Other People's Money Page #6

Synopsis: A corporate raider threatens a hostile take-over of a "mom and pop" company. The patriarch of the company enlists the help of his wife's daughter, who is a lawyer, to try and protect the company. The raider is enamoured of her, and enjoys the thrust and parry of legal manoeuvring as he tries to win her heart.
Genre: Comedy, Drama, Romance
Director(s): Norman Jewison
Production: Warner Home Video
 
IMDB:
6.1
Rotten Tomatoes:
33%
R
Year:
1991
103 min
1,712 Views


of the way there in one transaction.

Better still, it's votes

they're counting on for themselves.

They lose 10 percent,

you gain 10 percent.

If you make a difference...

...if I win by less than 100,000 votes,

you got your million.

Otherwise, I don't need them,

I won't vote them.

I'm not selling you an option.

I'm selling you the right

to vote the shares.

If they make a difference,

you got a million.

If they don't, half a million.

I've prepared the papers.

Left the numbers blank.

You can have your lawyers look at them.

Everybody looks out for their own

self-interest, don't they?

"What's in it for me?"

Isn't that what it's finally all about?

Yes. Very good. Very good.

- When do we run in the Times?

- Tomorrow.

- Times, Barron's, Forbes...

- Boston Herald.

- Next week, major cities in New England.

- Great.

Take this copy and slide it

all over to the right.

And up in the corner here,

put that picture of me.

- You know?

- You look good in that shot.

Oh, God. Look at him.

He's trying to look like Desmond Tutu.

All right, Richard, get our ad agency.

- Call Barbaro. Call Pinelli.

- Barbaro, Pinelli.

- Yeah. Where's that phone call from Tokyo?

- I'm on it.

Taxi. Taxi!

Thanks, Ron.

Mr. Garfield's office.

I expect him back at 5:30.

Thanks, Connie.

I'll ask him to phone you.

Bye-bye.

Look, I found it. I found it.

Mrs. Sullivan. She insisted

on waiting for you.

I would appreciate a few moments

of your time.

Certainly.

Hey, come on in the office.

- Hold my calls.

- Will do.

Come on in. Have a seat right there.

Did your daughter send you?

Because she's full of clever moves.

No, she didn't. She would be

very upset with me if she knew.

I like Kate. She's quite the tomato.

She must have taken after you, huh?

You're very kind.

I would hope this meeting

will be held in confidence.

Everybody's looking

for confidence these days.

You want a cup of coffee?

- Cup of tea? Glass of water?

- You needn't be sociable, Mr. Garfield.

- Harriet, cup of coffee.

- Yes.

You mind if I smoke?

I'd like to tell you why I'm here.

Good. Shoot.

I'm here to plead for our company.

I want to talk to you

about hopes and dreams...

...traditions.

Would you care for a doughnut,

Mrs. Sullivan?

We've worked so hard

to build this company.

We're debt-free...

...and we don't deserve to lose it.

I want you to call off your fight with us.

There's a trust fund in my name

with a million dollars in it.

I'll turn it over to you if you go away.

You don't wanna do that.

We'll buy back your shares at cost,

plus you'll have a million dollars profit.

Interesting.

I know a million dollars

isn't much money to you...

...but if I had more, I'd give it to you.

Who are you doing it for?

Money's not that important to me.

- Well, it is to me.

- Then accept my offer.

You'll have more money

than most people make in a lifetime.

A million dollars.

It's not enough.

Go home, Mrs. Sullivan.

I'd hoped to appeal

to your sense of decency.

I'm sorry.

I don't take money from widows

or orphans. I make them money.

Before or after you put them out

of business?

What a woman.

Harriet, why do I always bring out

the best in people?

Hello?

Hello?

Oh, please.

Arthur!

Get the car. Arthur.

I'm sorry, sir. There's no answer

in Miss Sullivan's apartment.

Well, try it again.

Maybe you dialed it wrong.

No!

Excuse me, Bart.

What are you doing here?

- Who's Bart?

- I'm on my way out. You should've called.

- I need to talk to you.

