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No acting there, right?
And the fink part...
I never met a fink
and I hope I never do,
but the way you played a fink,
that's how it's gotta be.
Yeah.
Two weeks before shooting,
I went to Bensonhurst
to hear you guys talk.
I'm Italian, but grew up in Tazana.
I wanted to get the rhythms
of your speech.
We speak differently?
It was more your attitude, your tone.
Your speech patterns demonstrate
confidence in your opinions,
your indifference
to conventional views.
Like we don't give a shit?
Yeah, kinda. Yeah.
Once I get the authentic sounds
of speech, the patois, you know,
I can actually think the way
those guys do. Get inside.
- Really?
- Yeah.
Well, I'm one of those guys.
What am I thinking?
Well, don't get me wrong,
a metamorphosis doesn't take place,
that wouldn't be acting.
- So you don't know what I'm thinking?
- No, but I have to say I'm curious.
So you want to know?
- If you want to tell me.
- I'm thinking about a movie.
One of mine?
No. One we're producing.
With what? Wise guy money?
Maybe this wasn't a good idea.
I'm not connected to that any more
since I left that loansharking operation.
The pressure got too much for you?
I'm the one who applied the pressure.
Oh, yeah?
Can I ask you a question?
Yeah.
Actors like to pretend, right?
We've been known to make-believe.
Pretend this. You're a shylock.
A guy owes you 15 grand.
He skips town, he takes off.
What do you do?
Oh, Martin, for Christ's sake...
Just, you know...
I'm doing Shylock instead of
a shylock. What's my motivation?
The acquisition of money,
to collect, to inflict pain if I must.
Guy splits with my money, I go
after him, what d'you think I'd do?
- Look at me.
- I am looking at you.
Look at me the way I'm looking at you.
Put it in your eyes.
"You're mine, asshole," without saying it.
OK, how 'bout this?
Are you telling me you're sleepy,
you want to go to bed?
All right, OK...
Now you're squinting
like you need glasses.
What do you?
- Look at me.
- What?
What I'm thinking is
"You're mine. I fuckin' own you."
But I'm not feeling
one way or another about it.
You're not a person to me, you're
an entry in a book, a guy who owes me.
All right, how about this?
Woh, oh, wow, not bad!
Not bad.
No wonder you're Martin Weir.
That's what I think of you, asshole.
Nothin'.
I believe it.
So, I turn this on
when I confront the guy?
You haven't found him yet,
he's split for Las Vegas.
- How do I know that?
- Because his wife told you.
His wife told me. OK.
Harry, how you doing?
Great.
I'm expecting some people.
You must be doing some big deals
doing lunch in a place like this.
I'm working on a few things.
I hear you bagged Martin Weir
for Mr Lovejoy.
Word gets around, huh?
Chili Palmer told me
when he called me over to talk about it.
He showed you my script?
Yeah. I was wondering
why he would do that.
The wife sues the airline?
Some gutsy babe!
Good looking, too, like Karen.
When do I meet the husband
and give him the look?
That's not so simple.
There's a mob guy.
You owe him money.
He wants to take you out
because you broke his nose.
Keep going.
At this point, basically,
that's gotta be it.
That's all you'll tell me?
The reason we came by
was to talk about Mr Lovejoy.
We understand that you read
the script and you loved it.
Refresh my memory.
Listen, how'd you like
to get your hands on $500,000?
Pay me back at your convenience,
no interest.
Are you serious?
All I want in return
is to work on this movie with you.
I've got some ideas
on how to fix it up.
Can I get you anything else?
Another one for Mr Zimm. A double.
You're just going to give me
this $500,000?
We'll talk about that
but first I gotta know,
how'd you hook up
with this Chili Palmer?
Mr Lovejoy was good.
I'll call Buddy, set up a meeting.
Who's Buddy?
- His agent.
- Karen knows him.
You are interested?
I'm intrigued.
Take an element of The Cyclone,
the way the
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