
Rule of house.
The moment of truth.
GRABS the Maitre d' and RAMS him through the doors of the MEN'S ROOM.
82 INT. MEN'S ROOM
Donnie and the Maitre d' go at it. . The little guy's game, quick and
tough. Then the other SWA RM inside. And the MASSACRE b egins.
FISTS AND KICKS
crunch dow n on the Maitre d'. Donnie in with the m--EXCITED by the
fray, the adrenaline RUSH. He KICKS the Maitre d' hard....The Mait re
83 INT. THE PRESENT. FBI
Hogue listens to the tape. . . Donnie's hard breathing...The Maitre d ' s
screams...The THUDS of Donnie's kicks...
FLASH CUT TO:
84 INT. THE PAST. MEN'S ROOM
Nicky takes a roll of quarters. Holds it in his fist, PUNCHES hard
across the Maitre d's brow. Blood TORRENTS from the gash...Blinded
by the blood, the Maitre d' swings wildly...
on the blood and falls into the PUDDLE. . . Sees the STAINS on his
slacks...In a rage now...Boobie grabs a GARBAGE CAN, swings it at the
Maitre d ' , who sinks in a heap, unconscious. The guys continue to
KICK at him...
CLOS E ON--DO NNIE
as he backs away, APPALLED by the explosion of violence--and his part
FLASH CUT TO:
85 INT. SAME TIME. FBI
PHOTOS of the Maitre d ' , bloodied and bruised, taken at the hospital
afterwards . Hogue i nspects th em.
the tape plays...
How many times I gotta tell you,
N ic ky ? T h e he a d bleeds like a
N ICKY ( O.C.)
Try club soda. Sometimes that
works, club soda.
Goddam Brioni suit.
This is what the FBI does?
You're telling me this is the
You think Joe went over to the
I think that's a question worth
asking, don't you?
Ask him the fuck yourself.
From everything we know what he
did is simply not possible. Then
you look at the guns and the
porno tapes and (with photos)
this. That is not the behavior
of an FBI agent. I listen to
those tapes and that is not the
speech of an FBI agent.
I ' m tired of defending what we
did. You're so sure he went over
the other side? Maybe we should
fucking arrest him.
We should pull him out, is what
we should do.
We don't even know where the fuck
he is, Clarence. Remember?
Joe's a seducer. He seduced
Well, maybe he fucking seduced
on the wall reads "9:30." The phone RINGS. Jules grabs it. Listens
a beat. Turns to the others.
The guy inside spotted Sonny
Black at the wedding. Donnze's
86 INT. SAME TIME. CHURCH HALL
FBI #2, in the guise of a BUSBOY, pours water. Keeps an eye on our
guys at a remote table, amidst several hundred GUESTS.
i· . '
AT THE TABLE
Our guys, dour and nervous, sit with their wives. Donnie with a
What kind of a fucking table is
this? We're in fucking Siberia
with this table.
RED COWBOY BOOTS
approach beneath tuxedo pants. Sonny Red, accompanied by his son
Bruno and Big Trin, claps Sonny Black on the back.
I heard you was down in Florida.
Yeah, you know--take the sun. I
didn't want to come back.
You got friends in Florida?
They're very friendly down there,
Sonny Red pinches Sonny's cheek.
Nice color you got. Redl
Bruno and Big Trin laugh uproariously. They move on as our guys look
daggers their way.
I gotta go to the John.
Sonny gets up. All the guys get up with him. Follow Sonny to the
watches them from his table. Then looks up.
SONNY RED'S POV
of the FBI "busboy" as he clears the salad dishes...Sonny Red
whispers something to Bruno.
87 INT. SAME TIME. FBI HEADQUARTERS
Hogue turns to LeBow.
You're sure the informant said
The hit's going down tonight.
In about two fucking minutes
they're gonna start getting
suspicious about that
. surveillance van.
Anything from the guy inside?
We have a guy inside, sir--Joe's
the gu y inside. And clear ly he
doesn't think there's a problem.
He can't stay undercover forever.
If it's not now, it's next week.
Or next month.
If they leave/ stay with them.
Are you out of your fucking mind?
A fucking New Jersey telephone
repair van in the rear-view
mirror all the fucking way to
Brooklyn? Why don't you }ust put
a bullet in his head?
