アナライズ・ミー(1999年)

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1 CREDITS BEGIN OVER BLACK. 1

DOMINIC MANETTA

a man in his 70s, narrates nostalgically OVER a MONTAGE
of related news photos.

MANETTA (V.O.)
1957 was a big year. The Russians
put that Sputnik into outer space,
the Dodgers played their last game
at Ebbets Field, ‘that guy’ shot
Frank Costello in the head, and
missed, and the Gallo brothers
whacked Albert Anastasia in that
barber shop in the Park Sheraton
Hotel. It was total chaos. With
Anastasia gone, Vito Genovese
figures he’s king shit, but Carlo
Gambino and ‘Joe Bananas’ both
want to be boss of all bosses. So
they call a meeting — a big
meeting.

2 EXT. UPSTATE NEW YORK – DAY 2

CREDITS CONTINUE. In FADED 16mm documentary-style, we
see a country road winding through rolling hills. At the
top of the hill, a black ’57 Cadillac appears and sweeps
through the peaceful landscape.

MANETTA (V.O.)
It was the first time the whole
commission was ever gonna meet
face to face. Bosses and wiseguys
were comin’ in from all over the
country, and all the New York
families, too — maybe sixty
bosses, the whole wiseguy world —
all headin’ toward this little
town upstate to figure out what’s
what.

3 EXT. ROADSIDE – DAY 3

A sign reads, “Entering Apalachin – pop. 342.” The black
Cadillac speeds past the sign, then another black Caddy,
then a black Lincoln, then another Caddy, a Lincoln, etc.

MANETTA (V.O.)
Your father and me, we were goin’
up with Tommy D., Fat Tommy.
(MORE)

(CONTINUED)

2.

3 CONTINUED: 3

MANETTA (V.O.CONT’D)
He was running the family at the
time. Anyway, I don’t know what
anybody was thinking, but some
asshole thought it would be a good
idea to have this meeting at Joe
Babara’s farm in the country where
nobody would notice.

4 EXT. RURAL GAS STATION – DAY 4

A local state police deputy is gassing up his motorcycle
when the parade of shiny black cars rolls by. He looks
up and scratches his head at the unusual sight.

MANETTA (V.O.)
Turns out the local cops were
watching Joe Babara like a hawk.
So now you got about fifty Caddies
and Lincolns pullin’ into Apalachin
and some deputy sheriff with cow
shit on his shoes notices all the
traffic and calls the Feds.

5 EXT. JOE BABARA’S ESTATE – DAY 5

The Caddies and Lincolns are all parked around a rambling
country manor. Bosses and wiseguys are meeting and
greeting each other on the big front porch.

One WISEGUY is trying to shoo a cow away from his car.

WISEGUY
You wanna be a ribeye? Get away
from the fuckin’ car.

6 EXT. WOODS – SAME TIME 6

Federal agents start moving in quietly, heavily-armed,
wearing big FBI arm bands.

MANETTA (V.O.)
The meeting never even got
started. The Feds moved in —

7 EXT. HOUSE – DAY 7

Agents with weapons drawn charge the house and start
breaking down the front door.

3.

8 EXT. BACK OF HOUSE – SAME TIME 8

MANETTA (V.O.)
— and we moved out.

Gangsters in shiny suits are squeezing through windows
and leaping off balconies.

WIDE – WISEGUYS

fleeing into the surrounding woods and fields.

MANETTA (V.O.)
Your papa and me hid in a field
with hay or corn, some kinda
foliage, I don’t know.

9 EXT. FARM FIELD – DAY 9

Two wiseguys in suits crouch in the tall grass.
Suddenly they see a John Deere harvester bearing down on
them.

MANETTA (V.O.)
Then along comes this farmer who
almost runs us over in a tractor,
so your father hauls out his piece,
this .44 cannon he used to carry,
and hijacks the goddamn tractor.
Funniest fuckin’ thing I ever saw.

10 EXT. COUNTRY ROAD – DAY 10

The farmer goes flying off the harvester and the two
wiseguys drive off on it.

The farmer looks up to see the John Deere disappear in a
swirling cloud of dust that FILLS the SCREEN.

END CREDITS.

DISSOLVE TO:

11 SWIRLING CLOUD OF CREAM 11

on top of an espresso. PULL BACK as a hand reaches in
and runs a lemon rind along the rim of the cup. The
espresso is picked up and sipped by MANETTA, the aging
boss of a prominent New York crime family.

(CONTINUED)

4.

11 CONTINUED: 11

INT. RITZ CLAM BOX – LATE AFTERNOON (PRESENT)

The place is nearly empty. Manetta is talking to PAUL
VITTI, a dark, intense, intelligent man in his late
forties, and a powerful boss in his own right.

MANETTA
Anyway, Carlo Gambino came out of
it capo de tutti capi, and that
was the last time the whole
commission tried to meet — until
now.

VITTI
(brooding)
I don’t know. I don’t like it.
What do we need a meeting for?
Let everybody worry about their
own business.

They finish eating.

MANETTA
The ’57 meeting was about how we
were going to divide up the whole
country. This meeting is about
how we’re gonna survive. You got
‘made’ guys informing for the
Feds; bosses going to jail;
everybody’s dealing drugs; people
are getting whacked without
permission. And on top of
everything, now we got the Chinese
Triads and these crazy Russians to
deal with. Everything’s changing.
We need a leader. Someone with
fresh ideas. Someone like you.
It’s gonna be a new century, Paul.
We gotta change with the times.

VITTI
What are we gonna get, a fuckin’
web site?

MANETTA
You remember what else happened in
1957, Paul?

VITTI
Yeah, I remember.

MANETTA
When your father died, I promised
him I’d always look out for you.
Come to the meeting.
(CONTINUED)

5.

11 CONTINUED: (2) 11

They get up to leave. Vitti drops some money on the
table. Bodyguards follow them to the door. The waiters
and the owner bow to them as they pass. They are almost
out the door when Vitti hesitates.

VITTI
Wait a second. I’m just gonna
grab a toothpick.

The instant he steps back inside, Manetta and his
bodyguard are struck by an incredible VOLLEY of GUNFIRE,
which BLOWS OUT all the GLASS in the DOOR and WINDOWS.

Vitti’s bodyguard, JELLY, grabs him and throws him behind
the counter, shielding him with his body.

Outside, the shooting has stopped and curious bystanders
are looking in the broken windows. Vitti’s eyes well up
with tears.

CUT TO:

12 KLEENEX 12

being pulled out of a box. CAROLINE, a woman in her
early thirties, dabs at her eyes with the tissue. She’s
sitting on the couch in —

INT. BEN’S OFFICE – SAME TIME

The office is warm, comfortable, and nicely decorated.

CAROLINE
(weepy)
I kept telling him that I needed
room to grow and find myself as a
person. Not just as a woman but
as an independent entity.

BEN SOBOL

her therapist, seems to be listening intently.

CAROLINE
I told him I needed to get in
touch with my uniqueness, but he
couldn’t handle that. He said I
was driving him away. Do you
think I was driving him away, Dr.
Sobol?

Ben leans forward sympathetically.

(CONTINUED)

6.

12 CONTINUED: 12

He’s in his mid-forties, has an expressive face and a
quick wit, and despite the occasional lapse, he is a
gifted and caring psychologist.

BEN
Things end, Caroline. That’s just
a part of life. It’s how we deal
with things ending that’s important.

CAROLINE
I just can’t believe it’s over between
me and Steve. Maybe there’s still
hope.

BEN
Well, he did take out a restraining
order against you. I have to be
honest, that’s usually not a good
sign.

CAROLINE
But what should I do?

BEN
Well, Caroline, I think the first
thing you have to do…
(voice rising)
… is stop whining about this
pathetic loser! You’re a tragedy
queen!
(mocking)
‘Steve doesn’t respect me. Steve
doesn’t love me anymore.’ Who gives
a shit! Get a fucking life! You
are, without a doubt, the most
boring human being I have ever met!
Please, say something interesting
before I lapse into a goddamn coma!

Caroline looks curiously at Ben, unperturbed.

CAROLINE
Dr. Sobol?

BEN

Lost in his fantasy, not really listening. He comes
to attention and tries to cover.

(CONTINUED)

7.

12 CONTINUED: (2) 12

BEN
Yes. Yes. I was just reflecting
on your whole — situation. It’s
very interesting what you were
just saying. I want you to think
about it, and I’m going to think
about it, so we’ll both think
about it and we’ll continue next
week when I get back from my
vacation.

Caroline bursts into tears again.

BEN
Or not.

CUT TO:

13 INT. UPSTAIRS HALLWAY – DAY 13

Ben rushes upstairs and into his bedroom. His 14-year-old
son MICHAEL is in his room putting on a tuxedo.

MICHAEL
You’re late.

BEN
(changing hurriedly)
I know. I couldn’t get rid of my
last patient. I think she was a
tick in a past life.

MICHAEL
Yeah, what’s Caroline’s problem?
Your boyfriend’s gone, he hates
your guts, get over it.

BEN
Michael! What did I tell you?
You can’t listen to my sessions!
It’s private stuff.

MICHAEL
I can’t help it. I hear you
through the vent in my room.

BEN
Funny how that happens when you
lie on the floor and put your ear
up against it.

(CONTINUED)

8.

13 CONTINUED: 13

MICHAEL
Okay, okay. How’s that guy who
dreams about shitting trout?

BEN
(entering, putting
on his tux shirt)
Fine. He moved up to striped
bass. Put on your cummerbund.
Boy, have you grown. Did your
mother move next door to a
nuclear power plant?

MICHAEL
(struggling with the
cummerbund)
Why do we have to wear rented
clothes to Grandpa’s party? This
blows.

BEN
(helping him)
We have to dress up because
Grandpa can’t have a good time
unless everyone else is extremely
uncomfortable.
(looks at Michael
and makes a quick
decision)
Forget the tux. Regular clothes.

Ben exits, pulling off the tux shirt.

MICHAEL
(taking off his
tux shirt)
Are you ambivalent about Grandpa
Isaac?

BEN (O.S.)
(from his room)
Ambivalent? Where do you get that stuff?

MICHAEL
Mom.

BEN
(annoyed)
She’s not supposed to do that, you
know.
(MORE)

(CONTINUED)

9.

13 CONTINUED: (2) 13

BEN (CONT’D)
Your mother and I, when we
got divorced, we agreed we wouldn’t
put you in the middle, or use you
as a go-between to talk about each
other. So just do me a favor and
tell your mother to shut her big
mouth.
(comes back into
Michael’s room)
Did she say anything about me
getting married again? I think
she could be feeling a little anger
about it.

MICHAEL
Oh, yeah. She really cares. She
says you’re intimidated by women
your own age, and that’s why you
go for these young babes.

BEN
(fuming)
Okay. Listen, for two seconds,
pretend I’m not your father.
I’m just some guy, okay?

MICHAEL
You gonna vent?

BEN
Yeah.
(venting)
I hate her! I really hate her!
(a beat, then
brightly)
Okay. Dad again. Let’s go.

CUT TO:

14 EXT. WAREHOUSE – SAME TIME 14

Paul Vitti gets out of his car and walks to the warehouse
with his most trusted soldier, Jelly, a hulking bruiser,
and his sidekick JIMMY, a tightly-wound ferret with chips
on both shoulders.

VITTI
So what did you find out?

(CONTINUED)

10.

14 CONTINUED: 14

JELLY
(as they walk)
The word is Primo Sindone must have
ordered it, but, uh —

He hesitates.

VITTI
What?

Jelly looks at Jimmy.

VITTI
What?

JELLY
(reluctantly)
A lot of people think you set him
up.

VITTI
Why the fuck would I want to kill
Dominic? He was like a father to
me.

JELLY
So you could be the big boss.
Everybody figures you’re lookin’
to wipe out the competition before
the big meeting.

VITTI
Oh, is that what they figure?

JELLY
It’s alright with me if you did —

VITTI
I didn’t kill him! I told you
that! Don’t you hear?

CUT TO:

14A INT. WAREHOUSE – CONTINUOUS ACTION 14A

They enter a room where other Vitti family soldiers,
EDDIE COKES, TUNA, and JOHNNY BIGS are waiting. In the
middle of the room, a young rat named NICKY SHIVERS is
tied to a chair under a strong overhead light. When he
speaks, we get a hint of mental incompetence.

(CONTINUED)

11.

14A CONTINUED: 14A

NICKY
Please, Mr. Vitti, I told ‘em I
don’t know anything but they don’t
believe me ‘cause that one time I
said Little Joe hit Dukey and it
turned out he didn’t but I didn’t
know because —

JIMMY
(smacks him)
Shut the fuck up!

Nicky goes suddenly quiet. He watches in terror as Jimmy
steps aside and Vitti moves close holding a short length
of lead pipe.

VITTI
Nicky, you know me, right?

NICKY
Yeah. You’re Mr. Vitti.

VITTI
And you know what I’m gonna do to
you if you lie to me, right?

NICKY
Uh, you’re gonna crack me on the
head with that pipe?

JIMMY
(slaps him)
It’s a rhetorical question, you
fuckin’ idiot.

VITTI
I’m only gonna ask you this one
time. Who killed Dominic Manetta?

NICKY
I don’t know.

VITTI
(roars)
Don’t fuckin’ lie to me!

NICKY
(in tears)
Honest to God, I don’t know!

VITTI
You little rat bastard…

(CONTINUED)

12.

14A CONTINUED: (2) 14A

Vitti winds up to brain him with the pipe. They all
wince in anticipation of the blow. But Vitti just
freezes there with his arm upraised. Then he drops his
arm and seems to sag.

VITTI
Forget about it. He doesn’t know
anything.

He tosses the pipe aside.

VITTI
Get him outta here.

Jimmy looks at Jelly in surprise.

15 INT. MINIVAN – LATER 15

Ben is driving to the party with Michael. Sitting in
stopped traffic, he checks his mirrors anxiously.

BEN
(to himself,
urgently)
Look at this. Everybody’s nuts.
Ooh, I hate walking into that
house late.

MICHAEL
I think you’re reacting like this
because you’re mad we have to
go to this party.

BEN
No. Don’t. I’m not going to be
analyzed by someone who up until
a few years ago believed in
Santa. Sorry, but we only have
room for one Dr. Sobol in this
family.

MICHAEL
But there’s two Dr. Sobols.
There’s you and Grandpa.

BEN
(a beat)
Can we talk about something else?

MICHAEL
Are you going to read Grandpa’s
new book? Mom says you won’t
because you’re…

(CONTINUED)

13.

15 CONTINUED: 15

BEN
Does your mother talk about
anything else or is it just me
twenty-four hours a day?

Wham! Ben REAR-ENDS the CAR in front of them.

BEN
That’s your mother’s fault! Your
mother did that! Damn!

CUT TO:

16 EXT. EAST 90TH STREET – NIGHT 16

The minivan has rear-ended a black Lincoln Town Car. The
trunk has sprung open and Nicky Shivers can be seen in
the trunk, bound and gagged, kicking and squirming.
Muffled shouts can be heard through the duct tape over
his mouth.

Jelly and Jimmy jump out of the Lincoln and slam the top
of the trunk just as Ben gets out of the minivan to
inspect the damage.

JIMMY
(heading Ben off)
What’s the matter with you? Are
you some kind of moron?

BEN
I’m sorry. It’s totally my fault.

Ben looks at the damage. The Lincoln has gotten the
worst of it. The rear bumper is hanging off, and Jelly
is struggling to latch the trunk.

JIMMY
Did you see anything?

BEN
I was talking to my son. I took
my eyes off the road —

JIMMY
Forget that bullshit. Did you see
anything?

Jelly steps in to defuse the situation, warning Jimmy off
with a look.

(CONTINUED)

14.

16 CONTINUED: 16

JELLY
That’s all right, sir. It’s our
fault for being in front of you
like that.

BEN
(surprised)
Well, I should have been watching.
Let me give you my insurance
information —

JELLY
It’s okay. Forget about it.

BEN
Really? It looks like your whole
rear end might be screwed up.

Jimmy is reattaching the rear bumper and securing the
trunk lid with duct tape.

JELLY
No, it was like that before.

BEN
Maybe we should call the police?

JELLY
(suddenly menacing)
Why? Fuck the police.

BEN
Right! Fuck ‘em.

HORNS start HONKING behind them.

BEN
At least take my card. You might
look at the damage in the morning
and change your mind.

Jelly takes the card and reads it.

JELLY
You’re a doctor?

BEN
Ph.D. Psychologist.

JELLY
A shrink. You talk to a lotta
nuts, huh?

Ben hears KICKING from inside the car trunk.

(CONTINUED)

15.

16 CONTINUED: (2) 16

JELLY
Pings and knocks. Cheap gas.
Hey, how do those minivans handle?

JIMMY (O.S.)
Jelly! Let’s go!

JELLY
Take it easy, Doc.

Ben looks totally confused as Jelly hustles back to his
car.

CUT TO:

17 INT. SOBOL HOME – LIVING ROOM – ISAAC SOBOL 17

Ben’s father, at the piano in the spacious, elegant,
tastefully-decorated living room, surrounded by adoring
guests, playing and singing an exuberant rendition of
“You Must Have Been a Beautiful Baby.” Isaac is a silver-
haired patrician, overloaded with self-esteem.