- I don't have time...

I have something important to tell you.

I need to talk now.

- You look beautiful. Who's this guy?

- Excuse me, Lawrence. Call me tomorrow.

I can't talk tomorrow. It won't keep.

I want you to marry me.

Let me put it another way.

I wanna marry you.

You thinking it over?

- What are you talking about?

- What do you mean?

I want you to be my wife.

We belong together.

- I'm going to the opera. I gotta go.

- No, no, Kate.

You're the last thought I have

when I fall asleep at night...

...and the first when I wake up

in the morning.

I wanna be with you forever and ever.

I wanna have babies with you.

- Babies?

- Yeah.

You see, I gotta do this now,

because after I win...

...maybe you won't wanna speak to me.

- You can't win. I'm gonna win.

I know how important it is to you,

but you're not gonna win.

This is what's killing me.

I want you. I need you. I love you.

I just don't wanna lose you.

- Katherine.

- Keep your pants on, will you, Bart?

- I've gotta go.

- All right, the opera. La Traviata.

You don't wanna miss the first act.

It sets up the whole thing.

It's a wonderful production.

Have a good time.

I'm gonna lose her, Arthur.

Oh, I've been looking for you.

Anytime you're ready.

You okay?

Yeah.

Just going over in my mind

what I wanna say.

They're putting speakers outside.

I think every shareholder

within driving distance is coming.

I feel as if we're Harry and Bess

on election night.

Harry Truman was a better man than me.

He slept on election night.

I haven't slept in days.

Talk to me. Tell me.

I'm scared.

I'm scared that...

...time has passed us by.

I'm scared I don't know

this new environment.

I'm scared that what I do know

doesn't count for anything anymore.

Things have changed.

Whatever happened

to people serving each other?

I don't want this man to win.

I'm not scared.

I'm just proud.

I'm proud of the business we've built.

I'm so proud of you.

And if what we are

counts for nothing anymore...

...then that's their failing, not ours.

It'll be all right.

Just go out and tell the truth.

Go out and give them hell, Harry.

Good luck to us all today, Bill.

I feel we're gonna be just fine.

Looks like they've come from everywhere.

New York, Boston.

- There's Ozzie.

- Happening all over, isn't it?

Everybody looking out for themselves.

So did you get

your golden parachute, Bill?

Did he finally promise to take care of you?

Lord of the manor, house on the hill.

Said he didn't want to talk about a funeral

while there was no corpse.

Well, time to go.

Bill.

How you gonna vote?

Oh, boy. They're out in droves, Arthur.

They got the kids here.

Why do they always bring the kids,

Arthur?

That's right. Hooray, hooray.

Down with Garfield.

Okay, TV crews.

Financial News Network, here we come.

Mr. Garfield!

What are your plans

for New England Wire and Cable?

Make the stockholders richer.

Will you liquidate New England Wire and

Cable? And if so, what about the workers?

My obligation is to the stockholders.

The board of directors make that decision.

Oh, come on!

What about the workers?

Are they gonna lose their jobs?

Come on, answer the question.

Come on, Mr. Garfield!

How do you feel about the outcome

of today's proxy vote?

I feel confident that the shareholders

will vote their consciences.

I have every confidence

in this company's future.

Could I have your attention, please?

Welcome to...

Rate this script:0.0 / 0 votes

Alvin Sargent

Alvin Sargent (born April 12, 1927) is an American screenwriter. He has won two Academy Awards in 1978 and 1981 for his screenplays of Julia and Ordinary People. His most popular contribution has been being involved in the writing of most of the films in Sony's Spider-Man film series (The Amazing Spider-Man 2 is the first exception to this). more…

All Alvin Sargent scripts | Alvin Sargent Scripts

2 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Other People's Money" Scripts.com. STANDS4 LLC, 2024. Web. 18 Jul 2024. <https://www.scripts.com/script/other_people's_money_15393>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Other People's Money

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what is a "montage"?
    A A single long scene with no cuts
    B A series of short scenes that show the passage of time
    C The opening scene of a screenplay
    D A musical sequence in a film