88 INT. SAME TIME. BATHROOM
Boobie and Donnie enter first, hands ready by the guns in their
cummer bunds. Ch eck all th e stalls. Nicky pos ts himself by the d oor
and Sonny enters wi th Lefty. Sonny goes into the STALL. Cl oses the
door behind him.
I heard the zips went in with
The only ones in with us is us.
emanate from the stall. The guys stand around, awkward, nervous,
Christ, Sonny--what'd you eat for
The guys LAUGH. Then FLINCH as the door OPENS. . . Hands at their
holds his hands up, palms up.
The toilet FLUSHES. Sonny eme rges. Look s to Phil ly Lucky.
Sonny wanted me to tell you--he
wants to schedule a sitdown.
Hash everything out.
89 INT. LATER. FBI HEADQUARTERS
Hogue looks at the clock: "11:10". Looks at Jules. Gets back on the
What's going on?
TECH #1 (O.C.)
They're coming out.
90 EXT. SAME TIME. CHURCH HALL
Sonny hands his car keys to his wife.
You go hom e with Ir ene. We're
going out bouncing.
C'mon. We'll take your car.
His wife gives Sonny a perfunctory kiss on the cheek. She and
Boobie's wife climb into Sonny's new Mercedes.
91 INT. SAME TIME. FBI HEADQUARTERS
Hogue covers the phone. Turns to the others.
They're putting the wives in a
Just get that van out of there.
We just found him. Now you want
to unfind him?
Seems like a false alarm, thank
Tonight maybe it's a false alarm.
So tomorrow night he gets killed.
O r he kill s somebody --did you
ever think of that?
You make it sound like Joe's the
only one in danger from these
g uys-- eight million people in
the city of New York are in
danger from these guys. If they
walk away from this because we
don't have the cases they'll be
stronger than they ever were.
You have to make a decision, sir.
I can't make a decision this wayl
It's fucking insanity!
You have to get that van out of
there. Just give me the phone.
It's my watch. It's my call.
Then make the fucking call.
Either you trust him or you
don't. That's w hat it's a lways
been with this. Either you trust
Joe or you don't.
Hogue thinks a long beat. Gets back on the phone.
Okay. Wrap it up and get out of
92 EXT. NIGHT. CHURCH HALL
Sonny, Boobie, Lefty, Nicky and Donnie walk toward the cars. Lefty
and Nicky split off toward Lefty's Cadillac.
Donnie--ride with us.
Nicky and Lefty climb into Lefty's Cadillac. Sonny, Boobie and
Donnxe approache Boobie's Cadillac. Donnie reaches for the back
Why don't you sit in front?
A sudden chord of TERROR plays up Donnie's spine. Donnie looks to
Lefty for help...For some indication. . . But his eyes are DEAD. They
all climb in Boobie's Cadillac.
THE SURVEILLANCE VAN
ulls away from the curb, drives off...Boobie pulls out of the lot in
g is Cadillac, drives off in the opposite direction.
93 INT. SAKE TIME. FBI HEADQUARTERS
Hogue BROODS as the FBI men roll down their sleeves> pull on their
jackets, snap closed their briefcases...
I told you that wire was a
fucking fiction writer.
He's never been wrong before,
What exactly did the informant
He said the hit's going down
tonight at the. wedding.
Did he say a hit on Sonny Black?
A hit . There's a war bet ween
Sonny Red and S onny Black --
they're both at the wedding--I
in ter pola ted th at--
Who was this informant? Where -
does his information come from?
He's close to guys who are close
to the guys in Sonny Black's,
crew. He's very reliable.
Hogue frantically dials the phone.
Sonny Black's not the target.
Sonny Black's the shooter!
I just assumed---
Oh my God.
94 INT. LATER. BOOBIE'S CADILLAC
Boobie drives, Donnie beside him. The menacing QUIET of the open
road. Past PROSPECT PARK...
Hey, Boob, remember how we used
to run around here, when we was
kids? We used to have running
races. . .
I whipped your ass many a time.
When I raced wit'cha, it looked
like you're standing still.
Oh, yeah? Pull over.
Fuggedabouit. I whipped your
ass. Your day is done.
Pull over. We're gonna see whose
day is done. C'mon, Donnie. You
do the on the marks.
Boobie pulls over. They pile out of the car.
95 EXT. NIGHT. PROSPECT PARK
Boobie and Sonny crouch at an imaginary starting line.
Okay. We're running to the
You remember the fountain?
I remember the fountain.
Donnie--you do the 'on your
On yo ur ma rk s. Ge t s et . Go!