ISAAC
(ending the sing-
along)
All right, neurotics only! Well,
you must have been a beautiful
ba-a-by, ‘cause baby look at you
now, thank God for Prozac, baby
look at you now!

BEN AND MICHAEL

standing off to the side talking to Ben’s mother DOROTHY.
In the corner is a large advertising display featuring
Isaac’s smiling picture on the front cover of his new
book, Tell Me What You Feel, Tell Me What You Want.

BEN
What do you mean you’re not
coming? It’s my wedding.

DOROTHY
We understand it’s a special day
for you, Benny, but your father
and I can’t just pick up and
leave town every time you decide
to get married.

(CONTINUED)

16.

17 CONTINUED: 17

BEN
Every time? This is a once-in-a-
— twice-in-a-lifetime thing.

Isaac joins them.

BEN
Dad, you’re not coming to my
wedding?

ISAAC
We want to be there, but I have
three book signings next weekend.
I can’t piss off these big book
stores. If I cancel, they’ll
stick me down on the bottom shelf.
That’s how they are.

BEN
Yeah, that’s the word on the
street. The self-help book
business is full of vindictive
pricks.

DOROTHY
(looking around)
Ben! The language.

BEN
I’m sorry, but I’ve been alone
for eight years, now I’ve finally
met someone I want to spend the
rest of my life with and I would
really like you to meet her
before we get married. You’re
going to be her family. I think
it’s better she knows that up
front.

ISAAC
You’re really hostile tonight.

BEN
I’m joking.

DOROTHY
(jumping in)
I think I’ll go talk to the mayor.

BEN
The mayor’s here?

DOROTHY
I can only hope.

(CONTINUED)

17.

17 CONTINUED: (2) 17

Dorothy exits.

ISAAC
What’s wrong?

BEN
Nothing. Everything’s fine.

ISAAC
How’s your practice?

BEN
It’s great. Just great. I’ve got
some very interesting patients —
extremely interesting.
Fascinating actually.

MICHAEL
Dad has a patient who dreams he
shits trout.

BEN
Thanks, Mike.

ISAAC
Excuse us, Michael.

Isaac pulls Ben into the foyer.

ISAAC
Why are you wasting your time out
there in the boondocks? New York
City is the Mecca of Madness.

BEN
I’m just not sure I could spend my
life dealing with people whose
biggest crisis is how to fire the
maid.

ISAAC
It beats a guy with an ass full
of flounder.

BEN
Trout! And don’t minimize my
practice.

ISAAC
Why are you getting so defensive?
This is about your own feelings
of inadequacy.

(CONTINUED)

18.

17 CONTINUED: (3) 17

BEN
You always turn it back on me.
Why do you do that?

ISAAC
Why do you think I do that?

BEN
Why do you think I think you do
that? Go ahead, now you ask me
why I think you think I think you
do that.

ISAAC
Enough. I want you to think about
what I said. And when you’re ready
to talk to me like a normal person,
I’ll be at the piano with
Regis Philbin.
(as he crosses away)
Rege!

REGIS PHILBIN
I’m not singing, Isaac!

ISAAC
Now, ladies and gentlemen, at the
piano, Regis Philbin!

Applause and laughter from the guests. Ben grabs a
glass of champagne from a passing waiter’s tray.

BEN
(to the waiter)
Thomas Wolfe was right. You can’t
go home again — because your
parents still live there.

CUT TO:

18 INT. OLD LION SOCIAL CLUB – NIGHT 18

Vitti’s men converse quietly while a soldier sweeps the
room for bugs. He gives the “all clear” and SALVATORE
MASIELLO, the old consigliere, speaks.

MASIELLO
The Manetta family is asking a lot
of questions. They think we hit
Dominic.

CARLO MANGANO, the burly underboss of the Vitti family,
jumps in.

(CONTINUED)

19.

18 CONTINUED: 18

MANGANO
Forget Dominic! They were after
Paul.
(to Vitti)
It’s a miracle you survived. I
thank God.

VITTI
Yeah, thank God. All I know is if
I didn’t have some veal stuck in
my teeth, I’d be laying there with
Dominic.

JOHNNY BIGS
This is all about the big meeting.
Primo Sindone wants to run the
whole show.

MANGANO
Yeah, but Primo’s a boss. He
knows the rules. He couldn’t go
after Dominic and Paul unless the
other families gave their
permission.

VITTI
(starting to sweat)
If they did, we’re heading for one
big fuckin’ war.
(having trouble
breathing)
Talk to Zello and Baldassare.
Find out what you can. We got two
weeks. If the other New York
bosses are against us, I want to
know it before I walk into that
meeting.

He feels a stabbing pain in his chest.

MANGANO
You all right, Paul? You don’t
look good.

VITTI
I’m a little choked up here. I
gotta get some air.

He walks outside. Jelly follows. Mangano looks
quizzically after them.

CUT TO:

20.

19 EXT. OUTSIDE THE OLD LION – CONTINUOUS ACTION 19

Vitti is having trouble breathing.

JELLY
You feel all right?

VITTI
I feel like shit. This whole
thing is like a huge fuckin’
headache.

JELLY
(concerned)
You havin’ one of those
mindgrains?

Sweating profusely now, Vitti feels another stabbing
chest pain.

VITTI
Get the car.

CUT TO:

20 INT. EMERGENCY ROOM – LATER 20

Vitti is putting on his shirt. He looks considerably
better. Jelly is sitting down, tapping his own knee with
the little rubber hammer. Nothing moves.

DOCTOR SHULMAN, a young cardiology resident, enters.

DOCTOR
Good news, Mr. Evans. Your heart
is just fine.

VITTI
How could it be fine? I’ve had
like eight heart attacks in the
last three weeks.

DOCTOR
Well, based on everything, I’d say
you probably had an anxiety
attack.

VITTI
(a beat)
What?

DOCTOR
An anxiety attack. A panic
attack. I can give you some Xanax
if it happens again soon —

(CONTINUED)

21.

20 CONTINUED: 20

VITTI
(menacing)
Look at me. Do I look like a guy
who panics?

DOCTOR
(nervous now)
There’s nothing — I mean — it’s
a common thing —

VITTI
Where did you go to medical
school? I had a heart attack, you
quack bastard.

DOCTOR
(very scared now)
Well, not according to these —

As Vitti moves toward the Doctor, Jelly instinctively
grabs the Doctor from behind and holds him while Vitti
wraps the blood pressure cuff around his neck.

VITTI
(low and deadly,
pumping up the
cuff with the
squeeze-ball)
Listen to me, jerk-off. I had a
mild heart attack and now it’s
over. You understand?

The Doctor nods vigorously, his eyes bugging out as the
pressure around his neck increases.

VITTI
If anyone asks you, you never saw
me, and I was never here. Is that
clear?

DOCTOR
(strangled)
Yes.

VITTI
Good.
(to Jelly)
Take the chart.

Jelly releases the Doctor, grabs all the papers and
follows Vitti out the door.

CUT TO:

22.

21 EXT. HOSPITAL – MOMENTS LATER 21

Vitti and Jelly come walking out the emergency room exit.
Vitti stops.

VITTI
Jelly, I need you to do something
for me as my friend.

JELLY
Anything.

VITTI
You have to find me a doctor.

JELLY
We just came from the doctor.

VITTI
Not that kind of doctor. I need a
head doctor.

JELLY
You’re gonna change your face like
Sonny Black? Don’t get his nose
though, he looks like a pig.

VITTI
Not a plastic surgeon, ya spoostud.
Do I have to spell everything out?

JELLY
It saves time.

VITTI
I need you to find me a
psychiatrist.

JELLY
Wow. This is like the Psychic
Network or something. I just ran
into a psychiatrist. Actually he
ran into me.

VITTI
Is he any good?

JELLY
Yeah, he seemed like a smart guy.
He had a business card and
everything —

VITTI
He had a card? That’s a real
fuckin’ achievement.

(CONTINUED)

23.

21 CONTINUED: 21

JELLY
What do you need a shrink for
anyway?

VITTI
It’s not for me. It’s for a
friend. This friend is having
some problems, so I’m going to ask
the shrink some questions and get
some answers for my friend.

JELLY
Got it.

VITTI
And nobody can know. If anyone
hears I’m talking to a shrink, it
could be interpreted the wrong
way. You know what I mean?

JELLY
Of course. Absolutely.
(then)
Can I ask you one thing?

VITTI
What?

JELLY
This friend. Is it me?

CUT TO:

22 INT. BEN’S OFFICE – DAY 22

Ben is with a patient, CARL ANDERSON, a high-strung
milquetoast in his late forties.

BEN
Carl, I’m detecting a pattern
here. You seem to settle too
easily for things.

CARL
You’re right. I do.

BEN
No, well, there you go. You
just did it again. I suggested
something and you immediately
agreed.

(CONTINUED)

24.

22 CONTINUED: 22

CARL
You’re right. I did.

BEN
Why do you think you do that?

CARL
I don’t know.

BEN
Well, sometimes people do it
because they fear rejection or
disapproval, but you can’t let
that worry you, Carl. And you
can’t agree with things just for
the sake of agreeing. Stand
your ground. Don’t let people
roll over you.

The door opens and Jelly enters.

JELLY
Dr. Sobol?

BEN
Excuse me! I’m in a session here.

JELLY
Yeah, I know, I’m sorry.

BEN
You’re… You’re one of the guys
I rear-ended the other night.

JELLY
Bingo.
(to Carl)
Get outta here.

Jelly takes Carl by the elbow and lifts him off the
couch.

JELLY
Upsa-daisy. You got a coat,
nutbar?

BEN
What are you doing?

JELLY
He’s leaving.

(CONTINUED)

25.

22 CONTINUED: (2) 22

BEN
The hell he is. He’s not going
anywhere until we’re done with his
session.

Jelly pulls a big roll of bills out of his pocket,
removes the rubber band, and peels off a couple of
fifties.

JELLY
(to Carl)
I’ll give you a hundred bucks to
get out of here.

Carl looks at the money, then he gives Ben a plaintive
look.

BEN
Don’t take it, Carl.

Carl looks back to Jelly.

JELLY
(peeling off another
bill)
A hundred and fifty.

BEN
He’s not leaving.

CARL
(trembling)
Three hundred.

JELLY
(pays him)
You’re not that fuckin’ crazy.

Carl takes the money, gives Ben the thumbs up and
exits. Jelly follows him to the door and waves for
someone to come in.

BEN
Listen, if you’re upset about your
car, I can understand that. But
you don’t just barge in here —

Paul Vitti steps into the office. Ben freezes. Jelly
crosses to take Vitti’s coat.

VITTI
You know who I am?

(CONTINUED)

26.

22 CONTINUED: (3) 22

BEN
Yes.

VITTI
No you don’t.

BEN
Okay.

VITTI
You’ve seen my picture in the papers?

BEN
Yes. And no. Sometimes. Never.

VITTI
Jelly, wait outside.

Jelly exits. Vitti walks around the room, taking
everything in. He picks up the phone and listens. Hangs
up.

VITTI
Sit down.

BEN
Sure.

Ben sits quickly on the coffee table. He crushes a box
of tissues, then moves them out from under his ass.
Vitti picks up a stack of CDS and looks through them.

VITTI
Tony Bennett, huh?

BEN
Yeah. He’s my favorite.

Vitti picks up an autographed baseball bat from Ben’s
desk.

BEN
(puts up his hands)
Mr. Vitti, I tried to give the guy
my insurance information, but he
wouldn’t take it. Seriously, I
tried several times because it was
all my please don’t kill me.

VITTI
I was just gonna ask if you liked
baseball.

(CONTINUED)

27.

22 CONTINUED: (4) 22

BEN
Yes. Big Yankee fan.

Vitti puts the bat down.

BEN
Mr. Vitti. Not that it’s your
fault, but your friend, he
interrupted a patient’s session
and that’s — not good. I think
this is a matter for our insurance
companies, don’t you think?

VITTI
I don’t care about the car.

BEN
Then what — ?

VITTI
A friend of mine is having a
problem and he might have to see a
shrink, so I’m going to ask you a
couple questions. Do we sit?

BEN
Whatever makes you comfortable.

Ben starts for his chair, but Vitti sits in it first.
Ben sits on the couch. Vitti adjusts the cuffs of his
shirt, and runs a hand down the crease in his slacks.

VITTI
Okay, the first thing I gotta know
about is privacy. You must hear
a lot of weird shit in here. How
do I know you won’t go testifying
— not testifying — but, you know,
talking about it to somebody else.

BEN
I won’t discuss a patient with
anyone for any reason, unless I
know the patient may be a danger
to himself. Like if I’m concerned
a patient might kill himself…

VITTI
Not fuckin’ likely —

BEN
— or kill someone else.

(CONTINUED)

28.

22 CONTINUED: (5) 22

Ben looks to Vitti for a response. Vitti stares at him
for a long, uncomfortable beat.

VITTI
So who starts?

BEN
Why don’t you tell me why you think
you need therapy?

VITTI
I don’t need therapy. I’m helping
out my friend. You didn’t hear me
say that?

BEN
Right. I’m sorry.

VITTI
You guys are supposed to be so
great when it comes to listening.
You can’t remember what I said two
seconds ago.

BEN
I’m very sorry.

VITTI
I have to tell you, Doc, I’m not
thrilled with the level of service
up to this point.

BEN
Why don’t you tell me about your
friend?

VITTI
He’s a powerful guy. Never had
a problem dealing with things,
you know? Now all of a sudden,
he’s falling apart. He cries
for no reason. He’s having
trouble sleeping. And then he
started having these attacks. You
know, can’t breathe, dizzy, chest
pains — like you think you’re
gonna die.

BEN
Panic attacks.

(CONTINUED)

29.

22 CONTINUED: (6) 22

VITTI
What’s with all you doctors and
the fuckin’ panic? Did I say
panic?

BEN
Not panic. Dizzy — breathing —
chest pain attacks.

VITTI
Right. So the question is, what
can he do to make it stop?

Ben decides to go for it.

BEN
I’m going to go out on a limb
here. I think your friend is you.

VITTI
You — you — you — you have a
gift, my friend. Go on.

BEN
Medication could help, but if you
really want to get to the bottom
of this, you’re going to want to
get some kind of therapy.

VITTI
With you?

BEN
(hedging)
With me? Oh, I don’t know. I’d
have to look at my schedule. I’m
very heavily booked right now and
I’m going on a short vacation
tomorrow.

VITTI
Where you going?

BEN
I don’t really share that
information with…

VITTI
Where?

BEN
Miami Beach.

(CONTINUED)

30.

22 CONTINUED: (7) 22

VITTI
You know, this could be good. Just
getting that off my chest, I feel
better already. It’s like a load
is off my shoulders. Thank you.

BEN
Well, I really didn’t do anything —

VITTI
You did something. The load?
Off. Where is it? Don’t know.
You’re good, Doctor. I’ll be in
touch. But listen to me.
(leaning close,
menacing)
If I talk to you and it turns me
into a fag, I’ll kill you. You
understand?

BEN
Could we define ‘fag,’ because
some feelings may come up —

Vitti silences him with a wave of his hand.

VITTI
I go fag, you die. Got it?

BEN
Yes.

Vitti gives Ben a little pat on the cheek, then turns
and exits. Ben is stunned.

CUT TO:

23 OMITTED 23

23A EXT. BACK YARD – LATER 23A

Ben comes out the back door of the house carrying a
couple of suitcases. Michael follows behind him with
his bags. They cross to the car in the driveway.

BEN
I hope you didn’t leave any food
in your room. I don’t want to
come home and find a science fair.

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 31.

23A CONTINUED: 23A

MICHAEL
I didn’t. Hey, Dad? One thing
though.

BEN
Yeah?

MICHAEL
I go fag, you die.

BEN
Michael! That’s it! I am sealing
that vent.

MICHAEL
You are so cool, Dad. Was that
really Paul Vitti?

BEN
(throwing the bags
in the car)
I didn’t ask to see his Mafia
decoder ring, but yeah, it was
him. And you cannot tell anyone
he was here. You understand?

MICHAEL
Should I take it off the internet?

BEN
What?

MICHAEL
I’m kidding!

CUT TO:

24 OMITTED 24

24A EXT. MIAMI BEACH – DAY 24A

Helicopter SHOT of the hotels fronting the crowded beaches.

24B EXT. HOTEL SWIMMING POOL (MIAMI) – DAY 24B

LAURA MacNAMARA, a pretty and charming TV news
correspondent, is on the air live, surrounded by her
camera crew. Kids are frolicking in the pool, splashing
off the water slide behind her.

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 32.

24B CONTINUED: 24B

LAURA
So judging from the mob scene
around the pool here today, I
think you’d have to say that
there’s nothing ‘off’ about the
‘off-season’ in Miami Beach this
summer. Now, on a personal note,
this is my last report for
W.V.B.F. I’m getting married
to a wonderful man and moving
to New York, so if you’re up
that way, watch for me on the
W.P.I.X. news team. Thanks for
everything, Miami.
(voice catching
slightly)
For the last time, this is Laura
MacNamara, W.V.B.F. news.

She pulls a bouquet out from behind her back and tosses
it to the camera.

LAURA
Catch!

She smiles for a long beat.

PRODUCER
We’re clear.

Laura’s smile abruptly disappears.

LAURA
(to the crew, all
business)
I’ll do the re-asks, then you guys
can just shoot the inserts and
pack it up.
(looks off)
Ben!

