"ARBITRAGE"

"ARBITRAGE" Screenplay by Nicholas Jarecki EFTA00724915 CLOUDS GIVE WAY TO A: FALCON 900EX - SOARING THROUGH THE SKIES AT 550MPH And we push in through one of the porthole windows of the speeding airplane, revealing... INT. FALCON A sleek, slate -gray cabin, divided into three seating areas. At the back of the plane, five AIDES DE CAMP chatter in hushed tones, pouring over a sea of red-inked paper. GAVIN BRIAR (42), stands, smooths his suit, and walks forward, passing an empty conference table and approaching... ROBERT MILLER (65) who sits alone in his private area facing the cockpit, scribbling his own red-ink across a stack of CONTRACT DOCUMENTS. We haven't seen his face yet, just his back, but his effortless slouch, graying hair, and all-commanding mannerisms make one thing clear: Robert's our man. GAVIN (touching his shoulder) Robert... Robert turns and looks up at Gavin, just an inch startled. GAVIN (CONT'D) Sorry. ROBERT (as Gavin sits) Would you mind terribly pouring me a coffee? Gavin straightens obligingly, steps into the galley and pours out a cup. He brings it back. GAVIN (sitting) You're disappointed. ROBERT No. We'll get it done. GAVIN Are you angry with me? ROBERT Quants? Derivatives structures? What was that? EFTA00724916 2. GAVIN It makes no sense. ROBERT That's what you said last week. Why'd we go down there? GAVIN To sign. They LAUGH. To sign. ROBERT (CONT'D) Instead I fly two thousand for a marketing meeting... where was Mayfield? What's "emergency" nonsense? miles And this GAVIN (after a beat) Have you talked to the auditors? ROBERT Why? GAVIN Let's say we don't close this ROBERT (looks down) Let me get back to my papers. Gavin shuffles off. The AIRPHONE rings. ROBERT week... ROBERT (CONT'D) (into phone) Yeah... No, sweetie. We're just coming in now... (pressing the AIRSHOW) About ten minutes... EXT. TETERBORO AIRFIELD - MOMENTS LATER The ROAR of thirty million dollars landing near tall grass. EXT. HANGER - CONTINUOUS Robert walks down the passenger steps followed by Gavin and the aides. They MERCEDES MAYBACH. The aides hand file the Hispanic driver, RAMON, who loads onto the tarmac, approach a waiting BOXES and BRIEFCASES to them into the trunk. EFTA00724917 3. INT. LIMO - CONTINUOUS Robert and Gavin sit as the limo drives off. An "INCOMING MAIL" FOLDER lies on the counter. Robert flips through it, scanning correspondence until he stops at an ENVELOPE bearing a Soviet flag. It's marked: "PERSONAL AND CONFIDENTIAL." He opens it. CLOSE ON THE LETTER: "Respublika Sakha, Siberian Interior Ministry -- Dear Mr. Miller, as previously stated, due to presidential veto we must deny your request for the proceeds transfer of $412 Million USD from the Sakha Mining Corporation. Very Truly Yours, Alexei Materov, Deputy Minister." Robert's face tightens. He folds the letter into his pocket. GAVIN Everything alright? ROBERT Fine. They stare ahead into space. Robert opens another FOLDER. GAVIN Something's still bothering you. ROBERT (marking up a document) Mayfield. GAVIN Maybe he really did have an emergency... Robert looks up at Gavin disapprovingly, then turns back to his papers. EXT. STREETS - CONTINUOUS The blur of city lights as the limo approaches EXT. GRACIE SQUARE - ROBERT'S MANSION - CONTINUOUS An enormous turn-of-the-last -century Stanford -White -designed red-brick MANSION- two already -giant townhouses combined. Robert and Gavin exit the limo and head inside. EFTA00724918 4. INT. ROBERT'S MANSION - ENTRY HALL - CONTINUOUS It's our first glimpse of Robert's home, and it doesn't disappoint. It's an 1850's Tudor given a full once-over, maintaining period details but updated with a Modernist flair. It actually works. A SERVANT takes Robert's briefcase from him as he enters, handing him three small PRESENTS which he puts under his arm. We HEAR sounds of a DINNER PARTY complete with CHILDREN laughing. Hold on Robert's face- some mixture of excitement and anticipation. INT. DINING ROOM - CONTINUOUS A party in progress, dinner already served. Seated around a large square table are: ELLEN (60, Robert's wife), BROOKE (36, Robert's daughter), PETER (34, Robert's son), TOM (Brooke's husband), ANNE (Peter's wife), and THREE GRANDCHILDREN. Ellen's playing with one of the kids. She sees Robert. ELLEN (lighting up) Look, your grandfather's here! The kids clamor for Robert's attention. He moves around the table, hugging them all. ROBERT Hi, guys! GRANDCHILD Hi Papa! What did you bring us? Robert hands out the presents, and the kids unwrap them in a frenzy. He continues making the rounds until he finally gets to Brooke and Peter, seated next to each other. They embrace, but we notice clear restraint, a marked contrast to his behavior towards their kids. BROOKE It's your birthday, Dad, not theirs. You'll spoil them. ROBERT (grinning) So what? You guys turned out all right. EFTA00724919 5. BROOKE (half -smile) Exactly. Robert rounds the table and takes his seat next to Ellen as she discreetly presses a SERVICE BUZZER. ELLEN The kids got hungry. ROBERT (hugging her) No problem. Another SERVANT enters with a CAKE flickering birthday candles. Everyone notices and starts SINGING. ALL HAPPY BIRTHDAY TO YOU, HAPPY BIRTHDAY TO... Robert smiles. They finish, then CLINK glasses for a toast. ROBERT Thank you, everyone... Well, what can I say? I'm standing here, sixty- five, it's a big number. Big moment. Okay. (some smiles from the group) I've done a lot of things in my life, worked hard on a lot of different businesses, but I'll tell you- as I look around at all these faces, I know that my best work is right here in this room... We've got a great life, and I'm proud of all of you. That's the best gift your mother and I could have hoped for. (he smiles) Now, contrary to what you may have heard, I've never been big on celebrating myself, so tonight I hope we'll all celebrate together, and realize how lucky we are to have each other... PETER (calling out) ...and to have sold the company to Morgan this morning! They