They JUMP off the line...RUNNING through the blackness... Sonny takes
an early lead, but Boobie's leaner...Starts to pull away...Looks over
at Sonny, GRINS...
into the darkness...Sees them DISAPPEAR into the trees.
SONNY AND BOOBIE RUN
huffing and puffing. . .They disappear into the darkness .. .And Donnie
realizes that he's
ALONE IN THE DARK
Turning, around and around... A RAT with no place to hide...
THE RACE CONTINUES
Boobie looks over at Sonny, pulls away...
DONNIE IN TERROR
Adrenaline rushes through him. As 'he turns, and turns, and
WAITS... For the bullet that will kill him...
S onny yard s behind h im. Then Sonny STOP S. Reaches into his
w aistb and. And pulls out
Boobie running FREE in the night. . .Reaches the fountain, holds up his
a rms in vic tory. Lea ns over, h ands on k nees, WHEE ZING. Turn s,
smiling. And his smile FRACTURES.
Jogs a couple of steps to find some cover... Then hears
A DISTANT GUNSHOT
as it echoes through the park. Donnie crouches by reflex. From the
shadows, a man STAGGERS toward Donnie -- it's Boobie, bleeding
profusely from a head wound . . . Sonny chases him. ..The champagne POP!
of more GUNSHOTS...
fires... His .45 JAMS...
Fucking son of a bitch! Donnie,
Boobie STAGGERS, bleeding from three wounds now. . .Running toward his
car... Donnie runs toward him. ..The CRUNCH of wet grass...
DONNIE TACKLES HIM
Boobie falls heavily... BLOOD belches out of his mouth...
Help me. . .
95 CO N TI N UE D : (2 )
Sonny catches up. Grabs his .45 by the barrel and savagely SMASHES
Boobie in the head. A thick sound--like a melon falling off a shelf.
Again and again...Blood EVERYWHERE... Donnie backs off, looks up, as
in his Cadillac. Nicky beside him. Sonny tosses Boobie's keys to
Pull his car around, I think he
has a bag in the trunk.
96 INT. LATER. LEFTY'S APARTMENT
Lefty pours Donnie a Scotch. Sits down with a spritzer.
He was holding out on him.
Fucking coke deal Boobie was
running down in Florida.
Sonny found out about it?
Do I still gotta school you after
w hatever fu cking yea rs? That's
the worst thing you could do to
a m an li ke So nny Black . You
could pull his cock before you
could take a dollar out of his
How'd he find out?
Who? -. '
Why the fuck are you asking so
many fucking questions, Donnie?
I don't know, Left. Boobie was
a friend, of all of us.
Boobie wasn't no friend to you/
Donnie/ believe me. -
What are you talking about?
Ain't nobody gonna give you a
pass no more, Donnie. You walk
on a chalk fucking line from now
C LOSE O N--DONNI E
as he realizes that Lefty sold out Boobie to save him.
You told Sonny that Boobie was
Ain't the question.
Because of me? What was Boobie
Ain't the question, Donnie.
Lefty finishes his spritzer. Gets up to make another.
I don't know what made you think
I'd give you up. I had too many
fucking disappointments in my
l ife. Neve r in the f ucking en d
of the earth will I give you up.
97 INT. NIGHT. DONNIE'S APARTMENT
Donnie holds the Nagra in his hand. The SOUNDS of the murder as it
plays. . . .
Help me. . .
Then the CRUNCH as Donnie tackles him. Donnie rips the tape out of
the Nagra, throws it in the sink. BURNS it.
98 INT. DAY. THE MOTION LOUNGE
Donnie watches "The Today Show" on the TV over the bar. The guys
JOHN PALMER (O.C.)
. . . I n other news an FBI sting has
resulted in the arrests of over
100 state and Federal
ON THE SCREEN
Surveillance images of FBI "SHEIKS" dressed in flowing caftans...Then
the image cuts to VIDEO of the same "sheiks" partying with
CONGRESSMEN on a docked YACHT...
. . . Known as ABSCAM, it was the
largest such operation in the
Donnie peers more closely at the TV.
CL OS E ON --T HE S TE RN
with the name "The Left Hand" emblazoned on it.
Donnie, pull up a chair.
Donnie takes a last look at the TV. Joins Sonny, Nicky and Lefty at
the card table as Nicky shuffles the cards.
You know how to keep score?