Laura runs to Ben, standing on the sidelines, and
embraces him. Michael is there too.

LAURA
This is him, everyone! This is
the guy!

BEN
(to the crew)
Hi, everybody.

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 33.

24B CONTINUED: (2) 24B

LAURA
(as she hugs him)
Oh, I missed you.

BEN
I missed you too. Michael, say
hello.

MICHAEL
Hi, Laura.

LAURA
(a little too big)
This is Michael? I don’t think so.
If I remember correctly, Michael
was a little boy, and this, this
is a great big kid. Hey, you.
Tell us what you did with Michael
Sobol.

Ben and Michael look at each other out of the corners of
their eyes.

LAURA
Okay. Come on. Give me a break.
I’m trying.

MICHAEL
No, it was nice, but I’m fourteen
so it wasn’t — you know — age
appropriate.

LAURA
(smiles
appreciatively)
Sorry. Just smack me if I do that
again.
(hugs him)
How are you, Michael?

MICHAEL
Great.

There is an awkward silent moment, everyone smiling
uncomfortably.

BEN
Mike, you want to go look at the
camera?

MICHAEL
Why would I want to look at the
camera?

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 34.

24B CONTINUED: (3) 24B

BEN
‘Cause I bet there’s all kinds of
cool video stuff over there. Why
don’t you check it out?

MICHAEL
(gets the hint)
Oh, yeah.
(to Laura)
Is it okay?

LAURA
Go ahead. If you break something,
don’t worry. I’m out of here.

Michael crosses to the camera crew.

LAURA
You think he likes me?

BEN
Michael? He’s crazy about you. I
am too.

They embrace.

LAURA
You are? And you still really
want to get married?

BEN
Of course.

LAURA
But what if you get tired of me?
I know so many couples that were
really happy, then they got
married and just completely lost
interest in each other.

BEN
That’s not going to be us.

LAURA
I just don’t want to lose the
passion.

BEN
Yes, I’m brimming with passion.
I’m up to here with passion.

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 35.

24B CONTINUED: (4) 24B

LAURA
I want us to be like animals.
You know just screaming and
sweating and tearing at each
other all the time —

BEN
The sweating shouldn’t be a
problem. The tearing sounds
painful.

The SOUND GUY crosses over.

SOUND GUY
(embarrassed)
Uhh, Laura? You want me to take
your mic, or at least turn it off?

Laura looks over at the crew. It’s obvious that Michael
and the crew have heard this whole exchange.

LAURA
Oh my God.

25 OMITTED 25
& &
25A 25A

25B INT. WALDORF-ASTORIA – HOTEL CORRIDOR – NIGHT 25B

A room service cart with the remains of a sumptuous meal
is standing in the hall outside one of the rooms.

SHEILA (O.S.)
Oh my God! Oh, yes. Oh, yes.

CUT TO:

26 INT. HOTEL ROOM – SAME TIME 26

Vitti is in bed making love to his mistress, SHEILA, a
pretty woman in her late 20s. They’re really going at
it.

SHEILA
Oh, yes. Oh, yes.
(then)
Is everything okay, Paul?

(CONTINUED)

ANALYZE THIS – Rev. 7/9/98 35A.

26 CONTINUED: (A1) 26

VITTI
What are you talking for? I’m
trying to do this here.

SHEILA
You seem — distracted.

VITTI
I got things on my mind. Stop
talking.

SHEILA
Okay, I’m sorry. Just relax,
baby.

He goes back to lovemaking.

SHEILA
(after a beat)
Were you thinking about your wife?

(CONTINUED)

ANALYZE THIS – Rev. 7/21/98 36.

26 CONTINUED: 26

VITTI
No, I wasn’t thinking about my
wife.
(a long beat)
Now I’m thinking about my wife.
Goddamn it, Sheila, why can’t you
keep your mouth shut!

Completely frustrated now, he gets out of bed, leaving
her alone and confused.

SHEILA
(small voice)
I’m sorry, Paul.

CUT TO:

27 INT. BEN’S MIAMI HOTEL ROOM – NIGHT 27

Ben and Laura are nestled together in bed, asleep.

JELLY (O.S.)
(whispering)
Dr. Sobol. Dr. Sobol.

Ben stirs.

BEN
Mom?

Jelly’s head pops up on Ben’s side of the bed. Ben wakes
up and his eyes go wide. Jelly puts a finger to his lips.

JELLY
Mr. Vitti wants to see you. I
have your robe.

CUT TO:

28 OMITTED 28

29 UNDERWATER 29

Kelp. Rocks. Bubbles. A mermaid swims INTO VIEW and
meets up with another mermaid. They do beautiful back
flips under the water.

VITTI (O.S.)
You no-good little two-bit piece
of shit bastard!

(CONTINUED)

ANALYZE THIS – Rev. 7/21/98 37.

29 CONTINUED: 29

We PULL BACK to see the mermaids through the viewing
windows of a large tank behind the bar of the —

INT. WIKI WACHI LOUNGE – LITTLE LATER

A tacky dive with a tropical motif. Ben, in his robe, is
being berated by Vitti.

VITTI
I got news for you. I’m still
fucked up. Whatever you did the
other day, it didn’t take. You
did nothing for me.

BEN
(indignant)
I did nothing? What did you
expect? I saw you for five
minutes. I don’t work miracles,
Mr. Vitti. And I’ll tell you
something else. I don’t appreciate
it when someone breaks into my
hotel room and kidnaps me. I don’t
go for that. I have a family and
a life and a serious practice, and
I don’t have time for your
bullshit!
(sheepishly)
That got away from me near the
end.

Vitti stares at Ben.

VITTI
I couldn’t get it up tonight.

BEN
(stopped cold)
You mean sexually?

VITTI
No, I mean for the big game
against Michigan State. Of course
sexually!

BEN
You flew fifteen hundred miles and
dragged me out of bed in the
middle of the night because you
couldn’t get an erection?

VITTI
Doesn’t that prove I’m motivated?

(CONTINUED)

ANALYZE THIS – Rev. 7/21/98 38.

29 CONTINUED: (1A) 29

BEN
You can take a pill for that, you
know.

(CONTINUED)

39.

29 CONTINUED: (2) 29

VITTI
No, that’s a cheat. You start with
the pills, next thing you know you
got implants with pumps. I think
a hard-on should be gotten
legitimately or not at all.

BEN
Did you see that embroidered on a
pillow somewhere?

VITTI
Are you gonna help me or not?

BEN
I don’t believe this. All right.
Has this happened before?

VITTI
The dead dick thing? Never.
Well, one time. Tonight. And
another time.

BEN
So twice?

VITTI
Do the math. Two times.
(a beat)
There was another time. But it
was after a big meal, so, you
know, that don’t count.

BEN
Listen, being unable to perform
three or four times —

VITTI
Five.

BEN
Five times — it isn’t the end of
the world.

VITTI
Maybe not to you — look at you —
but if I can’t get it up, that
makes me less of a man and I can’t
have that.
(MORE)

(CONTINUED)

40.

29 CONTINUED: (3) 29

VITTI (CONT’D)
(moving closer
to Ben)
In my business I deal with
animals. They may seem dumb to an
educated guy like you, but make no
mistake about it, Doctor, animals
are very cunning. And they sense
weakness. Right now I’m an
injured animal. It’s only a
matter of time before one of the
lions out there catches the scent.
Then I’m dead. That’s the way it
is. If you don’t understand that,
then you don’t understand the life
I live and you don’t understand
me.

BEN
(nodding)
Okay.

VITTI
I have until the end of the week
to get strong or they’re gonna eat
me up. If they don’t kill me in
the meantime.

BEN
What happens next week?

VITTI
I can’t tell you and you don’t
want to know.

BEN
It’s impossible. I can’t do
anything that fast. And even
if I could, what’s my goal here?
To make you a happy, well-adjusted
gangster?

VITTI
Look, the other day I saw a
commercial on television, some kid
playing with a couple of puppies.
I cried for 45 minutes. Slap a
pair of tits on me, I’m a woman!

BEN
I’m sorry. I can’t help you.

VITTI
You’re turning me down?

(CONTINUED)

41.

29 CONTINUED: (4) 29

BEN
Mr. Vitti, when I got into family
therapy, this was not the family I
had in mind. I’m turning you down.

VITTI
You with your schmucky little
office in your schmucky little
house out there in Schmuckville —
you’re turning me down? What, so
you can spend more time listening
to housewives piss and moan about
how nobody fucks them right?

BEN
I’d like to go now.

VITTI
(starts to cry)
You see this? This is what I’m
talking about! I’m a dead man!

Ben turns away and starts for the door.

VITTI
(through the tears)
You call yourself a doctor? You
should be ashamed. A real doctor
couldn’t turn his back on a person
who’s suffering!

BEN
(finally)
All right.
(hands him a
handkerchief)
What happened with your wife tonight?

VITTI
(wiping away his
tears)
I wasn’t with my wife. I was
with my girlfriend.

BEN
You have a girlfriend? We could
do two months on that alone.

VITTI
What, you’re gonna start
moralizing with me now?

(CONTINUED)

42.

29 CONTINUED: (5) 29

BEN
Okay. Do you have marriage
problems?

VITTI
No.

BEN
Then why do you have a girlfriend?

VITTI
I do things with her I can’t do
with my wife.

BEN
Why can’t you do those things with
your wife?

VITTI
Hey. That’s the mouth she kisses
my children good night with.
What’s the matter with you?

BEN
Okay, okay. Have you been under a
lot of stress lately?

VITTI
You mean like seeing your best
friend murdered? Yeah, I got
stress.

BEN
Well, based on what you told me
before about your attacks, I’d
say that’s probably it then.

VITTI
It’s just stress?

BEN
I doubt if there’s anything
physically wrong with you.

VITTI
(brightening, pointing
a finger at Ben)
You. You. You’re very good.

BEN
There’s a lot more to it —

(CONTINUED)

43.

29 CONTINUED: (6) 29

VITTI
No, you’re right. You’re right on
the money. I can feel the juices
rushing back to my manhood as we
speak.

BEN
Well, I didn’t need to know that.

VITTI
This settles it. You’re my
shrink.

BEN
I can’t treat you, Mr. Vitti. I
don’t think you’re really ready to
open up and deal with —

VITTI
Listen to you. The honesty.
Nobody — and I mean nobody —
talks to me like this. I’m ready.
Let’s do it.

BEN
You don’t hear the word ‘no’ that
often, do you?

VITTI
I hear it all the time. Only it’s
more like, ‘No, no, please, no!’

BEN
(relenting)
All right. I’m here for two more
days. When we get back to New
York, I’ll treat you exclusively
for two weeks. I just need to
figure out what to tell my other
patients.

VITTI
You want me to clear your schedule
for you?

BEN
No thanks, I’ll handle it. Now
can I go?

Vitti throws his arms around him and kisses him on both
cheeks. A look of concern crosses Ben’s face.

(CONTINUED)

ANALYZE THIS – Rev. 7/21/98 44.

29 CONTINUED: (7) 29

VITTI
Thank you.

CUT TO:

29A INT. BEN’S MIAMI HOTEL ROOM – NIGHT 29A

Ben enters. Laura is sitting up in bed, pissed off.

LAURA
What is wrong with you? I woke
up, you were gone, no note or
anything. I’ve been going out of
my mind, Ben. I walked all over
the hotel looking for you. I
almost called the police!

BEN
Okay, listen. I’m going to tell
you the truth. I had a serious
patient emergency.

LAURA
You have patients in Florida?

BEN
Just one. He followed me here
from New York. I had to go.

LAURA
Who is this patient?

(CONTINUED)

45.

29A CONTINUED: 29A

BEN
Paul Vitti!
(a beat)
Paul Vitti.

A long beat.

LAURA
(worried)
Oh, Ben.

BEN
I know. But don’t worry. It’s
not like he’s a real patient.
He’s got this idea in his head
that I’m helping him. It’s crazy.

LAURA
You’re not going to treat him.

BEN
No.

LAURA
Tell me you’re not.

BEN
I’m not!

LAURA
That would be too scary. You
don’t want a person like that in
your life, believe me. I’ve
covered the mob down here. I’ve
seen what they can do.

BEN
Listen, it’s been taken care of.
I told him I couldn’t see him
again. He understood and it’s
over.

LAURA
You sure?

Ben nods.

LAURA
(tearing up)
I was so worried.

He hugs her and holds her tightly, feeling like a jerk
for lying to her.

CUT TO:

46.

30 INT. SEWING ROOM (NEW YORK) – NEXT MORNING 30

Immigrant garment workers cut and sew fabric.

31 INT. OFFICE – CONTINUOUS ACTION 31

This is Sindone headquarters. A few of his trusted guys
are in attendance: HANDSOME JACK, POTATOES, and MOONY,
his consigliere.

MOONY
It doesn’t figure. We take out
Manetta, what does Vitti do?
Nothing. Why doesn’t he move?

PRIMO SINDONE, a vain, pompous Mussolini, is standing on
a stool in his underwear, being fitted for a suit by a
nervous tailor.

SINDONE
Fuck him.

MOONY
I’m telling you, Primo, he’s
planning something big. The shit
is really gonna come down.

SINDONE
Then let it come down. Vitti’s a
tough guy but a lot of tough guys
got fed to the crabs off Red Hook
over the years.
(looking down at
the tailor)
You been down there a long time.
Are you measuring my inseam or
contemplating a lifestyle change?

Sindone nods for the tailor to get out.

MOONY
Primo? What about Vitti?

SINDONE
Vitti. Vitti. The whole time we
were growing up, he was the smart
guy; I was the dope. My father
was a nickel-and-dime shitheel;
his father had it all. Vito
Genovese blew it at Apalachin
because he forgot to kill Gambino
before the meeting.
(MORE)

(CONTINUED)

47.

31 CONTINUED: 31

SINDONE (CONT’D)
I won’t make the same mistake. I
want Paul Vitti dead — now. You
two astronauts think you can handle
that?

Handsome Jack and Potatoes nod their agreement.

HANDSOME JACK
You got it, Primo.

DISSOLVE TO:

32 MAN WITH FISH HANGING FROM HIS MOUTH 32

A killer whale leaps up and takes it from between his
teeth.

EXT. MIAMI SEAQUARIUM – CONTINUOUS ACTION

The audience in the stands applaud as the killer whale
splashes back into the water.

32A LAURA AND MICHAEL 32A

are clapping. Ben is clearly bored.

LAURA
(to Ben)
Come on. Get into it.

BEN
I don’t understand. They jump
out of the water, they splash,
they eat fish. It’s not a real
stretch for a whale. If they
did a number from West Side
Story, then I’d be into it.

LAURA
Just stop.
(to Michael)
We’re having fun, right?

MICHAEL
Well, to be real honest. I’m
not having as much fun as it
looks like I am. I’m pretending,
you know, because we have to
bond and everything.

(CONTINUED)

48.

32A CONTINUED: 32A

Laura looks at Ben.

BEN
(to Laura)
You’ve got to admire the openness.

MICHAEL
(a tad too excited)
Here comes the whale again!

32B TANK 32B

The whale leaps high in the air and crashes back down,
sending a wall of water flying into the first few rows.

JELLY AND JIMMY

walking by the tank, get soaked by the huge wave.

JIMMY
Fuck me!

STANDS

Ben looks and sees Jelly beckoning him.

BEN
(to Laura and
Michael)
I’m hungry. Yeah, I’m going to
get a hot dog. Who wants a
hot dog?

MICHAEL
(rising)
I’ll go with you.

BEN
No, I’ll go. You’re pretending
to have a good time. I don’t
want to spoil that. Be right
back.

CUT TO:

33 EXT. VOMITORIUM – MOMENTS LATER 33

Ben confronts Jelly and Jimmy, who are soaked to the skin.

(CONTINUED)

49.

33 CONTINUED: 33

BEN
What is this? Are you guys
following me?

JIMMY
Fuckin’ fifteen-hundred dollar
suit. You think the whales piss
in that water?

JELLY
No, I think they use the men’s
room next door at the Burger King.
(to Ben)
Mr. Vitti wants to see you.

BEN
Is this a joke?

JELLY
You’re an employee of Mr. Vitti’s.
That means you’re on call twenty-
four hours a day just like the
rest of us.

BEN
No, he and I discussed this. I
told him I’d see him when I got
got back to New York.

JELLY
Don’t be a skavootz. It is what
it is. If he needs you sooner,
you go.

BEN
No, I’m not going, and if you
bother me again I won’t treat him
at all. Understand? That’s it.
End of story.

CUT TO:

34 AQUARIUM VIEWING WINDOW 34

Ben plunges into the tank in the middle of a school of
sharks. He screams silently underwater and swims
desperately for the top.

A couple of families watching THROUGH the viewing window
laugh and applaud as if it’s part of the show.

CUT TO:

50.

35 SANDCASTLE 35

An alligator loafer steps down on it. We TILT UP TO a
SEVEN-YEAR-OLD BOY with a shovel and pail.

BOY
Asshole.

After a beat, a ten dollar bill falls where the
sandcastle was. The Boy’s face instantly brightens.

BOY
Thanks, mister.

EXT. BEACH – DAY

The alligator loafer belongs to Jelly. He’s walking with
Jimmy and other bodyguards who form a loose protective
perimeter around Ben and Vitti as they walk along the
shore. All the guys are wearing loud Jersey beach
outfits.