all LAUGH. EFTA00724920 6. ROBERT (smiles) That, too, Peter, and your one-track mind assures me you've got not only your mother's genes, but you've got mine! More group LAUGHTER. He sees Ellen hug Peter across the room. ROBERT (CONT'D) But, tonight, at dinner, I've got only one request: no talk of business. ELLEN Oh, here we go! More LAUGHTER. Robert laughs, too. ROBERT I'm aware that may seem uncharacteristic, but maybe it's taken me sixty-five years to realize what's finally important -- and it's all of you. ALL (as they applaud) Hear, hear! DISSOLVE TO: INT. DINING ROOM - LATER The kids play furiously with their TOYS. Peter talks to Tom. He's slurring his words, three COCKTAILS in. PETER Because they just don't understand. If you want growth in a down market, you have to take risks. Even the Chinese know that now... TOM That's why I stick with ships. Somebody wants something, they need to ship it here. It may be simple, but... PETER (ignoring him) No, no. I'm not complaining. We're doing great, actually, best quarter in the last three years... (shakes his head) Listen to me, like you didn't know... EFTA00724921 7. We TRACK over to Robert and Ellen. She's got one of Peter's kids propped up on Robert's lap, playing, drawing a dinosaur in a coloring book. He's pulling on Robert's ear. ELLEN ...no, your Papa's ear is not part of the drawing... I'm taking you to the museum this weekend, then you'll see what a real dinosaur looks like. The child tries to color with a piece of zucchini. ELLEN (CONT'D) (laughs) Alexander, what are you doing...? ROBERT That's called "thinking outside the box..." (pats the child on the head) Kid's an artist... ELLEN (coddles the child) Like his father, right...? Brooke indicates to Ellen across the table. Ellen nods. ELLEN (CONT'D) Speaking of which... You need to talk to Brooke. ROBERT Oh? ELLEN It's about Peter... Robert nods. He exhales, then stands and crosses to Brooke. She straightens a little. ROBERT (nodding to the next room) Join me for a drink? INT. STUDY - MOMENTS LATER A warm, clubby room, kept traditional. Robert pours out two SCOTCHES and brings them to the banquette where Brooke rests with an open FOLDER. He resumes signing papers. ROBERT Kids seem good. Brooke nods, tries to smile. EFTA00724922 8. BROOKE What, uhh... was that about? ROBERT What? BROOKE Last time you made a speech like that was when we lost the Firestone bid. ROBERT I just... wanted this night to be for us. She nods again, unconvinced, then pulls out a MAGAZINE. BROOKE You saw this? He looks closely at it. A "Fortune" cover story: "Robert Miller, the Oracle of Gracie Square: Investor profits in uncertain times by predicting housing crisis." BROOKE (CONT'D) Peter's got a copy pinned up in the conference room. ROBERT (shakes his head) You know how I feel about that. BROOKE You don't need to tell me. ROBERT Well stop skirting around it, then. Brooke looks down and shifts uncomfortably. BROOKE I just don't know if they'll keep him on. ROBERT Your brother's doing fine. He brought in what, last quarter, thirty-five? BROOKE These guys don't care about thirty-five million. They care about liabilities. Robert's phone VIBRATES. He looks down. On the Caller -ID: "Julie." He silences it. EFTA00724923 9. BROOKE (CONT'D) Yesterday he showed up with alcohol on his breath. ROBERT (exhales) You know, Brooke, I'm doing this for you and your brother. I'm not gonna run this place forever; I know that. And it's not about being the richest man in the cemetery. BROOKE Can I ask you something? ROBERT What, honey? BROOKE You said they didn't sign today. ROBERT Yeah? BROOKE Well, I mean, we haven't really talked about it, but... do you want them to? ROBERT Do I want them to sign? BROOKE Yeah. ROBERT Of course. BROOKE But why? My whole life you've told me "work's our cornerstone." ROBERT It is. BROOKE So what's wrong with how things are? We make a great return, we give a lot of money to the charities we believe in... ROBERT You know, you're 36 now. I'm 65. There's a big difference. BROOKE Dad, you're not that old. EFTA00724924 10. ROBERT It catches up fast. And I wouldn't mind spending some time with you guys outside the office. BROOKE This really doesn't sound like you. ROBERT (growing impatient) Brooke, nobody trusts an independent fund anymore. We've discussed this. And you know better than anyone that at our small size, all the new accounting regulations are eating away our profits. Now I'm trying to build value for you and your brother, and to do that, we're gonna to have to merge. Morgan's the way. Brooke looks to the floor. ROBERT (CONT'D) I'm surprised this disappoints you. BROOKE "We're long-term builders, not raiders." Isn't that what you always said...? They don't think that way. ROBERT (playful) You think maybe now you're the one that sounds a little pious? BROOKE You asked me how I felt. ROBERT And you've told me, and I understand. But you really shouldn't worry. They've agreed that once I'm gone, probably within the year, you will make the decisions... You might find they're not always so easy. But as long as you show profits, Morgan'll leave you alone. We have a culture here, why should they interfere? (beat) Besides if they ever do go ethically off-track, well... You'll nag them to death until they jump back on. She can't help but smile. He leans in and touches her shoulder. EFTA00724925 11. ROBERT (CONT'D) I've watched you've become a real leader; that's why I put you in charge. So just trust me, alright? By week's end this'll all be wrapped up and... I'll talk to Mayfield. We'll find a solution for your brother. Brooke nods, trying to accept this. INT. ENTRY HALL - LATER Ellen is supervising the yawning children as the party winds down. She sees Robert put on his OVERCOAT. ELLEN Where are you going? ROBERT Office. ELLEN Now? ROBERT Gotta get it done. She holds a beat, then approaches and straightens his collar. ELLEN Alright, just wake me when you come in, will you? He kisses her and starts to exit. ELLEN (CONT'D) Robert. ROBERT What? ELLEN The hospital check; they still don't have it. ROBERT (nods) Right, I'm sorry. I'll take care of it at the office. ELLEN You know, we committed by the 15th. They're going to announce it on Thursday. EFTA00724926 12. ROBERT (harder) I will take care of it. ELLEN Okay. INT. TAXI - NIGHT Robert stares out the window at a few hustling MERCHANTS as he passes the low-rises of downtown Broadway. ROBERT (into phone) Yeah, Gavin, it's me, uhh... When you get this -- I want you to call Chris Vogler at Deloitte, tell him I need to see him right away, okay? Get it done and get back to me. The cab arrives at a LOFT BUILDING. Robert exits, paying the DRIVER through the door. Then he walks by a large frosted - glass window, approaching a private entrance. INT. LOFT APARTMENT - NIGHT JULIE COTE (33) sits at the head of a marble table in the exquisite space. It's the modern mirror of Robert's mansion, the lines carried through fully this time. And Julie is the modern woman: sleek, fit, and flowing, even at home. She's intently focused, handwriting personal notes onto a stack of INVITATIONS for the "Julie Cote Gallery - Paintings by Phillip Chabrol," as she downs the last of a WHITE WINE. The INTERCOM RINGS. Julie heads over, sees Robert's face on the VIDEO MONITOR. She holds a beat. EXT. LOFT APARTMENT - SAME Robert waits in the cold, staring into the camera as Julie watches him from inside the loft, not moving. After a second, the door BUZZES open. INT. JULIE'S LOFT - SAME Robert enters. Julie is already back at the table, writing. ROBERT EFTA00724927 13. She doesn't answer. He walks down the long hall and comes up behind her, running his arms across her stomach. JULIE Don't. ROBERT Come on... JULIE I'm working. ROBERT (stroking her) Please... JULIE I said I'm working. I've gotta prepare for tomorrow. (sharp) You remember tomorrow, right? ROBERT (like a child) But... It's my birthday... JULIE (standing) I said don't! She crosses to the open kitchen and pours out more wine, lights a cigarette. Robert trails. ROBERT What's wrong? JULIE It's eleven o'clock. ROBERT I'm sorry, baby. We had some bad weather. Had to land in White Plains. JULIE You couldn't pick up the phone? ROBERT I had a meeting right after we landed, and then... JULIE You had a three-hour dinner with the family. Silence. EFTA00724928 14. JULIE (CONT'D) They're second to business. I'm second to them. I'm actually about ninth. ROBERT Can't we just have a nice time? JULIE Can't you just admit it? Do you have to be such a fucking liar? ROBERT Yes. I had dinner with my children. (her face falling a little) But that doesn't mean... JULIE Oh, just shut up. They stare at each other as she drags off the cigarette, then stubs it out. JULIE (CONT'D) Here, I made this for you. She opens a dish revealing a BIRTHDAY CAKE. He stares at it. ROBERT You made that?... I didn't know you could bake. That's very nice... She reaches for the cake, grabbing a piece of it with her hand and... SMEARS IT ONTO HIS FACE. The tension breaks, and they LAUGH. He grabs her and they kiss furiously, pulling at each other's clothes as she pushes him backwards into the bedroom and they begin to make love. INT. MILLER CAPITAL - THE NEXT DAY We track through a Spartanly-furnished trading office. PEOPLE at COMPUTERS making phone calls. CLOCKS showing different time zones. We pick up Brooke as she approaches an accountant, BEN (52), in a corridor office. INT. MILLER CAPITAL - ACCOUNTANT'S OFFICE - CONTINUOUS Brooke hands Ben a printout: the "OLD HILL FUND" report. BROOKE (pointing at four numbers) This is what I'm talking about. EFTA00724929 15. BEN I don't understand. BROOKE No, I don't understand, and I've asked you three times. How am I supposed to close out the year? BEN What is it you want to know? BROOKE Look, where is this four hundred twelve million from Old Hill? It's there, then Jan to November it's not there, then magically it shows up this month? BEN I don't have that entry. BROOKE These are your books. BEN I mean that account. It's controlled by the outside auditor. BROOKE But you prepare the reconciliation statements, don't you? I mean, you signed off on this. BEN Brooke, this is six months old. BROOKE Because it's old it doesn't need to be right? BEN (exasperated) We reconcile at the end of the fiscal year. It's just a timing difference. That's why God created suspense accounts. Brooke stares at him, entirely unsatisfied. BEN (CONT'D) (sighs) Your father signed these reports himself. Maybe you should ask him about them. EFTA00724930 16. INT. GREENBERG & COMPANY - OFFICE HALL - ACROSS TOWN Robert enters the palatial quarters, decorated with ornate 18th century furniture, a stark contrast to his more functional empire. He approaches a striking British RECEPTIONIST. ROBERT Robert Miller for Jeffrey Greenberg. RECEPTIONIST Yes, he's expecting you, Mr. Miller. Will you follow me, please? Robert trails her down a long hallway passing a massive glass conference room. They arrive at INT. GREENBERG'S OFFICE - SAME The receptionist escorts Robert in. Standing to greet him is JEFFREY GREENBERG (55), handsome and charming. RECEPTIONIST Will you be needing any coffee, sir? ROBERT I'm fine, thank you. JEFFREY All good, Diane. She exits. Robert sits. A moment of silence. JEFFREY (CONT'D) So? ROBERT I'm here. JEFFREY Yes, you are, but guess what's not? ROBERT Jeffrey, I told you... JEFFREY Yes, yes, the contract, you're "working on it." And while you're working on it, I'll tell you what's not working... ROBERT (leaning forward) Jeffrey... EFTA00724931 17. JEFFREY (louder) ...what's not working is my four hundred twelve million dollars that's sitting in your account so you can pass your audit, the four hundred twelve million that you needed, you said, for two weeks, and which has been languishing now for (looks down at paper) thirty-two days, while it could be elsewhere invested, earning an actual return, instead of couching the absurd lie that you're spinning. ROBERT What do