A moment of recognition that
99 EXT. DAY. PISTONE HOME
Donnie mows the grass. Row after precise row. RAKES the clippings
into identical, evenly spaced PILES. Fills up TRASH BAGS, piles them
neatly on the curb.
IN THE DRIVEWAY
A STA TION WAGON parked n ext to Mag gie's CORV ETTE. Don nie notice s
that the station wagon is filthy. RUNS a finger through the dirt on
the pile of TRASH in the well of the car--McDonald's wrappers, Tampax
wrappers, a copy of Mademoiselle, a lipstick, a basketball.. DUMPS
it. Pulls out the ASHTRAY. Something that makes him suspicious...
DONNIE RUBS THE ASHES
between his fingers. RECOGNITION. . .He DIGS into the space between
the se ats. Fin ds a quart er. A pape r clip. A nd then:
100 INT. DAY. PISTONE HOME
Terry stumbles down the stairs in her bathrobe, half -asleep. She
hears Donnie CRASH inside, and something tells her it's about her.
ABOUT FACE into the bathroom...
IN THE LIVING ROOM
Donnie hears the bathroom door upstairs CLICK, locked. Turns as
Maggie enters from the kitchen.
Where's Terry? She still asleep?
I think so. What's the matter?
As lee p. Perf ect . A sle ep at 1 2
noon. It all fits the profile.
What profile? Joe, you're
The twelve warning signs. Our
daughter Terry is a drug user.
INSIDE THE BATHROOM
Terry listens by the door.
BACK--IN THE LIVING ROOM
as Donnie counts off the "warning signs" of drug addiction.
Oversleeping. Short attention
span. Hostility to authority.
B in g e e at i n g--
That would apply to every
teenager in America.
Don't tell me my business. Do
you know what this is?
He holds out the marijuana seed. Maggie peers at it.
This is a marijuana seed.
Where did you find that?
Maggie, I am an FBI agent.
That's who I am. I am out there
risking my life, 18, 20 hours a
day, weekends, Christmas--
You don't have to tell me, Joe.
Well, what do you think I ' m doing
it for? I am spending my life to
put away the guys that make money
off this shit, and I'm damned to
hell if I ' m gonna have it in my
You know, Jules called me this
wee k. Do you know they 're
looking for you?
Don't change the subject.
I'm not changing the subject.
You're the subject, Joe. You're
becoming like them.
I'm not the fucking pothead.
You don't see it.
Donnie turns, heads up the stairs, Maggie following.
Geddadaheah. Go weigh yourself
or something. Sleeping Beauty
and I are going out to the
M A GG I E
In my next life I ' m gonna marry
a Jewish doctor.
In the fucking car that I make
the payments on, in the fucking
driveway of the house that I pay
the fucking mortgage on--a goddam
m ar i ju an a s e ed --
How do you know it isn't mine?
Donnie stops a beat. RAGE drumming up inside him, rage that
CRESCENDOES as he
SMACKS HER BACKHAND
Sh e l ooks up at hi m. Not hur t. But de vast ate d. Don nie mov es to
comfort her, to apologize...Maggie
SMACKS HIM BACK \· .
Then storms out of the house. Donnie BROODS, looks up to the landing
as Sherry and Kerry come out from their rooms. From outside, SOUNDS
of Maggie as she SLAMS into her Corvette and zooms out of the
driveway, engine ROARING and tires SQUEALING...
SMASH CUT TO:
101 INT. DAY. HOSPITAL
Donnie BANGS through swinging doors, past ORDERLIES in white coats,
his face tight with anxiety, his skin green in the cold fluorescent
AT THE DESK
He bulls past two waiting GUESTS, accosts the NURSE.
I'm looking for my wife. Mrs.
An der son. Ma ggi e A nde rson . S he
was i n an accid ent? I'm h er
The Nurse gives him a form on a clipboard.
Here you go. You're Mr.
Where is she?
Only the immediate family is
allowed in ICU. Do you have a
He gives her his driver's license.
Is she okay?
Excuse me. This says, 'Donald
Christ. Let me just see her.
She'll tell you who I am.
We can't do that.
If I could see her we could clear
this whole thing up.
I ' m sorry, sir. We need proof of
I need ID to see my fucking wife?
I ' m her husband1 Who the fuck
else would I be?
A DOCTOR, cold-blooded, 30s, arrives.
102 INT. NIGHT.
The DOCTOR shows Donnie the X-rays.