BEN
They threw me in the shark tank,
Paul. The shark tank!

VITTI
They were trying to make a point.

BEN
What, that you’re a scary guy?
I get it.

VITTI
You’re in a mood, you know that?

BEN
Yeah, I get that way when a shark
tries to chew on my ass.

VITTI
Okay. Okay. Calm down.

BEN
I don’t want to calm down. My
girl friend saw me all wet?
I told her I fell into a tank
with the manatees. I lied to
her last night, now this. I
don’t like it.

VITTI
Manatees. That’s a funny word.
Manatees.

(CONTINUED)

51.

35 CONTINUED: 35

BEN
I’m glad you’re entertained.
What’s the problem?

VITTI
Oh, I can tell you really care.

BEN
Okay. What’s going on?

VITTI
I had an episode. Not an actual
panic attack, but I started
panicking a little thinking I
might have one. Does that seem
weird to you?

BEN
I’m redefining ‘weird’ on an
hourly basis. What were you
thinking about when you started
feeling anxious?

VITTI
I don’t know. The usual bullshit.
Family problems.

BEN
Which family?
(referring to
bodyguards)
This one?

VITTI
No, regular family.

BEN
(stops)
I want you to draw a picture of a
house. In the sand.

VITTI
What kind of house? A warehouse?
A whorehouse? My house? What
house?

BEN
A house.

VITTI
Why?

BEN
I’ll tell you after you do it.

(CONTINUED)

52.

35 CONTINUED: (2) 35

Vitti bends over and starts drawing in the sand.

VITTI
This is good. I come to Florida
and draw pictures in the sand like
a jerkoff.

36 BENCH 36

TINO, a local Miami hitman, is covertly watching Ben and
Vitti on the beach. He talks into a cell phone.

TINO
I don’t know what they’re doing.
He’s talking to some guy. Looks
like Vitti is drawing something in
the sand… What’s he drawing?
What am I, Superman? I’m a
hundred yards away — I can’t see
shit… No way, he’s got that fat
Jelly with him and his partner,
Jimmy Boots. We could take him
out with a rifle and a scope, but
I don’t have any of that shit with
me. My scope’s in the shop…
Nah, it’s a warranty item… Hey,
don’t sweat it. You told me to
take care of him, I’ll take care
of him… Okay, I’ll call you
back.

37 BACK ON BEACH 37

Vitti finishes drawing.

VITTI
There. You happy?

BEN
Where are the people?

VITTI
What people? You told me to draw
a house.

BEN
I know. But usually when people
draw a house they draw people.
Where are the people who live in
your house?

(CONTINUED)

53.

37 CONTINUED: 37

VITTI
Well, you see, they’d come out and
say hello, but the whole family’s
in the Witness Protection Program.
It’s very sad. What the fuck you
want from me?

They start walking.

BEN
Okay, forget the house. I’m going
to say some words, and you say
the first thing that comes into
your mind.

VITTI
Good, more games. Shoot.

BEN
Home —

VITTI
— plate.

BEN
Mother —

VITTI
— fucker.

BEN
Father —

VITTI
— forgive me for I have sinned.

BEN
Wife?

VITTI
(clears his throat)
Love.

BEN
Son?

Vitti looks out to sea.

BEN
Son?

Ben can’t see his face, but Vitti’s eyes are full of
tears. He wipes his eyes.

(CONTINUED)

54.

37 CONTINUED: (2) 37

VITTI
See this? Again with the crying.
Let’s get out of here. We’re
being watched. Don’t look.
There’s Feds on the roof of
the hotel.

BEN
How do you know that?

VITTI
I’m a criminal. It’s my job.

CUT TO:

38 EXT. HOTEL ROOF – DAY 38

FBI AGENTS STEADMAN, RICCI, and PROVANO CLICK away with
long-lens CAMERAS as they watch from the rooftop.

AGENT RICCI
Who’s the new face?

AGENT STEADMAN
I don’t know. Get somebody down
there to see what he drew in the
sand.

AGENT PROVANO
Whoever this guy is, he must be
important to the family.

AGENT STEADMAN
Maybe he’s Vitti’s new
consigliere. Put his picture
on the wire and see what you
come up with.

CUT TO:

39 INT. VITTI’S SUITE – DAY 39

Vitti, Ben and Jelly enter the suite. MARIE, Vitti’s
wife, and their children, THERESA, 14, ANNA, 10, and
ANTHONY, seven, are there. Vitti greets them warmly,
suddenly a different man.

VITTI
Look at this, the whole crew.
(kissing Marie)
You all right? Good flight?

(CONTINUED)

55.

39 CONTINUED: 39

MARIE
Yeah, we’re fine. We’re on our
way to the pool. Kids, get your
stuff. We’ll get out of your way.

VITTI
That’s okay. Marie, this is a
friend of mine, Ben Sobol.
(as they AD LIB
greetings)
He’s — from the boat. A fishing
boat captain. Cuban refugee.

MARIE
(shaking his hand)
Nice to meet you, Senor Sobol.

Ben looks to Vitti, then to Marie.

BEN
Gracias.

VITTI
And this is Theresa and Anna —

ANNA
Anne.

VITTI
— Anna, and the big guy, Anthony.

Anthony gives Ben a manly handshake.

ANTHONY
How you doin’?

BEN
Nice to meet you.

VITTI
(noticing Theresa’s
bikini)
Jesus, Theresa, you are not
wearing that suit to the pool.

THERESA
What do you want me to wear, a
one-piece?

VITTI
I want you to wear one of those
Arab bathrobes with a veil over
your face, is what I want.

(CONTINUED)

56.

39 CONTINUED: (2) 39

THERESA
Mom!

MARIE
Don’t worry about it, Paul. We’ll
be back in time for dinner.

VITTI
Okay, babe. Hey, Anthony. Guess
what I got?

ANTHONY
What?

VITTI
(holds up some
tickets)
Marlins and the Braves — right
behind home plate, tonight.

ANTHONY
You and me?

VITTI
Of course, you and me.
(hugs him)
Have fun at the pool. Stay out
of the deep end. And don’t swim
for a couple hours after you eat.

ANTHONY
Okay, Papa.

He kisses his father and exits with the others.

VITTI
(to Jelly)
Send Jimmy down with them.

JELLY
Already done.

Jelly exits.

BEN
Nice family. Cuban fishing boat
captain?

VITTI
I can’t tell Marie you’re a
shrink. She’d worry, you know.

(CONTINUED)

57.

39 CONTINUED: (3) 39

BEN
About this? I think she’d be
more worried about your career
choice.

VITTI
Just keep going with the therapy.

He crosses to the bar, pours himself a drink, and lights
a cigarette.

BEN
You know, normally a patient
wouldn’t smoke or drink during a
session.

VITTI
(blowing smoke)
That’s an interesting fact I’ll
have to remember if I’m ever on
‘Jeopardy.’

BEN
So tell me about your father.

VITTI
My father. He was a big man in
the neighborhood — very well
respected. Everybody loved him,
God rest his soul.

BEN
He passed away?

VITTI
No, I just like saying ‘God rest
his soul.’ Yeah, he passed away.
He died when I was about twelve.

BEN
How?

VITTI
Heart attack. Sudden thing.

BEN
Were you and your father close?

VITTI
Close? Yeah, you know, pretty
close. I guess we weren’t getting
along that great right then.

(CONTINUED)

58.

39 CONTINUED: (4) 39

BEN
Why was that?

VITTI
I was hangin’ out in the
neighborhood. I had a borghata
— like a kid gang — hooligan
shit, nothin’ big. But my
father didn’t like it.

BEN
You fought about it?

VITTI
He slapped the shit out of me.

BEN
And then?

VITTI
And then that night he died.

BEN
How did that feel?

VITTI
It felt great! How did it feel?
(shrugs)
I don’t know.

BEN
Well, think about it. Were you
angry, were you afraid? Sad?

VITTI
Yeah, I guess.

BEN
Any feelings of guilt?

VITTI
About what? I didn’t kill him.

BEN
I’m just speculating, but maybe in
some way you wanted him to die.

VITTI
Why would I want my father to die?

(CONTINUED)

ANALYZE THIS – Rev. 7/24/98 59.

39 CONTINUED: (5) 39

BEN
Well, you said you were fighting.
You were rebelling against his
authority. There may have been
some unresolved Oedipal conflict.

VITTI
English.

BEN
Oedipus was a Greek king who
killed his father and married his
mother.

VITTI
Fuckin’ Greeks.

BEN
It’s an instinctual developmental
drive. The young boy wants to
replace his father so he can
totally possess his mother.

VITTI
Are you saying I wanted to fuck my
mother?

BEN
It’s a primal fantasy —

VITTI
Have you seen my mother? That is
the sickest fucking thing I’ve
ever heard.

BEN
It’s Freud.

VITTI
Well, then Freud’s a sick fuck,
and you are too for bringing it
up.

CUT TO:

39A OMITTED 39A
and and
40 40

ANALYZE THIS – Rev. 7/24/98 60/61.

40A INT. OCEAN VIEW RESTAURANT – NIGHT 40A

Laura’s family, the MacNamaras, and a few close friends
have gathered for the rehearsal dinner. There are three
tables in a roped-off section of the restaurant with large
floral centerpieces, a small bar in the corner. The
MacNamaras, SCOTT and BELINDA, are standing with Laura,
Ben, Michael and a couple of other relatives.

BELINDA
Well, isn’t this wonderful, all
of us finally getting to spend
some time together.

(CONTINUED)

ANALYZE THIS – Rev. 7/22/98 62.

40A CONTINUED: 40A

SCOTT
All set for the big day, Ben?

BEN
Can’t wait, Scott. Can I call
you ‘Scott?’

SCOTT
My friends call me ‘Captain.’

BEN
Captain.

BELINDA
Well, if tomorrow goes as
well as the rehearsal, I’d say
it’s going to be a beautiful
wedding.

BEN
Yes, thanks for going to all this
trouble, and I have to thank you
and the Captain for something
else.

SCOTT
For what?

BEN
(pointing to Laura)
For this.

Everyone “ahhs” as Ben gives Laura a peck on the cheek.
Michael makes a face.

LAURA
(to Ben)
Would you like a drink, because
I’m definitely having eight or
nine.

BELINDA
(disapproving)
Shall we go to the table?

As the woman go to their seats, Scott holds Ben back for a
private moment.

SCOTT
Ben, there’s a lot I’d like to
say to you, but I’m going to
skip the big father-in-law
speech because I know you’ve
been married before.

(CONTINUED)

ANALYZE THIS – Rev. 7/22/98 63.

40A CONTINUED: (2) 40A

BEN
Technically, it wasn’t considered a
marriage. It was like the Korean
War — more of a police action.

SCOTT
I served in Korea, son. I don’t
think you’d be laughing if you’d
seen some of the things I saw.

BEN
You’re right. Sorry.

VITTI (O.S.)
Senor Sobol!

Everyone turns to see Paul and Marie Vitti coming into
the room, followed by their kids and a knot of bodyguards.
Ben’s face falls. He rushes over to intercept them.

BEN
(sputtering)
Mr. Vitti! How are you? Mrs.
Vitti! Honey, it’s the Vittis!

Laura glares at Ben.

VITTI
(charming)
Look at everybody. Everybody’s
smiling, everybody’s happy. Nice.
This is Marie, my girls, my boy,
then all these guys.

BEN
Mr. and Mrs. Vitti, this is Laura,
my fiancee.

VITTI
Nice to meet you.

LAURA
(stunned)
Thank you very much.

A tense moment. Ben presses on.

BEN
And this is my son Michael.

(CONTINUED)

ANALYZE THIS – Rev. 7/22/98 64.

40A CONTINUED: (3) 40A

VITTI
Whoa. He’s a bruiser.
(to Ben)
You’re sure this is your kid?
You’re a pound and a half soaking
wet. I’ve had lobsters bigger
than you.
(to Michael)
You ever want a job, you come talk
to me, right?

MICHAEL
Seriously?

BEN
Michael!

SCOTT
You’re Paul Vitti. The mobster.

BEN
Mr. MacNamara — uh —

VITTI
Excuse me. Is that polite? Is
it? I’m trying to be nice here.
Do I walk up to you and go,
‘You’re whoever you are. The
prick’?

MARIE
Paul!

BEN
Mr. Vitti, this is Laura’s father.

VITTI
Yeah? Okay, well, sorry. But
you should know, there is no mob,
and, P.S., I personally have
never been convicted of a crime.
(to Jelly)
We’re nine for nine, right?

JELLY
That’s right.

Vitti takes an envelope from his jacket pocket and
presses it into Laura’s hand.

(CONTINUED)

ANALYZE THIS – Rev. 7/22/98 65.

40A CONTINUED: (4) 40A

VITTI
(quietly)
I heard about the wedding. Here
you go. A little something for
the bride and groom. God bless.
You should live and be well.

LAURA
Mr. Vitti, we can’t accept this.

VITTI
Yeah, you can. Now, if you don’t
mind, I just need to borrow this
guy for a couple of minutes, then
that’s it. I’m out of here.
Okay?

LAURA
Okay. Then you leave us alone,
right?

VITTI
Of course. I wouldn’t do anything
to screw up your wedding.
(to Ben)
I gotta talk to you. Come on.
(to group)
Have a great night, everybody.
Nice to meet you.

Vitti starts for the door.

BEN
(to Laura)
I’ve just got to talk to him for a
sec. You okay?

LAURA
I’ve never been less okay.

BEN
Great.

Ben is yanked away by Jimmy. Marie stands with Laura.

MARIE
I bet you eat a lot of fish since
your fiance’s in the business.

Laura stares.

CUT TO:

ANALYZE THIS – Rev. 7/22/98 66.

40B EXT. TERRACE – FEW MINUTES LATER 40B

Vitti, Ben and Jelly step out.

VITTI
(to Jelly)
Watch that door. And don’t listen
to what we say.

JELLY
My ears are sealed.

VITTI
(to Ben)
Okay, listen. I had a really
weird dream last night.

BEN
I feel like I’m having one right
now. How could you interrupt
our party?

VITTI
You know, you’re very rigid about
certain things.

BEN
Just tell me the dream.

VITTI
Okay. I’m asleep. I hear a baby
crying. I go to the refrigerator,
I get a bottle of milk, I take it
to the baby, but when I go to give
it to him, I see that the milk is
black.

JELLY
That’s fuckin’ weird.

VITTI
Okay, get out of here!

JELLY
Sorry.

Jelly exits.

VITTI
(to Ben)
What’s it mean? And I don’t want
to hear any more filth about my
mother.

(CONTINUED)

ANALYZE THIS – Rev. 7/22/98 66A.

40B CONTINUED: 40B

BEN
I don’t know what it means. What
does it mean to you?

VITTI
This is what I’m paying you for? I
say something, you say it right
back to me? I could get Jelly to
do this for nothing.

BEN
Then get Jelly.

Ben starts to walk off the patio and comes face to face
with Laura’s father, Scott.

BEN
Mr. MacNamara.

Ben exits. Scott MacNamara stares suspiciously at Vitti,
wondering about his connection to Ben.

(CONTINUED)

ANALYZE THIS – Rev. 7/13/98 67.

40B CONTINUED: (2) 40B

VITTI
(to Scott)
Why don’t you look over that way
before I have to bust your fuckin’
head open?

Scott looks away, terrified, as Vitti exits past him.

CUT TO:

40C OMITTED 40C
& &
40D 40D

40E EXT. HOTEL COURTYARD – DAY 40E

The sun shines brightly on the wedding day. Guests are
assembling for the ceremony.

CUT TO:

41 INT. HOTEL ENTRANCE – MOMENTS LATER 41

Tino, the hitman, arrives and saunters into the hotel.

CUT TO:

42 INT. AREA OUTSIDE HOTEL ROOM – MOMENTS LATER 42

Jelly walks up to one of the bodyguards.

JELLY
I’m gonna get something to eat.
You want like a sandwich or
somethin’?

BODYGUARD
Yeah. What kinda sandwich isn’t
too fattening?

JELLY
A half a sandwich.

BODYGUARD
Sounds good.

JELLY
I’ll be back in about twenty
minutes.

The elevator arrives, Jelly gets in and the doors close
behind him.

ANALYZE THIS – Rev. 7/13/98 68/69.

43 ANOTHER ELEVATOR 43

The doors open and the Bodyguard turns to look. TWO
SHOTS from a PISTOL with a SILENCER strike him in the
chest and he falls to the floor dead. Tino steps out and
drags the body to the stairwell.

44 OMITTED 44

44A EXT. HOTEL COURTYARD – LATER 44A

The guests are seated, Ben and Michael stand with the
justice of the peace as Scott walks Laura down the aisle.
The harpist is playing and all’s right with the world.
Scott shakes Ben’s hand.

SCOTT
(quietly, to Ben)
Nod your head and smile. Now, you
listen to me, goombah. I know what
your game is, and you’d better
call it quits, because if you and
your paisans do anything to hurt
my little girl, I’ll kill you.
Understand? Nod and smile.

Scott crosses away.

LAURA
(sotto)
What was that about?

BEN
Nothing. Your father thinks I’m
in the Mafia.

LAURA
Oh.

BEN
Let’s get married.

CUT TO:

45 INT. VITTI’S HOTEL SUITE – SAME TIME 45

Using a stolen pass key, Tino quietly opens the door and
enters. He steps into the living room and hears WATER
RUNNING in the bathroom. He stealthily approaches the
bathroom door and draws his pistol with a silencer on it
from under his jacket.

