Grazyna Szapolowska in Wielki szu (1982)

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Being a con man is a lonely profession. Every citizen the hustler meets is another potential mark. The scammer can open up to no one; he wastes his affections in the embrace of hired intimates. He moves continually between furnished apartments and hotel suites, leading the nomadic existence of a gypsy banished to forever travel from target to target, one step ahead of the law, a half stride beyond the reach of his enraged victims. This isolation, insecurity, and a severely limited career expectancy predispose flimflam fellows, such as the card-cheat protagonist of Wielki szu (1982), to taking on an apprentice sharper to teach the wiles of the trade. But why does graduation day always entail the master falling prey to the student’s game?