Collapsed lung. Broken wrist,
collarbone. ^Multiple lacerations
from the glass. The most serious
injury was from her contact
lenses-- they smashed into her
corneas. They're torn up pretty
badly. She may lose an eye.
Can't I see her?
We'll see if she stabilizes in a
couple of hours.
103 EXT. LATER. WAITING ROOM
Donnie sits, anxious. The girls sit alongside him.
We had a family meeting, Dad.
You have to quit.
Look, Mom's gonna be okay.
This isn't a democracy. This is
A dictatorship of us.
I know how you're feeling. But
i t ' s j u s t--
Just another six months.
Maybe just a few more weeks.
Forget it, Dad. It's the job or
End of discussion.
Kerry stares hi m down. Te rry looks away. Don nie puts h is arm ar ound
her . She shru gs i t off .
104 INT. NIGHT. INTENSIVE CARE
Maggie lies in bed, eyes BANDAGED, her face a web of GASHES. Wrist
in a cast. A thick TUBE runs from a LUNG MACHINE into her mouth.
Donnie takes her hand. She holds his HARD.
The doctor says you 're gonna be
okay. We j ust have to get you
into rehabilitation as soon as we
can. You'll be as goo d as new
before you know it.
The lung machine whirs and wheezes...
Maggie, listen to me, Maggie,
because this is what it is. The
minute I come out from under all
these guys I ' m with, they will
all be killed--because of me.
Because they trusted me.
I gotta go back.
Maggie pulls her hand back. Turns away from him. He can tell she's
I have a chance here to become a
made guy--an FBI agent a made guy
in th e Mafia. I t's gonna happen
the en d of the year. And then
I'll come out. Then it'll all be
o ver. You' ll ha ve me for the
rest of your life.
Maggie waves him away. Turns away from him. A NURSE enters and
Donnie, with sadness but no regrets, exits.
105 INT. NIGHT. LAGUARDIA AIRPORT
Donnie dials at a pay phone, cradles the receiver while it rings.
Louis e? It's Do nnie.
106 INT. NIGHT. LEFTY'S APARTMENT
Louise on the phone in the kitchen.
W h a t is i t -- Tu e s d a y? I h av e n ' t
seen him since Sunday. I thought
he was with you.
107 INT. SAME TIME. AIRPORT
Donnie pumps a quarter into the pay phone. Bursey picks up at the
Look, I think that sitdown's
tonight. I can't find Lefty.
Why didn't you go?
Only made guys can go to a
So what do you want me to do?
I don't know. Listen to me--I ' m
108 EXT. NIGHT. BIG TRIN'S HOUSE
Big Trin drives Philly Lucky, Sonny Red and Anthony Bruno in his big
All my fucking life I hadda be
S onny Red. Sonn y Red and Sonny
Bla ck . I g ot up pe d. Th en he g ot
upped . Fin ally the n ight has
come. Tomo rrow morni ng I can
j u st be ' S on n y' . N ot Re d. Th e
one and only. 'Sonny'.
Where you got the guns?
Relax. They're in the basement.
The basement of your house?
Hey, Sonny, my jacket's losing
its crease. Will you tell your
kid to stop breathing on me?
I wanna get there in time to set '
Big Trin pulls into his driveway.
The sitdown's in two hours. I
waited my whole life, Bruno, you
can wait two hours.
They climb out of the car. Philly Lucky stays put.
What the hell's wrong with you?
I ain't going in your fucking
basement. You got spiders all
over that basement.
He's scared of spiders. What a
piece of work.
Leave me the keys. I wanna play
Big Trin flips him the keys.
TWO WOODEN DOORS
alongside the house, leading down into the basement. With a groan,
Big Trin b ends, pul ls them op en. Flips a LIGHT S WITCH. On. Off.
_ BIG TRIN
S h it . Bu lb m us t be o ut . W at ch
Sonny Red and Anthony Bruno follow him down...
INSIDE THE CAR
Philly Lucky starts the oar. Turns on the radio. Frank Sinatra
sings "Nice Work If You Can Get It." And PULLS AWAY.
DOWN THE STAIRS
go Big Trin, Sonny Red and Anthony Bruno, down into the dark, damp
concrete and sawdust in their nostrils.
Where's that fucking flashlight?
and the flash of a SHOTGUN firing. BANG! BANG! as shotguns
EXPLODE. By the light of the flashes we see Sonny, Lefty and Nicky
BANGl and another flash. BANGl BANG! BANG!