70.

46 INT. BATHROOM – SAME TIME 46

Vitti stares at his reflection in the mirror, then starts
washing his face. In the mirror we can see the door
starting to open behind him, and the long barrel of
Tino’s pistol through the crack. Vitti blindly gropes
for a towel and starts drying his face.

47 INT. VITTI’S BEDROOM – SAME TIME 47

Tino is about to shoot when Jelly comes up behind him,
throws one strong arm around his neck in a powerful
choke-hold, and grabs Tino’s gun-hand with his free hand.

Vitti hears the sounds of a scuffle, steps out of the
bathroom, and sees Jelly struggling with Tino.

Tino gets off a couple of wild SHOTS, but Jelly finally
shakes the GUN loose from Tino’s hand.

Vitti picks up the gun and puts it to Tino’s head. Tino
shuts his eyes and turns away, expecting the shot, but
then Vitti’s hand starts to shake and he breaks into a
cold sweat.

Tino opens his eyes, sees Vitti frozen, and starts
fighting with renewed strength. Jelly hangs on, looks at
Vitti with concern, then wrestles Tino out onto the
balcony.

CUT TO:

47A EXT. HOTEL COURTYARD – DAY 47A

The ceremony is in progress.

JUSTICE
If any man here knows why these
two people should not be joined in
holy matrimony, let him speak now
or forever hold his peace.

A beat, then a SCREAM is heard from above, then Tino
crashes into a buffet table in the b.g. Wedding guests
react in horror.

CUT TO:

48 OMITTED 48
& &
49 49

ANALYZE THIS – Rev. 7/20/98 71.

50 INT. VITTI’S SUITE – LATER 50

Jimmy and Jelly are hastily throwing clothes into
suitcases. Vitti comes out of the bedroom hurriedly
buttoning up his shirt.

VITTI
(urgently, to Jelly)
Tell Mikey to take Marie and the
kids right to the airport.
(to Jimmy)
You get the car, bring it around
to the back and wait for me.

Ben bursts into the room.

BEN
That’s it. I’ve had it with you!

VITTI
What happened?

BEN
What happened? I just saw a man
fall seven stories into a platter
of poached salmon! That’s what
happened.

VITTI
Did he break anything?

BEN
Yes. Everything! They’re still
picking the capers out of his
forehead.

VITTI
Hey, people get depressed, they
jump. It’s a human tragedy,
but it’s not my fault.

BEN
You’re telling me it was suicide?

VITTI
(to Jelly)
I think he left a note. Jelly,
did they find that note?

JELLY
No, but they will in a minute.

BEN
Oh, yeah, here it is.
(MORE)

(CONTINUED)

ANALYZE THIS – Rev. 7/20/98 72.

50 CONTINUED: 50

BEN (CONT’D)
(picks up a
slip of paper,
pretends to read)
‘Life is bullshit. I can’t
fuckin’ take it no more. Tino.’

VITTI
Enough talking. We got to get
out of here. The place is
crawling with feds. I’m going
back to New York and I suggest
you do the same. They’re
probably onto you too now.

BEN
Onto me? What are you talking
about? Being an accessory to
murder was not part of our
understanding.

VITTI
Hey, why you busting my balls? I
didn’t kill him. I can’t speak
for everyone in the room, but —
(he looks
at Jelly)
The son-of-a-bitch came after me!
It was self-defense. Trust me,
Doc. In this one, we’re the
good guys.

Suddenly Laura bursts into the room, still in her wedding
dress, but disheveled.

BEN
Laura!

LAURA
(distraught, to
Vitti)
How could you do that?

VITTI
Great. Another country heard from.
(sotto voice
to Ben)
Get her outta here.

BEN
Honey, why don’t you wait
downstairs?

(CONTINUED)

ANALYZE THIS – Rev. 7/20/98 73.

50 CONTINUED: (2) 50

LAURA
Why, they’re going to throw me
off the balcony, too?
(to Vitti)
I am thirty — over thirty years
old and all my life I have dreamed
of walking down the aisle in a
beautiful white dress and
marrying the man I love.

VITTI
That’s a beautiful dress.

LAURA
Thank you, but it’s not about the
dress! We were supposed to get
married!

VITTI
You’re upset.

LAURA
Of course I’m upset!
(to Ben)
I’m going downstairs to pack, then
I’m going to New York and I’m
getting married with you or
without you. Okay?

BEN
I’ll be right there.
(walks her
to the door)
Everything’s going to be all
right. I promise.

He kisses her and closes the door behind her.

BEN
Are you happy now? You ruined my
life!

VITTI
What, you think I wanted this?
I’m the victim here! I swear,
I’m going to kill that
son-of-a-bitch!

BEN
Is that all you know? Do you
hear yourself? I knew this
would happen.
(MORE)

(CONTINUED)

ANALYZE THIS – Rev. 7/20/98 74.

50 CONTINUED: (3) 50

BEN (CONT’D)
This whole thing has been one
big disaster from the minute
you walked into my office.
We’re finished! You hear me?
I am no longer your doctor!

VITTI
Just ‘cause of this?

BEN
Of course because of this! You
don’t have even the tiniest shred
of human decency. All you know
is threats and violence and
that’s all you’ll ever know and
I can’t be around that!

Vitti stares at Ben for a long beat.

VITTI
What do you want me to do?

CUT TO:

51 INT. SINDONE’S OFFICE – CONTINUOUS ACTION 51

Sindone is watching “America’s Most Wanted,” rooting for
the criminals. Moony comes to him looking concerned.

SINDONE
How come I can’t get on this show?
This is a good show.

MOONY
Primo. You got a phone call.
It’s Paul Vitti.

SINDONE
(warily)
Vitti.
(picks up the phone)
Hello?

INTERCUT Vitti and Sindone.

Vitti is on the phone, struggling to contain his rage.
Ben watches.

VITTI
Primo, it’s Paul Vitti.

(CONTINUED)

ANALYZE THIS – Rev. 7/20/98 74A.

51 CONTINUED: 51

SINDONE
Yeah, how’s it goin’?

VITTI
Not good. Whoever killed Dominic
is shooting at me now and I’m
having a lot of feelings about it
and I’d like to get some kinda —

BEN
Closure.

VITTI
— closure on this.

Ben nods in encouragement.

SINDONE
What kind of feelings?

VITTI
I feel very angry, you know. Very,
uh, enraged. Mad. Real mad.

Thumbs up from Ben.

SINDONE
So why you telling me?

VITTI
Why am I telling you? Like you
had nothing to do with it?

SINDONE
I don’t know what you’re talking
about.

VITTI
Okay, whatever, I just wanted to
tell you how I feel because I know
that anger is —

He looks at Ben.

BEN
A blocked wish —

VITTI
— a blocked wish, and I’m getting
my wish unblocked and I’m looking
forward to getting some
closure —
(MORE)

(CONTINUED)

ANALYZE THIS – Rev. 7/20/98 74B.

51 CONTINUED: (2) 51

VITTI (CONT’D)
(loses it)
— and if you make one more move
on me I swear to God I’ll cut
your fuckin’ balls off and shove
‘em up your ass!

SINDONE
Vaffancul’!

Vitti rips the phone cord out of the jack and smashes the
phone against the wall. He stands there fuming. Sindone
hangs up the phone on his end, worried.

SINDONE
Get a dictionary and find out what
this ‘closure’ is. If that’s what
he’s hitting us with, I want to
know what the hell it is.

CUT TO:

51A INT. VITTI’S SUITE – MOMENTS LATER 51A

Vitti is still fuming.

VITTI
Good?

BEN
Yeah, right up until the shoving
the balls. You can’t keep doing
this! You want to get physical?
Take a walk. Get a punching bag.
Hit a pillow.

Vitti whips out a .9MM AUTOMATIC and EMPTIES the CLIP
into a pillow on the couch.

VITTI
There’s your fucking pillow.

BEN
Feel better now?

VITTI
Yeah, I do.

CUT TO:

52 OMITTED 52
thru thru
57 57

ANALYZE THIS – Rev. 7/20/98 74C.

58 LARGE ITALIANATE FOUNTAIN 58

Cheeky marble cherubs bathe in the soaring jets and
bubbling pools of a large rococo fountain.

PULL BACK TO:

(CONTINUED)

75.

58 CONTINUED: 58

EXT. BEN’S DRIVEWAY – DAY

Ben, Laura and Michael are staring up at the elaborate
fountain that now fills the back yard.

BEN
Call the Vatican. Ask them if
anything’s missing.

MICHAEL
So cool!

JANET
Michael, get your bags out of the
car, please.

MICHAEL
It’s almost as tall as the house!

Michael crosses away. Laura glares at Ben.

BEN
(reads the card)
He felt bad. It’s a wedding gift.

LAURA
Well, we’re not married, so I
guess we’ll have to send it back.

BEN
Hey, don’t blame me. You didn’t
want to finish the ceremony.

LAURA
What did you expect? You think
that’s what I want to remember on
our anniversary? ‘Gee, honey,
let’s go look at the wedding
video. There’s my parents,
there’s your parents, and there’s
the guy who plunged to his death.’

BEN
I just want to marry you.

LAURA
I’m starting to think that’s not
going to happen.

BEN
Come on. Next Saturday. It’s all
set. I even asked for a room with
a low ceiling, just to discourage
the jumpers.

(CONTINUED)

76.

58 CONTINUED: (2) 58

LAURA
And who’s going to be there?

BEN
Us three, a clergyman, and any
family members who’ve completed
their crisis counseling.

LAURA
And no guests without necks.
Everybody has to have a neck.

BEN
We’ll do a neck check at the door.

They kiss.

CUT TO:

59 INT. SOBOL FAMILY ROOM – MOMENTS LATER 59

The back door opens and Ben, Laura and Michael enter,
struggling with the luggage.

They freeze. Sitting in the family room are the three
FBI agents: Steadman, Ricci and Provano.

AGENT STEADMAN
(showing his badge)
Doctor Sobol, Mrs. Sobol — I’m
Agent Steadman, Agent Ricci, Agent
Provano, Federal Bureau of
Investigation, O.C.D.

BEN
(stunned)
Obsessive-compulsive disorder?

AGENT PROVANO
Organized Crime Division. We
need to talk.

Laura recognizes Provano from the hotel and glares
at him.

MICHAEL
The FBI! This is better than
the fountain!

BEN
Michael, go to your room.

(CONTINUED)

77.

59 CONTINUED: 59

MICHAEL
But —

BEN
Go!

MICHAEL
Fine. I can hear better in there
anyway.

Michael exits. On the coffee table are dozens of pictures
of Ben and Paul Vitti taken in Miami and just about
everywhere else.

BEN
(a beat)
So. FBI.

AGENT STEADMAN
Can you explain these photographs,
Doctor Sobol?

BEN
I’m a psychotherapist. Paul
Vitti is my patient.

LAURA
Was your patient.

BEN
Right. Was. That’s what I meant.

LAURA
But not like a real patient.

BEN
Right.

PROVANO
So why did he send you that
fountain?

BEN
That was a gift to celebrate the
completion of his therapy. We
got our television from an
agoraphobic, so it’s not that
unusual — you know, maybe you
should discuss this with my
attorney.

LAURA
Yeah, maybe you should.

(CONTINUED)

78.

59 CONTINUED: (2) 59

AGENT STEADMAN
Doctor Sobol, Paul Vitti is an
extremely dangerous man. We’re
talking conspiracy, fraud,
extortion, racketeering,
grand theft, murder…

BEN
Well, yeah, but don’t forget, the
man is a sociopath. You’ve got
to expect that kind of behavior —

Ben looks out the window and does a double take.

60 BEN’S POV 60

Isaac and Dorothy are standing in the yard, gawking
at the fountain.

61 BACK IN FAMILY ROOM 61

BEN
Excuse me, fellas. My folks are
here and I’d like to — well, die
would be my first choice. Can I
go out?

AGENT RICCI
It’s your house.

LAURA
Too bad you didn’t remember that
when you were breaking in.

BEN
(as he goes)
Honey, maybe the federal agents
would like something to drink?
Could you see what we have?

LAURA
(firmly)
No.

BEN
(to the Agents)
I tried, guys.

Ben exits.

CUT TO:

79.

62 EXT. BACK YARD – CONTINUOUS ACTION 62

Ben rushes up to Isaac and Dorothy.

BEN
Hi! What a surprise.

Ben kisses his mother as she stares at the fountain.

DOROTHY
That certainly makes a statement.
It’s a little big for the yard,
don’t you think?

BEN
What can I tell you, Mom? It
looked much smaller in the store.

ISAAC
Think it’ll affect your water
pressure?

BEN
I think it’ll affect the tides.
What are you doing here?

DOROTHY
Your father and I are just very
concerned about what happened
in Florida.

ISAAC
How was your flight home? Anyone
hang themselves in first class.

DOROTHY
We got in last night, we couldn’t
sleep a wink. Is Laura inside?

BEN
Yeah, but she and Michael are
spending some time alone, you
know, getting to know each other.
That’s important. I don’t want
to disturb that dynamic.

DOROTHY
(a beat)
So you’re not going to invite us
in?

BEN
(a beat)
No.

(CONTINUED)

80.

62 CONTINUED: 62

DOROTHY
(insulted)
Well, I’m going to wait in the
car. There’s too much spray.

Dorothy crosses away.

ISAAC
All right. What’s with you and
Paul Vitti?

BEN
Well, Dad, I’m not at liberty to
discuss that.

ISAAC
He’s your patient? Are you
joking? Have you thought about
what this could do to your
reputation?

BEN
You, know, I always wanted to be
great, but then I realized that I
might have to settle for just being
good enough. Now I’ve got this guy
who’s hurting and I’m thinking that
if I can help this guy, maybe I can
be a little bit great.

ISAAC
Jesus, Ben, you’re the one who’s
going to be hurting. I want you
to stop seeing him.

BEN
Didn’t you read your own book?
Instead of trying to run my
life, why don’t you just close
your eyes, take a deep breath, tell
me what you feel, tell me what
you want.

ISAAC
(uncomfortable)
This is bullshit.

BEN
You wrote it.

(CONTINUED)

81.

62 CONTINUED: (2) 62

ISAAC
Okay.
(with difficulty)
I love you — and I’m afraid for
you — I want you to be safe —
and I want you to have a good life.

BEN
(deeply touched)
Is that really it?

ISAAC
That’s it.

They embrace awkwardly.

BEN
You know why I became a shrink?
Because I grew up with a great
one walking around the house.

ISAAC
I thought you became a shrink
because you were sleeping with
your psychology professor at
Columbia.

BEN
Yes, and because of you.

CUT TO:

63 INT. FAMILY ROOM – MINUTES LATER 63

Ben comes back to Laura and the Agents.

BEN
Okay, so you were saying?

AGENT STEADMAN
Let me cut to the chase. Sometime
in the next week or so, the heads
of every major crime family in the
United States are going to meet
together somewhere in the New York
area.

Ben nods, finally understanding Vitti’s two week deadline.

AGENT PROVANO
We think the stage is set for a
major bloodbath. Has he mentioned
anything about it to you?

(CONTINUED)

82.

63 CONTINUED: 63

LAURA
A bloodbath?

BEN
No. If he said anything about a
bloodbath, I probably would’ve
remembered it. Bloodbath is one
of those words that, you know,
stands out in a conversation.

AGENT STEADMAN
(gathering photos)
You could really help us out by
supplying information about that
meeting.

BEN
And if I don’t?

AGENT STEADMAN
If you don’t, I will personally
make your life a living hell. I
want you to think about that and
call me at this number when you
change your mind.

BEN
You mean if I change my mind.

AGENT STEADMAN
I mean when.

LAURA
(tough)
Okay. Guess what, fellas?
You don’t scare me.

BEN
Laura —

LAURA
Sit down!
(to the Agents)
There’s going to be a bloodbath.
Oh, yeah. Only it’s going to be
between you and me. You think you
can break into our home and
intimidate us? That ain’t the
way it works here, boys. Whatever
he and Paul Vitti talked about is
privileged. He doesn’t have to
tell you a thing.
(MORE)

(CONTINUED)

83.

63 CONTINUED: (2) 63

LAURA (CONT’D)
Tarasoff vs. The University of
California. Look it up. Now, if
he’s done something wrong, take
him downtown and book him.
Otherwise, I’ll ask you very
kindly to get the hell out of
my house.

AGENT STEADMAN
We’ll be in touch.

The Agents exit.

BEN
(impressed)
Laura, that was really —

LAURA
(furious)
Oh, shut up!

Laura storms out of the room in a fury. Ben stands,
looking miserable, then we hear Michael’s voice from
the vent.

MICHAEL (V.O.)
You are in trouble.

CUT TO:

64 INT. OLD LION SOCIAL CLUB – DAY 64

Vitti is conferring with Sal Masiello, his consigliere.

MASIELLO
Paul, I don’t mean this in a
disrespectful way. You know I was
a good friend to your father and I
will always be a good friend to
you. But the word is out that
you’ve been talking to a shrink.
Is that right?

Vitti shoots Jelly a sharp look. Jelly looks away.

VITTI
What’s the point here?

(CONTINUED)

84.