you want me to say? JEFFREY That you're gonna get a signature from Mayfield, and that my hostage money and my fee are going to be sent to me promptly, say... by tomorrow? A beat. ROBERT I am solving the problem. I am getting you your money and your fee. You will have them very shortly. JEFFREY When? ROBERT As soon as they sign the contract. Jeffrey stares at him contemplatively for a moment, then appears to reach some sort of conclusion. JEFFREY (matter-of-fact) Friday morning I take my money back. ROBERT (shakes head) You can't do that... JEFFREY ▪ .the fuck I can't, it's in an escrow bill with one-day call rights... ROBERT ▪ .I need the money there until they sign, Jeffrey. What if they check again? EFTA00724932 18. JEFFREY That's really not my problem, is it? ROBERT Do I need to remind you that you're my partner in this? You knew damn well why I wanted you to buy those shares. JEFFREY (erratic again) Is that a threat? Are you fucking crazy? ROBERT (shakes head) No... Jeffrey stands, begins pacing. JEFFREY .because I'm not the one with the liability, pal. I just made a loan. You're looking at jail for a thousand years for fraudulent conveyance and... ROBERT ...Calm down, Jeffrey... JEFFREY I didn't get you into this mess! Remember when you asked me if it was a good idea to divert half your liquid assets into a fucking diamond mine? What did I tell you? ROBERT (stands) Are we done here? JEFFREY (apoplectic) How long do you really expect me to float you? ROBERT (exploding) I DON'T CONTROL JP FUCKING MORGAN! I'm trying to get it done! And I'm wasting time here while I could be figuring it out! JEFFREY Well then go figure it out. You've got until Friday. That's it. EFTA00724933 19. EXT. STREET - MADISON AVENUE Off Robert as he storms the pavement. INT. ROBERT'S LIMO - CONTINUOUS And enters his waiting limousine, SLAMMING the door. ROBERT (to Ramon) Let's go. The limo drives away. Robert turns on the TELEVISION. BLOOMBERG ANNOUNCER The DOW continues its uptick this morning on new housing starts to rise 132 points. Asian markets fared less well, especially in Russia, where further nationalization plans caused foreign investment to sputter, leading to various... Close on Robert, trying hard to contain his building rage. His phone VIBRATES a TEXT, from Julie: "See you at 8!" He stares at it, breathes in deeply. The CARPHONE rings: "Gavin." ROBERT (barks) What? GAVIN (0.S.) Seven tonight at the Four Seasons. We'll get it straight with Mayfield then. ROBERT (calming a little) Good. I'll be back at three. GAVIN (O.S.) Did you forget the interview? ROBERT What interview? GAVIN (O.S.) CNBC. You're doing Bartiromo in an hour. ROBERT Oh, Jesus... Why are we doing that? EFTA00724934 20. GAVIN (O.S.) To create speculation?... (no response) It was your idea, remember?... Robert just disconnects and holds the phone in his hands. INT. ROBERT'S BEDROOM - LATER Ellen stands tying Robert's TIE in front of a dressing mirror. ROBERT You don't think it looks too... brash? ELLEN It's the third one you've tried. She finishes tying it. He looks in the mirror. ROBERT I look old. Ellen picks up a make-up TRAY. ELLEN Let me just... (powdering one of his age spots) There. Now you look regal. (off his nod) Tell me... What is it? ROBERT I just want this over with. ELLEN But it's done, isn't it? ROBERT They haven't signed the papers. ELLEN I thought that's why you flew down there. ROBERT So did I, but for some reason they gave me a stall. I didn't get any sleep on the plane and... (rubbing his eyes) God, Ellen... I'm so tired... ELLEN Now come on. It will all work out. Just follow the plan. EFTA00724935 21. ROBERT What plan is that? ELLEN "Sell the confidence, sell the man." ROBERT (laughs) Words of another era... ELLEN Well, maybe we should go back there. ROBERT (far off) I'd like that. He straightens his jacket and starts heading out. ELLEN Mary called from Mt. Sinai. She said they still haven't received the check... ROBERT I know. I'm taking care of it. ELLEN The gala's Thursday. I thought we discussed this? ROBERT I've had to move some things around for the merger. ELLEN It's only two million. ROBERT (a beat) Remember when we used to eat a full dinner at that place off Flatbush for two dollars? ELLEN I don't remember you being so sentimental there, unless you were tap dancing around an obligation. ROBERT Ellen... She smiles, kisses his forehead. ELLEN Go do well. EFTA00724936 22. INT. ROBERT'S LIVING ROOM - DAY Robert sits on a sofa across from MARIA BARTIROMO and a CAMERA CREW, mid-interview. Gavin watches on a nearby MONITOR. MARIA ...but how do you do it, Robert? Your fund's returned 11% for the past nine years, even in the downturn, and it's been estimated that your personal shares in the company will go up nearly $120 Million this year alone. ROBERT Well, we've done all right. Luckily, we've been able to stay risk- neutral, even in a year like this. MARIA But you took a huge bet on this housing crisis. Why? ROBERT I saw that the underlying options were overvalued, and I didn't think people's houses would keep tripling in value every decade, even with the Treasury printing money at a quarter point. MARIA That seems like a bigger risk than you would normally take. Isn't it against your hedged -neutral strategy? ROBERT Yes, it was an uncommon position. But these are uncommon times. You know, Maria, I was born in 1945. My father welded steel for the Navy. My mother worked at the VA. They lived through the Depression, Pearl Harbor, and the Bomb. And they didn't think bad things might happen; they knew they would happen. MARIA Is that what's happening now? ROBERT You know, with the exception of 2008, we've had pretty much peace and prosperity in this country for the last twenty-five years. That's the anomaly. (MORE) EFTA00724937 23. ROBERT (CONT'D) Now I don't want to sound like a doomsayer, but when I was a kid, I loved to read history, and my favorite teacher, Mr. Stein, said that world events always revolve around five things: (extending his fingers one-by-one) M-O-N-E-Y. MARIA (laughing) Was this freshman econ? ROBERT This was Brooklyn Econ, fifth -grade. (smiles, off her laugh) And he was quite right, because what he was really saying was that even though money's the reward we compete for, it's the competition that's our nature. And as I learned later, that competition can make even the best of us manic, so it's not surprising that we see asset bubbles. But when reality sets in -- they have to pop. MARIA You were a teacher yourself, weren't you? ROBERT My Greenwich Village days. Now you're really gonna make me feel old. MARIA (smiles) Let me shift for a minute to regulation. Some are saying that in the wake of Madoff-style collapses we need more transparency. Now your fund is private; the decisions and trades you make are secret. It's basically all up to you. Do you think we need more regulation? ROBERT Well, I think it's important to let the manager go where the strategy takes him, but essentially, we all agree to a "charter" -- a core philosophy of what we will and won't do with our investors money -- and we follow it. We manage a lot of capital for universities and pension funds, so safeguarding it is a responsibility I take very seriously. Madoff is a unique case. EFTA00724938 24. MARIA What's your take on him? ROBERT Sociopathic, criminal. I don't know. I don't want to speculate, really. The cameraman gives Maria a hand signal. MARIA We're almost out of time, but let's do one last question: there's been a wave of consolidation recently. Will your fund remain independent, or will we see you merge with one of the larger institutions? There've been rumors... ROBERT (smiling) Maria, there are always rumors. And of course I can't comment. MARIA (smiles back) Fair enough. But where do you see your own role in the next five years? ROBERT You know... I'll always love markets, and I'll always want to work with them; I wouldn't know what else to do with myself. The lights go off. Robert starts unclipping his microphone. MARIA It was a great interview. Thanks. ROBERT You're a great interviewer. MARIA You're selling, aren't you? ROBERT (after a beat) Maria, gimme a break. EXT. FOUR SEASONS RESTAURANT - NIGHT Robert trails Gavin up the stairs as he types out a TEXT MESSAGE to Julie: "Wrapping up mtg- be there soon." EFTA00724939 25. INT. FOUR SEASONS RESTAURANT - CONTINUOUS The MAITRE'D spots Robert and greets him as he approaches. MAITRE'D Mr. Miller, good to see you, sir. Your party has already arrived. He leads Robert and Gavin into the INT. POOL ROOM Where we see Brooke and Peter seated with a group of EXECUTIVES including AIMES (45), and BARNES (43). Displeasure immediately registers on Robert's face. ROBERT (sotto, to Gavin) Where the hell is Mayfield? Gavin shakes his head. They approach the table. AIMES (as they sit) Mr. Miller, thank you for coming. We were just getting acquainted with Brooke and Peter here. ROBERT (smiling) They're not too caustic, are they? BARNES They've been terrific. PETER Dad, we've been talking about operations. Tim thinks once we consolidate we can save about fifty percent on our back-office. Robert phone VIBRATES. It's "Julie" calling. He silences it. ROBERT I'd love to hear about that, but... (a beat) I had thought Mr. Mayfield planned to join us tonight. AIMES (nods) Jim's very sorry he couldn't be here; he was delayed in Austin. (MORE) EFTA00724940 26. AIMES (CONT'D) But he did ask me to convey how committed we are to finding our way together. BARNES That's right. In fact, now that we can market your quants' track records, we have access to a host of new capital that... Robert drifts as the suits prattle on. DISSOLVE TO: INT. POOL ROOM - LATER The execs are still chattering. Julie calls again. Robert silences it again. Then he gets a text: "945pm - FUCK YOU." AIMES ...assuming we shed debt through some small liquidations, I'd say... ROBERT (rising) Gentleman, something's just come up. I can leave you in my family's capable hands? AIMES Of course. Again, Mr. Miller, a privilege. Robert shakes Aimes' hand and starts to head out. Brooke rises. BROOKE (indicating) Dad... They move off to the side. BROOKE (CONT'D) Did you get my message? ROBERT No, I've been out. What's up? BROOKE We need to sit down. I found some strange entries in the "Old Hill" books. ROBERT What kind of entries? EFTA00724941 27. BROOKE I'm not sure yet, but there's definitely something off. ROBERT Alright, come by about twelve tomorrow and we'll look at it. And Brooke? BROOKE Yeah. ROBERT See if you can find out what happened to Mayfield. BROOKE I'm on it. EXT. FOUR SEASONS RESTAURANT - CONTINUOUS Robert dashes to the limo, dialing Julie. No answer. INT. LIMO - CONTINUOUS He enters and closes the door, ringing her again. ROBERT (to the driver) 27th between 11th and 12th. EXT. JULIE COTE GALLERY - A LITTLE LATER Robert arrives in front of a big scene in progress: trendy FOLKS overflowing into the street, cameras FLASHING... INT. GALLERY - CONTINUOUS Robert enters and scans the room. No Julie. He approaches the gallery ASSISTANT. ROBERT How're they doing? ASSISTANT I'm afraid not so great, Mr. Miller. Just two sales. Robert pauses a moment, then pulls out an "ALCOA INVESTMENTS" checkbook, writes out a check for $46,000. EFTA00724942 28. ROBERT I'll take (pointing) those three... But tell her a collector bought them, okay? ASSISTANT (taking the check) Alright. He scans the party further. No Julie. INT. GALLERY - OFFICE IN BACK - CONTINUOUS We pick up on Julie bumping two rails of COCAINE. She's dressed in a form-fitting "YSL" SUIT, hair coiffed, perfectly made-up-- if we didn't suspect anything, we'd think she was the precise image of New York art-world success. Julie straightens, pulls her hair back and exits, entering the main gallery... INT. GALLERY - CONTINUOUS Where she quickly sees Robert searching for her through the throngs of PEOPLE. She stops dead, considers going back into the office... But she stands firm. Robert finds her eyes. He stares at her. She stares back, with a simple look that says, plainly: "Go away." She heads off to talk to a group of PATRONS. Robert takes a last look, then recedes. INT. LIMO - CONTINUOUS As Robert enters, already on the phone. GAVIN (0.S.) .they said they have every intention of signing tomorrow. ROBERT (nodding to himself) How were the kids? GAVIN (0.S.) Great. Brooke was great. I have a good feeling about this. EFTA00724943 29. ROBERT I'm glad you're so sensitive. INT. ROBERT'S BEDROOM - LATER Off Robert, in bed with Ellen who is asleep. He gets up and stumbles to the bathroom, puts on a robe. INT. PRIVATE ELEVATOR He approaches the basement level... INT. SERVICE KITCHEN And sits at the counter, staring at the LETTER again from the Russian consulate. He refills a glass of SCOTCH, downs it. EXT. JULIE'S LOFT - NIGHT We pick up on a TAXI as Robert exits, fully -suited, in front of the building. He approaches and sees a bunch of PEOPLE inside through the frosted -glass window. He heads to the back entrance and uses his own key to go inside. INT. JULIE'S LOFT - CONTINUOUS Julie's a touch worn from the evening, but she's still composed. She sits with five guests including her gallery assistant, TWO WOMEN, and TWO GUYS who look like painters. One of them does a line of COCAINE off an "Art in America" magazine as the other keeps talking. PAINTER ...fucking Dalwood wouldn't know a Van Gogh from a Van Eyck. And they call it a "State of Contemporism..." INT. JULIE'S LOFT - BEDROOM Robert watches Julie through a crack in the doorway. He picks up her CORDLESS and calls her. We INTERCUT. JULIE (confused by the Caller -ID) Who's this? ROBERT It's me. EFTA00724944 30. JULIE What do you want? ROBERT I'm here. JULIE Where? ROBERT I'm in your bedroom. Can you get those people out of here? JULIE Are you serious? ROBERT Look down the hall. Do you see me? JULIE (looking) I see you. ROBERT Okay, so I'm serious. She hangs up and begins to clear out the guests. Robert sits, unbuttoning his shirt. INT. JULIE'S LOFT - LIVING ROOM The guests finally leave. Julie heads to the bedroom... INT. JULIE'S LOFT - BEDROOM And finds Robert sitting, looking a little too comfortable. JULIE You just come in and out whenever you want? ROBERT Julie... JULIE Those were my friends. You know what a friend is? ROBERT They're drug addicts. EFTA00724945 31. JULIE Oh, don't you fucking dare patronize me... ROBERT Julie... JULIE One night! One damn night in a month I told you was important to me, and you can't be there... ROBERT ...I was working, do you understand? I'm under enormous pressure, I have obligations... JULIE ...I don't want to hear about your obligations. If you cared -- YOU WOULD HAVE BEEN THERE! ROBERT I'm here now. JULIE No, you're here when it's convenient for you to be here. That's not love. Love means YOU FUCKING SHOW UP! But you're never gonna understand that... ROBERT Come on, Julie... JULIE Why did you buy those paintings tonight? ROBERT Because I love you. Her face falls, slightly. JULIE I told you, I just wanted you to help me get started. If I'm gonna fail then let me fail. ROBERT Julie, you're not gonna fail. And you know I don't throw away money, but sometimes, to grow a business, you've gotta project a certain image. JULIE So it's just a big lie? EFTA00724946 32. ROBERT It's not a lie. The market's terrible right now- for everyone. That's why you need to show sales, because if you can stay strong when things are bad, then you become a leader. People say "Whoa, how'd she do that?" And then when things get better, they'll remember and come to you. JULIE (calming a little) Fine, that makes some sense, but... (exhales) I just don't know where this is going... You're never gonna leave her... She drifts off, tearing... Robert comes closer. ROBERT (touching her face) Julie... I can't lose you now. I need you. Just give me a chance. Soon we're gonna have all the time in the world. JULIE Why should I believe you? ROBERT Because you can see it. Look... She does. He starts to stroke her forearm. ROBERT (CONT'D) You're all I'm hanging on to. I would give up everything for you if I could. I really would. I just... can't right now... JULIE (pulling away) Well, when?! He stares at her a second. Thinks. Decides. ROBERT Now. JULIE What? ROBERT Tonight, now. EFTA00724947 33. JULIE What are you talking...? ROBERT Come away with me. I wanna take you somewhere... JULIE ...Where?... ROBERT Let's go to my house in Greenwich. She's processing this. It's weird, but... JULIE What about your meetings? ROBERT (quick) We'll come back in the morning. But we can wake up together in my bed with the sun and the lake and forget about everything for a night. Just you and me. Let's just get in your car and go. JULIE (stares, then) You're crazy, you know that? EXT. HIGHWAY - DEAD OF NIGHT A MERCEDES 180SEL driving the interstate towards Connecticut. Cole Porter plays. We hold on a two-shot through the windshield: Julie rests her head on Robert's shoulder. And the camera moves closer into Robert's face, Julie snuggled next to him, the Porter music lulling the moment into tranquility, and finally, just finally, Robert has a moment's respite, as he slowly closes his heavy eyelids, nodding off into a trance of desperately needed sleep until... The car drifts into the CENTER MEDIAN where the tire catches on a small metal SCRAP and BLOWS OUT, flipping the car over and over until it CAREENS off the road and CRASHES into a telephone post. Smoke billows from the darkness, the spinning headlights illuminating the ghastly scene. INT. CAR Robert's eyes flutter open as he comes to, groggy. He's badly injured, but breathing. He starts to feel his body. Movement returns... EFTA00724948 34. He looks over at Julie. It is instantly obvious she is dead: she's been nearly decapitated, a deep gash ripping through her neck. Shock, followed quickly by panic. We hear a DRIPPING sound. A gas leak... Robert reaches into his pocket and dials 911... He looks at the phone just before pressing "Send"... and hangs up. He tries to open the door. It's stuck. He KICKS at it. It opens. EXT. TWO-LANE HIGHWAY - NIGHT He drags himself out of the car. Stands. Smoke is still rising from the smashed hood. He pulls up his shirt. A DEEP BRUISE: a broken rib from the steering column. He winces. He takes a few steps forward, moving around to the passenger side. He looks again at Julie. Horrific. He reaches out to touch her, then stops. Hold on his face. He sinks to his knees, putting his head in his bloody hands. He SCREAMS. Then he rises, and begins hiking to the side of the road. EXT. FIELDS - DEAD OF NIGHT Robert walks and walks through tall grass. In the distance behind him, A MASSIVE EXPLOSION lights up the sky in a fireball as the gas tank finally catches, incinerating the car and its contents. EXT. GAS STATION - LATER Robert picks up a PAYPHONE by the bathrooms, cradling it to his ear with his sleeve and dialing with his other finger through his shirt fiber. ROBERT (into phone) Yes, I'd like to make that collect... OPERATOR Your name, sir? ROBERT Lawrence Grant. EFTA00724949 35. RINGING, then... JIMMY (0.S.) Who the fuck is this? ROBERT Jimmy, it's me. JIMMY (0.S.) Robert? ROBERT Jimmy... Listen to me very closely... INT. GAS STATION BATHROOM Robert cleans himself up in the sink, applying soap and water to his cut stomach, scrubbing frantically, He takes all the paper towels and puts them in his pocket. EXT. GAS STATION About twenty yards down the road, a BLACK SUV hums, waiting. Robert opens the passenger door and gets in. INT. CAR - CONTINUOUS Inside is JIMMY GRANT (23), Black. ROBERT Let's go. They start to drive. Jimmy looks over at Robert; he's pretty banged up. JIMMY You gonna tell me what this is? ROBERT It's better you don't ask. JIMMY So all you're sayin' is, you need a ride somewhere. ROBERT That's correct. JIMMY Because I want to be very clear about this: you called me to give you a ride. I'm giving you a ride. EFTA00724950 36. ROBERT No, you're not. We're not here. JIMMY Oh, no? Then where the fuck are we? ROBERT We're both sleeping right now. At home. Which is where you left your phone, right? JIMMY Right. ROBERT Because if anyone checks... JIMMY Why is anyone gonna check? ROBERT They're not, as long as we're not here. And nobody knows you're here, right? JIMMY Yeah. ROBERT Does somebody know you're here? JIMMY No. ROBERT But somebody knows you're not there. JIMMY Well, my girl... ROBERT Oh, Jesus, Jimmy... JIMMY Man, you call up two am, what the fuck you want? She asked me where I was going. ROBERT What'd you say? JIMMY I told her I had to run out a minute. A beat. EFTA00724951 37. ROBERT Do you trust her? JIMMY Is this the kinda shit you used to do to my dad? ROBERT Do you trust her? JIMMY Yes, I fucking trust her! ROBERT Good. So you're at home, and I'm at home. My wife gets up at five am for Pilates -- I will be there next to her, where I've been all night. And you'll do the same with yours. Jimmy exhales a long sigh. JIMMY This is some pretty fucked up shit. ROBERT Jimmy... JIMMY No, man, come on, I don't hear from you since the fuckin' funeral, you call up using my father's name, ask me to come out here to... ROBERT ...what do you want, Jimmy? Ten thousand? Twenty? Is that enough? Jimmy swerves the car to the side of the road and stops. JIMMY You talk to me like that you can get the fuck out and walk. ROBERT (after a beat) Listen... I'm sorry. I'm not myself. I need your help. Jimmy waits a moment, then re-enters the road. Robert winces in pain. JIMMY Are you alright? EFTA00724952 38. Robert is holding his side. He pulls up his shirt. Jimmy sees the awful purple bruise from the steering column. JIMMY (CONT'D) Jesus, man! We gotta get you to a hospital. ROBERT No, just drive. JIMMY You're bleeding inside. ROBERT I just... have to get home... I'll deal with it in a few hours. JIMMY What if you don't make it that long? ROBERT Then I don't make it. EXT. THIRD AVENUE - NIGHT The SUV pulls to a stop a few blocks from Robert's house. He exits. JIMMY (through the window) Call and let me know it's okay. ROBERT Better we don't talk for a while. JIMMY So what then, you just call up the only nigger you know? Robert looks at Jimmy, eyes tearing. ROBERT I'm sorry, Jimmy. I really am. Just go home. JIMMY Alright, man. Take care of that. Jimmy's car drives off. Robert hobbles up the block. EXT. CAR WRECKAGE SITE POLICE CARS flash lights. An EMT unloads Julie's charred CORPSE into a BODY BAG. INVESTIGATORS sift through rubble. EFTA00724953 39. DET. MICHAEL GOWER (46) sits in a TAN SEDAN, drinking a cup of deli coffee. Barely awake, he stares out the window at a bunch of STATE TROOPERS arguing with his partner, MILLS. MILLS breaks away from the uniforms and approaches, shaking his head. Gower gets out of the car. GOWER You gotta be fucking kidding me. MILLS Captain says it's on our side of the line. GOWER We've been having this argument twenty years. They can't handle one drunk motorist kills herself? MILLS I'm not so sure... GOWER Whaddya mean? MILLS She wasn't the driver. Gower nods, his interest piqued. GOWER Let's roadblock lane-to-lane and do a five-mile canvass. Every gas station, metro area, the works. (off his nod) And Mills... MILLS Yeah? GOWER Call Verizon, pull the luds off all the local payphones. Mills shuffles off. Gower bends his head down to the car's passenger side, looking off into the distance of the path Robert took just moments before. INT. JIMMY'S APARTMENT - NIGHT Jimmy enters his small tenement. The living room is empty save for a sofa and some moving BOXES. He heads to the BEDROOM EFTA00724954 40. Awake and smoking a cigarette is REINA (23, Hispanic). Jimmy starts to undress, coughs, then opens a window. JIMMY You're gonna choke in here. REINA Where'd you go? JIMMY I told you, I had to... REINA ..run an errand." Yeah. Jimmy pauses, takes off his pants. REINA (CONT'D) I heard you on the phone. You went to meet Robert. JIMMY So? REINA So why's he calling in the middle of the night? What's he got you doing for two and a half hours? JIMMY Leave it be, Rei. Jimmy gets into bed, turns out the light. Reina waits a beat, then reaches over and turns it back on. JIMMY (CONT'D) Reina... REINA Jimmy, what's going on? JIMMY I said leave it be. REINA You wanna end up like your father? Jimmy gets up, taking the comforter with him. JIMMY I can't hear this again. Reina stands, crosses to him. EFTA00724955 41. REINA (softening, holds him) Come on, baby. Hold on... JIMMY (shaking her off) What? REINA I'm just... worried, that's all. JIMMY There's nothing to worry about. REINA You can tell me if there is. JIMMY (hugging her) Everything's gonna be fine. We're going on Friday. Everything's the same. I promise you. Okay? She nods. They kiss. INT. ROBERT'S MANSION - NIGHT Robert enters the basement. He walks into a security monitoring room. We see a street view of cameras outside the door he just entered. He pulls TAPES out of VIDEO RECORDERS. INT. ROBERT'S MANSION - SERVICE KITCHEN Robert stands in front of a bin marked INCINERATOR. He is wearing a new T-SHIRT and SLACKS. He places all of his bloodied clothes and the video tapes into the incinerator, pouring LIGHTER FLUID on top of them and striking a match. He sets the items on fire and closes the hopper. RAMON Do you need anything, sir? Something to eat? Startled, he looks over to see his live-in houseman standing in the dark. ROBERT I'm fine, Ramon. Go back to bed. EFTA00724956 42. INT. ROBERT'S BEDROOM - NIGHT Robert quietly undresses, leaving on the white UNDERSHIRT. He presses at his rib, winces again. Then he gets into bed and stares at the ceiling. ELLEN (half -asleep) Where did you go? ROBERT What? ELLEN (dreamy) I woke up for a minute, you weren't here... ROBERT I just went to... eat some ice cream. ELLEN Was it good? ROBERT What? ELLEN The ice cream... ROBERT (pained, shifting his body) Yes... ELLEN You know you're not supposed to eat that with the Lipitor... (dreaming) Did you ask Peter about his chores? ROBERT Ellen... ELLEN What? ROBERT Do you love me? ELLEN Of course... She rolls over. Hold on Robert's face. FADE TO BLACK. EFTA00724957 43. INT. PRIVATE HOME - STUDY - EARLY MORNING DR. SOBEL (50s) finishes taping up Robert's bruised stomach. Other than the ribs, the only visible damage is a slight cut on Robert's forehead. SOBEL You need to come to the office for an MRI. ROBERT I can't now. SOBEL Can you lie down for the day? ROBERT No. Are we done? SOBEL Robert -- you've got internal bleeding and two broken ribs. You need to heal. Robert stands, hiding a wince, and picks up a Percocet BOTTLE. SOBEL (CONT'D) No more than two every six hours. INT. PRIVATE HOME - ENTRY HALL - CONTINUOUS As Robert exits, he passes a pile of newspapers. He picks up a Post, thumbs through it. On page five: A headline splashed with an awful PICTURE from the accident: "French Art Beauty Killed in Fiery Crash." SERVANT (passing by) Do you need anything else, sir? ROBERT No, thank you. He puts the paper under his arm and exits. EXT. PARK BENCH - DAY SID FELDER (68) sits next to Robert, the Post by his side. SID Hypothetically, the situation you're describing would be involuntary manslaughter. EFTA00724958 44. ROBERT And if it was proved the person had alcohol in his system... SID Fleeing the scene creates a legal presumption that the driver was under the influence. ROBERT So such a person... SID ...would be in a lot of trouble, especially if that person was closing a merger with a large public bank where any publicity or arrest could delay or derail the transaction. But that's only if there was some evidence that could link him to the crime. ROBERT What about fingerprints, DNA? SID Very hard to collect after an explosion. The real world's different from television. ROBERT Cell phone records? SID Did this person make any calls from the area? ROBERT No. SID Then they won't be able to place him there. ROBERT Don't the phones have GPS now? What if they checked the cell towers? SID Legally that's all very shaky right now. To pull those records they'd need heavy probable cause. ROBERT Which would be? SID Again, something that linked the two people together that night. (MORE) EFTA00724959 45. SID (CONT'D) Some concrete evidence that contradicted a statement given to the police. Or another witness who comes forward. ROBERT So what would you advise such a person to do? SID To confess immediately. ROBERT Failing which? SID To put as much distance between himself and the event as possible, if possible. But let me tell you something, and I'm speaking to you as a friend now: there are about fifty things that person wouldn't have thought of. And the more time that passes, the more lies that are told, the worse it gets for him. Robert stands. Robert... What? SID (CONT'D) ROBERT SID They're going to come to you. ROBERT I know. SID An accident's not the worst trouble. If we talk to them now we can probably work it out. ROBERT (after a beat) What happens if the deal with Morgan doesn't close, and I have to tell my investors about our real losses? SID Nothing good. EFTA00724960 46. ROBERT And you said that depending on how the Justice Department decides to prosecute me, a fraud conviction might get me, uh... twenty years? SID I did. ROBERT Then what choice do I really have? EXT. DELOITTE ACCOUNTING HEADQUARTERS - LATER We follow CHRIS VOGLER (55) through the busy lobby out to the street. He crosses Park Avenue and gets into Robert's limo. INT. LIMO - CONTINUOUS Robert opens the Percocet bottle, downs four PILLS. Chris enters and sits. Robert mimes a question. CHRIS You're aware Congress plans to extend the audit requirements for private funds. ROBERT Of course I'm aware. I gave testimony to the committee. (zeroing in) You know this. CHRIS Well, Morgan wants to prepare for it now. So I was asked to go through every one of your trading books and reconfirm their assets. ROBERT That's impossible. CHRIS Don't worry. I put the team on different books and left "Old Hill" for myself. (smiles) I'm happ