108 CONTINUED: (2.)
Then a pause. Nicky reaches up, screws in the light bulb. Lights
on. Revealing the blasted corpses of Sonny Red and Big Trin...
jumps out from behind a cabinet, RUNS out the door. Sonny wheels,
FIRES. The stairs SPLINTER as the blast lands just under Bruno's
escaping feet. Lefty moves to chase him.
Fuggedaboudit, Left. We'll give
the contract to Donnie.
Nicky takes out a Hefty bag and a long-bladed BUTCHER KNIFE...Sets to
carving up the bodies. . .
109 INT. NIGHT. DONNIE'S APARTMENT
Carrying his mail, Donnie enters a DARK room. MOONLIGHT filters
through the blinds. He closes the door. Flips the light switch.
Instantly, he falls into a fighting crouch, knife at the ready. His
hand trembles with adrenaline. He moves with his back to the wall,
straining to see into the black room.
TO THE KITCHEN
He p ivo ts in a c omba t s tan ce-- nob ody. Th en piv ots aga in. Hi s f ree
hand f umbles in the kitch en drawer. Finds a FLASHLIGHT . The bea m
SWEEPS across the room. Donnie moves on cat feet to the bathroom.
The shower curtains drawn shut. Donnie tears them back, THRUSTS the
D onnie thin ks a beat . Snaps th e flashli ght back o n. Riffles through
h is m ail . Rip s op en
THE ELECTRIC BILL
reads by the light of the flashlight
DISCONNECT NOTICE: NON-PAYMENT OF
Donnie, a dimly-seen dervish of RAGE...He hurls the
flashlight...Throws a chair and it SPLINTERS. . . Grabs the bar from his
weight bench and starts to swing...
and an electric sizzle as the television implodes. Donnie drops the
bar and throws a bookcase to the ground. PUNCHES at the wall...Again
and again and again...Then sags to the ground...Weeping...Or
The electric bill...I can't get
over it...The fucking 'B' didn't
pay the fucking electric billI
110 INT. DAY. HOSPITAL
Maggie convalesces--her wounds have begun to heal and she's no longer
intubated, although her eyes are still bandaged. Jules enters, sits
down beside her. Takes her hand.
It's Jules, Maggie.
I could hear your cheap shoes all
the way down the hall.
How're you feeling?
S ca re d. Al one .
Did you see Joe?
You mean did Joe see me?
The 'B' wants him to come out.
He'll never come out.
Y ou don't believe the shit that
c omes up. I have to argue with
t hem that he hasn't gone over to
t he other side.
Joe? He wouldn't have the
imagination. I wish he'd become
a gangster--at least we could pay
our frigging bills.
Maybe you could talk to him.
Do you know what this is about,
J ules? Thi s is about a
I talked to him about that.
Not from you--from them. He
wants to be a made guy.
as he hears this...He knows that this has gone too far.
For years I tried to figure out
what m ade Joe t ick. And t hen I
finally figured it out--there's
nothing ti cking. He' s got his
rules and he's gonna live by his
rules . The job is the job .
Start what you finish. When he's
in the FBI he wants to be the
best and when he's in the Mafia
h e wants t o be the"b est--like
it's all some frigging basketball
Maggie...Maybe this is none of my
Don't worry--I ' m not gonna leave
him. I didn't h ave him w hen I
had him. Now that it's almo st
over I ' m goddamned if I'll let
someone else have him.
111 INT. NIGHT. LEFTY'S APARTMENT
Christmas decorations, and a tree. Lefty watches a NATURE PROGRAM on
TV. A leopard moves stealthily...
...Cloaked by the high grasses of
the African savanna, the stalking
leopard moves stealthily...
Louise enters with Donnie.
Bennie, Donnie'8 here.
...Separated from the herd/ the
gazelle senses danger...
Lefty RAPT in his easy chair...
Bennie loves animals.
ON THE SCREEN
The leopard charges...Teeth tear at the gazelle...And soon the
leopard and her family feed on a bloody carcass.
...Hunter and hunted, predator
and prey--the endless cycle of
nature, repeated once again...
Mino*1 You see that ?
I'll be inside if you need me.
We're going out, Louise.
Louise exits inside. SATISFIED, Lefty snaps off the show with his
REMOTE CONTROL. Turns to Donnie.
T hey found Bruno. He 's shacki ng
up with a broad down City Island.