64 CONTINUED: 64

MASIELLO
This concerns the whole family.
Right now, we’re the only ones who
know about it, but if it gets out
on the street — what then? Who
knows what you’ve been saying in
there?

VITTI
It’s none of anybody’s business
what I say in there.

MASIELLO
Paul, I beg to differ. If you’re
doing this to establish some kind
of insanity defense later, that’s
one thing. But everybody’s gonna
think you’re falling apart, and
that ain’t good. They’ll take it
as a sign of weakness, and that
makes us all vulnerable. Sindone
would take over everything.

VITTI
So what do you want me to do?

MASIELLO
It’s time to end it.

VITTI
What do you mean, end it?

MASIELLO
Get rid of this shrink. He knows
too much already.

VITTI
You want me to whack my doctor?

MASIELLO
If you don’t do it, somebody else
will. It’s the only way.

VITTI
No. Nobody touches him. You hear
me? Anybody lays a finger on him,
I’ll kill ‘em. Is that clear?

CUT TO:

85.

64A FLASHBACK – EXT. STREET ON LOWER EAST SIDE – DAY 64A

Vitti and Ben are walking down the street. For some
reason, Vitti is wearing a hat.

BEN
I’m going to buy some fruit.
You want anything?

VITTI
No, go ahead.

Ben crosses to a sidewalk fruit stand and starts picking
out oranges. Vitti leans up against a car waiting for
him to finish. SHOTS are FIRED. He runs toward the car.
More SHOTS are FIRED. Ben is hit. Vitti pulls out his
gun but he fumbles and drops it. The gunmen run off.
Ben sinks to the pavement, mortally wounded. Vitti kneels
next to him and sobs loudly. He puts his hand to his
head, knocking off his hat.

VITTI
Papa! Papa!

64B INT. BEN’S BEDROOM – NIGHT 64B

Ben jerks upright in bed, knocked awake by the nightmare.

DISSOLVE TO:

65 HOLY WATER FONT 65

Someone dips their fingers in.

INT. CATHOLIC CHURCH – NEXT DAY

It’s Vitti. He goes down on one knee and genuflects in
front of a big crucifix. Ben wiggles his finger in the
holy water, just kind of curtsies and waves at Jesus on
the cross.

VITTI
You look lousy. You all right.

BEN
Listen, Paul, please don’t send me
any more gifts.

VITTI
You didn’t like the fountain?

(CONTINUED)

86.

65 CONTINUED: 65

BEN
That’s not the point. It’s a
boundary issue.

VITTI
Boundary issue? I say if more
people gave from the heart, we’d
all be better off. Let’s see your
watch.
(as Ben shows his
wrist)
Piece of junk. You’re getting a
Rolex.

BEN
Don’t buy me a Rolex.

VITTI
Who said anything about buying it?

They cross to the main aisle of the church.

BEN
Listen, I really need to talk
to you.

Ben stops cold. A casket sits in front of the altar.
A funeral service is in progress.

VITTI
Tommy Angels. We grew up together.
Worked for a crew out of Jersey
City.

BEN
How did he die?

VITTI
He was on his way to talk to a
federal prosecutor. Got hit by
a truck — twice.

BEN
Do I need to know that? I’m
having nightmares as it is.

The funeral procession comes down the aisle.

BEN
Last night I dreamed we were
walking down the street, I stopped
to buy some fruit, and they shot
me — like Brando in The Godfather.

(CONTINUED)

87.

65 CONTINUED: (2) 65

VITTI
Good scene. Was I there?

A mourner walks up to Vitti, bows his head in respect and
kisses Vitti on both cheeks. Vitti on both cheeks. Vitti
gives him a consoling pat on the shoulder, then the man
kisses Ben and walks off.

BEN
You dropped your gun, then you ran
over to me and started yelling,
‘Papa, Papa!’

VITTI
I was Fredo. I don’t think so.

An older woman kisses Vitti’s hand, then both his cheeks.
Vitti whispers a few words to her, then she kisses Ben’s
hand and moves on. More old ladies kiss their hands as
they walk by.

VITTI
You’re losing it, Doc. You may
need therapy yourself.

A man comes up to Vitti, kisses him on both cheeks,
embraces him with excessive energy, then repeats the
whole scene with Ben and exits. Ben looks at Vitti.

VITTI
Him I don’t know. Let’s get
private.

65A OMITTED 65A
& &
65B 65B

66 EXT. CHURCH – MOMENTS LATER 66

Ben and Vitti come out of the cathedral.

BEN
Don’t you see? You called me
‘Papa.’ It’s all about your
father.

VITTI
What’re you, nuts? It was your
dream.

(CONTINUED)

88.

66 CONTINUED: 66

BEN
Yes, but that’s what your black
milk dream was about, too.

VITTI
Uh-uh. I don’t buy it. In my
dream, I’m bringing the baby
the black milk.

BEN
Freud believed you’re everyone
in your dreams.

VITTI
Yeah, well, that guy I don’t need
to hear about. I can’t even call
my mother on the phone after that
thing you told me.

BEN
Let’s say you are the baby. What
kind of milk did you get from
your father?

VITTI
Could we stop talking about my
father?

BEN
(losing it)
That’s the whole point! We have
to start talking about your
father. You know what it’s like
dealing with you? This is you.
(imitating Vitti)
You gotta help me, Doc. I’m a
mess. I’m in pain.
(as himself)
Okay, Paul, I can help you.
(as Vitti)
Fuck you. Nobody helps Paul
Vitti.

VITTI
Very good. Now I’ll do you.
‘Boo-fuckin’-hoo.’ I never said
this would be easy. Let’s see how
you like it. Let’s talk about
your father.

BEN
Let’s not.

(CONTINUED)

89.

66 CONTINUED: (2) 66

VITTI
Is he still alive?

BEN
Yes, he’s still alive.

VITTI
What kind of work does he do?

BEN
(a beat)
That’s not important.

VITTI
You paused.

BEN
What?

VITTI
You paused. That means you had a
feeling. What does he do?

BEN
He’s a psychiatrist.

VITTI
Ooh, you’re fucked up. Next
patient, please.

BEN
We’re running out of time, Paul.
Let’s not waste it talking about
my problems.

VITTI
Your father’s a problem?

BEN
No!

VITTI
That’s what you just said! You
seem upset.

BEN
I’m not upset!

VITTI
Hey, I’m good at this.

(CONTINUED)

90.

66 CONTINUED: (3) 66

BEN
We have three days left. If you
want to spend it screwing around,
I can’t help you.
(hailing a taxi)
Call me when you’re ready to get
serious.

VITTI
Say hello to your father for me!

A cab stops at the curb.

CUT TO:

66A EXT. CHURCH – SAME TIME 66A

Handsome Jack and Potatoes watch from a vantage point in
the park nearby.

POTATOES
We could just pop him right now.

HANDSOME JACK
In front of a church? What are
you, a fuckin’ animal? It’s a
holy place.

POTATOES
Is the sidewalk holy, too? I mean,
where does the holiness end?

HANDSOME JACK
(thinks)
I don’t know. Second Avenue?

CUT TO:

67 OMITTED 67
& &
68 68

69 DIGITAL SOUND MIXER 69

in the FBI van. A technician works at the computer
console. Steadman listens.

Through speakers:

VITTI (V.O.)
You want me to whack my doctor?

(CONTINUED)

91.

69 CONTINUED: 69

MASIELLO (V.O.)
If you don’t do it, somebody else
will. It’s the only way.

VITTI (V.O.)
No. Nobody touches him. You hear
me? Anybody lays a finger on him,
I’ll kill ‘em. Is that clear?

Then the technician plays an altered version.

VITTI (V.O.)
You want me to whack my doctor?

MASIELLO (V.O.)
If you don’t do it, somebody else
will. It’s the only way.

VITTI (V.O.)
(after a beat)
I’ll kill ‘em.

CUT TO:

70 INT. LIVING ROOM – SAME TIME 70

Steadman shuts off a tape recorder, having just played
the altered tape for a stunned Ben and Laura. A long
beat, then Ben looks up at the agents.

BEN
(quietly)
What do you want me to do?

CUT TO:

71 INT. JIMMY’S CAR – SAME TIME 71

Jimmy is parked at the corner watching the Sobol house as
the three FBI agents leave.

CUT TO:

72 EXT. OLD LION SOCIAL CLUB – LATE AFTERNOON 72

Masiello is face to face with Vitti.

MASIELLO
Paul, he talked to the Feds.

(CONTINUED)

92.

72 CONTINUED: 72

VITTI
I know this guy. He would never
talk to the Feds.

Jelly’s CELLULAR PHONE RINGS. He steps away and answers
it quietly during the following.

MASIELLO
The FBI was at his house today.

JIMMY
It’s the truth. I saw ‘em.

MASIELLO
You’ll see. Next thing is he’s
gonna call you and ask for a
meeting.

VITTI
Come on. You don’t know this
guy.

Jelly covers the phone and turns to Vitti.

JELLY
It’s Dr. Sobol. He says he needs
to see you right away.

Vitti nods.

CUT TO:

73 EXT. STREET CORNER – NIGHT 73

Ben waits on a deserted corner in Brooklyn. A black Town
Car appears and stops to pick him up. The windows are
heavily tinted. Ben takes a deep breath, crosses to the
car and opens the back door.

EXT. JELLY’S CAR – CONTINUOUS ACTION

Ben finds Jelly sitting in the back seat next to Vitti.

JELLY
Sit up front with Jimmy.

BEN
(anxiously)
You want me to sit in front?
Paul usually sits in front.

(CONTINUED)

93.

73 CONTINUED: 73

JIMMY
So this time you’ll sit up front.
Why you making a federal case?

BEN
(getting in the car)
Federal case? I’m not making a
federal case? Let’s go.

CUT TO:

74 INT. PARETTI’S RESTAURANT (JERSEY CITY) – LATER 74

A waiter pours red wine. Ben is eating out of pure
anxiety. Jelly and Jimmy watch him intently. Vitti
stares off.

BEN
(prattling nervously)
Wow, this is really good.
Delicious. I love Italian food.
I’ve never been to Italy but I’d
love to go. I’ve been to France.
And Jamaica. That’s nice, but I’m
sure it’s very different from
Italy. A whole different, uh —
(silence)
So what’s everybody doing this
summer?

Carlo Mangano comes to the table. Vitti gets up, hugs
and fraternal kisses all around, then Mangano sits down
with them.

VITTI
This is Ben. He’s a friend of
mine.
(to Ben)
Say hello to Carlo Mangano.

MANGANO
How you doin’?

VITTI
(to Ben)
Carlo was on my father’s crew.
He’s always been like a — I don’t
know — like a cousin to me.

MANGANO
I am your cousin.

(CONTINUED)

94.

74 CONTINUED: 74

VITTI
I know, that’s what I’m saying.
It’s like a family thing. The
closeness.

MANGANO
Anything you need, anything I can
do for you, Paul, you know. I’m
here for you.

VITTI
I know. So did you take care of
that thing I asked you about?

MANGANO
Is it all right to talk business
in front of your friend?

VITTI
It’s okay.

MANGANO
Yeah, I took care of it.

VITTI
How about that other thing?

MANGANO
I’m waiting for that first thing
to come through. I can’t move
until it does.

VITTI
Did the guy give you a problem?

MANGANO
A little. He’s a lunatic.

CUT TO:

75 INT. FBI VAN – SAME TIME 75

The agents monitor the conversation through the bug Ben
is wearing. They shake their heads at the
incomprehensible dialogue.

VITTI (V.O.)
What did he say?

MANGANO (V.O.)
The usual.

(CONTINUED)

95.

75 CONTINUED: 75

VITTI (V.O.)
Did you tell him you weren’t going
for it?

MANGANO (V.O.)
What was I gonna do?

76 BACK IN PARETTI’S 76

VITTI
You always gotta nip that shit in
the bud.

MANGANO
Yeah. But if the first thing is
okay, that should fix everything.

VITTI
Including the second thing.

MANGANO
Yeah, but —

VITTI
Exactly.
(to Ben)
Don’t repeat any of that to
anyone.

BEN
What? The first thing or the
second thing?

VITTI
That’s Stevie Beef over there. I
gotta go say hello to him for a
second.
(to Mangano)
Come on.

Ben watches Vitti and Mangano cross the room, then turns
to Jelly and Jimmy.

BEN
Stevie Beef. Interesting name.
When he was younger they probably
called him Stevie Veal.
(off no response)
You guys come here often?

JELLY
Paretti’s has a very special
meaning to Paul.

(CONTINUED)

96.

76 CONTINUED: 76

JIMMY
Yeah, this is where his father got
whacked.

JELLY
Hey!

JIMMY
What’s the big secret?

BEN
(incredulous)
Wait a second. Paul’s father was
murdered?

JIMMY
Right at that table. With his
whole family there.

JELLY
Hey, just shut up.

BEN
Paul, too? He was there?

JELLY
He don’t like to talk about it.

Everything is suddenly clear to Ben. He stands up.

JIMMY
Where you goin’?

BEN
Bathroom.

JELLY
I’ll go with you.

CUT TO:

77 INT. BATHROOM – MOMENT LATER 77

Ben and Jelly enter.

BEN
I gotta — you know — poop.

Ben goes into a stall, latches the door and drops his
pants. Jelly combs his hair in the mirror.

(CONTINUED)

97.

77 CONTINUED: 77

INT. STALL – SAME TIME

Ben hastily unbuttons his shirt, revealing a small
microphone taped to his chest. He picks at the edge of
the tape, takes a deep breath, then rips it off.

BEN
Ahhhh!

JELLY

at the urinal, reacts to Ben’s cry.

JELLY
You need more roughage. A bran
muffin in the morning would
help with that.

CUT TO:

78 INT. PARETTI’S – BACK AT TABLE – FEW MINUTES LATER 78

Ben and Jelly rejoin Vitti. Ben starts right in on him.

BEN
I have to talk to you — in
private.

VITTI
(to Jelly and Jimmy)
Leave us alone.

They exit without hesitation.

BEN
Why didn’t you tell me about your
father?

VITTI
What about him?

BEN
You said he died of a heart
attack.

VITTI
So what’s the problem?

BEN
What’s the problem? Your father
was murdered!

(CONTINUED)

98.

78 CONTINUED: 78

VITTI
Heart attack, murdered, what’s the
difference? He’s dead.

BEN
There’s a big difference. Why
didn’t you tell me?

VITTI
Because it’s private. You think I
tell you every little thing?

BEN
That is not a little thing!

VITTI
Okay, you want to know? Analyze
this. I was twelve years old, the
whole family was having dinner
together right over there, two
guys walked in and shot him dead
right in front of us. Okay?

BEN
And you didn’t think this was
important enough to tell me?

VITTI
What am I supposed to do? Spend
the rest of my life crying about
the past? Forget about it.

BEN
You know what? I think you want
to talk about it.

VITTI
No, I don’t want to talk about it.

BEN
I think you do.

VITTI
No, I don’t.

BEN
Then why did you choose this
restaurant?

VITTI
‘Cause I like it, okay?

(CONTINUED)

ANALYZE THIS – Rev. 6/25/98 99.

78 CONTINUED: (2) 78

BEN
Of all the places we could’ve gone,
why this one?

VITTI
White clam sauce. The best.

BEN
No, we’re here because you wanted
me to know about your father.
You’re reaching out to me.

VITTI
I’ll reach out to you —

Vitti suddenly reaches over and rips Ben’s shirt open.
All he sees is a bald patch on Ben’s chest where the bug
was taped.

BEN
I think we have some major trust
issues here.

CUT TO:

78A INT. SINDONE HEADQUARTERS – SAME TIME 78A

The cutting room is deserted except for Primo and his
men. Sindone is at his desk reading the entertainment
section of the New York Times.

SINDONE
(studying the paper)
I’d like to see a movie but
there’s nothing out there. It’s
all this shoot-‘em-up action
bullshit. I get enough of that at
work.

They all laugh. Moony finishes a call on his cell phone.

MOONY
That was our friend. He marked
your guy at Paretti’s.

SINDONE
Yeah? Then let’s make it the last
supper. Jack?

HANDSOME JACK
You got it, Primo.
(to Potatoes)
Let’s go.

(CONTINUED)

ANALYZE THIS – Rev. 6/25/98 99A.

78A CONTINUED: 78A

SINDONE
(as they exit)
Hey, Jack. Just for fun, tear
out his heart and bring it to me.

CUT TO:

79 EXT. STREET – LATER 79

Vitti, Ben and the boys come out of the restaurant and
walk to the car.

BEN
Jimmy, you can have shotgun this
time. I don’t mind.

JIMMY
Nah, sit up front. There’s more
room for your legs.

BEN
My legs are short, it’s fine in
the back.

JIMMY
Get in the front.

BEN
You know what? It’s late. I think
I’m just going to call it a night.
Why don’t I just grab a cab and
head on home.

(CONTINUED)

ANALYZE THIS – 6/17/98 100.

79 CONTINUED: 79

JIMMY
Get in the car.

BEN
No really, it’s all right.

JIMMY
(pulls a gun)
Get in the fucking car.

Ben looks to Vitti for help.

VITTI
Do what he says.

BEN
You know, we call this a
transference neurosis. It’s
when the patient starts acting
out his problems with his therapist
instead of out in the world. It’s
usually considered a good sign.
Not for me, in this case, but —

Jimmy forces him into the back of the car.

