DAVID MAMET. b. 1947 Esensine is ist great success with American Buffalo (1375), David Mamet hhas been the principal dramatist of a ruth less modetn world in which individvals struggle for survival and: dominance Whether depicting the world of small-time crooks orof realestate salesmen, Mamet's plays center on fast-talking, street-smart characters secking an edge to get ahead, In the end, his plays show how profoundly capitalism has shaped America, affecting ‘ot just the lives of individual characters but also their social relations; he isthe poet of what might be ealled capitalist exsten tialism. Rather than denouncing the world he depicts as immoral, Mamet observes its workings with a detached fascination that ‘is imbued with sympathy. He i also one of the few major dramatists to be equally at hhome in the theater and in film, His frst well-known work for the einema vis an Adaptation of James Cain's 1934 novel, The Postmen: Alvays Ringe Twice (1981), and he has since turned several of his own plays into films, written original sereen- plays, and: directed successful features, notably The House of Games (1987), Hom cide (1991), and The: Spanish Prisoner (1997). With new plays and fills coming ‘out every few years, Mamet has reached the prime of his career, and he may yet hhave surprises and new breakthroughs in store for us. Born into a Jewish family in a subueb of ‘Chicago, Memet was introduced to drama atan early age, actingin small parts for an ‘uncle who produced radio and television programs forthe Chicago Don do Rabin in 1998 Mamet commemorated the urban miliew of his youth vith the plays thot make up The Old Neighborhood. AFter high school he attended Goddard College in eemont: During his junior year he studied at New York's Neighborhood Playhouse ‘vith Sanford Meisner master teacher of naturalist aeting who influenced Mamet asa irectoras well a a playwright. After fraduation he taught deama fora year at Marlboro College in Vermont, returning 4 year later to Goddard as.an atistine residence. There Mamet founded the St. Nicholas Theatre Company with Wil liam H, Macy and other actors who woud hecome: prominent interpreters of his plays--which would be produced by that company, following its revival after he ‘moved back to Chicago. ‘Mamet's earliest plays—Laeboat (1970), Duck Variations (1972), and Sexual Perver sityin Chicago (1974)—everplfy his most typical form: the two-person dialogue. ‘These early plays are essentially strings of episodes; Mamet shows litle interes in nstrueting am ate of action, in bllding "up tensions that lea to a climactic event whose consequences are then developedtoward their logical conclusion, The pro- Pulsive force instead is the spokca word, the chatter of his characters as they remi. nisce, brag, lie, conceal, bully, and offend ‘ne another in a series of conversations. It is difficult to identify a thematic interest ‘or project, since the play’ settings seem to be little more than an excuse for explor ing the particular everyday idiom of the characters—often lowlifes who inhabit this or that subgroup or profession. Mamet works inthe tradition of naturalism in thet he preserves these characters’ mistakes and colloquialisms, theit repetitions, inter, uptions, and incomplete sentences, But he also manages to turn this ordinary idiom into 2 rhythmic, almost poetic language and transforms everyday dialogue into a it rary style. In the process, his characters often become brilliant users and abusers of language, expert storytellers and manipula tors of words who enjoy their much as Mamet does his. Mamet found this dominance of speech ‘over action in the three writers whom he considers his primary influences: HanoLD. PINTER, SAMUEL BEcKETT, and. the incteentlvcentury “German dramatist Heinrich von Kleist. From Pinter, he leamed to write elliptical dialogues fll oF interruptions and silences; from Beckett, he learned that a play ean be sustained by yelical and meandering exchanges thet accomplish nothing and that have to begin fnew in each act; and from Kleist, he learned to use language ruthlessly and strategically. A fourth influence was anton ‘HEKHO¥; whose work Mamet came to hon intimately through his fine adaptations of The Cherry Orchard (1987), The Three Sisters (1992), and Uncle Vanya (1989) Like Mamet's, Chekhow's plays ate hased not on action but on the rhythms of speech, the endless repetitions of phrases through which provincial characters express and repress their ideas and desires, Mamet broke through as a dramatist when he related his interest in language and dialogue to the larger structures of life in the United States—specifcally, to the nature and effects of eaptalism—in American Buffalo, The play examines cap italist individualism at the local levels a ppawn shop inhabited by a few smalltime crooks. American Buffalo presents a world of exchanges of commodities that are ‘more or less worthless, The characters planning ¢o steal the coin collection someone who had earlier bought a bul hhead nickel atthe shop, but their ina todetermine (with the help ofan outd book) the value of another old coin fests that the robbery would be poinl even if pulled off successfully. The a ‘exploit one another's weak spots, play each other's fears and desires, manipula and lie for their piece of an increas worthless pie. Yet even as they present themaclves as ready to sacrifice anything fora good deal, they also exhibit moments of sentimentality that belie their tough talking poses. A work treating the same subject on a grander sale was The Water Engine (197), which Mamet originally wrote as a radio play (perhaps a natural medium for a writer who emphasizes lane guage) and later adapted to the stage. The Water Engine is set at the Chicago Worlds Foir of 1934, an awe-inspiring display of American ingenuity in the midst of the Great Depression. Running through the play isa chain letter, representing the pyre Amid scheme that in Mamet's view epto: mites the greed and exploitation inherent to capitalism, The inability to assign value—indeed, the ‘general untrustworthiness of all Products of capitalism—has increasingly ‘emerged as Mamet’ most important theme Nearly all of his work written since the 1980s seems to suggest, in one may oF ‘nother, that you can't trust what people ‘iy, you ean trust what they do, and things fare not what they seem to be, but he hy explored this idea most fully in his fins ‘Whereas many of his plays revolve around proposed actions that never take place and Schemes that never quite work out his fies (especially Homicide, A Howse of Games and The Spanish Prisoner) devise plans of astonishing complexity, with layers of feints, baits, and trickery that are master minded by a single, perfect plates. The three pillars of Mamet's work dialogue, capitalism, and the eon game jointly sustain what is to date his ‘masterwork: GLeNGAnnY GLEN noss (1983). Like his earlier plays tis set ina limited, enclosed world, here a small real estate office that sells worthless property in Flor. sri Scoteh-sounding names. Mamet thse frshad rhe hb ted inva real etate office in Chiengo- toute play proceeds a a breakneck i dang selects from ruth nner ake caitalsm he best teman ofthe month get Cle the dest receives steak Knives, and het lowest performers willbe fied. The Seon ar seduced compete Bpsigh-stakes game that leaves no Une nthing besides cutshroat business Lie many of Manet her ae Glo my precls an all-male wold from Bich private lives have all bit in cl "Despte his declared sympathy for Beslan the nga the tab in their srugle, the play excoré seth ct hn ped he. tn choosing salesmen ae ls protago- iS Mamet jlned a line of prominent Pecricth-ceniury | dromatate—EUgeNt nett, in The losman Cometh (946, nd ARTHUR MILLER, in Death of a Sales- tron (985) notable among them—who Sa im gurstion Ameria’ apal Sham Dut une Milley eho famous turned his play into a general parable by cs deliberately not speciying the pra Sold by Wily Loman, Mamet dts what ioe ol ond for how much, At the Sametime, however none ofthe commas tes hat cca thoi th play, rom the Cadilac and the sea knives othe rd eer hve any ui wy None of he salesmen ev pretend that Ie wans, fet lone needy the Cail the tea knives and we know that that whole enerproefoudlen. Tey ae Selig el cotte that coal avy Be ess fel to only swore bt een the Tyee com oe no need fr Whe Glenpury i play about capita ism I algo something of # detective Story: the al ette oie broken into fd vac custome information eso ie nthe second cyte ply ttn sito tie uc» wh jot ofthe charactors eve € ote for Thevebbery snc the) areal tine ofthe cruel ayn which they ae forced operates and one salesman mise tat reveals is quilt concides ith the plays thd. But te important to eae that the ‘Sica poe ear ipa ain toil tothe ental theme “The set end cast ofthe original 1983 production of Glengarry Glew Ross atthe Cottesloe Theatre, LondonUnlike Mamet's films, which concen: trate on elaborate cons and schemes, this play uses the burglary, a crime haplesly executed and quickly solved, merely as a backdrop for a study in the language of salesmanship. Iti steeped in the peculiar {idiom of the salesmen-"sts’ or meetings with clients, “cold calls and the “closing of deals. The plays epigraph is “always be closing," which is explained as “practical sales maxim." The most important bit of jargon, used innumerable times, is "lead the names and addresses of potential buy. rs, ranked according (0 the Iikelihood that they will pan out. As in Mamet's early svorks, the first act of Glengarry Glen Ross is structured around a series of dialogues, which again display the playwrights kin ‘uiste virtuosity. The characters’ rapid-fire delivery oftheir dstinetive slang makes no ‘concessions 0 the audience. ‘They are, afterall, masters ofthe pitch, of using lan suage to got their way by alternately threat. ening, pleading with, begging. and pleasing their iterlocutors. More fully here than im ‘anyother play, Mamet captures the rhythens of everyday speech, filled with interrup ‘dons and awkward transitions. Indeed, one is hard-pressed to find a complete sen- tence, The characters constantly interrupt fone another and themselves; they test, words and phrases, modifying and replace ing them to suit their interlocutor’ reac. tion. Ie is kind of linguistic dance that is as expert as itis ruthless, ‘The play is al alk, but the talk is never innocent-—words are weapons, The first to speak s Levene, a salesman who is falling, behind in his rate of closed deals and who therefore no longer gets the “premium Jeads." Desperately trying to improve his standing, he attempts to persuade his bore, Williamson, to give him some of those hot leads on the sly. He pleads and seeks to arouse pity by mentioning his daughter; he appeals to Williamson's own greed, his ‘ond. judgment, his expertise, and. his ‘management style. Williamson can hardly breakin with a word of his own, hut Lev enc’s verbal torrent has no effect. The next ‘scene features the s¥0 men whose sales are lowest, Aaronow and Moss. Afier drawing Aaronow into a harangue about the real ‘estate office and its managers, bad leads, and fickle clients, Moss skillully sets a verbal wap for hie nteocto. Blige 2 general emark—someane should po the management for ving the lea bad leadshe begin to spin out pl Sea the lads rom he ofe andthe them tale, Aaremow fds "unwitigy drawn int this scheme Moss convinces im tha the mere at listening st made him an aco hen more ube and sucess iy strategie talking is the protege third loge, the top salesman Ro ‘who cajoles hi plese victim nto bg worthless property Inthe second ac, one-on-one cone ios are replaced with an ensemble pes «diferent interactions occur simultane ‘usly onthe tage, While the slesmet ang being croscramined by detective whos trying to solve the burglary, Rom lest buyer comes into the afice to cael the desl-To distract hin, Levene and Roma pt ‘on am act that Is rominiscen of Manet metatheatrical plays, such as A Life in the Theatre (1977). This scene i an homage tothe salesmen, the ats of decepi We se them tg» cerkable pay tae the poy. a darling performance tha echbits thee skilful Improvisation and linguistic ingenuity. These are the sl thatthe salesmen have developed on the street and that set them ape from he office manager, whote interruption unde as and undo thei act The Jesh Hala saleamen and the WASD manager ate alo set on opposite ses of ance Give: Indeed ethnic dives consitey inform Mamet pla, which use ety tot at cent thine but ase te ‘ceasion for slur, one more eecasan le explore diferent dulcte nd modes o Speech, one mre scl ely etc timed into the overpowering sed of 2 way of getting the pood Tea to lars how to pitch the next sales and te close the Set da : The intersection of language, deception and power is Mamet great theme, which ‘enkinoe to inform hie most ecent plays ‘mow notably Oem (191), hase sie of encounters Between a profesor sad i student develops inte a ious eye of dae ond Sante Co Mamet has turned away fom contempe: rary America to rite plas set n histor lly and therefore linguistically remote Tudiences have generally not considered hese historical experiments equal to Mam: WILLIAMSON, BAYLEN, ROMA, LINGK Mer LEVENE, Moss, aARONOW Mer iveNe John... John GLENGARRY GLEN ROSS 1.1 | 1367 cs cole ors But wheter Mamet pe Pion atavige (999) iy lie. eine omnia omar aaron eke sity ins eae Sep aij eg Tnthe Mile Aes. ier aid fumes ie fur ps wll ky er Se ioe ee tinue to be meditations on the power and thet oe sake eed CHARACTERS. in their early fortes in their fifties ‘Te Scene. ‘The three scenes of Act I take place in a Chinese restaurant. ‘Act 2 takes place in a realestate ufc Practical Sales Maxime Act 1 Scene I [A booth at a Chinese restaurant, WILLIAMSON and LEVENE are seated at the booth} John, Okay. John. John. Look: [Pause] The Glengarry Highlands leads,' you'te sending Roma out. Fine. He's a good man. We know ‘what he is. He's Fine. All I'm saying, you look at the board, he's throving ‘wait, wait, wat, hes throwing them away, he's throwing the leads away: All that Y’m saying, that you're wasting leads. I don't want to tell you your job. All that Tm saying, things get set, [know they do, you get a certain mindset... ay gets a reputation. We know how this... all I'm saying, put a closer on the jo ‘There's more than one man for the... Put a... wait a second, put a proven ‘man out ...and you watch, now wait a second—and you watch your dollar ‘You start closing them for ity ‘stead of rwemtyfive ... you put a volumes. closer on the 2. Contac information aout potential lens tha might land to = el,LLIENSON Shelly you blew the ast HEvENE No. John Nox Lets wat lets back up here 1a " Hes ack up here it please? Wait a second. Please. I didn't “ low" id" Wher. No. One kicked out one lelosed. net NO id Ma Smutinnson’ "you didnt ewe LEVENE ... I, if you'd listen to me. Please. I closed the cocksucker. His. John, his ex; I didn't know Ie was ma i John, his ex, I didn't know he was marred... he, the judge invalda 2 WILLIAMSON Shelly SN je nd Nhat that, John? What? Bd luck. That’ allt. 1 pray in your life you will never find it runs in streaks, That's what wal 1s tng Sea pray i misses you. That’ all 1 want om sae ee about the other two? WiLtiaMsoN Four. You had four leads. One say nen ++ -¥0U want to see the court records? John? Eh? You want to gp 30 WILLIAMSON no A LEVENE —. .. do you want to go downtown 7 WILLIAMSON sno LENENE then WILLIAMSON. Tony then what is this “you say” shit, e TENE sy then what is this “you say” shit, what is that? [Pause] What f MHLLGON A hat Tm saying On i this Fra say"? A dell ie out... I got to eat. Shit, Wik , sh fou, toss « . . Roma . . . look at the sheets . . . look at the 1 sheets. Nineteen eighty, eighty-one . eighty-t i of eight ‘os: who here? Wha up theres eames of igh wwtinnsow Roma, UivENt Under hia Wiuitaysox More ‘© Lavine Bullshit, John, Bulls. April Septemb ? fucking Moss. Du repect, he's an order taken Jobe, He ake nt ood game, look atthe boar, and its me, Johns mee els 8 ee Not lately it ist. q ‘i ever Lately kiss my ass lately That isn't how you build an ull o Murry Tako Mich, When we ereon Pern hora tucking car? You talk to him. The Seville’. He came te open tte tht re Shh” Ou of wh? Cll aig! Nune.Sh ere we were there, with Glen Ross Farms? You call cor dorensres ere that? Luck? That was luck" Bullshit, John, Wouse borg ee chat Beta fucking lead... you think that was luck. My stats for those years 2. Tha fl ehrough ith is 2 Thai wut necessity 3 The Cadillac Sil,» name reid inrobinga realestate Mckaut clause," which in 1975 for the vos mee et allow the sale comin ose anther trpenine ee. mis rage while poten baer atemps to Tha slogan potential eas cent hose). without having any lel opr contact ced out, one the judge, you GLENGARRY GLEN ROSS II 1 1369 Bullshit... over that period of time... Bullshit, 1¢ wasn't luck. It was skill. You want to throw that away, John... ?You want to throw that away? wcussmson Te isn't me EsveNe it int your. -- ? Who is it? Who is this 'm talking to? I need thedeads . « WILLIAMSON after the thirtieth. Levene. Bullshit the thirtieth, I dont get on the board the thirtieth, they're foing to.can my ass. I need the leads. | need them now. Or T'm gone, and you're going to miss me, John, I swear to you. ywiuuaMson "Murray... LiveNe you tall to Murray... Jwissasson " Thave. And my job is to marshal those leads. LEVEN, Marshal the leads... marshal the leads? What the fuck; what bus did you get off of, we're here to fucking sell. Fuck marshaling the leads. ‘What the fuck all is that? What the fuck tall is that? Where did you learn that? In school? [Pause] That's “tall,” my fiend, thats “tall.” Our job isto sell. 'm the man to sel. 'm getting garbage. [Passe] You're giving it to me, and what I'm saying isi’ fucked. vttianison You're saying that I'm fucked. tuvest Yes. [Pause] Tam. Fm sorry to antagonize you. wnssamson” Let me Levene. ..and I'm going to get bounced and you're ftisawson’ let me. are you listening to me tavave Yes. wintiaMson Let me tell you something, Shelly. I'do what I'm hited to do. Tim. wait a second. Ym hired to watch the leads, fm given .. hold on, ‘Tam given a policy, My job isto do that. What I'm told, Thats it. You, wait a second, anybody falls below a certain mark Vm not permitted to give them “othe premium leads evenE Then! how do they come up above that mark? With dreck* ...? ‘That’ nonsense. Explain this to me. ‘Cause its a waste, and its a stupid waste, I want to tell you something. wintiaMtsos” You know what those leads cost? LEvENE The premium leads. Yes. I know what they cost. John. Because I, 1 generated the dollar revenue sufficient to buy them. Nineteen senny-nine, you know shat 1! made? Senny-nine? Ninety-six thousand dollars. John’ For Murray. . . For Mitch . . . look at the sheets. WILLIAMSON Murray said .. LEVENE Fuck him. Fuck Murray: Jobn? You know? You tell him 1 said so. +5 What does he fucking know? He's going to have a “sales” contest... . you know what our sales contest used to be? Money. A fortune. Money ying on the ground, Murray? When was the ast time he went out on a sit? Sales contest? Its laughable, Its cold out there nov, John. It's tight. Money is fight, This ain't sity-five.” It in. It just ain't. See? See? Now; I'm a good jo \man—but I need a... switttawson Murray said... 7. That is, 1965, remembered a a time of 5. Crap (iis), conomie expansion and easy sales. 6A face-toface meeting wth cientsLEVENE John. John . WILLIAMSON Will the hot leads . "Ws LEVENE ah, fuck this WILLIAMSON The... § you please wait a second. Shel \d. Shelly. Please. Murray told "WILLIAMSON Either way You're ou ‘LEVENE I'm out. ee . winuiasison” Yes nis those cocksuckers Rio ILLIAMSON they kicked out, in oe lon't look at the board, look at She et 2s them who ever: cos sa fen pe tig leads don't come right out o vo» Tigo inand lee nou 2 phone book. Give me's lead hates thane bord ging @chance. Tht all want im going to getup WILLIAMSON Tea Pa ol ana cant det Shel se ISON The leads at ire assigned randoml Levent ‘Bull, blii oan th Wha areyou Suiatson apart om thee eee lng med ‘rvie Then put me on the board,” {Me comes board, vc ti hse ol onthe ar lsc thee lay J No on cs ake. Jobn, ek ist ve me a ha ead. Jus give neta sgh’ 2 “est and pomine on eran eas. 5 He baer T can't do it, Shel. [Pause] ENE Il give you ten percent [Pore ‘“s WILLIAMSON Of what? . ee Leven “Otay en hat lone MLLIAMSON And what if you don’t close LEVENE I will close. yous fee 8. People of Polish descent (decogaton). I's a streak and I'm going GLENGARRY GLEN ROSS I | 1371 LAMSON What if you don't close ne Twill cl umson What if you don't? Then I'm fueked. You see... ? Then it’s my job. That’s what I'm telling you sexe Lill close. John, John, ten percent. lean get hot. You know that swittiason Not lately you can Levene Fuck that. That's defeatist. Fuck that. Fuck it... . Get on my side. Go with me. Let’s do something. You want to run this office, run it WILLIAMSON Twenty percent. [Pause] teveNe Alright. WILLIAMSON And fifty bucks 2 lead, LseNe John. [Pause] Listen. I want to talk to you. Permit me to do this a second. I'm older than you. A man acquires a reputation. On the street What he does when he's up, what he does otherwise... I said “ten,” you said “no.” You said “twenty.” I said “fine,” I'm not going to fuck with you, hhow can 1 beat that, you tell me?. .. Okay. Okay. We'll... Okay. Fine Weill... Alright, twenty percent, and fifty bucks a lead. That's fine. For now: That’ fine. A month or two we'll alk. A month from mow. Next month. After the thirtieth. [Pause] We'll talk. WILLIAMSON What are we going to say? Levene No. You're right. That's for later. We'll alk in a month. What have you got? want two sits. Tonight. wittiamson I'm not sure I have two. tevENE I saw the board. You've got four. . WILLIAMSON [snaps] I've got Koma, Then i've got Moss... tivene Bullshit. They ain't been in the office yet. Give ‘em some stiff. We have a deal or not? Eh? Two sits. The Des Plaines. Both of ‘em, six and ten, you can do it... six and ten... eight and eleven, I dont give a shit, you Set ‘em up? Alright? The two sits in Des Plaines. wiiamson Alright. Luvent Good. Now we're talking. [Pause] ‘» wittiamson A hundred bucks. [Pause] Levene Now? [Pause] Now? WLLiaason Now. [Pouse] Yes... When? sven Ah, shit, John. [Pause] WILLIAMSON T wish I could. ns LEVENE You fucking asshole, (Pouse} I haven't got it. [Pause] I haven't got it, John. [Pause] Tl pay you tomorrow. [Pause] I'm coming in here with the sales, I'll pay you tomorrow. [Pause] I haven't got it, when I pay, the gas get back the hotel, Il bring itn tomorrow. WILLIAMSON Can't doit we LEVENE. I'll give you thirty on them now, ll bring the rest tomorrow. I've got it at the hotel [Pause] John? [Pause] We do that, for chrissake? WILLIAMSON No, LEVENE I'm asking you. As a favor to me? [Pause] John. [Long pause] John: ‘my daughter... vo WILLIAMSON [ean do it, Shells LEVENE Well, I want to tell you something, fella, wasn't long I could pick up the phone, call Murray and I'd have your job. You know that? Not too long ago. For what? For nothing. “Mur, this new kid burns my ass.” "Shelly, he'sGLENGARRY GLEN ROSS 1.2 11973 put.” You're gone before Im back from lunct so BI te am ack from lunch. bought him acte WILLIAMSON. Thave to go LEvENE “Wait. Alright. Fine. [Starts ge }ONOW 1... I don't know: ; 88. You had one you'd know it. Patel. They keep coming up. 1 don't know. They like to talk to salesmen. (Pause] Theyre lonely, something. [Passe] pi ing in pocket for money.) The one. They like to feel rior, | don't know. Never bought a fucking thing. wmtinmnon e Moe siting down “The fo Rancho ty the bah bt lay" =The Me ven Whyte Pe " ier told me that...” it a grapevine, 2 LEVENE. Why? tain View—" "Oh yes. My brother told me that. ..." They got a grap Fuckin’ Indians, George. Not my cup of tea. Speaking of which T want to {ell you something: [Pause] I never got a cup of tea with them You se them in the restaurants. A supereilious race. What is this look on their face all the time? I don't know: [Pause] I dont know. Thetr broads all look like they just got fucked with a dead cat, I don't know: [Pause] I don't know. 1 don't like it. Christ « RONOW.. What? tis The whole fuckin thing... The pressure'sust oo gest You ab . “you're absolu they're too important. All of them. You go.in the door TL... “I got to close this fucker, or I don't eat lunch,” “or I don't win the Cadillac. ...” We fuckin’ work too hard. You work too hard. We all, 1 temember when we were at Platt... huh? Glen Ross Farms .. didn't we sell a bunch of that ...? ‘4snonOW They came in and they, you know ios Well, they fucked it up. s Aakonow They did. ‘MOSS "They killed the goose.” AAKONOW They did. moss And now ‘Aanonow We're stuck with this 1 Moss) We're stuck with this fucking shit AARONOW «this shit Moss Itsto0 Aanonow _Ieis, Moss Eh? % AARONOW Its too. ‘Moss. You get a bad month, all of a ‘Aanonow You're on this... ‘Moss All of, they got you on this “board WILLIAMSON Because I say so, event [pause] Is that i? Is that it? You want to do b at it? You want to do business that Uwitsassow ges up, lames money onthe table] a termes You want to do business that oop a i (Art What is there onthe other int. '> “ht Alright. Aig 30 WILLIAMSON You want something of the B list? LevENE Yeah, Yeah, ae MILLIAMSON — Is that what you's ‘saying? ‘LEvENE That's what I'm saying. Yeah. [Pause] I'd hi . : © something off = ae He ae very least, that I'm entitled to. If I'm still ‘work 1g joe Raion MAMET Rus tht Tam Pane) Whos yen Be WILLIAMSON "That's aight, Sse The de sland, out other thing Isn.tssow shag. Sons ou he Sth Good, Mm. Iu know, If my wall! Back he hovel LevENE MOSS _Polacks and deadbeats AARONOW .., Polacks . MOSS Deadbeats al, AARONOW they hold on to their money . * Moss All of ‘em, They; hey it happens to ov all ere am T going to work? Mat have to cheer up, George, yok areit out yet : sanoxow I'm not? c “ Moss You missed a sale. Big deal. A deadbeat Polack. Big dal’ How Aanonow “Towels. the feed 12 26 I the fst place Moss Some contest board... thelead. Inthe fist place... 7 Your mistake, you seen oe be Sons Some cones board anon thd ss tou ha, yeah. Why? tn ogo he Polack? And Ti sell yous Pee what else: don't ever ‘ty to sell an Indian, snovow “TU never yell on a Noss You Riythose names come up, you ever get ‘em, “Patel” Moss You ever get em? AaRONoW Well, I think Moss You did? Moss Irs not right, Aanonow It's not pie NoclPeca ve a3 © aanonow And it’s not right to the exstomers. Moss. I know it’s not. I'l tell you, you got, you know, you got ... what did I lear as a kid on Western? Don't sell a guy one ear. Sell him five cars over fifteen years. Aaonow That's right? ye moss. Eh ...? " goan’a get on the board sellin'd 1 fell you what ele. You listening? I tll yoo Thad one once. 9. Thats, the goose that lid the golden egg; nthe fale about this goose, greed leas to ove reaching and the subsequent loss oF eay peat,luh. Ninety percent our sale, we're paying to the office for the Aamarcow That's right? them. Hub, Ninety per Moss Goddamn right, that’s right. Guys come on: “Oh, the blah blah bl Know what Ill do: Il go in and rob everyone blind and go to Arge cause nobody ever thought of this before.” % AARONOW that’s right .. i moss Eh? Aanonow No, That's absolutely right. Moss | And so they kill the goose. I, I, Ill... and a fuckin’ man, worked is life has got t wo AARONOW thats right Moss. . cSwer in his boots ‘Aanonow [simultaneously with "boots"] Shoes, boots, yes Moss For some fuckin’ “Sell ten thousand and you win the steak knives. AARONOW For some sales pro er’ ts of things 1 The leads, the overhead, the telephones, the lots : What il ou need telephone, some bron to sy “Good morning’ morhng nohing Norn that simple, Dave i Mes is in simpl, and you how what the hard ars ;onow What? Sant ont What had par? adhe ng The he fence Betwon meen ry Graff: Going to business for yourself. The hard part is... you know what a? fanovow What? ; st the act "Moss "sales promotion, “You lose, then we fire your...” No, Ws me Bia weerect coal: wang. "Or wee ping tore ours Ws ony ose Tosay"Tim ging on my own.”Cause what you do, George, let me tell sanonow Yes i weone else. And we © you what you do: you find yourself in thrall to som Znslave ourselves To please. To win some fucking Yomter “10.10 tnd the guy who got there first made np those nw That’s right oss He made up those rules, and we're working for hi. ronow That’ the truth .- sos Thats the Go's ah And i gts me depressed car tht dos ‘At MY AGE. To see a goddamn: “Somebody wins the Cadillac this mont PS. Two guys get fucked.” aaronow Huh. ‘yoss. You don't ax your sales Force. sanoxow | No. woss You... saroxow You ‘oss You build it! Asnonow That's what | oss You fucking build i! Men come atonow Men come work for you Moss... you're absolutely right. ssnoxow They py Moss They hae ‘Aanonow When they se Moss ook look ok ook, when they bi your business then you fucking turnaround, enslave them, teat ther like children, fuck them up the ass, leave them to fend for themselves... no. [Pause] No. [Pause] so You're absolutely right, and I want to tell you something. yw What? ‘oss. I want toll you what somebody should do aanonow What? ‘moss Someone should stand up and strike back. vs aanoxow What do you mean? Moss Somebody . aanoxow Yes. + oss Yes, itis. And you know who's responsible? 2 Aanonow "Who? % Moss | You know who iti. Its Mitch. And Murray. ‘Cause it doesn't have 0 be this way. Aanonow No. oss | Look at Jerry Graff. He's clean, he's doing business for himself hes sot his, tha Ht of is wit the nurses... se? You see? Thats thinking: Whi % take (en percent? A ten percent comm .-. why are we giving the rest amayh What are we giving ninety per... for nothing. For some jerk sit in the office tell you “Get out there and élose.” “Go win the Cadillac,” Graff He oes out and buys. He pays top dollar for the --. you see? aaKonow Yes. tw moss That's thinking. Now, he’s got the leads, he goes in business for hing self. He's. thats what I... that’ thinking! “Who? Who's got steady job, a couple bucks nobody's touched, who? AARONOW Nurses, MOSS So Graff buys a fucking list of nurses, one grand—if he paid two Hl tes eat my hat—four, five thousand nurses, and he's going wild AARONOW He is? Moss He's doing very well. aanoxow I heard that they were running cold. Moss The nurses? Wo AARONOW Yes. Moss You hear a ot of things. ... He's doing very well. He's doing very well AsRONOW With River Oaks? Bs es toss River Oaks, Brook Farms. All of that shit. Somebody told me; you know what he's clearing himself? Fourteen, fifteen grand’ a week. hs AaRONOW Himself? Moss ‘That's what I'm saying. Why? The leads. He's got the good leads : what are we, we're sitting in the shit here. Why? We have to go to them to 1. Equivalent to about $31,000 or $33,000 in 2008,Moss Should do something to them. ss What did I say? Aanonow What? unosow - What did you say? "oss Something. To pay them buck. [Pause] Someone, soriéone Yes. (Pause) I said; "Not actually hurt them. Murray and Mitch 7 stalking anonow Someone should hurt them. ‘ Now We are? Moss Yes 85. Yes. [Pause] ‘AanONow [pause] How? noNow: Hecmuse;becaun} ys knw eiernes ae "% Moss | How? Do something to hurt them. Where they lve, 8) That's right. I's a crime. Iti a crime, Its also very safe. anonow What? [Pause] oon ’ Now You're actually talking sbout this? Moss Someone should rob the office . oss ‘That’ right. (Pause) a ‘aanonow Huh, Boor going tn sel the lad? er rg that lim saying, We were, if we were that kind of guys el Have I said that? [Pause 80, ito and rash the joint, it looks like robbery, and take the fuckin'leadeg sanonow Are you? [Pause] ofthe files... go to Jery Graff [Long passe] f Did I say that? ‘anoxow What could somebody get for then NOW Did you talk to Graff? moss that could we get for them? I don't know. Buck a thr Je that what sai? thar da tmow +--Ldon' now; He, who knows what thee eNow What did he say "that do they my for them? All told.7. muse ber Td. hea 8 What did he say? He'd buy them. [Pause] : the Ta kno A HE mb Fe norte going steal the lcads ssl he ado hi? Pee Aanonow | How many leads have we got? oss Yes we. re ener «he premium leads... say we got ive shoud wonow What will he pay? Five. Five thousand leads. d Boss Abuckashot vw AanONOW And you're saying a fella could take and sell these ‘aswoxow For five thousand? 7 Gea isis Ses an ne era |woss However they are, tha's the deal. A buck a throw. Five thousand dol Moss Yes, i Tare Split it half and half 4ARONOW How do you lanow he'd buy them? -axwovow You're saying “me.” eae MOSS Graff? Because I worked for hiv oss Yes. [Pause] Twenty-five hundred apiece, One night's work, andth Y Aanonow You haven't talked to him job with Graff. Working the premium leads. [Passe] Noss No. What do you mean? Have I talked to him about this? [Pawse} Asnonow _A job with Graff. ns No, st mean are you actually talking about this or ae eae ‘wos. Is that what I said? Moss No, we're just. Aahoxow | Held give me a job, -AMtonow We're just “iting” about i Moss. He would take you on. Yes. (Pause} ‘The fuck you care, George? We're 2 Moss We're just speaking about it. [Pause] As an idea aanonow' Is that the truth? cae 3 4 AatoNow San ideas ene Moss Wes. Its. George, Pause] Yes t's bi decison, [Ps] And i big moss Yes. reward. [Pause] It’s a big reward. For one night's work. [Pause] But Aanonow We're not actualy talking about i to be to Moss No, etn What? ‘: 25 AARONOW Talking about it as a. oss What? What? The lea > Moss No, °: asnovow You have to steal the leads tonight? oss That's right, the guys are moving them downtown. After the thirtieth jurray and Mitch. After the contest. Beco Vice cite ie pea ira go in'there tonight and .. AAKONOW AS a robbery: Moss As a “robhery’2! No. Aanonow Well. Well. 2 mos He Pra] ‘*anonow "So all this, um, you didn't, actualy you didn't actual enon 0 by you didn't actually go tal to Moss. Not actually no, [Pouse] sanonow You didn't? 2 Moss No. Not actualy Aamonow Did you> moss You aanoxow I'm sorry? moss You, [Pause] aanonow Me? i Moss. You have to go in. [Pause] You have to get the leads. [ ‘xanonow Ido? i Moss Yes.sasonow 1 Moss Is not something for nothing, Georg, I ook you in on thi, ‘0 go. That's your thing Ive made the deal with Grell. Leaet ne Pea in, I've spoken on this too much. I've got a big mouth, [Pause] "The fuckit 2 leah” et cetera lah blah blah. the fucking tightone eo ee sanonow They know when you go over to Ook = ; oss What wil they know? That f stole the leads? dd' steal eh To going 0 the movies tonight wth frend, and shen Tau Como Inn. Why dd go to Gra” gor a beter dea. eed Lee something. They cant prove anwhing thats et the cece aanonow Dave. o im pr won es 16>» That's none of your fucking business... canes an jow Well, well, well, talk tome, we sat down to eat dinner, ow nthe aberat Som making concrete aah i fi nd? yh yy going to ge me Be gr sow Dayou sel five wand? Je Teenat what ota? Menon Hou need money? Is thatthe 1e + - what do Nioss. Hey, hey, let's just keep it simple, what I need is not the .. . what Asnonow You want me to break into the office tonight and steal the leae you nee - said that we were er ‘he fice cong an steal che ea ne ve rand (Pn What the, sid 280 AARONOW No. © going to split five . - five. ee 12 My end is my business. Your end’s twenty ‘sanonow "What docs that mean? moss "Listen to this. I have an alibi, Pm going to the Como Inn, why? The place gets robbed, theyre going to come looking for me. Why? Be, 2» I probably did it. Are you going to turn me in? [Pause] George? Are ing to turn me in? Aanonow What if you don't get caught? ‘Moss They come to you, you going to turn me in? Asnonow | Why would they come to me? © Moss They're going to come to evenwone. aanonow Why wold eit r oss You wouldn't, George, that’s why I'm talking to you. Answer me. They ‘come to you. You going to turn mein? aanonow No. 2% Moss Are you sure? aanovow Yes, I'm sure Moss Then listen to this: Ihave to get those leads tonight. That's sinething Uhave to do. Im not atthe oven i'm nt eating erat the ra wes lied. [Pause] Alright jor end ifn or out. You tell me, you're out you take the conse snow 1 Yes. [Pause Alnowost And why sha? fioss Because you listened: seems 3 s restaurant, ROMA is seated alone at the booth. LINGK is at # MSS we oo oxy estan compartments sel ogo hit ts 308d sai Tha the wet thing tn can cones Yu Kho log me dtu ec A Tonge, When oud oe ping 1 eae! he ee ends You th youre queer 7 Hsing tll you some Fre ee quce: Ys think tht youre tie? So what You gt hefucled by a middle-class morality .. .? Get shut of it. Shut it out, You tic ‘wife ....? You did it, live with it. [Pause] You hic lit heed on a cs abolute mori? Maybe And thon what? you the booth ifyou dont do this then hae tacoma ene Mink here then eth hing Ba ol go 0 Bl? 1 ot sie aanonovr don't have to come in ing tni tha, hell exists on earth? Yes. T won't ive init ose» and ob the place ou thin tae Make adm made you feel you'd just slept for twelve Asnonow thought that we were only talking. Mtns 2 Moss... they take me, then. They cx DiiT...? accorplices. oma. Yes soe AARONOW. Me? ee Bar We nly food, The great fucks that you may have had? “remember about them? oe Gat tance I" what it is, i's probably not the orgasm. seen Fm, a Tear ost Absolutely AARONOW "Thats idiculous Moss Well, to the law, you're an accessory. Before the fact. anoxow I didnt anki be se MOSS Then tough luck, George, because you are sanoxow Why: Why ecause you only odd me about it Noss That’ ight ‘anonow "Why are you doing this tome, Dave. Why ate you talking this tome? I dont understand, Why are you doing ths ata sy May in reflection, Everything else gains. at, it keeps us going, “What do yousound she made ... or, me, lying, in the, Il tell yous me lying in bed next day she brought me café au lait. She gives me a cigarette, my balls like concrete. Eh? What I'm saying, what is our life? [Pause] I’ loo forward or it's looking back. And that’s our life. That's it. Whete is ‘moment? (Pause) And what Is it that we're afraid of? Loss.’ What [Pause] The hank closes. We get sick, my wife died on a plane, the st market collapsed . .. the house burnt down . .. what of these happen. None of “em. We worry anyway. What does this mean? I'm not secwre. Hi can T be secure? [Pause] Through amassing wealth beyond all mea No. And what's beyond all measure? That's a sickness. That's a trap. The is no measure. Only greed. How ean we act? The right way, we would to deal with this: “There is a one-in-a-million chance that so and so happen. ... Fuck it, it won't happen to me. ...” No. We know thats the right way I think. [Pause] We say the correct way to deal with this “There is one-in-so-and-so chance this will happen . .. God protect me. am powerless, let it not happen to me. ...” But no to that. I say. something else. What is it? “If it happens, AS IT MAY far that is not it four powers, 1 will deal with it, just as I do today with what draws my: cern today.” I say this is how we must act. I do those things which se correct to me today: I trust myself. And if security concerns me, Ido th which today I think will make me secure. And every day I do that, wh set = thea eat fac toon teas ini adel he et exon ond wiaeos wee on jitude that = People used to say that there are nares ‘i ‘such magnitude that monn eo eo mde noaieenc. [Pa Paton i way in whoa! Pal Er [BavLeN, @ detective, comes out of the inner office.) Rosey Auge a easel sok Wiliams Wins thy tle he comrcts coe! jtoma Did they get my contracts? Eiiucon Tey ex. Bila eacwe ne fel Bie abe Biot cose my plese bout a fuckin’ Cadillac car that that day arrives that I need a reserve, (a) odds are that Ihave i, and () the “pei : 7 true reserve that I have isthe strength that I have of acting each day with: weataneon ‘They didn't get your contract. I filed it before 1 Tet ‘out Fear, [Pause] According to the dictates of my mind. [Pause] Stocks, bonds, objects of art, real estate. Now: what are they? [Pause] An opport nity, To what? To make money? Perhaps. To lose money? Perhaps Tp “indulge” and to “learn” about ourselves? Perhaps. So fucking what? What isn? They're an opportunity Thats al. They're an event. A guy comes up to you, you make a cal, you send in a brochure, it doesn't matter, “Theeeke these properties I'd like for you to see.” What does it mean? What you want ‘mean, [Pause] Money? [Pause] If that's what it signifies to you, Secu: [Pause] Comfort? [Pause] All itis is THINGS THAT HAPPEN TO YOU. [Pause] That's all it is. How are they different? [Pause] Some poo newly martied guy gets run down by a cab. Some busboy wins the lottery {Pause} All itis, iS'a carnival. Whats special... what draws us? [Pause] We'e all different. [Pause] We're not the same. [Pause] We are not the same, [Pause] Hmmm. [Pause. Sighs.] Its been a long day. [Pause] What are you drinking? uNcK Gilet Osta, They didnt get my contracts? utuwmow Theyre me (He goes ack nt mer rom wk hedeectve] Oh, fuck, Fuck, (He stars kicking the desk.} FUCK FUCK FUCK! MSWILLIAMSON!! WILLIAMSON! [Goes to the door wi aso en tl Wes the door, it’s locked.} OPEN THE FUCKING . - . WILL sarin [coming out] Who are you? [wittianson comes out) ‘wiutiamson They didn't get the contracts. oma Did they IWitLiaMtson ‘They got listen to me Ma Th. Wenotcow Listen tomes They got wom of ther, ows. Some of them « parten Who told you R who is . 2 You've got a fuckin’, youve =< a noma Well, let's have a couple more, My name is Richard Roma, whats toma” Who cold me wh ..? Youve got a fuckin youve 2 yours? : be this? You've got a boardu.on th wn ho tol Ki? LINGK Lingk, James Lingk. baveN [looking back toward the in eee oma How the fuck do I know? [To wittiasson] What oma James. I'm glad to meet you. [They shake hands.] im glad to: meet ph He a ac eee con you, James, [Pause] I want to show you something, [Pouse} It might mean fs Lingh- James Lingk. | elosed nothing to you... and it might not. I don't know. I don't know anymore, ROMA... some Se wk. J {[Pouse. He takes out a small map and spreads it om a table.] What is that? 1 WILLIAMSON You closed him yes Florida. Glengarry Highlands. Florida. “Florida. Bullshit.” And maybe that's oma. Yes true; and that’s what I said: but look here: what is this? This is a piece of AMLLiAMsON Te went down. | filed it land. Listen to what I'm going to tell you now: oma You did? ywituiamson Yes.- [Pause] | mean; talk about a bad streak: oma’ ‘Then I'm over the fucking top and you owe me a Cadilla. " Igot to go out and reclose all my... mussoe 1 own” And I dni want any Fucking shit and I dont give a shit Lin me over the top, yo fied, that’s ine, anyosher shit ick out pore He Yous: ou relon i, ‘case closed itand you, you owe ne te on navtan | Would you excuse us plese, fanonow Iu and may, maybe theyre in... thee in... you shou er ny hand ad rele he Heaould sap anyone scl cond Wheres the phoce ssoson ‘They sel Bona They acl the Wino Wha, Wha Kind of anyone outfit are we running where... where John, if were ins. fa hinwelf) They stole the phones. WILLIAMSON T'm sure that we're insured, George ‘ peril er bale can sme tn bere 5 nat {Going back inside Mo NON ey otole the phones. They stole the leads. They're. Chri. (Pause Rie Ther sole the! a {Stars forthe door seen ene pcrch sss here ato ge? Be oe oe had int of etic phd cg econ Arent yee, they tok the leads onuason have th fl thane: No, Swell Cause doit rosa Fick insured; ou owe me cat BAYLEN [stepping back into the inner room] Please don't leave. 'm > talk to you. What's your name? : a ti noma ‘Areyou talking to me? [awe] tavten es [Pane row” My name Fichard Roma In goes bch inte omer ram aanosow I you kno they shoul be ined rome. What foyowcare 3 the door] Where afe you going? asnoxow Then, you know, they wouldn't be so ups have to... i t yut today... .? noma Yeah. That's swell. Yes. You're right. [Pause] How are you? WLLIAsoN — ... you want to go out today ee Aawonow Tim fine. You mean the board? You mean the hare! Hoxt"Cause T don't ave to eat this month. No. Oka tome: [To himself] Fucking Mitch and Murray going to shit a br - fogiod al. pe [winesamson starts back into the nffice. He is accosted by AAnoNow.) sikonow Were the leads. - OMA... what am I going to do all month Awonowe Were the leads insured? WILLIAMSON T don't know, George, why? rN arpa hom tbe ty werent 1 kow that Mich and 5 Murray uh». [Pawsel SitLiinnson What? a Matonow | Thot they're going to be upset. SMHLLiaMSON, That's right. [Going back into his ofee want to go out today... ? [Peuse, wintsansox returns to his fie] noma Idon't «yes. Okay, the board. ‘aanonow Tm, I'm, 'm, Im fucked on the board. You. You see how ts. [Pause] 1 can't...my mind must be in uther places. ‘Cause 1 cant do noma” What? You can't do any what? [Passe] AARONOW I can't close ‘em, ROMA Well, they're old. I saw the shit that they were giving you. ‘asnonow Yes. fee es Roms Huh? aanonow Yes. They are old. Roma They're ancient. ‘anoxow Clear ROMA Clear Meadows. That shit's dead, [Pause] ‘Aanonow It is dead. 7 OMA It's waste of time. Aanowow Yes. [Long pause] 'm no fucking good. koma That's is ar sanonow Everything! y0u know... noma That's not ... Fuck that shit, George. You're a, hey you had 4 bad month. You're a good man, George, ae ted asnonow Tam? noma You hita bad streak. We've all ... look at this: fifteen unite Mountai View, the fucking things get stole. i ‘aanonow He said he filed -. 7 noma He filed half of them, he filed the big one. All the little ones, I have; ‘have to go back and... ah, fuck, I got to go out like a fucking schmuck? 2: Jes dick Odds), Pause. To noms] You Aanonow He said we're all going to have to go talk to the guy. oma What? panonow He said we. oma To the cop? sanonow Yeah. vs Rows. Yeah, That's swell. Another waste of time. ‘anowow -Avwaste of time? Why? froma Why? ‘Cause they aren't going to find the guy. aanoxow The cops? roma Yes. The cops. No. 1 aanonow They aren? rows, No. saoxow » Why dont you think so?tots? Bai hj Ware AARONOW At home. f wo See eo the go wh broke a? 40 AARONOW Was 1? a Face wins Item No sett el othe pas, = no she ed ROMA Yes. [Pause] Itc cathe ith sot hee it ok nao a rma ain a Hon apg wakes inno el "at wogs?* Where did you get this, from the morgue? _ Se: ths ming ce ae a “wh yet et ei , lending dete money te ene a "4 anit even manage to heep the contracts safer Ihave go honk eh them st hati fk vn en a Reka going feta tapes) last week's . Sete 1AMsON The word from Murray is: leave them alone. If signature he'll go out himself, he'l iden jus cone fe Boe vo offen hell Ro out himself, hell be the president, just come in, fromout noth" hy ly eth hit. Fine he leads ton Th ‘Roma Patel? Fuck you. Fuckin’ Shiva* handed hi ae y Shiva" handed him a million dollars, tol Pim sn he lhe wok an is, Fuck that, John. You know your business, I know mine. Your business is “being an asshole, and | find out whose fucking cousin you are, Tm going to {goo him and figure out a way to have your ass... fuck you—T'l wait for the new leads. [sweLty Levee enter] EvENE. Get the chalk. Get the chalk ... get the chalk! I closed ‘em! I closed the cocksucker. Get the chalk and put me on the board. I'm going to Put me on the Cadillac board, Williamson! Pick up the fuckin’ Bight units. Mountain View ova. You sold eight Mountain View? Levene You bet your ass. Who wants to go to lunch? Who wants to go to lunch? I'm buying. [Slaps contract down on Williamson's desk.| Eighty-two fucking grand. And twelve grand in commission. John. (Pawse] On fucking deadbeat magazine subscription leads. WILLIAMSON Who? LEVENE [pointing to contract] Read it. Bruce and Harciett Nyborg, (Looking around] What happened here? sskonow Fuck, I had them on River Glen. [urvens looks around. | Lever What happened? ILLIAMSON Somebody broke in, roms Eight units? event That's right noma Shelly... ! uvene Hey, big fucking deal, Broke a bad streak Aanonow Shelly, the Machine, Levene. Luvene You Aanonow ‘That's great Levent Thank you, George. mare sticks his head out of the room; cals in, “Aaronow.” AxnONOW 406s into the side room] LsvENE Williamson, get on the phone, call Mitch .. roma They took the phones tevene They - BAYLEN _Aaronow oa They took the typewriters, they took the leads, they took the cash, they took the contracts. « ip LevENE Wh...wh....Wha.. Aanonow We had a robbery. {Goes into the inner room.] vent [pause] When? noma Last night, this morning, (Pause) Levene They took the leads? noma Mmm. {stoss comes out ofthe interrogation. | moss Fuckin’ asshole nowta What, they beat you with a rubber bat? 11038 Cop couldn't find his dick two hands and a map. Anyone talks to this guyis an asshole {Peck pa ei Suth Ans im i Vass (spelrave erm, many De Srey th detec ne ofthe mot peta gods of Hind gan ae denied, espe fom and preservation,220 ROMA You going to turn State's? oss How ya doing? [Pause] moss "Fuck you, Ricky I ain't going out today: Pm going home. I'm go aanoxow is. : ! AmoNow _Ifanyone’s going, I could use some coffee. NOMA Guess what the Machine did? event “You do get the ...” (To noma] Huh? Huh? Moss Fuck the Machine Noss Fuck is that supposed to mean? 2 ROMA Mountain View. Eight units, LeveNe. "You do get the opportunity... You. get them. As I do, as anyone Moss Fuckin’ cop’s got no right talk to me that way. I didn't rot lovey toes..." font You ear what aa EST he as scl Tot | don care hy sol the conc? Pe Moss Yeah. He closed a deal. LEVENE I got em in the kitchen. I'm eating her erumb cake, ROMA. Eight units, Mountain View: 5 moss What does that mea 8 Moss [to LEvENE] "You did that? oMa_ It means, Dave, you haven't closed a good one in a month, none of my Levene Yeah, [Pause] business, you want to push me to answer you. [Pause] And so you haven't MOSS Fuck you got a contract to get stolen oso forth. ROMA Guess who? : 14055 You have a mean streak in you, Ricky, you know that... ? Moss When : LIVENE Rick. Let me tell you. Wait, we're in the 25 LEVENE Just now, ‘Moss Shut the fuck up. [Pause] Ricky. You have a mean streak in you. o%a Guess who? {To xevene] And. what the fuck are you babbling about ...? (To nostal Moss. You just this morning... | Bring that shit up. OF my volume. You were on a bad one and I brought it noma Harriet and blah blah Nyborg, sup £0 y0u you'd harbor it. (Peuse] You'd harbor it a long long while. And Moss You did that? © BBs you'd be righ Bn LEVENE Eighty-two thousand dollars. [Panse) OMA. Who said "Fuck the Machine’? Moss ‘Those fuckin’ deudbeats. ‘Moss. "Fuck the Machine”? "Fuck the Machine"? What is this, Courtesy Levene | My ass. I told ‘em. [To noma] Listen to this: I said. class .. .? You're fucked, Rick—are you fucking nuts? You're hot, so you Moss Hey I don't want to hear your fucking wer eeaiee oa think you'r the ruler of this place... 7! You want 10 nowa Fuck yom Daves it ever Dave 46 LevENE “You have to believe in yourself... you"—look—leight . 9° ‘Moss... Shut up, Decide who should be dealt with how Is that the thing? oss [to wituaMson} Give me some leads. I'm going out." Pm eiting Iicome into the fuckin’ office today, I get humiliated by some jagoff* cop. | out of. : ict accused of... get this shit thrown, in my face by you, you genuine LEVENE “... you have to believe in yourself...” shit, because you're top name on the board... oss Na, fk the leads, 'm going home. 2s noma Is that what I did? Dave? I humiliated you? My God ...'m sory 2 LEVENE “Bruce, Harriet ... Fuck me, believe in yourself.” "Moss Sittin’ on top of the world, sittin’ on top of the world, everything's ROMA” We haven't got a lead... 4 fucking peachfuzr Moss Why not? fomn,Obsand, Tot et a mpraent to spare for, bust harmaitcien noMA They took em down on his luck lateke Fuckyons, Dave, ou know you gota big mrt, ard Moss | Hey they're fuckin’ garbage any case... This whole goddamn. ou make a close the whole place stinks with your fers for a week. “How 2 LEVENE "You look around, you say, This one has sorand'cor anh I have much you just ingested,” what a big man you are, "Hex, let me buy you a nothing « pack of gum. I'l show you how to chew i.” Your pal closes, all that comes oss Shit, cout of your mouth is bile, how fucked up you are LEVENE “Why? Why don't I get the opportunities oss. Whos my pal....? And what, are you, Ricky, hub, what are you, Moss. And did they steal the contracts. > 9». Bishop Sheean?” Who the fuck are you, Me. Slick....? What are you, sa Roma Fuck you care... ? friend to the workingman? Big deal. Fuck you, you gotsthe memory Levene “want to tell you something, Harriett...” fuckin’ ly, never liked you. Moss... the fuck is that supposed to mean « oma What is this, your farewell speech? Levene Will you shut up, I'm telling you this Moss I'm going home, [aanonow sticks his ead ont] ‘AAONOW Can we get some coffee... ? Jacko, jr vison (1952-57, 1961-68); he popular ha ur tate evidence" phrase applied othe actions ofan acini wh us Eas the fn religous Ggues to have rawr oc iterprtatons of curren evens,sv oN Your farewell to the troops? oss Tm not gong home. Vm going to Wisconsin, tows Hoes going ne Noss [snalioneoushy wth “rip you all. aleve [Noss exits, Pause soxt to tevene) You wees inthe cheno pth stat Levene "i ating heard ala en nine tram ak, a own, How waste. > vm Lava. From the tore now Fuck her Levent "What we have to dois adit to ourself th the pen out 2 nowt "Always be dosing." LEvENE That what I'm saying, The old way. Theo motherfucker . . . sell him ol hit ‘a tke hi iene him v= sell him. make himsign th csc, Pe The Bc, Hatten bah ty got heron erp sn ment bond yuck wee going to ote hole one I pl gu eght units, Lighty.cmo grand ell heme “Thi now Thi a thing that you've been dreaming of, you're going to find that suites ot Re ain the guy comes in the door the bag that’ full of money. This st, sonnet sw LEVENE Brace.“ dn want to fuck ound with ou, I don't want ‘onda pst round he thing ou hae to lk hack on hi Sooo. cme fre od odor ou ahd me Far aoe Wa anim poston? The nh aragement I acc al meron a, Pe The wine eight write now thar youie sping eae heey yates in tos eee wh aa tomorrow,’ and when I walked out that door, you'd make a cup of cof 2. yould sit down. and you'd think Tes be safe». and not to deposi Ine you'd go one unt or maybe two, bearer bea oc eee You'd ret possi But ths wont do, and tate gor the aes a6 Listen to this, I actually said this. “That’s not the ‘subject of our even ng together.” Now I handed them the pen, I held it in my hand. I turned he cath neve pn “Now wat os al sat there. Five minutes Then Ysa there, Ricky menoerce eae Mish bk Tl Twenev0 mines by the bichon eck Neng , nota motion. What am I thinking? “My arm's getting tied?” No, | did it. Tadid it. Like in the o ia ie Ti Let theo dys, Ri Like Twas taught += Lik, ke he nom Like you taught me convert the sevens Bullshit youre. No, That’ row wll did then 2 di-I, well. Hocked an them Allon them, nating on ne Alfny theca 8. Thats, mp out land into individual ts For development. And fuck you. Fuck the lot of you. Fuck xying? [Pause] Come on. Come on, you got them spread out, you're in your shirtsleeves, you at we ee that opt ny and ake i [Pawel And thats And we st thee, aaa? a are on them. I'm holding the lat thought that I spoke: “Now is the time.” {Pause} They signed, Ricky. Ie was great. It was fucking great. 1 was like they wilted all at once. No gesture . nothing. Like together. They, I swear to God, they both kind of imperceptibly slumped. And he reaches and takes the pen and signs, he passes it to her, she signs. It was so fucking solemn. {just let it sit. nod like this. 1 nod again. I grasp his hands. 1 shake his hhands. I grasp her hands. T nod at her like this. “Bruce «. . Harriett. {'m beaming at them. I'm nodding ike this. I point back in the living room, back tothe sideboard, [Pause] I didn’ fucking know there was «sideboard ‘herl! He yoes back, he brings us a drink. Little shot glasses. pattern in vem, And we toast. In silence, [Pause] ows ‘That was a great sale, Shelly [Panse] Levent. Ah, fuck. Leeds! Leads! Williamson! [wit.iason sticks his head out end me out! of the ofice.| Send me out! WILUAMSON ‘The leads are coming. trvene. Get ‘em to me! WILLIAMSON talked to Murray and Mitch an hour ago. They're coming in, ‘you understand they're a bit upset over this morning’. - event. Did you tell em my sale? mitiamson How could I tell em your sale? Eh? I don't have a tel iell'em your sale when they bring in the leads. Alright? Shelly. Alright hada little... You closed a deal. You made a good sale. Fine. event It’s better than a good sale. I's WiLtiasoN Look: I have a lot of things on my mind, they're coming in, ‘alright, they're very upset, I'm trying to make some sense tevene All that I'm telling you: that one thing you can tell them it's a remarkable sale. WitiaMson ‘The only thing remarkable is who you made it to. teveNt, What does that fucking mean? WIELIAMSON” That ifthe sale sticks, it will be a miracle. LEVENE. Why should the sale not stick? Hey, fuck you. That's what I'm say: ing, You have no idea of your job. A man’s his job and you're fucked at ‘yours. You hear what I'm saying to you? Your “end of month board...” You ant run an office. I don't care. You don't know what itis, you don't have the sense, you don’t have the balls. You ever been on a sit? Ever? Has this cocksucker ever been . .. you ever sit down with a cust . WILLIAMSON I were you, I'd ealm down, Shelly LEvENE. Would you? Would you ... ? Or you're gonna what, fire me? WILLIAMSON It's not impossible. LeveNE. On an eighty-thousand dollar day? And it ain't even noon. ows You closed ‘em today? LevENE Yes. 1 did. This morning. (To wuttiaMson] What Fm saying to you things can change. You see? This is where you fuck wp, because this is some- ‘thing you don't know: You can't look down the road. And see what's coming. “Might be someone else, John. It might be someone new, eh? Someone new. ‘And you can't look back. ‘Cause you don't know history You ask them. When we were at Rio Rancho, who was top man? A month ...? Two months ...? Fight months in twelve for three years in a row. You know what that means? You know what that means? Is that luck? Is that some, some, some purloined leads? That's skill. That’ talent, that's, thatsae 2 is dlrcetorof all European sales and services for American Ex ee in ae en, San remember. Cause you werent around. Thal ees our haven't had meal until youve tasted cold calling. Walk up to the door. [don't even Know theit name, I'm sel Nrasat the Lings'last a8 a matter of fact, what was that service feature something they don’t even want. You talk about soft sell... before we si anamefor it... before we called it anytl noms That's right, Shel. Z tevexe And, and, and, 1 did it, And 1 put a kid through school. Shes: and... Cold calling, fella, Door ta door. But you don't know. Yous don know: You never heard ofa siréak: You never heard of “marshaling yout sales +s force..." What are you, you're a secretary, John. Fuck you. That ny sage to you. Fuck you and kiss my ass. You don like it, Ml go talk toJeny Graff. Period. Fuck you. Put me on the board. And T want three wo while leads today and I don't want any bullshit about them and I want’e close together cause I'm going to hit them all today. That’ all have tosay ows” He's right, Williamson : [oin.tianson goes into a side ofice, Pause.) . Levene | If not right 'm sory and lel you who to bhime is Mite and Ino sees something onside the window] oma (sotto"] Ob, Christ. ‘25 LeveNe ‘The hell with him, We'll go to lunch, the leads won't be up for.» nowt You're a cient just sold you five waterfont Glengarry Fate 1 fh ry head, throw me the cue “Kenilworth” Levene What io if? noma. Kenilw.. LuiNcK enters the office.) ie + noms [to LEvENE] Town the property, my mother owns the property, I puthet into it. 'm going to show you on the plats. You look when you get home Ac} through A-14 and 26 through 30. You take your time and if you still fel, LavENE No, Mr. Roma. I don't need the time, I've made a lot of investments in the last... 5 LINGK Te got to talk to you, ows (looking wp] Jim! What are you doing here? Jim Lingk,-D. Ray lorton « LEVENE Glad to meet you, oma Ljust put Jim into Black Creek... are you acquainted with 1 LiveNt "No... Black Creek. Yes. In Florida? oma Yes, LEVENE [wanted (o speak with you about ows Well, we'll do that this weekend. Levene My wife told me to look into i +» moa, Beautiful. Beautiful rlling land. 1 was telling Jim and Jinny, fay, ‘ant to tell you something, [To LevENE] You, Ray, you eatin a lot of restau: rants. T know. you do... [To .L1NGk] ,Mr Morton's , with American Express... she's. [To Levee] I can tel Jim what you do ..2 Levent Sure. Sou nerealing abou Beco Wich pont “Home Cooking phrase that you had. Bete Uh Bo Home vane Hom cooking n0MA. The monthly interview . . .? tiene Oh or the main ees this something that Lcantalka vee Welt ant coming owt until the February iss ahead, Rik own Yule sure? tore [ond] Go ahead wr totus Wel Ray wos eatingat one ofhis companys men'shome in France Pisin’ french, ont he? Me No, he wie : fo AR Ah, his fe Ray what ie do you have tevene Twelesfiteen. : toven ‘Oh! My God «ve go to get you onthe plan! tevane Didnt I sey was taking the ooo see rt No usd the one. Hints why you eid we couldn ere my God, you're righ! I'm on the one... [Getting wp] Wel, . we did it what did you cal it you said it... it was a tag, sure, Sure, 20 let's scoot - tanca Tre got to alk to you : i BORE Tee for to get Hay to O'Hare! [To tavent} Come on, les hu “Toner his shoulder) John! Call American Express in Pittsburgh for a he ‘will you, tell Me bee om the one deck. He unex] a sone Chet, Pm sorry you came all the way in...» 'm running Ray gies hora =m: ven necting or Soman atthe bank, +». [To LNcK] I wish you'd phoned... Tl tell you, wat: tre you and Jinny going to be home tonight? [Rubs forehead. | user T Luvene Rick toms What? Levent Kenilworth «2 tower “ BvENE _ Kenilwor : ee ON God Ok, Goi. now taki tink ade, st] Jn, excuse tne...» Ray tad you, who he isthe senior vice-president American Expres. Hin fly owns 32 per... Over the past years Fve sold hin anf tel you the allar amount, but quite a ot of land promi ne treks ago that Te go to the wife’ birthday partyin Kenihworth tonight Sighs | have to go: You understand. They treat me like a member o 9. That is soto voce: sf ynder the breath (tral “ander the voice Kalan) Fr Ohiciaos mek trpfami, so 1 have to go. Ie f y s funny, you know; you get a picture of Corporation-Type Company Man, all business. th mea aa Wes se out to his home sometime. Let's see. [He checks his datebook.) Tomorreel No. Tomorrow, 'm in L.A... Mons ll take Ne Deoowe Pe Monday... Yl take you to lunch, where LEVENE, frcndiog ‘inthe door) Rick... A coming, Ray. [Starts for the door.) iia Roma | Its a common reaction, Jim. Ill tell you what it is, anc d thats why you maried her One of the reasons ip prudonce Ite att reaction tothe size of the investment. Monday if you'd invite me fond eae now. I really, ae And, in Fact, by law 1... {5} ri say that he'd already had an offer 1OMA rul oi) ae LEVENE Rick... ? i vis oe LINGK My wife: nee fen they sad we have thre dye oon Ano The tore, ROMA ye she do that, Jim? os ee ae ] They said we have three days. [Pause] They:said Roma Three days. ss LINGK To... you know. [Pause] deere But we have to hore Monday. To gt our money ba ‘Three business days. They mean three business days. Pim sorry. tm you this evening, Jim. Pm ly have to go, <+some consumer office, if T wait ell Monday; my GLENGARRY GLEN ROSS. ACI 2 | 1599) nck Tm not oma No, I'm saying you don't include Saturday... in your three days. Its not a business day. tuxck But I'm not counting it ‘would have elapsed. noma What would have elapsed? Lxck If we wait till Mon oma When did you write the check? tuvok Yest - noma What was yesterday? nck Tuesday. HoMA And when was that check cashed? nok I don't know. OMA | What was the earliest it could have been cashed? Pause] Nok I don't know. Tonia Today, [Pause] Today. Which, in any case, t was not, as there were a ‘couple of points on the agreement I wanted to go over with you in any case. unex. The check wasnt cashed? tovin I just called downtown, and its on their desk. LevENe Rick... oa’ One moment, Ill be right with you. [To LiNGK] In fact, a... one point, which I spoke to you of which [Looks around.] I can't talk to you about here, [Detective puts his head out of the dooney] tavLen Levene! nok IL. ova Listen to me, the statue, its for your protection. Ihave no complaints ‘with that, in act, [ was a member of the board when we drafted i, so quite the opposite. It says that you can change your mind three working days from the time the deal is closed. raven Levene! koa Which, wait a second, which is not until the check is cashed. aver Levene!! {asnonow comes out of the detective’ offic.) yw aanonow I'm through, with this fucking meshugaas.* No one should talk to ‘a man that way. How are you talking to me that « AVLEN Levene! [WILLIAMSON puts his head out of the office.) ‘aanoxow how can you talk to me that... that Levene (to wontal Rick, lm going to flag a cab. Aanonow [didn't rob.» [witasaMson sees LevENE.] [Pause] Wednesday. Thursday. Friday. So it ‘WiLLiaMson Shelly: get in the office. sanonow I didn't... why should [..."Where were you last..." Is any ‘body listening to me ... Where's Moss . .. ? Where... ? ayLen Levene? [To wittiaason] Is this Ley . [BAYLEN accosts LINGK.} ‘> Levent [laking BAYLEN into the office} Ah. Ah. Perhaps I can advise you on that... [To nota and LINGK, as he exits] Excuse us, will you... ? 2 sanity, nonsense (Vv; usually spelled mishego)funn nena id ne et Go to lunch, will you. . Ee AanONOW that's why I came in, I thou eet ee enacts ares x mse Conia ‘row "Whee dh Sa ha fie cone Wt te aoe him] Will you take it outside, hat's why T came in... I meet gestapo? tac tins es kaa ee povemrnnec pace faene ene Bele No man has the right to. . th downtown That's not «as long as Fe ft aa Jasison [bursting out of his office] - Will you get out of here, Will you get ‘out of here, Will you. I'm trying tou i Goto lunch Wil you goto lunch? nn ee Here Wily go to uneh? [Retreats into ofice.} fs mows [to aanonow] Will you excuse AARONOW Where did Moss... ? 1 ROMA Will you excuse us please? Asnonow Uh, uh, did he go to the restaurant? a 1? [Pause] 1 noma I'm very sorry, Jimmy. I apolo co Uncen my ite ee Ie ow [pause] "What is? LNGR told you. ROMA. Tell me again. LINGK What's going on here? Tell me again, Your wife. Told you. You tell me again, ‘She wants her money bac re going to speak to her 60 LINGK No, She told mer Rows We'll speak to her, Jim UNGK She wont listen. (Detective sticks his head out.) BAYLEN Roma LINGK + Come in ‘heresy to a working man? It's we have people try: ying to do. [Pause] : Skit ‘Callan attomey” that eae yaa now.” She told me if not, I have to call the State's attomey, 3. A secret police using terrorist methods se re ning (he shortened form ofthe Nari’ Geheime Staatpo- oma No, no. That's just something she “said.” We don’t have to do that. tuxex She told me I have to. roma No, Jim. tivck Ido, IF dont get my money back - [owitLiasison points out ROMA to BAYLEN.] swrten Roma! (To noma] 'm talking to you nowta T've -.- look. [Generally] Will someone get this guy off my back. fiarten. You have a problem? ows. Yes, [ have a problem. Yes, Ido, my fr... Its not me that ripped the joint off, Vm doing busines. Pil be with you in a while. You got it. «+? {Looks back. Linck is heading forthe door.) Where are you going? «unck Tm noma. Where are you going... ?This is me... Thiss Ricky, Jim. Jim, any- thing you want, you want it, you have it. You understand? This is me. Some~ thing upset you Sit down, now sit down, You tell me what iti, [Pause] Am { going to help you fix it? You're goddamned right I am. Sit down. Tell you something ...? Sometimes we need someone from outside. It's... no, sit down. ... Now talk to me. nck Tean't negotiate, rroxta What does that mean? uvok That noMA «what, what, say it Say it to me -. vox I. noma What? UNG Te oma What ...? Say the words 1 ack [don't have the power. [Pause] I sai noma » What power? Lunck ‘The power to negotiate. noma. To negotiate what? [Pause] To negotiate what? axe This. vw: wowia What, “this”? [Pause] unc The deal. froma The “deal,” Forget the deal. Forget the deal, you've got something on ‘your mind: Jim, what is it? LuNck [rising] Tean't talk to you, you met my wife, 1... (Pawse] oo noma’ What? [Pause] What? [Pause] What, Jim: I tell you what, let's get out ‘of here... le’ go get a drink uuNck She told me not to talk to you. ROMA Lets no one’s going to knows let’s go around the corner and welll get a drink ‘es LUNGK She told me I had to get back the check or cal the State's att froma. Forget the deal, Jimmy [Pause} Forget the deal... you know me. The "Heals dead. Am Ltalking about the deal? That's over. Please. Let's talk about jou. Come on. [Pause, noMta rises and starts walking toward the front door] Come on. [Pause] Come on, Jim. (Pause] I want to tell you something, Your .w life is your own. You have a contract with your wife, You have certain things you do jointhy you have a bond there .. and there are other things: Those Things are yours. You needn't feel ashamed, you needn't feel that you're being untrue .. vor that she would abandon you if she knew. This is your1396 1 DAVID MAMET lf, (Pause) Yes. Now I wont to talk to yo Because you're obviously upset sand that concems me. Now lets go. Right non om (usck getup and the at for the dar] wa [ik his head oat ofthe door Roma LINGK ind. ..and.. . . [Pause] LINGK And the check is... em nova What did | tll you? [Pause] What did I say about the three days . «2 BavLEN Roma, would you, I'd like to get some lunch. noma I'm talking with Mr. Lingk. If you please, T'l be back in. (Checks swatch.] Tl be back in a while. ... told you, check with Mz. Williamson, BAYLEN The people downtown said > oma You call them again. Mr. Williamson... WILLIAMSON Yes. ROMA” Mr. Lingk and I are going to WILLIAMSON Yes. Please. Please. [To LINGK] The police [Shrugs.] can be LINGK What are the police doing? we ROMA It’s nothing. LINGK What are the police doing here... ? WILLIAMSON We had a slight burglary last night. Roma. It was nothing... Twas assuring Mr Lingk WILLIAMSON Mr. Lingk. James Lingk. Your contract went out. Nothing to ves ROMA. John WILLIAMSON Your contract went out to the bank. task You cashed the check? WILLIAMSON We. Roma ...Mr. Williamson . . yw WILLIAMSON Your check was cashed yesterday afternoon. And we're com pletely insured, as you know, in any case. [Parse] ck [To noma] " You cashed the check? Roma Not to my knowledge, no ‘WILLIAMSON I'm sure we can 7 LiNcx Oh, Christ... [Staris ou! the door.| Don't follow me. .. . Oh, Chast. {Pawse. To noms I know I've let you down. I'm sorry. For... Forgive... for. . . Idon't know anymore. [Pause] Forgive me. [LINGK exits. Panes] Roms [To wittiamsox] You stupid fucking cunt. You, Williamson... 'm talking to yon, shithead. ... You just eost me séx thousand dollars. (Pause) 7» Six thousand dollars. And one Catillac. That's right. What are you going 10 do about it? What are you going to do about it, asshole. You fucking shit Where did you learn your trade. You stupid fucking cunt. You idiot. Who. ever told you you could work with men? savLen Could T 7% Rost I'm going to have your job, shithead. I'm going downtown and talk to Mitch and Murray, and I'm going to Lemkin. I don't care whose nephew You are, who you know, whose dick you're sucking on. You're going eut, ‘wear to you, you're going .. BAYLEN Hey, fella, et’s get this done .. ye ROMA Anyone in this office lives on theie wits... [To nawLeN) I'm going to be with you in a second. [To wittiastsox] What you're hired for ist help uus—does that seem clear to you? To help us. Not to fuck us up. to help GLENGARRY GLEN RUSS, RUE 2 1 es ape ot me i ig yt in ce ta our fiend here something might help him cach you. [Stars into the re icone yo acre jour life .. you never open your mouth till you know what the shot is. [Pause] You fucking child . . . {noma goes tothe inner root] LbveNe You are a shithead, Williamson . . . [Pause] eee ie [Pause] You hear me? I'm talking to you. Do you hear me... ruses em, gh Your laen Sg ea tae asco qo ci _ Aa cay Psy Caner pe eel eee caries ci canes Ree ee edu pucly Why ‘don’t belong in oe business. aoe Ce Ie he gy eee el er ne Feo ei lb cide ant yt me oem a ati le yan en (tte defo se ‘enough that it gets you, then I don't know ‘what, ae eee ee Heit etn Mae ml teva an Ben eee ET a oi i ii prt pe Me co Be a ne aia ns LeveNe [pause] What? here Fe hing op onl Hoel 1 elite Sa wee Ne cna grein LeveNe Well, hadn't it? 4. Thats typical of the bland, white idle clas1398 1 DAVID MAMET WILLIAMSON No, [Pause] It hadnt. yw LEVENE Don't fuck with me, John, don't fuck with me saying? WILLiaMson Well, I'm saying this, Shel: usually I take the contracts to the bank. Last night I didnt. How did you know that? One night in a year [left ‘contract on my desk. Nobody knew that bu yout. Now how did you know that? [Pause] You want to talk to me, you want to talk to someone elie. because this is my job. This is my job on the line, and you are going to Jah to me. Now how did you know that contract was on my desk? LEvENE Youre so full of shit. WILLIAMSON . You robbed the office. ‘0 LEvENE [laughs] Sure! I robbed the office. Sure. WILLIAMSON What'd you do with the leads? [Pause. Points to the detective’ oom. You want to xo in there? I tell him what know, he's going to dig up something. .. .You got an alibi last night? You better have one. What di you do with the leads? If you tell me what you did with the leads, we ean ms talk LEVENE I don't know what you are saying, what are you IF you tell me where the leads are, L won't turn you in. Ifyou don, Lam going to tell the cop you stole them, Mitch and Murray wl see that you go to jal, Believe me they will. Now, what did you do with the so» leads? I'm walking in that door—you have five seconds to tell me: or you are ging lavtsow 1 dant care. You understand? Whete ure the leads? [Pausel hight. [witiamson goes to open the office door] so» LEVENE sold them to Jerry Graf. ‘wittiason How much did you get for them? [Pause] How much did you et For them? : Levene. Five thousand. I kept half. WILLIAMSON Who kept the other hal? [Pause] we tvene Do I have to tell you? [Pause. WILLIAMSON stars to open the door] ‘Moss. WILLIAMSON That was easy, ino i? [Pause] LEVEN It was his idea. WneLiaMson Was i? fs LEVENE I... 'm sure he got more than the five, aetually \wintiaMson Uh-huh? LevENE He told me my share was twenty-five. WILLIAMSON | Mmm. evens Okay: 1... look: I'm going to make it worth your while. am, f 2» turned this thing around. 1 losed the old stuff, lean do it again. Lim the ‘one’s going to close 'em. Lam! Iam! ‘Cause [turned this thing a1 can do that, I can do axyth last night. Um going to tell you, | was ready to Do the Dutch.* Moss gets me, “Do this, we'll get well...” Why not. Big, fuckin’ deal. 1m halfway hoping to get caught, To put me out of my. [Pause] But it taught me something. What it taught me, that you've go & 5. Commit susie, aa Be aboN "Youve got a big mouth, and now I'm going to show you an even’ Digger one. [Starts toward the detectives door.) a og ER tere a ee ea es {Pause] Take it all. [Pause] Take ea ee a a heres Tim going to make th lice in png ack here Nuns lo. Twenty percent. I'm going to give you twenty percent of my sales. = eee en rtr tinan matie Week, When | was with Webb. And we were selling Arizona... theyre Aiinson ‘Forge it Frame it Is worthless. [Pause] evens You did? ss ere a Levene Why? Are you fuckin’. >WILLIAMSON Because I dont like you. Levene John: John: ... my daughter 4 WiLLiaMson Fuck you. [noma comes out of the detective’ door. WILLIAMSON goes in] noma [To marten] Asshole... [To tevene] Guy couldn't find hid fit {auch the living room... Ab, Christ... what a day. what a diye). haven't even had a cup of coffe. ... Jagoff John opens his mouth he blows my Cadilla. ...[Sighs.] I swear .. Roma You're done, come down and let's... BAYLEN Would you come in here, plea Roma And let's put ths together. Okay? Shel? Say okay [Pause] Levent [softy to himself} Huh, BAYLEN Mr. Levene, [think we have to talk noma I'm going to the Chinks. You're done, come down, we've gong id smoke a cigarette uvene | BAVLEN [eomes over]... Get in the room, mom Hey; hes hey, easy friend, That's the “Machine.” That is Shelly “The Machine" Lev BAYLEN Get in the goddamn room [navten starts manhandling SWELLY into the room.) LevENE Ricky, 1. ROMA. Okay, okay, I'l he at the resta LEVENE Ricky. BAYLEN “Ricky” can't help you, pal LEVENE ... Tonly want to. navLeN Yeah. What do you want? You want to what? [He pushes Levent into the room, closes the door behind hinm. Paus.] {6 Thats the Chinese restaurant (Chinks sa derogatory term fo the Chinese son; listen to me: when the Teads come in... listen to me: tien the eee come Voant my tap ov off thei. or me My Sal So. Anything you give Levene wn = Lwoulda’t worry about it fa tox el in gong oor abut ard soars yo, so hut up and en [Pause] I GET HIS ACTION. My stuf is mine, whatever he ge self, Tm talking half. You put me in with [anonow enters] sanovow Did they. ? tone Tw mde nr Did they eatch eae P foun Do you understand My suf mine is sus ours. taking hall af his commisions-now, you wo ot fiuunansox "Mm i anonow Did they find the guy who broke into the ofc yet 40 noma No. I don't know. [Pause] tanowow "Did the leeds come in ye? toma No, : ling into a desk chair] Oh, God, | hate this job. ‘er lence wh oh etn the fee] Tl be athe restaurant.