On a boat.
H e ope ns u p a d rawer . Tak es ou t a GUN. Loads it w ith b ulle ts...
You know what this means, don't
you? You're gonna get
straightened out. You become a
made guy/ Donnie, you can lie,
you can cheat, you can steal, you
can whack out whoever you want
and it's all completely
legitimate. Being a made guy's
the greatest thing in the world.
Lefty reaches into the drawer. Hands another gun to Donnie.
as he looks at the gun in his hand.
112 EXT. NIGHT. MARINA--CITY ISLAND
Donnie and Lefty sit and wait in Donnie's Cadillac. Lefty smokes.
Maybe he ain't gonna show.
I ' m just saying--maybe we should
forget about it, pop him tomorrow
We can't pop him tomorrow night,
for your information. Tomorrow
night we got the wake for Big
Fuggedaboudit--it's better this
way anyway. Wait when nobody's
of the deserted marina...
That's some boat this broad has.
Fuggedaboudit. There's one thing
I know, it's boats.
What is that--a hundred grand?
Donn ie--Wh ere*d you ge t that boat
dow n i n Fl orid a?
I told you. That was this girl
I used to see down there, it's
What's her name?
In the distance, a TRANS AM pulls up near the boat they're watching,
Bruno emerges. Locks his car. Climbs onto the boat...
C'mon, that's him.
Florence what, Donnie?
Hey, Left--what do you care,
Florence what? Florence Italy.
Don nie--why do you want to lie to
me, D onnie? Did I ever li e to
you once all these years about
the time of day?
I ' m not lying.
How many fucking times did I have
you over for dinner at my fucking
h ous e? Y ou f uck ing rat b ast ard --
Hey, Left--that's the problem?
Are we gonna whack this guy or
I went on the fucking record with
you, D onnie. Yo u could wa lk on
the street and punch any man in
the mouth because I stood up for
you. ' . ,, . .
What is tne fucking problem?
Lefty reaches in his pocket. A piece of paper, folded, torn from
"Newsweek*. The headline:
ABSCAM: FBI 'SHEIKS* STING CORRUPT LAWMAKERS
Beneath the headline, a PHOTO of the "sheiks* partying ona yacht--
"THE LEFT HAND*. Donnie looks up from the article. Sees
in Lefty's hand.
That's a fucking Federal boat,
Donnie. That's our boat.
Hold on a minute, Left. The boat
with Trafficante? That ain't the
Don't tell me that ain't the same
boat, Donn ie1 That' s a fuckin g
Federal boatl That's a Taiwan-
made boat, there's only, five like
that in the world.
I really don't think that's the
same boat, Left.
Lookit that. You see that? 'The
LeftHand.' That's like my name.
Maybe her brother's a fucking
a ge nt . H o w wo u ld I kn o w? I
thought he was in real estate.
Ain't the quest ion, Donni e. You
still ain't answered me why we're
fucking on a fucking Federal
You're right, Left. I'm a
You're a rat?
I met your girls. I talked to
Tommy for you I don't know how
many fucking times. I don't know
how many times I had dinner with
you and Louise. I lived with
you, Left-- partners. Five
fucking years, I ever had a
hundred bucks in my pocket, I
gave you half. And the whole
time I was a fucking rat. You're
Donnie--did I say you was a rat,
112 CONTINUED: (3)
You'd have to be the biggest
fucking mutt in the history of
You fucking laxed, Donnie. Don't
get on your high horses.
as Bruno emerges from the boat. Lights a cigarette. Looks around,
Shit. He's up again.
How the fuck am I supposed to
explain this to Sonny?
You ask me it's the funniest
fucking thing in the world.
Those fucking agents could scam
Senators and Congressmen and
meanwhile we had a party on their
boat and they didn't get a
fucking thing on us. Sonny'11
laugh his ass off.
Where is the joke, Donnie?
We outsmarted the agents. We got
a higher Z .Q. than the fuckin g
You got so many black marks on
you now, Donnie, a fucking
Einstein couldn't count them.
What black marks?
That time with the luggage and/
uh, uh...the other time.
Are we gonna whack this fucking
guy or not?
I ain't no fucking mutt, Donnie.
Donnie checks the action on his gun...
112 CONTINUED: (4)
D ON N IE
How the fuck did I know it was a
fucking Federal boat?
I die wit'cha. I ' m your best
Donnie opens the door, climbs out/ gun in hand.