CUT TO:

79A EXT. PARETTI’S RESTAURANT – MOMENTS LATER 79A

The Lincoln makes a U-turn in front of Paretti’s and
drives off down the street passing Handsome Jack and
Potatoes in a car parked at the corner. The car takes
off after the Lincoln.

CUT TO:

80 INT. FBI VAN – SAME TIME 80

The agents are monitoring the bug, but all they hear is
WATER RUNNING and TOILETS FLUSHING.

AGENT RICCI
What’s he doing in there? He’s
been in the bathroom for half an
hour.

Ricci and Steadman look at each other.

CUT TO:

ANALYZE THIS – 6/17/98 101.

81 EXT. PARETTI’S RESTAURANT – MOMENTS LATER 81

The FBI van pulls up and lurches to a stop.

CUT TO:

82 INT. PARETTI’S BATHROOM – MOMENTS LATER 82

Steadman rushes in, pushes open the stall and sees the
microphone and transmitter in the bottom of the toilet
bowl.

CUT TO:

83 OMITTED 83
& &
84 84

85 EXT. SCRAP YARD – NIGHT (LATER) 85

Jelly’s car pulls into a scrap metal yard and parks.
They all get out. Jelly hands Vitti a gun.

VITTI
(to Jimmy and Jelly)
Leave us alone.

Jelly looks apologetically at Ben.

JELLY
Sorry, Doc. It’s not personal,
you know.

BEN
Don’t kid yourself, Jelly. It
doesn’t get more personal than
this.

(CONTINUED)

102.

85 CONTINUED: 85

Jelly and Jimmy walk away, leaving Ben alone with Vitti.

VITTI
You know why I have to do this,
don’t you?

BEN
Because you’re a paranoid? No,
actually you’re a reverse
paranoid. You think you’re out to
get everybody.

VITTI
Don’t bullshit me! You betrayed
me! You stabbed me in the back.

They start shouting at each other.

BEN
I betrayed you? What are you
talking about? Who’s got the gun?

VITTI
You think I’m an idiot? Don’t
insult my intelligence. You
cooperated! You talked to the
Feds!

BEN
They played me a tape! You said
you were going to kill me.

VITTI
Never. I never said that.

They glare at each other for a moment.

BEN
It doesn’t matter. I didn’t
betray you, Paul. Yes, they
made me wear a wire, but I took it
off, because I think I know how to
help you now.

VITTI
I don’t want to know what you
think.

BEN
Yes, you do.

VITTI
No, I don’t!

(CONTINUED)

ANALYZE THIS – Rev. 6/10/98 103.

85 CONTINUED: (2) 85

BEN
I think you do.

VITTI
(puts the gun
to Ben’s head)
It’s over! Don’t you get it?
I took one chance and that’s it.

BEN
Okay.
(as Vitti cocks
the gun)
Can I ask you one last question?

VITTI
(a beat)
What?

BEN
What did you order?

VITTI
What?

BEN
What did you order?

VITTI
When?

BEN
That night. What were you eating
the night your father got killed?

VITTI
How the hell do I know?

BEN
You don’t remember?

VITTI
It was 35 years ago.

BEN
What did your father have?

VITTI
I told you! I don’t remember.

BEN
Try.

(CONTINUED)

ANALYZE THIS – Rev. 6/10/98 104.

85 CONTINUED: (3) 85

VITTI
What’s the matter with you?

BEN
It’s a simple question. What was
your father eating!

VITTI
(after a long
pause)
Penne.

BEN
Good. And you.

VITTI
Ravioli.

BEN
The food was on the table?

VITTI
They were just serving it.

BEN
Did you see the guys coming?

VITTI
One of them. Dressed like a
busboy.

BEN
Did your father see him?

VITTI
No, but I knew he looked wrong.

BEN
Why?

VITTI
His pants. They looked too good
for a busboy.

BEN
He walked over to the table?

VITTI
I watched him the whole way.

BEN
Did you say anything?

(CONTINUED)

ANALYZE THIS – Rev. 6/10/98 105.

85 CONTINUED: (4) 85

VITTI
My father was so mad at me.

BEN
And you were mad at him.

VITTI
I couldn’t say anything.

BEN
And then.

VITTI
I never saw the second guy. My
mother started screaming.

BEN
And you blame yourself?

VITTI
I coulda saved him.

BEN
But you were mad at him.

VITTI
(starting to
hyperventilate)
I killed my father.

BEN
You didn’t kill him, Paul. You
were angry but you didn’t kill
him. That’s the life he chose.

VITTI
I never got to say good-bye.

BEN
Say it now, Paul. Talk to him.
What do you want to tell him?

VITTI
I can’t.

BEN
You have to. Tell him, Paul.

VITTI
(breaks down)
I’m sorry. I’m so sorry.

(CONTINUED)

ANALYZE THIS – Rev. 6/10/98 106.

85 CONTINUED: (5) 85

BEN
It’s okay, Paul. You can let go
of it now.

Vitti leans back against the car, slumps to the ground
and starts sobbing, 35 years of pent-up grief finally
finding expression.

86 JELLY AND JIMMY 86

Standing around smoking, waiting for the death shot.

JIMMY
What’s taking so long? I’m ruining
my goddamn shoes here. Fuckin’
$350 Bruno Maglis.

JELLY
What’s wrong with you? Don’t you
have any respect? This is a very
difficult thing for Paul.

JIMMY
Shoulda let me do it. I’d be
home watchin’ E.S.P.N.2 by now.
World’s strongest man. You should
see these guys.

87 VITTI AND BEN 87

Ben is comforting Vitti.

BEN
You couldn’t save him, Paul. He
was trying to save you. That’s
what you fought about. He didn’t
want this for you, and you don’t
want it for Anthony. You don’t
want him to grow up the way you
did — without a father.

Vitti just cries louder.

88 JELLY AND JIMMY 88

hearing the crying.

JELLY
Jesus, the guy’s fallin’ apart.

JIMMY
Why doesn’t he just pop him? It’s
embarrassing.

ANALYZE THIS – Rev. 6/10/98 106A.

89 BEN AND VITTI 89

Ben tries to comfort Vitti who is still crying.

BEN
Your father’s not dead, Paul. He’s
alive — in you. And he’s trying
to tell you something.

(CONTINUED)

107.

89 CONTINUED: 89

Suddenly, there is a GUNSHOT and a BULLET RICOCHETS off
the TOP of the CAR.

BEN
Oh, my God!

90 HANDSOME JACK 90

He OPENS UP with a MAC-10.

JELLY AND JIMMY

Jimmy goes down, hit in the shoulder. Jelly dives for
cover behind a rusted car body.

VITTI AND BEN

BEN
(in a panic)
Paul! They’re shooting!

Vitti continues to sob, oblivious to the GUN BATTLE
raging around him.

JELLY

He FIRES back at Handsome Jack.

POTATOES

He rakes the Lincoln with a BURST from the ASSAULT RIFLE.

JELLY’S CAR

All the WINDOWS ARE BLOWN OUT by the GUNFIRE. Ben
screams.

BEN
Paul! For God’s sake, shoot
somebody!

Vitti just sits there on the ground, still sobbing
quietly.

JELLY

He reloads and FIRES again.

(CONTINUED)

108.

90 CONTINUED: 90

POTATOES

Jelly’s last SHOT strikes him right in the chest, and he
goes down.

HANDSOME JACK

He sees Potatoes fall and starts moving out, covering his
retreat with another BURST from his MACHINE GUN.

JELLY’S CAR

Something snaps inside Ben.

BEN
Goddamn it!

He takes the GUN out of Vitti’s hand and starts FIRING
WILDLY.

JELLY

He sees Handsome Jack emerge from cover and takes him out
with FIVE QUICK SHOTS.

HANDSOME JACK

He goes down FIRING, dead before he hits the ground.

SCRAP YARD

It’s suddenly quiet. After a long moment, Jimmy rolls
over and moans. Jelly goes to him and starts examining
his wound.

91 JELLY’S CAR 91

Ben stands up, still holding Vitti’s gun. He sees
Handsome Jack lying dead on the ground.

BEN
Oh my God! Did I do that?

JELLY
No, Doc. That one’s mine. You
got the Chevy Camaro and the
side-by-side refrigerator-freezer.

(CONTINUED)

109.

91 CONTINUED: 91

Vitti emerges from behind the car looking red-eyed but
composed again and looks at Ben.

VITTI
Pretty fuckin’ ironic, isn’t it?
You can give me back the gun now,
Doctor.

Vitti holds out his hand. Ben hesitates for a moment,
then hands him the gun.

VITTI
It’s okay. I wasn’t really gonna
whack you.
(off Jelly’s
skeptical look)
All right, maybe I was gonna whack
you, but I was real conflicted
about it. Progress, right?

BEN
I don’t think I can see you
anymore.

VITTI
Yeah, I figured.

BEN
This was big tonight. You might
feel a little raw for a while.

VITTI
Yeah.

BEN
So good luck. It’s been —

Vitti nods, they stand there for another moment, then Ben
walks off into the night.

CUT TO:

92 INT. BEN’S OFFICE – MORNING 92

ELAINE, a fortyish, tired-looking wife and mother sits
on the couch across from Ben. Ben looks bored and
depressed.

ELAINE
I want to please him in bed, but
whatever I do it seems like it’s
never enough. Now he wants me to
say things when we’re making love.

(CONTINUED)

110.

92 CONTINUED: 92

BEN
What kinds of things does he want
you to say, Elaine?

ELAINE
Well, he wants me to call him ‘big
boy.’ And he’s my bucking bronco,
and I’m supposed to ride him hard
and put him back in the barn wet.

Michael’s laughter is heard coming through the vent. Ben
closes his eyes and sighs deeply.

ELAINE
Are you all right, Dr. Sobol?

BEN
Let me suggest something, Elaine.
If the man wants you to say things
… damn it, you should get down
on all fours and bark like a dog
if that’s going to get the job
done. Break out the wine, baby.
Smoke a joint. Do what you have
to do, because life is too short.
It’s just too fucking short.

Elaine stares, taken aback, then she smiles.

ELAINE
Okay.

CUT TO:

93 EXT. VITTI’S HOUSE – SEVERAL DAYS LATER 93

Jelly, Jimmy and Iron Mike arrive and walk up to the
house. The rest of the crew are standing around on
the porch.

CUT TO:

94 INT. VITTI’S BEDROOM – MOMENTS LATER 94

Jelly enters and finds Vitti in his undershorts, putting
on his tie, looking very strong.

JELLY
How you feelin’, boss? You need
anything?

(CONTINUED)

111.

94 CONTINUED: 94

VITTI
No, I’m great. Never felt better
in my life. When this meeting is
over they won’t know what hit ‘em.

Jelly gives him the thumbs up and exits. Vitti turns to
the TV and starts knotting his tie as a PRUDENTIAL
INSURANCE COMMERCIAL STARTS PLAYING, featuring a father
and his son. As Vitti watches the sentimental ad, his
eyes fill with tears.

CUT TO:

95 EXT. WALDORF-ASTORIA HOTEL – LITTLE LATER 95

The sun is shining. A beautiful day for a wedding.
“HERE COMES THE BRIDE” is heard.

96 INT. WALDORF-ASTORIA BANQUET ROOM – LATER 96

The crowd oohs and aahs as Laura starts down the aisle
in her wedding dress. Isaac and Dorothy are standing
near the chupah ready to receive her.

DOROTHY
Is Ben going to step on the glass?

ISAAC
No. He doesn’t want to hurt his
foot, so they’re going to drop a
person on it.

DISSOLVE TO:

96A INT. WALDORF-ASTORIA BANQUET ROOM – MOMENTS LATER 96A

Laura and Ben stand before a REFORMED RABBI. The family
is gathered again. Michael stands just to the side.

RABBI
We are put on this earth to find a
love, a soulmate, someone with whom
we can create joy. How glad we are
today that Ben and Laura have found
each other, and we anticipate and
celebrate the years of joy they will
share together from this day on.

We hear a PSST from somewhere. Ben and Laura don’t seem
to notice it.

(CONTINUED)

112.

96A CONTINUED: 96A

RABBI
Ben, do you take this woman, Laura,
to be your lawfully wedded wife, for
richer, for poorer, in sickness and
in health, ‘til death do you part,
so help you God?

Another PSST. Ben looks over and sees Jelly standing
behind some flowers to the side of the altar.

BEN
(hissing)
No!

RABBI
Excuse me?

BEN
No, not you. I was talking to him.

RABBI
Who him?

BEN
It’s not important. Yes.

RABBI
Yes what?

BEN
Yes to the thing before. To her.
That’s a yes. Pick it up from
there.

Jelly moves closer. The guests start to mutter.

JELLY
(to Ben)
Doc, we’re going to need to hurry
it up here.
(to Michael)
Hi, kid.

LAURA
I do not believe this!

JELLY
(to the Rabbi)
Haul ass, buddy. We got a problem.

LAURA
Who the hell do you think you are?

(CONTINUED)

113.

96A CONTINUED: (2) 96A

JELLY
(to Ben)
Ooh, she’s feisty. Watch out, Doc.
(to the Rabbi)
Tick tock, let’s go. Hurry up and
pronounce them, huh?

RABBI
By the power vested me by the state
of New York, I now pronounce you
man and wife.

JELLY
Okay. Kiss, kiss —

Ben and Laura kiss.

JELLY
I’m sorry about this, Mrs. Sobol,
but duty calls, you know?

LAURA
(tearing up)
Oh. You’re the first person to
call me Mrs. Sobol.

JELLY
Nice, huh?

LAURA
No.

BEN
Laura, I’m sorry. It’s the job.

LAURA
Go. Just go.
(to Jelly)
Have him back here by the salad
course or you’re in serious
trouble. Capiche?

JELLY
You’re a pistol.
(to Ben)
I like her.

Ben kisses Laura, then the organist plays “Here Comes the
Bride” as Jelly and Ben hurry down the aisle together.

ANGLE ON SCOTT AND BELINDA, ISAAC AND DOROTHY

shaking their heads in confusion.

CUT TO:

114.

97 OMITTED 97
& &
98 98

99 INT. WALDORF-ASTORIA HOTEL – RECEPTION AREA 99

Ben comes out of the function room with Jelly.

JELLY
He’s bad, Doc. Worse than I ever
seen him. I think his inner child
is all fucked up.

BEN
Have you ever seen an episode like
this?

JELLY
Yes. Once on ‘Bonanza,’ Hoss
Cartwright got bit by a raccoon.
He got this fever and he was shaking —

BEN
Never mind.

CUT TO:

100 OMITTED 100

100A INT. WALDORF GARAGE – MOMENTS LATER 100A

Jelly and Ben come out of the hotel into the garage area.

JELLY
This is serious, Doc. If he
doesn’t make this meeting, they’ll
kill him for sure.

BEN
Can’t someone else in the family go
for him? Tommy the Tongue? Louie
the Lip? What about you? You go?

JELLY
That would work except for one
little detail. I’m a fucking
moron. I’m known for it.
(a beat)
You have to go.

BEN
Me? You must be a moron.

(CONTINUED)

115.

100A CONTINUED: 100A

JELLY
Hey! Watch that.

BEN
You just said it yourself.

JELLY
It’s different when I say it.
When you say it, it sounds very
negative.

BEN
I’m sorry, Jelly, but I’m not going.
I’m not on the payroll anymore, so
forget about it. My wife is waiting —

He turns to go back into the hotel.

JELLY
Doc.

Ben feels a gun pressed against his back.

BEN

You can’t shoot me, Jelly.

JELLY
Correction. Mr. Vitti couldn’t
shoot you. But here’s something
about me you should know. I never
got married, Doctor Sobol. I
don’t have a hobby. I never got a
dog or a cat. I don’t even have a
goldfish. I live for one reason
only, and that’s to serve Mr. Paul
Vitti. He’s what I’m thinking about
when I wake up, and he’s what I’m
thinking about when I close my eyes
to sleep. If he told me to jump off
a tall building, not only would I do
it, I would hope to survive so I could
do it again and again until he told me
to stop. This is all I know. This is
all I got. So please don’t think I
won’t kill you, because I’d hate for
your last thought to be a wrong one.
You’re going to that meeting.

CUT TO:

116.

100B INT. FBI CAR – MOMENTS LATER 100B

Parked on 50th Street, Ricci and another agent watch the
limo emerge from the Waldorf garage. Ricci signals
someone on the radio.

100C FBI HELICOPTER 100C

flies INTO VIEW over Park Avenue and starts tracking the
limo.

101 EXT. MID-TOWN TUNNEL – DAY 101

The black stretch limo approaches the tunnel entrance.
An FBI helicopter zooms INTO VIEW high above.

CUT TO:

102 INT. HELICOPTER – SAME TIME 102

Steadman and Provano track the limo from the air as it
enters the tunnel.

103 OMITTED 103

104 EXT. TUNNEL EXIT – MOMENTS LATER 104

Fifteen identical limos emerge from the tunnel on the
Queens side and start criss-crossing as they leave the
toll booths, then head off in different directions.

CUT TO:

105 INT. HELICOPTER – SAME TIME 105

Steadman and Provo try to pick Ben’s limo out of the pack
of identical limos heading up the Long Island Expressway.

STEADMAN
(desperately)
Which one is it?

AGENT PROVANO
The black one.

CUT TO:

117.

105A INT. LIMOUSINE – DAY 105A

Ben is in the back with Jelly and Jimmy. One of their
crew, IRON MIKE, is driving. Ben is putting on a suit
of Jimmy’s. He looks very anxious.

JIMMY
(his shoulder bandaged)
Just remember. That’s a fuckin’
$1200 Valentino suit. You spill
anything on it, I’ll mess you up
good.

JELLY
Shut up. You’re making him
nervous. If he gets nervous and
fucks up, they’ll kill him for
sure.
(to Ben)
Let’s go over it again.

BEN
This is insane.

JELLY
Mr. Vitti’s been detained,
apologies all around, blah, blah,
blah. Then you say you’re the new
consigliere, and you’re prepared
to speak for Mr. Vitti.

BEN
Then what?

JELLY
Then you just keep your mouth
shut, and hope nobody asks you
nothin’.

JIMMY
Boy, this is some fuckin’ plan.

JELLY
Shut up.
(to Ben)
If you have to talk, just be
vague. Can you do that?

BEN
I’m a psychologist. Believe me, I
can be vague.

CUT TO:

118.

106 INT. VITTI’S BEDROOM – SAME TIME 106

Vitti is lying on the bed staring at the ceiling. Marie
is stroking his forehead. Then he looks over and sees
Anthony sitting in a chair at the foot of the bed,
watching him with concern.

VITTI
Shouldn’t you be outside playing
or something?

ANTHONY
No, it’s all right.

VITTI
How long you gonna sit there?

ANTHONY
(shrugs)
How long you gonna lay there?

Vitti smiles.

VITTI
I’m done.

CUT TO:

107 EXT. OZONE PARK (QUEENS) – MINUTES LATER 107

The limo pulls into the parking lot of the Tops Limousine
Service. Fifty other limos are already parked there.
Jelly and Jimmy get out, followed by Ben, now dressed in
shiny suit and pinky ring.

CUT TO:

108 INT. TOPS LIMO GARAGE – CONTINUOUS ACTION 108

Ben, Jelly, and Jimmy enter a garage the size of a small
airplane hangar. The floor has been cleared and long
tables set up to form a square in the middle of the room.
Wiseguys with shotguns patrol the catwalks above the floor
and soldiers are posted at all the doors.

BEN
(sotto voce)
I can’t do this. I’m telling you,
I cannot do this.

JELLY
Don’t fucking whine! Whining’s a
dead giveaway. Come on! You’re
the consigliere, for Chrissake.

(CONTINUED)

119.

108 CONTINUED: 108

Around the tables sit forty or fifty of the biggest
gangsters in the world. A few captains stand around the
perimeter, ready to serve their bosses.

BEN
These are the bosses? That one
looks like my Uncle Max.

Jelly steers Ben to an empty seat next to Carlo Mangano.

MANGANO
(surprised)
What’s goin’ on? Where’s Vitti?

JELLY
On his way. Don’t worry.

Mangano eyes Ben with contempt.

MANGANO
What’s he doin’ here?

JELLY
He’s — it’s okay. Forget about
it.

MANGANO
Forget about it? What the hell is
that?

Seated directly across the room from Ben is Primo
Sindone. He stares hard at Ben, trying to place him,
then leans over to Moony, his consigliere.

SINDONE
Who’s the guy with Jelly?

MOONY
I don’t know.

Ben looks away nervously.

BEN
(to Jelly, borderline
hysterical)
I can’t do this.

He starts to get up but Jelly pulls him back down.

Moony stands up and gets everyone’s attention.

(CONTINUED)

120.

108 CONTINUED: (2) 108

MOONY
All right, gentlemen. I think we
better start. We have a big
agenda, so for now let’s stick to
the big issues. And it would help
if you identify yourselves when
you speak, since we don’t all know
each other, and we didn’t think
anybody would be into wearing any
fucking name tags.

Laughter around the table.

Sindone stands up and looks straight at Ben.

SINDONE
I’m Primo Sindone. They call me
Sonny Long. It’s good to see so
many of the old faces here, and to
welcome the new ones from all over
the country. I see Frank Zello,
and Joe Baldassare, but I’m a
little disappointed to see that
the head of our other New York
family isn’t here today. All I
see is his man Jelly and some
sawed-off little prick nobody
knows.

Jelly looks at Ben, waiting for him to speak, but Ben
just sits, frozen, looking down at his hands.

JELLY
(stands up, rattled)
Yeah, well, the thing is Mr. Vitti
has been detained and he sends his
apologies for — being detained —
and he apologizes for his —
detainment.

SINDONE
Detained? What kind of bullshit
is that? What’s more important
than this? As the host of this
meeting, I take his not being here
as a sign of disrespect to me and
to all these other men, too, who
came a long way to be here.

JELLY
Mr. Vitti meant no disrespect.
The thing is, he’s not feeling
well. He’s sick and he — didn’t
feel well —

(CONTINUED)

121.

108 CONTINUED: (3) 108

Ben rises and slaps Jelly hard across the face.

BEN
(quietly)
Jelly! We don’t ever discuss Mr.
Vitti’s health outside the family.
You know better.

Jelly is stunned. The bosses murmur.

SINDONE
All right, who is this guy and
what the fuck is he doing here?

BEN
In answer to your first question,
my name is Ben Sobol —
(off Sindone’s
look)
— leone. Sobboleone. They call
me — ‘The doctor.’ As for your
second question. I’m here
representing Paul Vitti. As his
conser — conghili —

JELLY
(prompting)
Consigliere —

BEN
(slaps him again)
Don’t you ever correct me again!
As his consigliere, I’m intimately
involved in all aspects of the
family business and I’m prepared
to speak for Mr. Vitti on all
matters.

SINDONE
Okay, Doctor, then let’s get down
to business. Everybody knows
there’s been this thing between me
and Paul Vitti for a long time.

BEN
Which thing are you talking about?
The first thing or the second
thing?

SINDONE
What second thing? I only know
one thing.

(CONTINUED)

122.

108 CONTINUED: (4) 108

BEN
Well, I don’t see how we can
discuss the first thing without
bringing up the second thing.
Didn’t you talk to the guy?

He tugs meaningfully on his earlobe.

SINDONE
What guy?

BEN
The guy with the thing.

SINDONE
What thing? What the fuck are you
talking about?

BEN
How should I know? You brought it
up.
(gestures helplessly
to the others)
This is the whole problem. You
can’t have an intelligent
conversation with the man.

SINDONE
How about if I just break your
fuckin’ neck? What do you think
of that?

BEN
It’s not important what I think.
What do you think?

SINDONE
What do I think? I think it’s a
good idea! Why would I say it if
I didn’t think it was good?

BEN
I don’t know. Why would you?

SINDONE
(frustrated)
I wouldn’t! That’s what I’m
saying!

BEN
Have you always had a problem
dealing with your anger?

(CONTINUED)

123.

108 CONTINUED: (5) 108

SINDONE
What are you talking about?

BEN
What do you think I’m talking
about?

SINDONSINDONE
(explodes)
I don’t know what the fuck you’re
talking about!

BEN
See, you’re angry again. Do you
feel you have to get angry to be
heard?

Sindone turns to a couple of other bosses, FRANK ZELLO
and JOE BALDASSARE.

SINDONE
What’s he talking about?

ZELLO
I don’t know. But you do have a
tendency to get angry a lot.

BALDASSARE
I agree, Primo.

SINDONE
I’m trying to talk about Vitti!
Why are we talking about me?

BEN
Interesting. Do you feel you’re
not worthy enough to be talked
about?

SINDONE
What does that mean?

BEN
What do you think it means?

SINDONE
Fuck you!

ZELLO
Primo, calm down.

(CONTINUED)

124.

108 CONTINUED: (6) 108

SINDONE
Calm down? How can I calm down
when this prick won’t stop with
the questions?

BEN
Could you pass the fruit, please?

SINDONE
That’s it! You’re a dead man!

Sindone whips out a pistol and points it at Ben, but just
as he’s about to shoot —

VITTI (O.S.)
Primo!

All eyes turn.

109 PAUL VITTI 109

He’s standing there, staring at Sindone, cool, clear, and
unafraid. He looks like a king. The room goes silent.
Vitti looks around the table, nods, and crosses to Ben.
Jelly gets up to greet him.

VITTI
(quietly, to Jelly)
Wait outside with the car running.

Jelly nods and exits.

BEN
What are you doing here?

VITTI
Saving your ass. Sit down. I’ll
take it from here.

Ben sits, greatly relieved.

VITTI
(to the group)
I’m Paul Vitti. I’m sorry I was
late. Those of you who know me
will know I meant no disrespect.
If it’s all right with you,
there’s something I’d like to say,
then I’ll leave you to your
business.

Ben looks at Vitti and sees a kind of serenity and
clarity he’s never seen before.

(CONTINUED)

125.

109 CONTINUED: 109

VITTI
About two and a half weeks ago,
somebody killed my friend, Dominic
Manetta.

He looks straight at Sindone.

SINDONE
Don’t look at me. Everybody knows
you whacked him so you could take
over everything.

VITTI
What I really came here to say is
that I’ve come to a very important
decision in my life. I want out.

A great murmur of surprise sweeps around the room. Ben
looks at him proudly.

VITTI
I’m going away for a while, but I
will respect the oath I took the
day I was made, and whatever I
know about anyone else’s business,
I take with me to the grave. You
have my word.

A negative buzz among the bosses.

VITTI
As for my own organization, I know
Carlo Mangano would like to be the
new boss.

Mangano smiles gratefully.

MANGANO
Thank you, Paul.

VITTI
That’s why he betrayed Dominic and
me to our enemies and sent his own
man to kill me in Miami.

Mangano is stunned.

VITTI
But I leave it to my people to
deal with that and choose their
own boss. And even though it’s my
right, I won’t take revenge,
mostly because I’m in a good place
mentally and feeling good about me.

(CONTINUED)

126.

109 CONTINUED: (2) 109

ZELLO
(perplexed)
I don’t know, Paul. I can see
where some people might have a
problem with this.

VITTI
I realize that, so as an extra
token of good faith between us,
I’ve taken the liberty of writing
down everything I know and putting
it in a safe deposit box in case
anything happens to me or my
family.

There’s a long tense silence while the other bosses
consider all this. Then, finally —

ZELLO
I don’t know what anybody else
thinks, but I say good luck and
God bless, Paul.

BALDASSARE
Good luck, Paul. Salut.

They all raise their glasses and toast Vitti. Ben raises
his glass to Vitti and drinks.

BEN
(to Vitti)
Well done.

Vitti smiles at him and drinks.

CUT TO:

110 EXT. PARKING LOT – MOMENTS LATER 110

Ben and Vitti come out of the building and cross to the
car. Jelly is waiting, Iron Mike has the MOTOR RUNNING,
and Jimmy is in the front seat with him.

VITTI
Let’s move.

Sindone and Mangano come out with guns drawn, flanked by
two wise guys.

SINDONE
Vitti!

(CONTINUED)

127.

110 CONTINUED: 110

Vitti and his crew turn and face Sindone and Mangano
across the parking lot.

VITTI
I don’t want to do this, Primo.

SINDONE
You don’t want to do this? That’s
fuckin’ rich. What did you think,
you could just quit and walk away?
You think this is a fuckin’ civil
service job? What are you, crazy?

VITTI
Not anymore.
(to Mangano)
Hey, Carlo, tell me. You gonna
stab me in the back like the piece
of shit I always knew you were?

Mangano stares at him, cold and hard.

MANGANO
I’m not gonna stab you in the
back, Paul. I want to see your
face when I do it.

VITTI
I don’t think so.
(calls out)
Mo-Mo!

Mo-Mo stands up from behind a car pointing a shotgun at
Mangano and Sindone.

VITTI
Bigs!

Johnny Bigs steps out from behind a shed holding an
assault rifle.

VITTI
Eddie!

The back of a van opens to reveal Eddie “Cokes” and Tuna
manning a military air-cooled machine gun on a tripod.

VITTI
It’s over, Primo. Now get the
fuck outta here.

Sindone glares at him, then lowers his gun, turns, and
starts to walk back into the building joined by Mangano
and the soldiers.

(CONTINUED)

128.

110 CONTINUED: (2) 110

Vitti and Ben relax.

BEN
Good thinking. I was going to
bring a machine gun but I don’t
have one. Of course, we haven’t
opened the wedding gifts yet.

Suddenly, Sindone whirls and FIRES at Vitti.

Ben staggers in front of Vitti and takes the bullet in
the shoulder.

CUT TO:

111 INT. GARAGE – CONTINUOUS ACTION 111

The assembled bosses hear the sound of GUNFIRE outside.
Zello looks at Baldassare.

ZELLO
Oh, shit.

The bosses all jump up and run for the exits.

CUT TO:

112 EXT. PARKING LOT – SAME TIME 112

As the GUN BATTLE CONTINUES, Sindone jumps into a car and
tries to escape, but Eddie Cokes RIPS his car with the
MACHINE GUN, stopping it dead.

113 OMITTED 113

113A GATES 113A

An NYPD armored assault vehicle bursts through the gates.
Police cruisers and SWAT vans come racing up to the scene,
SIRENS SHRIEKING.

Then, from out of the sky, the FBI helicopter descends,
blaring a warning.

AGENT STEADMAN (V.O.)
(on a loudspeaker)
Drop your weapons and lie facedown
on the ground. I repeat. Drop
your weapons and lie facedown on
the ground.

CUT TO:

129.

114 EXT. ALLEY – CONTINUOUS ACTION 114

Bosses and fat capos go running through the alleys and
clambering over fences in their silk suits and expensive
loafers.

115 EXT. PARKING LOT – CONTINUOUS ACTION 115

Agent Ricci, wearing a flak jacket and FBI baseball cap,
has Sindone down on the ground with his foot on Primo’s
neck and a .45 aimed at his head.

AGENT RICCI
(screaming)
Don’t move! Don’t you fucking
move!

SINDONE
Hey! Take a pill, Robocop.

Vitti is tending to Ben who is on the ground leaning
against the side of the limo.

VITTI
(deeply moved)
I can’t believe it. You took a
bullet for me. What doctor ever
did that much for a patient? I’ll
never forget that.

BEN
Paul — I tripped.

VITTI
Yeah. You tripped over your
unconscious.

DISSOLVE TO:

116 EXT. FEDERAL PRISON – MANY WEEKS LATER 116

It’s a beautiful summer day. Convicts are playing
basketball and lounging in the yard.

CUT TO:

117 INT. PRISON LIBRARY – SAME TIME 117

Ben in a sport coat, and Vitti, in prison whites, are
sitting around in a circle with several other convicts.
DONNY, a heavyweight con with a shaved head and numerous
tattoos is talking.

(CONTINUED)

130.

117 CONTINUED: 117

DONNY
I don’t think my mother really
listens when I talk. She never
listened.

VITTI
And how does that make you feel?

DONNY
It makes me feel angry.

VITTI
I’ll bet you feel hurt, too, don’t
you?

DONNY
(suddenly vulnerable)
Yes, I do.

BEN
Paul, what would you say about
what Donny’s feeling?

VITTI
Donny, when you’re thirsty, you
don’t go to the wall — you go to
the well. You know what I’m
saying? Your mother may never be
able to listen to you, but you
have friends here who will.
Okay?

Ben is proud of Vitti’s new sensitivity.

BEN
And be patient, Donny. Most
people’s problems take months,
sometimes years to resolve.

DONNY
I’m doing twenty-five to life.

BEN
That should be plenty of time.

CUT TO:

118 INT. PRISON CORRIDOR – LATER 118

Ben and Vitti have just left the therapy group.

(CONTINUED)

131.

118 CONTINUED: 118

BEN
You know they found Primo Sindone
dead in a field near LaGuardia.

VITTI
I heard.
(off Ben’s look)
I had nothing to do with it.
There were guys lined up from
Canarsie to Atlantic City who
wanted to whack that bastard.

BEN
Okay, just checking.

VITTI
You know, Doc, I don’t think I
ever thanked you properly for
curing me.

BEN
We don’t say ‘cured.’ We say you
had a ‘corrective emotional
experience.’

VITTI
You, you, you’re very good.

BEN
(pointing)
No. You. You.

CUT TO:

119 OMITTED 119

120 EXT. SOBOL BACK YARD – NIGHT 120

Ben and Laura are dancing in the yard. Paper lanterns are
hung here and there. A bottle of champagne sits open on
the table. A great TONY BENNETT SONG can be heard playing.

BEN
Happy?

LAURA
I just can’t get used to it.

BEN
What?

(CONTINUED)

132.

120 CONTINUED: 120

LAURA
It’s been three weeks since the
last time you were kidnapped. I
don’t know if I can adjust.

They kiss as the SONG ENDS. Ben turns and speaks to
someone O.S.

BEN
What do you say, Tony? One more?

TONY BENNETT and his trio are set up on the back porch.

TONY BENNETT
Whatever you want, Dr. Sobol. My
friend told me to stay as long as
you wanted me. What do you want
to hear, Mrs. Sobol?

LAURA
Your choice, Tony.

TONY BENNETT
I was hoping you’d say that.
(quietly, to trio)
‘World on a String,’ fellas.

Tony sings “I’ve Got the World on a String” as Ben and
Laura continue to dance. The CAMERA PANS UP and we see
Michael smiling and shooting video from his bedroom
window, then the CAMERA PANS UP TO a starry sky, and we…

FADE OUT.

THE END




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