That's right, Left--you're my
"Your best friend is the one who kills you." Donnie FREEZES. Lefty
looks at him.
LEFTY' S GUN
pointed at Donnie's back...As his finger moves toward the trigger.
Then su dde nly --
from police cherrytops. . . SWARMS of FBI MEN in blue windbreakers with
big wh ite lette rs-- "FBI"-- descend o n the car, guns draw n. They G RAB
Donnie and Lefty. Jules hustles Donnie away.
Donnie, don't say nothing. Don't
say nothing to them.
Congratulations. It's over, Joe.
What do you mean, it's over?
You're coming out.
What the fuck--? Nobody--. I'm
not coming out.
It's over, Joe.
It's not over. I'm too close!
Donnie starts to run. FBI MEN are on top of him, wrestling him dovr,.
Donnie STRUGGLES, exchanges a look with Lefty as he's dragged away.
Donnie, don't say nothing!
113 INT. DAY. MOTION LOUNGE
PHOTOS OF DONNIE
at the FBI Academy at Quantico, then with Berada, LeBow and other FBI
MEN, as Marshall and Jules show them to Sonny/ Nicky and Boobie.
You know this guy as Donnie
Bras co. He 's an FBI age nt. We
just wanted to tell you.
114 EXT. DAY. MOTION LOUNGE
Sonny, Nicky, Lefty, Legs and Philly Lucky watch as the FBI men drive
off. They stand on the street corner--DEATH and disbelief written in
You believe that fucking guy?
There's no fucking way Donnae
could be an agent.
The culliones on him, bluffing us
You think they got him?
ON A ROOFTOP
A TECH TEAM aims a PARABOLIC MICROPHONE and a TELEPHOTO LENS. The
whir of an autowindex and a FREEZE FRAME as they stand outside.
No way he could be an agent.
Nowadays they can doctor a
picture any fucking way they
It still don't explain that boat.
L ef t y li s te n s. S a ys no th i ng . H e k no w s th e t r ut h. ZZ Z H1 a n d
another FREEZE FRAME.
That boat was a set-up. Then we
think Donnie's a rat and we get
scared and fuggedaboudit.
Maybe they brainwashed him. Like
in that movie, with Sinatra?
Z Z ZH ! a no t he r s ho t . Z ZZ Hl
They say he's an agent, I say
he's a fucking agent.
You're talking through your ass.
You didn't know him.
You didn't know Donnie, Philly.
CL OSE ON --L EFT Y
as he listens. Says nothing.
115 INT. NIGHT. LEFTY'S APARTMENT
Lefty sits, BROODS, watches TV. The phone rings.
Hello? (listens) Yeah, okay,
N ic ky . O k ay .
He han gs up. Th inks a bea t . As he l ooks into his open grave...T akes
off his GOLD WATCH, sticks it in a drawer. Then the CROSS he wears
a roun d his neck . The KEYS to his C adill ac. C loses the draw er as
Who was that?
N icky. I'm going out .
He gives Louise a kiss.
Don't wait up for me.
116 INT. DAY. FBI HEADQUARTERS
De sits at his desk, preparing his testimony., Marshall drops
some SURVEILLANCE PHOTOS off.
They just took these yesterday.
Donnie picks them up.
Photos of Lefty's rooftop. As the PIGEON COOPS are dismantled.
in his office. Donnie ducks in. Jules looks up, sees Donnie struggle
a beat with his emotion. Then the mask descends again.
You can stop looking for Lefty.
117 INT. ANOTHER DAY. FEDERAL COURTHOUSE--MANHATTAN
Under heavy guard, Donnie walks up a b ack stairca se . Up a marble
hallway. Doors open and he enters the courtroom. A HUSH falls as
the MAFIA DEFENDANTS, lined up in the docks--all f ac es we've seen
earlier, including Sonny, Nicky, Legs, and Philly L ucky--turn and
look at him.
The government calls Special
Agent Joseph D. Pistone.
as he takes in the proof of his accomplishment. With the knowledge
of what it has cost him.
FREEZE FRAME. A final CRAWL runs over this*
The evidence collected by "Donnie Brasco" led to over 200
After testifying. Special Agent Joseph D. Pistone left the FBI. He
lives with his wife under an assumed name in an undisclosed location .
There is an $500,000 open contract on his head.
The FBI denied him a pension. The IRS assessed him $7,000 in back
taxes and penalties.
FADE TO BLACK: