"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"MADE"

by

Jon Favreau

Final Draft



INT. SPORTSMAN'S LODGE - SAN FERNANDO VALLEY - DAY

A large crowd has gathered to watch two WHITE BOXERS square
off in a temporary ring in the center of a converted banquet
hall. One is BOBBY, the other is RICKY. They are drawn
together to start the bout by a bell and a hand gesture as
the REFEREE backs away. Immediately the two fighters unload
a relentless barrage of POWER PUNCHES. Neither man is holding
back, and the punches all find purchase in the swelling faces
of their opponent. The crowd rises to its feet in appreciation
of this rare level of competition in the lower strata of the
heavyweight division.

CUT TO:

EXT. BOBBY'S CAR - COLDWATER CANYON - LOS ANGELES - SUNSET

Bobby drives Ricky home through the winding twists of LA's
landmark canyon. Both their faces are swollen, verging on
the grotesque. Bobby drives a black Special Edition 1979
Trans Am with the gold Firebird stenciled across the hood.
The car is not in great shape, but in its day ruled the road.
A Hawaiian mini warrior mask hangs from the rear view.

The T-top is out, and Ricky struggles to light his cigarette
in the wind. He finally ignites the whole book of matches in
frustration, lights up, then tosses it out.

It lands, still flaming, at the base of a 'No Smoking in the
Canyon' sign. They drive down the palm tree lined stretch of
road bordering Beverly Hills. They turn East on Sunset
Boulevard. The Strip lights are first flickering to life.

EXT. RICKY'S APARTMENT - YUCCA CORRIDOR - NIGHT

The opening SCORE dies away as Ricky sits beside Bobby. The
neighborhood is awful. The light of the corner liquor store
and a menthol cigarette billboard make up for the broken
street lamps. Ricky smooths out his running suit and steals
an instinctive cautionary look, scanning all the blind spots
for predators. The swelling has now truly set in. He's a
mess.

RICKY
Did Max mention anything about any
jobs?

BOBBY
What about boxing?

RICKY
What about it?

BOBBY
What are you saying?

RICKY
You said if you didn't have a winning
record after eleven fights, you'd
talk to Max.

BOBBY
So?

RICKY
So, it was a draw.

BOBBY
Yeah, I'm 5-5 and 1.

RICKY
So, it's not a winning record.

BOBBY
It's not losing record.

RICKY
That's not what you said. You said
if you didn't have a winning record --

BOBBY
Don't be shitty.

RICKY
How am I being shitty?

BOBBY
Don't be shitty.

RICKY
I wouldn't keep bugging you, but you
said he said he would have a job for
us.

BOBBY
I'm not gonna bring it up to him.

RICKY
Of course I don't want you to bring
it up to him... But if it comes up...

BOBBY
I'll page you.

RICKY
Yeah. Page me. You know the number?

BOBBY
Yeah. I know the number.

RICKY
Cause if you don't know the number,
I can page you with the number so
you'll have the number.

BOBBY
I know the number.

RICKY
I'll page you with the number. I'll
see you later. What time you done?

BOBBY
I got no idea.

RICKY
Ask if he said anything to her.

BOBBY
I will.

RICKY
I'll page you with the number.

BOBBY
Bye.

He drives off. Ricky checks his pager, still furtively
scanning the street.

EXT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES - NIGHT

Bobby pulls up in front of the quaint Spanish Colonial two-
flat. He bounds up the stairs to the upper unit.

INT. JESSICA'S HOUSE - CONTINUOUS

He lets himself in, searching for his girlfriend. The
apartment is Z-Gallery, with a few accents of Bobby's
HAWAIIANA.

BOBBY
Honey?

JESS (O.S.)
Where were you?

He finds her in the bedroom. JESSICA is a knockout. Too
pretty. The pretty that makes a woman a full-time job. What's
worse is she's decked out like a whore. She's wearing slutty
lingerie covered by a bland terry cloth bathrobe. Her
ridiculously long legs are garnished with candy-apple porn
star sky high heels. Bobby watches with cultivated patience
as she applies tasteless amounts of make-up from a Mac case
the size of a tackle box. She's in a hurry.

BOBBY
(swallowing utter
contempt)
So, what kind of gig is this?

JESS
Easy night. Bachelor party. Can we
give Wendy a ride?

BOBBY
No. What kind of bachelor party?

JESS
The easy kind. They're young and
rich and well mannered.

She turns to look at him and reacts to his horrifying
appearance.

JESS
Oh my god. What happened?

BOBBY
A draw. What makes you think they're
well mannered?

JESS
Bobby, this is a plumb gig. It's a
bunch of young agents and it's at a
restaurant. It's gonna be easy and
we'll make a lot of money.

BOBBY
I don't like you working with Wendy.
Why are you working with Wendy?

JESS
They requested her. It was her gig.
Max put me on as a favor.

BOBBY
Some favor. I hope they know you're
not like Wendy.

JESS
Oh, please.

BOBBY
If they asked for her, they're
probably expecting blowjobs all
around.

JESS
Will you cut it out! Get ready, we're
already late.

BOBBY
Who's watching the baby?

JESS
She's downstairs with Ruth. Get ready.

BOBBY
I'm ready.

JESS
Bullshit. These are classy customers.
You can't show up all fucked up with
a Fila running suit on.

BOBBY
They're not too classy to have tits
rubbed in their face.

She rises and swaps her robe for a floor length overcoat.
God, is she hot.

JESS
Stop. I love you.

She leans in for a kiss. He lets his anger melt. He leans in
to kiss her. She gives him last minute cheek to save the
perfection of her sparkling twenty minute lips.

JESS
Let's go.

He follows, slightly slighted.

EXT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES

As the couple hurries down the stairs, The face of a SMALL
GIRL peeks out the first floor window. This is CHLOE, Jess'
daughter. Her age is somewhere between Paper Moon and Jerry
Maguire. She watches without expression as her mom leaves
for work.

EXT. HAVANA ROOM - BEVERLY HILLS - NIGHT

They valet the car and approach the members only cigar lounge.
Bobby opens the door for her.

INT. HAVANA ROOM - LOWER LOBBY - NIGHT

An attractive female HOSTESS sees Bobby's undesirable
appearance.

HOSTESS
May I help...?

She then sees Jessica and guesses her occupation.

HOSTESS
Oh, hi. They've been expecting you.
Take the elevator upstairs. You can
change in the card room.

INT. ELEVATOR - HAVANA ROOM - NIGHT

They stand side by side in silence as the lift rises. Jess
adjusts her bosom. Bobby continues to percolate. His pager
goes off. He recognizes the number.

BOBBY
You talk to Max today?

JESS
I'm not gonna mention Ricky to him.

BOBBY
Don't expect you to mention it to
him. I'm just saying, if --

JESS
The only way he'll go with Ricky is
if you're in too.

BOBBY
Well, that's not gonna happen.

JESS
Fine. You want to help Ricky, talk
to Maxie yourself.

BOBBY
I feel weird asking him.

JESS
You shouldn't. He likes you.

BOBBY
I just wish he never brought it up.
Ricky won't shut up about it.

JESS
Forget Ricky. You should be glad Max
got you driving for me.

BOBBY
(then)
No coke tonight.
(no answer)
Right?

JESS
Leave me alone. I haven't touched
anything in months.

The elevator door opens, and a room full of horny young AGENTS
and EXECUTIVES see Jessica and cheer. She smiles and drops
her coat. The crowd can't believe their luck when they see
how hot she is. Bobby's heart sinks. He picks up her coat
and walks to the bar as the men wave bills at the love of
his life.

INT. BAR - HAVANA ROOM - UPSTAIRS - CONTINUOUS

Bobby settles into a bar stool, watching the action from a
distance. WENDY, a slutty Pam Anderson pre-tit-removal
wannabe, is already bouncing her ass ghetto-style in a young
agent's face. The crowd gravitates to the new meat like a
pack of ravenous dingoes. A beautiful young BARTENDER with
her hair tied back drops a cocktail napkin in front of Bobby.
She sees his bruises.

BARTENDER
Did you get the license plate of the
truck?

BOBBY
(unamused and
preoccupied)
Johnny Red rocks.

A BLACK MAN in his late twenties slithers up beside him.
His name is HORRACE and he seems to like gold. He puts down
his empty highball glass.

HORRACE
Martel's and coke. One ice cube. In
a snifter this time.

BARTENDER
Snifter are for warm drinks --

HORRACE
Yeah, snifters are for cognac --

BARTENDER
When served warm --

HORRACE
What's the matter? You ain't got no
snifters in this motherfucker?

BARTENDER
We have snifters

HORRACE
Then put my Martel's in a snifter.

She walks away to get him his snifter.

HORRACE
Like I'm gonna break her goddamn
snifter.

Bobby downs his drink as he watches Jess give a HORNY GUY in
a suit a lap dance. He gets a little frisky, grabbing her
ass cheeks. Bobby begins to RISE. Jess circumvents any
confrontation by smiling and twisting away his wrists. She
throws Bobby the 'Don't worry, I got it' look. He sits.
Horrace pokes his nugget encrusted fingers into his sock,
counting a stack of bills.

HORRACE
It's already been a hell of a night.
Where you been?

BOBBY
I had a fight up at Sportsman's.

HORRACE
Well, you look it. You win?

BOBBY
Draw.

HORRACE
What's your record at?

BOBBY
5-5-1.

HORRACE
Yeah, well you let me know when you
wanna start makin the real money.

BOBBY
Yeah, sure.

HORRACE
I'm serious. Humping sheetrock and
driving on weekends got to get to
you after a while. Might be nice to
buy your lady something. All it takes
is one fight.

Wendy is now being dry humped by two guys. Jessica looks
over at her, and is concerned. Lines of protocol are
definitely being crossed. Jess' horny guy makes a bold move,
jamming his face in her cleavage. In a split second, Bobby
has crossed the room and has him by a wrist. The guy is
surprised by Bobby's presence and grotesque appearance.

HORNY GUY
Whu --

BOBBY
There's no touching.

HORNY GUY
But what about them?

BOBBY
I don't give a shit. I work for her.
No touching.

She hands Bobby a stack of sweaty bills. He walks away,
zipping the roll into his pocket. When he arrives at the
bar, a drunk EXECUTIVE is having a quiet conversation with
Horrace. Horrace looks around, answers, and the executive
picks quite a few hundreds out of his wallet. Horrace walks
him back to Wendy. Bobby grinds his teeth and points to his
empty glass. The bartender pours and watches the interaction
as Wendy walks off with the executive. The party howls as
they leave the room for some privacy.

BARTENDER
(sarcastic)
That's not allowed.

Bobby downs another drink. Things are now heating up for
Jess as mob mentality takes hold. She squirms. We TRACK BACK
with Bobby's face as he bee lines for the feisty horny guy,
who holds Jess' hips as he grinds her.

BOBBY
I said no touching.

HORNY GUY
Look, man, I'm the bachelor, alright?
I gave her a hundred bucks in tips
alone --

BOBBY
Get your hands off of her.

HORNY GUY
Dude, listen, man. I'm cool. How
much for the treatment?

BOBBY
Your dance is over.

HORNY GUY
Come on, dude. The other chick's
giving my best man a blow job in the
toilet. I know the drill, I'll wear
a rubber --

Bobby cracks his face apart with an uppercut. Another guy
rises in protest and is on his ass with a broken nose before
he can speak.

JESS
God damn it...

Bobby drags his girl by the arm to the men's room. He kicks
open the door and grabs Wendy, who is doing coke off a mirror
with her john. He drags the women out. Horrace disappears. A
PARTIER calls to the bartender.

PARTIER
Call the police.

She picks up the phone, but doesn't dial. She hides a smile.
Bobby drags the women down the staircase.

INT. BOBBY'S CAR - LOS ANGELES - NIGHT

Bobby drives, eyes locked on the road. Jess is beside him,
Wendy's in the back.

WENDY
What the fuck was that about?

BOBBY
You wanna get us busted? If Max found
out you were turning tricks --

WENDY
I got news for you, Bobby, he don't
give a shit.

BOBBY
Bullshit.

WENDY
You think he don't know? I give him
his cut of seventeen hundred, I think
he knows I can't make that lap
dancing.

BOBBY
No more.

JESS
Bobby...

WENDY
Fuck you! No more for you. You won't
be Jess' driver for shit when Maxie
hears this shit happened again.

BOBBY
Nobody's fuckin talking to you.

WENDY
And how could you fucking leave
Horrace hanging?

BOBBY
I got news for you, Horrace got his
ass out of there before you did.

WENDY
Bullshit.

BOBBY
What? You don't think Horrace would
leave your white ass in there to
hang?

JESS
Alright. Enough already. Let's get
some food. I better call Maxie and
tell him what happened before he
hears it on his own.

EXT. JOB SITE - PACIFIC PALISADES - DAY

ESTABLISHING SHOT of the upscale renovation.

INT. JOB SITE - PACIFIC PALISADES - DAY

Bobby is part of a large CREW OF PLASTERERS midway through
an Amalfi Drive renovation. He trowels a thin coat of plaster
on a kitchen wall. Ricky drags his ass as he sweeps up dust
and diamond wire scraps. The two of them are swollen to hell
as they work side by side in the upscale remodel.

RICKY
So I'm like, 'Maybe I'm not on the
list cause I'm not a fuckin Persian.'

BOBBY
I thought you hate that club.

RICKY
I do. It's a fuckin Persian Palace.

BOBBY
Then why do you try to get in?

RICKY
Fuck them.

BOBBY
(hears something)
Shhh...

The DECORATOR walks in with a YOUNG COUPLE and their six
year old KID. The decorator is irritating. The husband is a
shlubby Jew. His wife is a hot shiksa.

The kid looks like he might already be gay. The guys work
diligently and quietly.

DECORATOR
And as you can see, we're a little
behind in here. We always knew the
kitchen would be the trouble spot.

HUSBAND
When will it be ready? Are we still
shooting for Christmas? I really
want Christmas in the new house.

DECORATOR
We're trying. Unfortunately the trades
are stacking a bit. But look at this
Italian plaster job. The color skim-
coat will go on next.

WIFE
It looks great.

Ricky sneaks some eye contact to the wife. She almost smiles
as he peers at her with his battle scarred face. The little
boy pokes his finger into the wet plaster. Bobby throws him
a look. The kid just stares back like he owns him.

DECORATOR
Did you see the stove yet?

HUSBAND
The Viking was delivered?

DECORATOR
Yes, of course. It's in the garage.

They leave. Bobby repairs the plaster damage.

RICKY
You see that, bro? She wants to fuck
me.

Ricky's pager goes off.

RICKY
You see that? My shit's blowing up.

He looks around and grabs the wall phone and dials.

BOBBY
Come on, man. Not with the owners
here.

RICKY
(phone)
Hey, baby... Nothing. What are you
doing...? Yeah, I'll probably cut
out early...

In walks ARTHUR, the plastering contractor and their boss.

ARTHUR
Watch out, the fag's here.
(seeing Ricky)
Get off the fucking phone. Then he
wants to know why he's still sweeping
floors. Bobby, you got a minute?

Bobby looks concerned. Something's wrong.

EXT. JOB SITE - PACIFIC PALISADES - DAY

Bobby and Arthur stand by a gravel pile outside the huge
remodel. Arthur looks around and they duck into his Suburban.

ARTHUR
Look, Bobby, I don't know what
happened, and I don't want to know
what happened, but something's up.

BOBBY
What are you talking about?

ARTHUR
Maxie wants me to replace you on the
job tomorrow. He wants you to come
by the office today.

BOBBY
They were grabbing her fucking ass --

ARTHUR
Hey. I don't know, I don't want to
know. Far as I'm concerned, you're a
good kid. I got news, though, without
you here I can't keep on your friend.
I got enough people pretending to
sweep.

BOBBY
Do me a favor, Arthur, keep him on
til I see what's happening.

ARTHUR
Good luck.

EXT. MAX'S OFFICE - VAN NUYS - DAY

Bobby parks his car in the off street lot of Max's run-down
industrial complex. Bobby walks past the many businesses
that share the structure in tandem.

MEN working in an auto BODY SHOP go about their business,
but discreetly watch as the unfamiliar man passes. Bobby
carries himself with the proper amount of ambivalence. He
then passes a loading dock, which also has a secretive stench.

Finally, he arrives at a STEEL DOOR, above which is mounted
a video camera, several generations past its prime.

A steel sign reads simply: 'M and M Contracting'.

Bobby rings the bell and looks up to the surveillance camera.
He is buzzed in.

INT. M AND M CONSTRUCTION OFFICES - VAN NUYS - CONTINUOUS

Bobby walks into an anticlimactically mundane office. The
decor is sixties industrial gray. There is a waiting area
next to a flimsy lucite partition/reception window, behind
which is a desk. Behind the desk is AUDREY, the sixty-plus
receptionist whose hair was recently 'set' and colored by
her beautician. Security seems quite lax.

BOBBY
Hi, uh, excuse me. I'm here to see
Mr. Reuben.

AUDREY
You're Bobby, right?

BOBBY
Yeah.

AUDREY
Good afternoon, Bobby. I'll let Max
know you're here.

She fiddles with her phone. Bobby sits at the kidney shaped
coffee table. He thumbs through a copy of Redbook.

AUDREY
He'll be a minute, hon. You want
some coffee?

BOBBY
No thank you.

AUDREY
You sure? I just made it.

BOBBY
No, thank you. I'm good. Thanks.

He calms his nerves by staring at a recipe for Strawberries
Devonshire.

CUT TO:

INT. MAX'S OFFICE - VAN NUYS - DAY

Bobby walks in. He doesn't seem like he's been there before.
The first thing that hits you is all the thoroughbred racing
shit all over the place. Brass table top statues, pictures
of jockeys with wreaths, hand-painted(!) portraits of horses
faces. The second thing you notice is MAX REUBEN. He's an
off-the-rack East Coast Jew.

He's got deep-set eyes and Abe Vigoda brows. He wears a golf
shirt with a little penguin on it, and oversized reading
glasses are perched on his balding head. His nose was broken
in '63. He smiles broadly as Bobby enters. Bobby forces a
relaxed smile.

MAX
(on phone)
Will ya calm down. Just calm down
for a minute, Nadeleh. The money
will be there. How do I know? I just
know... Yes. Yes, that's exactly
what I'm saying... You got my word.

He hangs up his rotary phone and looks up to Bobby, who stands
looking at the painting with his ears closed.

MAX
You like the ponies?

BOBBY
Sure. Yeah.

MAX
You bet the ponies?

BOBBY
Me? No. Not really.

MAX
Smart. Hard as hell to handicap. You
know what I like? Hai Alai. Fast
game. You know why I like it?

BOBBY
Why?

MAX
It's fixed. That's the only way to
win. A sure thing. See that horse.
The blaze.

BOBBY
This one?

MAX
Yeah. The blaze. I bought her in
'66. Hired a trainer, stall, whatever
it was. That horse made me over a
hundred grand. In 'sixties' dollars.
You know what that is today?

BOBBY
Pshhh...

MAX
A million. Easy.

BOBBY
She was fast, huh?

MAX
Never won a race. But it got me in
with the trainer. We'd have a thing,
I don't remember, some fucking thing.
The jockey would raise his whip, it
meant the fix was in, we'd all go
running. People get greedy. First
they bet small, they keep their mouth
shut. Within a month's time, everyone
and their brother was in on it. The
odds would drop, I mean you could
watch the goddamn board. It looked
like a fuckin stopwatch, the odds
would drop so fast.

BOBBY
That's why they call it the smart
money.

Maxie laughs a genuine laugh.

MAX
I like you, kid. Why do you gotta
make it so hard for me to take care
of you?

BOBBY
Mr. Reuben, I swear to God, they
were out of line.

MAX
Last time, maybe, with the Puerto
Ricans, but these were nice Jewish
boys.

BOBBY
They were out of line --

MAX
They're fucking yeshiva buchas. You
didn't have to tear up the goddamn
place. You knocked out a guys teeth.

BOBBY
That prick tried to get Jessica to
blow him in the bathroom --

MAX
Bobby, I love Jessica like she's my
own daughter. I would kill anyone so
much as lays a finger on her or her
beautiful daughter, but that fucking
pisher you socked in the mouth has
the most expensive dentist in Beverly
Hills and wants I should buy him an
implant. Your silverback horseshit's
gonna cost me eight grand.

BOBBY
I'll work it off.

MAX
Not driving Jess, you won't.

BOBBY
What?

MAX
You're not driving Jess no more.
Two strikes, Bobby, and this last
one was big. The bachelor's father
goes to my schul.

BOBBY
So, that's it. I'm out?

MAX
I didn't say that.

BOBBY
Then what are you saying?

MAX
Bobby. You're a bull terrier and I
got you herding sheep.

BOBBY
I don't understand.

MAX
It's my fault. I send you out to
watch scum drool all over the love
of your life, then I wonder why you
seered. It's my fault. The tooth is
on me. But no more. I'm 'reassigning'
you.

BOBBY
I don't want to drive another girl,
Max. The only reason I'm --

MAX
Who the fuck do you think you're
talking to? This ain't a fucking
democracy. You want out?

BOBBY
No.

MAX
Don't I put food on you're table? I
sponsor your training, I take care
of your girl and her little baby. I
even pay that deadbeat friend of
yours to push a goddamn broom.

BOBBY
I know.

MAX
Now you wanna shut up and listen and
hear what I got to say?

BOBBY
Yeah. Sorry.

MAX
I got a way we make everybody happy.

BOBBY
Yeah.

MAX
We try something out. There's someone
I'm in business with named Ruiz. I
want you to accompany him on a drop.
(off Bobby's look)
Just as scenery. Ruiz has his boys.
I just want a big guinea with a busted
up face to give him a deep bench. As
a deterrent.

BOBBY
Ruiz knows about this?

MAX
Ruiz wants to go alone, but it's not
up to Ruiz. It's up to me, and I
like a sure thing. Just go and we're
square on the tooth.

BOBBY
What about Ricky? He'd jump at the
opportunity.

MAX
Ricky? Ricky 'I lost the truck' Ricky?

BOBBY
You told him you liked him.

MAX
That was before he lost my carpet
cleaning van.

BOBBY
He'll work it off.

MAX
I don't know the kid, and what little
I do scares me.

BOBBY
He's good people, Mr. Reuben. I swear.

MAX
You vouch for him?

The exchange has taken on a gravity.

BOBBY
Yeah. Sure.

MAX
(lighter)
How 'bout this. If you're in, he's
in.

BOBBY
I gotta tell you, Mr. Reuben, I'm
not comfortable getting in any deeper.
It's one thing to look after Jess...

MAX
You're ready to move up. Christ, the
way you busted up the place, you're
doing worse already. May as well get
paid instead of punished.

BOBBY
It's not that I don't appreciate the
offer...

MAX
Do me a favor. Think about it. Is
that too much too ask?

BOBBY
No. Okay. I'll think about it.

EXT. SPORTS FIELD - HOLLYWOOD HIGH SCHOOL - DAY

ESTABLISHING SHOT of the mural for the HOLLYWOOD SHEIKS
football team. Bobby and Ricky walk past the empty stands
watching the HIGH SCHOOL FOOTBALL TEAM practice. Ricky drinks
from a brown paper bag.

RICKY
We need guns.

BOBBY
We don't need guns.

RICKY
I think we might.

BOBBY
He didn't say we need guns.

RICKY
He implied it.

BOBBY
You don't imply about something like
that. You lay it out on the table.
Besides, I'm not taking the job.

TIME CUT. Ricky and Bobby watch the field from behind the
concrete stairwell.

RICKY
This is the opportunity of a lifetime.
What are you? Nuts? You've been
waiting for this kind of opportunity.

BOBBY
No. You've been waiting for this
kind of opportunity.

RICKY
(sparking up)
Damn right, I have. You think I like
living on fucking Yucca? We do a
good job on this, we're in.

BOBBY
What happened to boxing? I thought
we made a vow.

RICKY
Shit. Who we kidding? I know I suck,
and I held you up for ten rounds --

BOBBY
Bullshit...

RICKY
Please. I got three inches on you.
You wouldn't have landed a punch if
I didn't let you.

BOBBY
You wanna go right now?

RICKY
I'll beat your ass --

They slap-box in the empty stairs. This attracts the attention
of the team and the COACH, who has walked up to the bottom
of the stands. He calls out to them.

COACH
Ricky! Bobby! Cut that shit out!

They stop.

RICKY
Sorry coach.

BOBBY
Sorry coach.

COACH
How's the boxing going?

BOBBY
Great.

RICKY
(shitty)
He's 5-5-1.

COACH
It takes time, Bobby. You always had
the heart.

RICKY
What about me coach? Did I have heart?

The coach throws a look and walks back to practice, blowing
his whistle.

BOBBY
We look good this year.

RICKY
We'll kill Fairfax this year.

BOBBY
I still can't believe you missed the
fucking team bus.

RICKY
Fuck him.

BOBBY
Your first start at DB, it's against
Fairfax, and you miss the fucking
bus.

RICKY
What are we delivering?

BOBBY
We're not delivering shit. Ruiz is
delivering something, and whatever
it is is his business.

RICKY
Who is this fucking Ruiz?

BOBBY
Maxie says he runs a tight ship. I
wouldn't fuck with him.

RICKY
Some Mexican? How much could he weigh?
A buck fifty, tops? I'd kick his
fucking ass.

BOBBY
(looks at watch)
I gotta pick up the baby.

RICKY
Why do you always get stuck taking
care of the kid.

BOBBY
I like it.

RICKY
It's not even yours.

BOBBY
I like it.

Bobby pulls into a RTA bus stop in front of...

EXT. THE LITTLE RED SCHOOL HOUSE - LA BREA - CONTINUOUS

Bobby's Trans Am is parked in the bus stop in front of the
school. Ricky is on the phone, oblivious, as a black METER
MAID gives the car a ticket. Bobby walks down the walkway
with Chloe, Jessica's daughter, and takes the ticket.

INT. BOBBY'S CAR - PARKED ON HIGHLAND - CONTINUOUS

He helps Chloe into the back. Chloe is silent and clutches
dried macaroni glued to a paper plate and spray-painted
silver.

BOBBY
(re: ticket)
Nice work.

RICKY
Shhh...
(on cell phone)
Yeah, yeah... No. No. I'll be there.
(hangs up)
You gotta get me to the Magic Castle
at four.

BOBBY
How'd you unlock my phone?

RICKY
I tried your ATM PIN. I gotta kill
an hour. Let's grab a beer.

BOBBY
(to Chloe)
Seat belt.

CHLOE
Ricky's not wearing one.

BOBBY
Ricky, can you put on a seat belt?

RICKY
No, man. It wrinkles my shit. Let's
grab a fuckin beer --

BOBBY
C'mon, man, not in front of the baby.
Put on your seat belt before I get
another ticket.

RICKY
(clipping in)
Jesus Christ, fine. Alright?

BOBBY
See? Now everyone's got one on.
(re: macaroni plate)
What do you got there?

CHLOE
A elephant seal. Where's mommy?

BOBBY
She's, uh, sleeping.

CHLOE
It's daytime.

BOBBY
Mommy works hard so you can have all
your pretty clothes. Don't you like
your pretty clothes?

CHLOE
No.

BOBBY
Show uncle Ricky what you made.

RICKY
Let's grab a beer.

CUT TO:

EXT. COLOR ME MINE - LA BREA - DAY

ESTABLISHING SHOT of the storefront ceramics workshop.

INT. COLOR ME MINE - LA BREA - DAY

Bobby paints a CERAMIC PLATE as Chloe does the best she can
painting a frog in this do-it-yourself crafts store. Ricky
looks out of place as he lights a Marlboro and bitches.

RICKY
Why can't we just grab a goddamn
beer.

BOBBY
I promised Chloe we'd come here.

RICKY
Oh, give me a break. Look at her.
She don't even know where the hell
she is. She'd have more fun at
Bordner's.

BOBBY
I'm not taking her to a bar.

RICKY
Why not? I grew up in bars. It's fun
for a kid.

A YOUNG FEMALE SALESPERSON approaches Ricky.

SALESPERSON
Excuse me, there's no smoking in the
store.

RICKY
Why? You serve food?

SALESPERSON
No. Store policy. And you can't sit
at a station without purchasing a
ceramic.

RICKY
Could you believe this shit? Fine.
Give me an ashtray.

She brings him an unpainted ceramic ashtray from a display.

SALESPERSON
What color paints would you like?

RICKY
Surprise me.

He SNUFFS the CIGARETTE out in the ashtray in the palm of
her hand. She puts it down and leaves in a huff.

RICKY
I'm telling you, bro, we're on the
verge. He's reaching out to us.

Chloe stops painting.

BOBBY
What's wrong, baby?

CHLOE
He's not doing it.

RICKY
What? Did she say something?

BOBBY
She wants you to paint the ashtray.

RICKY
I'm not painting the fu --, I'm not
painting the ashtray. And frogs aren't
purple.

CHLOE
It's a poison arrow tree frog.

BOBBY
Will you paint the damn thing. Why
do you gotta be such a baby.

RICKY
Fine. Here, look. I'm painting.

He haphazardly paints. Chloe resumes her task.

BOBBY
Max won't let me drive Jess to dance
anymore.

RICKY
Who's driving her?

BOBBY
I don't know.

RICKY
This paint sucks. The white shows
through.

EXT. MAGIC CASTLE MOTEL - FRANKLIN - DAY

Bobby pulls up. The WIFE of the Amalfi homeowner is
precariously waiting and smoking.

INT. BOBBY'S CAR - MAGIC CASTLE MOTEL - CONTINUOUS

RICKY
Right here's fine.

BOBBY
Is that the woman from..?

RICKY
(smiles)
She really liked the kitchen.

He pops out, and the woman corrals him into a room. Bobby
pulls away.

INT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES - NIGHT

Jessica is half made up and half dressed. Little Chloe sits
at the kitchen table twirling a spoon around her head. Her
mom is haphazardly cooking a rushed supper. Bobby sits
watching TV in his sweats in the adjoining living room.

JESS
Here, sweety, mommy's in a hurry.

CHLOE
I don't want grilled cheese.

JESS
Mommy has to work.

CHLOE
I hate cheese.

JESS
Here, sweety. Don't be a little shit.

Bobby approaches and takes the pan. He kisses Jess.

BOBBY
Go finish getting ready. I'll take
care of dinner.

JESS
Yeah? You sure?

BOBBY
Go.

She shuffles off. Bobby puts up some water and heats a pan,
adding oil. Garlic.

CHLOE
You're not my daddy.

BOBBY
You gonna bust my horns, or you want
spaghetti

CHLOE
I want spaghettis.

He pours in a can of sliced olives in with the capers.

BOBBY
You better watch everything I'm doing.
You know why? Because that's how you
learn to cook. I watched my grandma
cook every night. That's how I
learned. If you can't cook, then you
gotta go out to eat every night,
then you spend all your money on
food. And when you eat in restaurants,
the cooks scratch their ass and touch
the food.

There's a knock on the door.

JESS (O.S.)
Could you get that, baby?

He does. It's Horrace. Bobby's surprised.

HORRACE
What's up? Jess ready?

BOBBY
You driving her?

HORRACE
Yeah.

BOBBY
She'll be out in a minute.

Horrace tries to walk in. Bobby stands in the door.

BOBBY
(firm)
She'll be out in a minute.

Jess hurries in, clipping earrings.

JESS
Hiya Ho. Come in. I'll just be a
minute.

He throws Bobby a look as he slides by.

HORRACE
Some shit smells good in this
motherfucker.

JESS
Bobby's cooking. He's the best. Whip
him up something.

HORRACE
Yeah. Whip me up something. I'm hungry
as a motherfucker.

Jess hurries out, brushing her hair.

BOBBY
Watch your mouth in front of the
baby.

Bobby joins Jess in the back.

INT. BEDROOM - JESSICA'S HOUSE - CONTINUOUS

Bobby enters, boiling over with opinions.

BOBBY
No way that cocksucker's driving
you.

JESS
Maybe if you didn't go Rambo every
time I did a lapdance, you'd still
be doing it yourself. Meantime, I
gotta feed my little girl.

BOBBY
Maxie's fucking with me. He put you
with the spook to get under my skin.

JESS
Ho's a good guy --

BOBBY
Ho's a fucking pimp! He encourages
Wendy to turn tricks. And she's his
fucking wife!

JESS
Shhh. He'll hear you.

BOBBY
Good! It'll save me the trouble of
repeating myself. He's not fucking
driving you!

JESS
Listen to me, Bobby. This is my job.
It puts a roof over me and my daughter
and you for as long as you want to
stay.

BOBBY
I want you to quit.

JESS
Look at the bills. I can't. I'm not
gonna put my daughter through what I
went through.

BOBBY
I'll support you.

JESS
With what?

BOBBY
Max offered to stake me.

JESS
Yeah, well Max offers a lot of things.
And I got news for you. He's not the
sweet old man you think he is.

She crosses to the door, abruptly ending the discussion.
Bobby grabs her.

BOBBY
She needs a family. A dad. I'll give
her what you never had.

JESS
Don't get my hopes up. If I quit,
what then? I can't go through this
again.

She leaves the bedroom.

INT. FRONT ROOM - JESSICA'S HOUSE - CONTINUOUS

Bobby enters to find Horrace eating the pasta and feeding
Chloe the grilled cheese.

HORRACE
C'mon girl. Eat up.

BOBBY
Get away from her.

HORRACE
(not backing down)
Excuse --

JESS
(interrupts the
conflict)
C'mon, Ho. We're late.

HORRACE
Yeah. We got money to make. See you
around, Bobby. You make a good
puttanesca. Mmmmm-mmmm. You should
make that shit for a living.

They leave. Bobby looks at Chloe, who spits out the cheese
sandwich.

FADE OUT:

The DIALOGUE PRELAPS over a BLACK SCREEN...

MAX
This is the last time I speak to
either of you in person about work
related matters. All of our
interactions in the future will be
social. If you have any questions
about anything work related, you
will direct them to Ruiz. He has my
full confidence.

FADE UP on...

INT. MAX'S OFFICE - VAN NUYS - DAY

Max sits behind his desk as he briefs Bobby and Ricky. Bobby
wears sweats. Ricky wears a suit. Max speaks with a directness
suggesting gravity. He lays down two MANILA ENVELOPES. The
two guys pick them up.

MAX
Everything you need or need to know
is in these envelopes. Do not --

Ricky starts to tear his envelope open.

MAX
open the envelopes until you have
left this office.

Ricky sheepishly draws a length of scotch tape from Max's
desk set dispenser.

Mid-pull, he becomes self-conscious and asks for permission.

RICKY
Can I borrow a piece of --

MAX
Go ahead. Open the fuckin things.
You should each find fifteen hundred --

They tear open the envelopes. Ricky's flies apart, sending a
stack of crisp new Franklin HUNDREDS falling from the air
like a New England autumn morning.

MAX
dollars in c-notes, a numeric pager,
a double-A battery, and a first class
round-trip ticket to JFK.

RICKY
We're going to New York?

MAX
(with detectable
condescension)
Yes. You're going to New York.

RICKY
And the money. Where do we bring the
money?

MAX
That money is your per diem.

RICKY
And where do we bring it?

BOBBY
It's ours.

RICKY
To keep?

MAX
Yes, for expenses and such. Now,
you'll be contacted on your pager as
to where you should go. You each
have been given an extra battery, so
there is absolutely no excuse as to
why a page would not be immediately
returned. Am I making myself
abundantly clear?

BOBBY
Yeah.

RICKY
Yeah.

MAX
You will not carry any other pagers
with you. You will not carry anything,
for that matter, that I have not
just given you.

RICKY
Keys.

MAX
What?

RICKY
What about my keys?

MAX
You can carry your keys. You will
not mention my name or imply that
you are in my employ. You will not
speak to anyone while you are working.
When you are not working, you are
considered to be 'on call' and
available twenty-four hours a day.
This means you will not get drunk or
do anything that will prevent you
from operating in a professional
manner. There is already a number in
your pager's memory. It is a car
service. When they ask you what
account, you will respond: 'Cardiff
Giant.' They will pick you up and
take you anywhere you need to go. In
other words, there is no reason why
you should not reach any destination
that you will be called upon to reach
within fifteen minutes. Do you see a
pattern forming?

RICKY
Yes.

BOBBY
Yes.

MAX
What is it?

BOBBY
You want --

MAX
Not you. I want Ricky to answer.

RICKY
I get it.

MAX
Tell me.

RICKY
Don't worry. I get it.

MAX
So tell me how it is.

RICKY
You want... Why are you picking on
me?

MAX
Because you lost my fucking carpet
cleaning van and I don't like you.

BOBBY
I already told you, I parked it for
five minutes and I locked it with
the club --

BOBBY
(interrupts)
You want us to be wherever you want
us to be, ASAP, no questions asked.

MAX
Yes. Goodbye.

RICKY
So, wait, what are we dropping off?

MAX
Goodbye.

INT. LAX - DAY

One of those cool over cranked tracking shots of the two
guys walking purposefully that means we're really getting
down to business now. A cool song is playing. Ricky and Bobby
each hold a manila envelope.

INT. SECURITY CHECK - LAX - DAY

Bobby lays his envelope on the x-ray conveyor belt. He walks
through the metal detector. He passes the check.

Ricky does the same. The ALARM goes off. Bobby looks
concerned. Ricky pulls a ring of KEYS and drops it in the
tray with a look to Bobby. Bobby looks relieved. Ricky is
dressed to the nines: Dark blazer over a dark sweater. Bobby,
more casual, wears dark slacks, a dark shirt and a gold horn
around his neck.

INT. FIRST CLASS CABIN - UNITED AIRLINES 777 - DAY

They check their boarding stubs and sit in the plush first
class seats in the almost empty cabin.

RICKY
Holy shit. Can you believe this?

BOBBY
Pretty nice.

RICKY
See, man. Maxie fuckin takes care of
you when you're in. Beats cleaning
carpets.

BOBBY
What's the movie?

RICKY
I'll get the girl.

BOBBY
Nah, don't bother --

Ricky rings the service chime. An attractive young FLIGHT
ATTENDANT arrives. She has a tray of champagne and orange
juice.

FLIGHT ATTENDANT
(turning off the
service light)
Champagne or orange juice?

Ricky takes a champagne. She smiles and walks away. He stops
mid-gulp and rings the bell again. She turns with a smile.

FLIGHT ATTENDANT
(turning off the
service light)
Yes?

RICKY
Yeah, uh, what's the movie?

FLIGHT ATTENDANT
It's in your copy of Hemispheres. I
believe it's Mickey Blue Eyes.

RICKY
Ugh...

FLIGHT ATTENDANT
I'll get you the list of videos, if
you don't mind, I'll offer the other
passengers a beverage.

RICKY
Yeah, sure. How much are they?

FLIGHT ATTENDANT
How much is what?

RICKY
The videos.

FLIGHT ATTENDANT
You're up front. Everything's free
up here.

She smiles. He smiles. She walks away. He rings the bell
again. She returns with a strained smile.

FLIGHT ATTENDANT
(turning off the
service light)
Yes?

RICKY
Drinks are free, right?

FLIGHT ATTENDANT
Yes.
(waits)
Would you care for another one?

RICKY
Yes.

He takes another champagne and she crosses to leave. He calls
after her.

RICKY
I'll have a Cutty on the rocks.

She smiles and walks away.

RICKY
You hear that? You can drink as much
as you want up here.

BOBBY
We're not supposed to get drunk.
We're on call.

RICKY
Unless we're supposed to whack out
the fuckin' pilot, I don't think
we're gonna have to work in the next
five hours.

BOBBY
I don't want to show up hammered.
We're supposed to be representing
Max.

RICKY
Oh, I'll represent alright.

He rings the bell.

BOBBY
Cut that shit out.

She returns.

FLIGHT ATTENDANT
Yes.

RICKY
Where do you live?

FLIGHT ATTENDANT
(strained politeness)
Excuse me.

RICKY
Where do you live?

FLIGHT ATTENDANT
I operate out of the Chicago O'Hare
hub. Can I help you with anything
else?

RICKY
Yeah. Me and my boy here are gonna
be in New York overnight. I want you
to pass the word around to the honeys
back in business class that you all
got plans for tonight. I'm talkin' a
California style, Tupac, gangster
pool party back at the hotel. And
make that drink a double.

She stares at him for a BEAT.

FLIGHT ATTENDANT
Listen, asshole, I don't care if
you're the Sultan of Brunei, no man
talks to me like that. Now you can
either learn some manners or I can
make a formal complaint to the airport
authorities and we can sort this out
while you're waiting stand-by for
the next flight to Kennedy.

She walks away. He turns off the bell light.

INT. JFK INTERNATIONAL AIRPORT - NEW YORK - DAY

The PASSENGERS file off the plane and out of the gate. Bobby
walks out purposefully. Ricky staggers slightly. He got his
money's worth. Bobby checks his pager and Ricky scans the
crowd through his buzz.

BOBBY
Shit. No new pages. I don't even
know where the fuck we're supposed
to go.

RICKY
Maybe we should call for a cab.

BOBBY
No. Look. There.

A hulking Italian DRIVER holds up a sign reading 'CARDIFF
GIANT.'

BOBBY
'Cardiff Giant.' That's us.

RICKY
You sure?

BOBBY
Yeah. He said that's our account
with the car service.

They approach the driver.

BOBBY
Hi. I, uh, think that's us.

JIMMY
Hi. I'm Jimmy.

BOBBY
Bobby.

RICKY
Ricky.

JIMMY
Soho Grand, right?

BOBBY
What's that?

JIMMY
You're going to the Soho Grand hotel,
right?

BOBBY
I'm not sure. All I know is the
account is Cardiff Giant.

JIMMY
(smiles)
Yeah. You're staying at the Soho
Grand. You got anything checked?

BOBBY
Nah.

JIMMY
Traveling light. I like that.

RICKY
Is it nice?

JIMMY
The Soho Grand?

RICKY
Yeah.

JIMMY
You're from LA, right?

RICKY
Yeah.

JIMMY
You'll love it.

EXT. LIVERY STAND - JFK INTERNATIONAL AIRPORT - DAY -
CONTINUOUS

Jimmy walks them out and up to a black STRETCH LIMO. He opens
the door. Ricky's eyes light up.

RICKY
Holy shit.

The flight attendant who told Ricky off rolls her overnight
bag past them. Ricky can't help himself. He calls after her...

RICKY
You missed out, lady! We're staying
at the Soho Grand! I'd give you a
ride in my limo, but I gotta stretch
my shit out.

She ignores him.

INT. LIMOUSINE - QUEENS - DAY

They ride in the back. Ricky fucks with the buttons.

RICKY
So whenever we want...

JIMMY
Yeah. Grab one of the cards behind
you. Call that number. It's my cell.

RICKY
So you're our own private guy?

JIMMY
I handle most of Cardiff Giant's
stuff.

RICKY
You know my pager number?

JIMMY
No. What is it?

RICKY
I don't know. I thought you might.
Any idea what the job is?

JIMMY
The 'job?' Alls I know is I'm taking
you to the Soho Grand.

BOBBY
Where is the Soho Grand?

JIMMY
Soho.

EXT. LIMOUSINE - QUEENS - MONTAGE - DAY

The LIMO drives past a vista of the luminescent SKYLINE.
The lights twinkle through the highway emissions. The
SOUNDTRACK takes a decidedly carnivorous, urban turn.

EXT. NEW YORK CITY - STREETS MONTAGE (CONT.) - DAY INTO DUSK

The limo drives through the streets of the city. Steam comes
out of a manhole cover (if we can afford it).

EXT. SOHO GRAND HOTEL - SOHO - GOLDEN HOUR - DUSK

ESTABLISHING SHOT of the trendy architectural hotel. The
limo pulls up.

INT. SOHO GRAND HOTEL - SOHO - NIGHT

Nice lobby.

INT. BOBBY'S SUITE - SOHO GRAND HOTEL - SAME

A young black BELLMAN walks Bobby into his suite. They are
followed by Ricky. The room is beautiful. Blonde wood paneling
is offset by black and white photos of New York's past. Modern
furniture and a mirrored wet bar give the suite a luxurious
feel.

BELLMAN
...And here is the key to the mini-
bar. Room and tax has been picked up
by Cardiff Giant, as well as one
fifty in incidentals.

RICKY
What's 'incidentals?'

BELLMAN
Phone, room service, mini-bar. Any
additional expense. If you need
anything you can push the button
marked 'Concierge', and they'll be
able to help you.

BOBBY
Thanks.

He hands the bellman a tip. He then pulls out a card key and
beckons Ricky.

Bobby dials phone.

BELLMAN
Now, Mr. Slade, you're in room 315.

RICKY
Just give me the key. I'm gonna stay
here.

BELLMAN
Yes, sir.

RICKY
Is it a good room?

BELLMAN
I can take you down there.

RICKY
Just tell me. Wait, here... Do you
have change of a hundred?

BELLMAN
Not on me, sir.

RICKY
Here. Take it. Bring me back eighty.

BELLMAN
Are you sure?

RICKY
Yeah. Take it.

BELLMAN
Thank you very much, sir.

RICKY
So?

BELLMAN
What, sir?

RICKY
Is it the good room?

BELLMAN
All the suites are about the same.

RICKY
Come on. Just tell me. It'll save
all the trouble of you showing me
all the rooms.

BELLMAN
Honestly, the suites are all about
the same.

RICKY
What if I gave you forty?

BELLMAN
It's as good a suite as we have,
unless you want two bedrooms.

RICKY
No. That's cool. Bring me back eighty.

BELLMAN
Thank you, sir.

RICKY
Where's the place to go tonight?

BELLMAN
As far as...?

RICKY
Nightlife. Where's the hot ass?

BELLMAN
Women?

RICKY
Yeah 'women.' If I was a fag I could
get laid in a subway.

BELLMAN
I don't know, Forum's pretty hot
tonight. It might be hard to get in,
though.

RICKY
Don't worry about me getting in.
Just tell me where it is.

BELLMAN
It's on West Broadway.

RICKY
See you later.

BOBBY
Yeah, take care.

BELLMAN
Thanks again. I'll bring up your
change.

The bellman leaves.

BOBBY
Hi girls, It's Bobby. I'm here safe
and sound. I'm just calling to say I
love you. I'd leave my number, but
you know you can't call me here, so
I'll try you later. Uncle Ricky wants
to say hi...
(he won't)
He says hi. Be home soon. Love you.
Bye bye.
(hangs up)
Why don't you want to say hi? She
likes you.

Ricky dials the phone.

BOBBY
Who you calling?

RICKY
Shhh... Hello, room service?

BOBBY
C'mon, man...

RICKY
Yeah, bring up two burgers and a
couple of Heinekens. I'm in room...
How'd you know? Oh. Yeah. How long?
Cool.

BOBBY
How much is it?

RICKY
How much? Okay. Make it fifteen
minutes and you can add on a ten
dollar tip. Bye.

BOBBY
How much was it?

RICKY
Forty-six.

BOBBY
Jesus, man. Plus ten?

RICKY
Yeah, I guess.

BOBBY
Great. On my fucking room.

RICKY
Relax. You got one-fifty. You heard
the guy.

BOBBY
Ricky, who knows how long we're gonna
have to be here. We gotta make it
last.

RICKY
Fine. I'll put it on my room. Okay?

BOBBY
Don't worry about it. Just be smart.

RICKY
But let me tell you, man, I don't
like your attitude already.

BOBBY
Oh really. Why's that?

RICKY
We just got moved up in the world.
You gotta let go of that blue collar
mentality that was drummed into your
head. You gotta start owning it man,
or they'll smell you a mile away
like a cheap suit.

BOBBY
Who's gonna smell me a mile away?

RICKY
Don't play dumb. You know what I'm
talking about.

He picks up the phone and pulls out Jimmy's card. Bobby hangs
up.

BOBBY
What are you doing?

RICKY
What are you doing?

BOBBY
I know you're not calling Jimmy.

RICKY
As a matter of fact I was. You got a
problem with that?

BOBBY
We're here representing Max. You're
acting like a Puerto Rican on the
fifteenth of the month.

RICKY
You think Maxie doesn't want us to
roll hard? Why do you think he gave
us all this bread? Or the number on
the pager? We gotta represent him by
showing some class. The man's got an
operation. How does it reflect on
him if we nickel and dime it?

He dials. Bobby hangs up.

BOBBY
It's on West Broadway. We can walk.

RICKY
Well, I don't want to walk.

Ricky starts to dial. Bobby takes the CARD and RIPS IT UP.

RICKY
Motherfucker!

Ricky DIVES on Bobby, and a huge ugly BRAWL begins.

CUT TO:

EXT. FORUM - SOHO - MANHATTAN - NIGHT

Ricky and Bobby stand side by side at the front of the line
as Ricky tries to talk his way past the velvet rope. They
look horrible. All their cuts have reopened, their faces are
swollen, and their only set of clothes are now disheveled
and torn. Ricky talks a steady stream of bullshit, but the
DOORMAN will have none of it.

RICKY
...How 'bout Jimmy? You know Jimmy
the driver? Cardiff Giant? You ever
deal with them? Cardiff Giant?

CUT TO:

INT. THE CUPPING ROOM - SOHO - NIGHT

Ricky and Bobby are poured tea by a frilly SERVER. A LONG
BEAT of SILENCE.

RICKY
Horseshit. 'Try the China Club. 'Fuck
you, asshole. I think it was a fag
bar. Didn't it look like a fag bar.

BEEBEEBEEBEEP

...They look at each other. BOTH of their PAGERS are going
off simultaneously...

MATCH CUT TO:

EXT. STREET PAYPHONE - ACROSS THE STREET - NIGHT -
CONTINUOUS

They run up to a phone stand. An HISPANIC KID is on it.
They wait and listen as he talks baby-talk with his woman.

BOBBY
Hello? Shit...

Taptaptap... No dial tone. He lifts the receiver higher.
The wires have been RIPPED OUT of the base. They look at the
next phone. An HISPANIC KID is on it. They wait and listen
as he talks baby-talk with his woman.

HISPANIC KID
Yeah... Mmmm, that sounds good...
Uhu...

BOBBY
Excuse me, we need to make a call.

HISPANIC KID
I'm on the phone.

BOBBY
It's important.

HISPANIC KID
So's this.
(in phone)
Hey baby... Oh, nothing. What were
you saying?

BOBBY
Listen, man, we really gotta...

HISPANIC KID
I be off in a minute.
(phone)
Say again...?

Ricky GRABS THE RECEIVER and BEATS HIM across the head with
it. The poor kid falls out of frame, and Ricky yells into
the phone...

RICKY
He'll call back!

He hangs up and they both fumble with their pagers and
pockets. Bobby puts in a quarter...

BOBBY
Shit. It's thirty-five cents. You
got a dime?

RICKY
Fuck...

He looks down to the kid out of frame.

RICKY
You got a dime, bro?

INT. LIMOUSINE - MANHATTAN - NIGHT

The two banged-up Angelenos clean themselves up in the fold-
down vanity mirrors. Jimmy is their driver.

BOBBY
So, Jimmy, you know where this address
is?

JIMMY
Yeah. I'll find it. It's in Harlem.

BOBBY
Harlem? What is it, a restaurant?

JIMMY
You don't know where you're going?

BOBBY
No. Just the cross streets.

JIMMY
Well, this is the corner.

The limo settles on a desolate street in Harlem. There is
nothing going on.

JIMMY
I can wait around if you want.

BOBBY
No. That's cool, man.

They get out and the limo leaves.

EXT. STREET CORNER - HARLEM - NIGHT - CONTINUOUS

They stand outside. They look awful. They look with curiosity
as cars pass. Ricky lights a cigarette.

RICKY
What exactly did they say?

BOBBY
They said a hundred thirty-fifth and
Twelfth.

RICKY
They didn't say an address?

BOBBY
I told you what they said.

RICKY
Nothing else.

BOBBY
Nothing.

RICKY
How'd they know who you were?

BOBBY
They asked who it was.

RICKY
So they said more than the address.

BOBBY
No. They asked who I was, then told
me what corner.

RICKY
This is bullshit, man.

BOBBY
What the fuck do you...

A BROUGHAM slowly passes. They pause. It goes.

BOBBY
What the fuck do you have to complain
about?

RICKY
Don't even start.

BOBBY
No. Tell me. What's so fucking
horrible about this gig? You've been
crawling up my ass for six months to
get your name on Maxie's list, and
here we are.

RICKY
Look, man, I never met Ruiz, okay?
I don't know what the fuck I'm picking
up, what the fuck I'm dropping off,
who the fuck I'm meeting. All I know
is Maxie's still pissed at me cause
I sold his fucking van.

BOBBY
You sold it? I thought they stole
it.

RICKY
Sold it, stole it, whatever...

BOBBY
Motherfucker...

RICKY
Oh, give me a break. Don't tell me
you feel bad for the guy.

BOBBY
You gotta be kidding me. I vouched
for you.

RICKY
Relax. I'll do right by him. You
know that.

BOBBY
You just don't fucking get it, do
you?

RICKY
You know he fucks all his girls,
don't you?

BOBBY
What the fuck is that supposed --

RICKY
I mean, that's what I heard --

BOBBY
You got something to say --

Bobby grabs him, and is about to start another scrap, when
the distant roar of a fleet of JAPANESE SUPER BIKES draws
near. The pack screams up to the duo.

There are a dozen black men, on Ninjas, and they all wear
black Nazi-style helmets.

The two men freeze, and the bikes settle in around them.
One BIKER pulls up to Bobby.

BIKER
They flew you all the way out here
to cook me up some fuckin puttanesca?

Bobby recognizes the biker is Horrace, from LA. He is
relieved, but not pleased.

RICKY
You know this guy?

BOBBY
His names Horrace. Horrace, this is
Ricky Slade.

HORRACE
What's up. You all ready to meet
Ruiz?

BOBBY
Yeah. Where is he?

Horrace throws him a helmet.

CUT TO:

EXT. HARLEM STREETS - MANHATTAN - NIGHT

Bobby now rides bitch behind Ho, and Ricky clutches the back
of a buff shirtless BROTHER. The bikes rip down the uptown
streets with a ferocity that scares pedestrians. An urban
drum track rattles the SOUNDTRACK.

EXT. LITTLE ITALY - MANHATTAN - NIGHT

The horde of bikers rumble under a red, white, and green
banner strung from street lamps marking the start of Italian
turf. The businesses are all closed or closing.

Looks are drawn from locals as the outsiders chug by at a
respectful trawl.

EXT. LUNA RESTAURANT - LITTLE ITALY - NIGHT

The pack pulls away leaving only Bobby, Ricky, and Horrace.

Ho leans his Ninja to rest next to a custom Buell Harley-
Davidson cafe racer.

Bobby can't help but stare at the rare piece of machinery.
They enter.

INT. LUNA RESTAURANT - LITTLE ITALY - CONTINUOUS

The restaurant is now closed, but RUIZ sits in a rear booth
on a Nokia. He is a slim, young black man with a tight round
fro. He wears a rolex, but, other than that, nothing flashy.
He's wearing dark Gucci slacks, a black pullover crew-neck
shirt, and a black, red and orange racing leather jacket. He
must have pull here, because 'Between the Sheets' is playing
over the stereo of this bare-bones, Italian eatery.

RUIZ
(on cell)
Nah, man. Nah. Too risky. I don't
like it... I want out... It's too
risky... Listen, man, we made a lot
of money together on this one, but
it's over. Shit's gonna come down...
Well, then, you got my blessing. I'm
selling my end. This internet shit's
too volatile. I'll keep my block of
Microsoft, but I'm taking profits on
Yahoo and all the portal stocks. The
bubble's gonna pop, man... Alright,
peace.

The three men approach Ruiz's table.

RUIZ
That's it? This is Maxie's cavalry?
Who the fuck swole you up like that?

Bobby and Ricky both point to each other.

RUIZ
Shit. If that shit don't beat all.
Maxie sent me two fuckin broke ass
swole up guineas from the West side.
I coulda signed up some hard local
guineas for beer money. Ain't that
right, Leo?

LEO, the white-haired Italian waiter nods in agreement.

LEO
Sure. You boys want anything?

RUIZ
Yeah, bring us four fernet.

LEO
Four fernet.

RICKY
No. I'll take a strega.

RUIZ
What, motherfucker? You drinking
'the witch' after dinner?

RICKY
Yeah. That fernet tastes like tar.
My grandfather tried to give me that.

RUIZ
Some fuckin guineas he sent me. It's
midnight and the motherfucker's
ordering an apertif.

RICKY
It's a digestif.

LEO
Strega's an apertif.

RICKY
Fine. Bring me a Cynar.

RUIZ
Nigger, please. Don't even order
that artichoke shit. West side
guineas. Forget the drinks, Leo. We
gotta roll. What do I owe you?

LEO
We're square.

RUIZ
Thanks, man. You need anything, you
call.

LEO
Thanks.

RUIZ
You rode?

HORRACE
Yeah.

RUIZ
(hits speed dial)
Jimmy? Ruiz. Pick up Maxie's guineas
at LUNA and bring them to Spa.
(hangs up)
Jimmy's bringing the car around. Me
and Ho rode sleds. We'll meet you at
Spa in the VIP room.

RICKY
Where's Spa.

HORRACE
Jimmy knows. 13th Street. We'll meet
you there.

They leave. Ricky and Bobby sit and wait. Ricky addresses
Leo after they kick their bikes.

RICKY
How do you like that fucking
moulinyan?

LEO
Maybe you two should wait out front.

INT. LIMOUSINE - MANHATTAN - NIGHT

Ricky and Bobby sit in the back as Jimmy drives them.

RICKY
This shit's sketchy. Why do they
drop us in the middle of nowhere to
have the guy we're supposed to meet
come meet us just to tell us we have
to meet the same guy somewhere else?

BOBBY
I don't know.

RICKY
Well, I thought you understood and I
was just missing it.

BOBBY
Missing what? He didn't say shit.

RICKY
Yeah, but you know Horrace. What did
you get off him?

BOBBY
What did I 'get?'

RICKY
Yeah. What vibe?

BOBBY
I detected no vibe other than that
Ruiz thinks you're a fucking idiot.

RICKY
Yo, fuck him, man. Calling us
guineas...

BOBBY
What do you give a shit what he calls
us? He's not our friend. Let's just
get this shit over with and go home.
What's this place we're going to,
Jimmy?

JIMMY
Spa?

BOBBY
Yeah.

JIMMY
Depends what night.

RICKY
A lot of Persians?

JIMMY
Not usually. Mostly Trustafarians.

BOBBY
'Trustafarians?'

JIMMY
You know, white kids with trust funds
acting like they're poor. Keeping it
real. Know what I mean?

RICKY
I call 'em wiggers.

JIMMY
Different.

BOBBY
This Ruiz guy, what's his deal?

JIMMY
Don't know much. I hear he runs a
tight ship.

BOBBY
Yeah?

JIMMY
Understand me?

BOBBY
Yeah.

RICKY
(quiet)
So is this the drop?

BOBBY
Like I said, I don't know.

RICKY
He woulda told us right?

BOBBY
You would think.

EXT. SPA - 13TH STREET - NIGHT

A horrifying line has formed as New York's best and beautiful
primp and peck their way to the door. The rope is three-deep
and three DOORMEN coordinate the traffic patterns. The limo
settles in and a HOMELESS MAN opens the door in hope of a
tip. Jimmy steps in his way as Bobby and Ricky, in tattered
clothes, move toward a big white DOORMAN in an oversized
hat. They fight their way past the other people who are
fighting their way past the line.

RICKY
(responding to
irritated looks)
Watch out, man. Sorry. I'm on the
list, man.
(to the doorman)
Hey, bro.

DOORMAN
The line's over there.

RICKY
Yeah, but, we're good. You know what
I mean?

DOORMAN
How is it you're good? You on a list?

RICKY
Yeah. Ricky Slade.

DOORMAN
(to doorman with
clipboard)
You see a Ricky Slade?

The doorman with a clipboard checks and shakes his head.

RICKY
Cardiff Giant?

DOORMAN
What?

RICKY
Cardiff Giant. Just check.

DOORMAN
Maybe you wanna try the China Club.

RICKY
Again with the fucking China Club!
What do I look like a fucking Persian
to you?

DOORMAN
(firm)
Hey. I'm half Lebanese.

BOBBY
We're with Ruiz.

DOORMAN
Ruiz isn't here.

BOBBY
We're supposed to meet him here. Is
Ruiz on the list?

DOORMAN
Ruiz is always on the list. He just
ain't here, though.

BOBBY
Can you check?

DOORMAN
He's not here.

While they're waiting, the actor who played SCREECH on 'Saved
By the Bell', now in his twenties, walks by and is let through
the rope with a handshake.

DOORMAN
What's up, man.

SCREECH
S'up.

DOORMAN
You look big, man. Diesel. You been
lifting?

SCREECH
A little.

DOORMAN
You look good, man.

SCREECH
Cool. See you later.

DOORMAN
Cool.

Ricky can't believe his eyes.

RICKY
Did you see that shit? Motherfucker.
(to doorman)
You let in fucking Screech, dude?
I'm waiting and you let in Screech?

DOORMAN
He's on the list.

RICKY
(hot)
Show me. Show me where it says Screech
on the fucking list.

This altercation is cut short by the arrival of Ruiz and
Horrace. The Red Sea parts as they approach the door.

DOORMAN
What's up, bro? You look big, man,
you been lifting?

RUIZ
A little. How's it going tonight?

DOORMAN
Shit's off the chain. These two say
they're with you.

RUIZ
Yeah.

DOORMAN
Alright. These two are good.

He opens the rope. Bobby shakes his hand.

DOORMAN
Sorry, man, but...

BOBBY
Thanks a lot. Don't worry about it.

DOORMAN
Any time, bro.

BOBBY
Thanks.

Ricky walks by and throws him a look like he just stuck it
in.

INT. SPA - 13TH STREET - CONTINUOUS

Bobby and Ricky are lead into the club and past a window and
another set of ropes.

Their hands are stamped several times representing the highest
level of security clearance. They file down a staircase and
into one common area where hip-hop plays and people dance.
Ruiz and Horrace touch hands with an endless stream of
ACQUAINTANCES. They pass a myriad of rooms and seating areas,
then down a narrow corridor where they encounter yet another
DOORMAN who waves them past a CLUMP of VIP hopefuls. They
trot down a short bank of stairs and into...

INT. VIP AREA - SPA - CONTINUOUS

...a series of passageways furnished like a French parlor.
Lithe MODELS sit amongst Dreadlocked white boys. After yet
another bar, the crowd vomits into a cavernous bomb shelter.
A pulsing dance floor is surrounded by a series of couches
and coffee tables, representing the private seating areas.
At the far end of the room is an elevated stage with a DJ
and a banner reading 'GRANDMASTER FLASH'. The party is greeted
by a male club PROMOTER. He hugs Ruiz. With the slightest of
nods, the party is lead to the prime table with a table tent
marked 'RESERVED.' They sit down as a beautiful MODEL/WAITRESS
brings two buckets of champagne and fluted glasses. Bobby
and Ricky try to hide how impressed they are as they look at
each other. GIRLS on the dance floor throw priceless looks
toward their table. Ricky raises a glass to one. Ruiz finally
looks at them and leans in. He's spotted someone.

RUIZ
That's him. Now you all know the
drill, right?

BOBBY
What drill?

RICKY
We don't know any drill. Nobody told
us anything.

RUIZ
Maxie told you to keep your mouth
shut while you're working, right?

BOBBY
Yeah.

RICKY
So we're working?

RUIZ
What the fuck you think, I wanna
'hang' with you motherfuckers? Yeah
you're working. And put down the
champagne.

RICKY
She poured it for --

RUIZ
Far as she knows you're John Gotti.
Now put the shit down and act like
you got some ass.

Ruiz gets up and crosses to a BRITISH looking GUY across the
room. They watch.

BOBBY
He making the drop?

HORRACE
Nah, man. He's just making contact.
That's our man. The Welsh guy.

BOBBY
What's his name?

HORRACE
Ruiz don't like using names on cell
phones. He refers to him as the Red
Dragon.

BOBBY
So, when's the drop.

HORRACE
To be honest, man, I don't know shit
either. All I know is it ain't drugs
and it ain't now.

RICKY
How do you know it's not drugs?

HORRACE
Maxie knows I don't go near drugs. I
did a minute in Quentin for possession
with intent. And it ain't now cause
he woulda told me.

RICKY
You strapped?

HORRACE
(confused)
'Strapped?'

RICKY
It means you got a gun?

HORRACE
I know what 'strapped' means,
motherfucker. What the fuck you think
this shit is? '21 Jump Street?'
(notices)
Cool out, they're coming back. Just
throw up your screw face and don't
speak unless spoken to.

They settle in and Ruiz comes back with the WELSHMAN. They're
both laughing.

RUIZ
Here, man, sit down.

WELSHMAN
(breaking the tension)
I see you brought along the rogues
gallery.

RUIZ
Not really. Just some friends from
out West. This is Ho, Bobby, and
Rick.

He shakes their hands, keeping it light.

WELSHMAN
And here I thought you flew in some
out of town muscle. How's it going,
men?

RICKY
So, you must be the Red Dragon.

This draws GLARES from Ruiz, Ho, and especially Bobby. After
an uncomfortable pause, the Welshman breaks the tension with
laughter.

WELSHMAN
Well, that's news to me. The name's
Tom.

RICKY
Mmmm-hmm. Where's the, uh, 'Dragon's
lair?' Where do you live?

WELSHMAN
Edinburgh.

RICKY
And where might that be?

WELSHMAN
Scotland.

RICKY
Well, word on the street is you're
Welsh.

WELSHMAN
I am.

RICKY
A rose by any other name would --

RUIZ
(changing the subject)
Come here, there's someone I want
you to meet. You like big tiddies?

WELSHMAN
Well, who doesn't?

They walk off. Ruiz sneaks a glare.

CUT TO:

INT. LIMOUSINE - IN FRONT OF SPA - 13TH STREET - NIGHT

Ricky and Bobby are being lectured by Ruiz, who sits across
from them next to Horrace.

RUIZ
What the fuck was you told? Don't
talk, right?

RICKY
Unless spoken to, ain't that right,
Horrace. Didn't you say that?

HORRACE
Don't drag my ass into this --

RICKY
He spoke to me. You want me to dis
him?

RUIZ
'Dis?' 'Dis?' You're not in a position
to 'dis', or 'give props', or whatever
your Real World sense of fucking
decorum tells you to do. You're
nothing. You're wallpaper. You're
not here to make fucking friends.
Asking a motherfucker where he lives.
And who the fuck told you 'Red
Dragon'?.

BOBBY
We get it. We're sorry.

RUIZ
Now that Limey motherfucker's jumpy
and wants to change shit around on
me. Maxie's gonna shit a Nokia when
he hears about... Aw, shit, I better
call him before he hears.

Ruiz pulls out his cell phone and steps out, slamming the
door.

HORRACE
I'm not saying shit to neither of
you.

RICKY
Why? What I say bad?

HORRACE
What the fuck, 'Red Dragon?'

RICKY
What? Why am I bad?

BOBBY
How bad is it?

HORRACE
It's bad. Before you even showed up,
he said you were Maxie's 'token
goons', and not to be trusted. He
wanted to TCB alone. I was gonna
ride shotgun to keep the English
dude above board. Now he's spooked.
This shit's snowballing.

BOBBY
When's it going down?

HORRACE
Was gonna be tomorrow morning. Now,
who knows?

BOBBY
Shit.

Outside, Ruiz starts his bike. Horrace slides out.

HORRACE
See you later.

RICKY
You really in trouble?

HORRACE
Stop.

RICKY
I'll tell him someone else told me.

HORRACE
Just don't ask me no more shit.

Horrace closes the door and starts his bike. They ride off.

BOBBY
You happy?

RICKY
About what?

BOBBY
Why you gotta make everything
difficult?

RICKY
You too?

BOBBY
Yeah, me too. You're a fucking bull
in a china shop.

RICKY
Fuck this.

He opens the door.

BOBBY
Where do you think you're going?

RICKY
Back in.

BOBBY
You fucking nuts?

RICKY
Work's over. I'm gonna party.

BOBBY
You can't go in there. They know
you're with Ruiz.

RICKY
You got that right.

BOBBY
Fuck you. Go then. I'm taking the
car.

RICKY
Fine.

Ricky walks past the line with a handshake. Bobby sits,
staring forward.

JIMMY
Where to?

CUT TO:

INT. VIP AREA - SPA - NIGHT

Ricky sits in their booth surrounded by young hot GOLD
DIGGERS. Two WOMEN are already part of the fun: BIANCA and
CYNTHIA, who we will get to later. They are dressed Manhattan
fabulous. Bobby approaches, a wet blanket on two legs.

RICKY
Look who's back? Want some champagne?

BOBBY
(to waitress)
Do not put this on Ruiz's tab. Start
a new one.

RICKY
Damn right. Bring us two bottles of
Dom Champs and here, take fifty in
case I call you bitch later when I'm
drunk.
(she goes)
Siddown, motherfucker.
(he pours him a glass
and toasts)
'Sex and paychecks.'

They all clink.

EXT. DOWNTOWN NEW YORK - MONTAGE - NIGHT

Shots at the bar. With chicks.

RICKY
So, wait, you're from where?

BIANCA
Manhattan.

RICKY
You girls aren't from Brooklyn or
anything?

BIANCA
No.

CYNTHIA
I swear to God, we live in Manhattan.

EXT. DOWNTOWN NEW YORK - NIGHT

Staggering through the streets of downtown with a string of
WOMEN in tow, including Bianca and Cynthia. Laughs and
cigarettes. A bottle snuck out of a bar.

INT. NEW YORK BAR - NIGHT

Another BAR. A magnum of champagne empty and jammed nose-
down into an ice bucket.

RICKY
I don't get it. What do you do?

BIANCA
We're in Fashion.

RICKY
So you're models?

CYNTHIA
We rep lines? You know? Fashion?

RICKY
And you grew up in Manhattan?

CYNTHIA
Kinda. Yeah.

RICKY
What do you mean 'kinda?'

BIANCA
You ever heard of Whitestone?

EXT. STREET - NEAR SOHO GRAND - NIGHT

A new bevy of LADIES, but still Bianca and Cynthia. Drunk.
Drinking more. Vampires watch the sun rise. They skulk into...

EXT. SOHO GRAND HOTEL - SOHO - DAWN

Ricky and Bobby are hammered and lead Bianca, Cynthia and an
EXOTIC GIRL into their hotel.

INT. RICKY'S SUITE - SOHO GRAND HOTEL - DAWN

CLOSE on a FISHBOWL as the group of partiers are seen through
the glass playing grabass.

INT. RICKY'S SUITE - SOHO GRAND HOTEL - SOHO - DAWN

The place is a mess. Room service is all over the place.

Bianca, Cynthia, the Asian coat check girl, and Bobby sit in
the squalid living area as Ricky enters from the toilet
zipping his fly.

RICKY
I don't know about you guys, but I'm
starting to feel a really sexual
vibe here.

BIANCA
What happened? I thought we were
playing Truth or Dare.

RICKY
Look at, ladies. I could sit here
and take turns throwing skittles at
your ass all night. But I feel what
you guys are putting out there. I'm
only a mirror reflecting what I'm
getting from you. And I'm saying yes
to it. I'm shaking hands with it. I
see the road that you're pointing
down and I'm saying I'll ride shotgun.
And when your foot slams on the
accelerator, I won't get scared.
I'll stand up and let the wind blow
through my long blonde hair. With my
summer dress clinging to my bosom
yelling 'Faster, Billy! Faster!
Drive faster! Faster yet -- !'

Ricky is CUT OFF by Bianca's CELL PHONE blowing up. She
answers.

BIANCA
Hello... She doesn't want to talk to
you... No... I don't have to ask
her. Let it go, Sean.

Cynthia grabs the phone.

CYNTHIA
Will you leave me alone, already...?
No, Sean, it's over... I don't care...
As a matter of fact, I am... Yeah.
In his hotel room...

BIANCA
(can't believe she
said it)
Holy shit.

CYNTHIA
I'm having fun, Sean. Can you handle
that...? Yeah. He doesn't judge me.

RICKY
I don't wear a white wig, I don't
carry a gavel.

CYNTHIA
That's a good idea, maybe I will!

BIANCA
Are you alright.

She hangs up.

RICKY
Now you girls wait here. I got a
special surprise.

The girls are all waiting with Bobby as Ricky leaves the
room. Bobby does not make any attempt to keep the ball
rolling.

Cynthia whispers too loud and drunk.

CYNTHIA
Is he cute?

BIANCA
He's okay.

CYNTHIA
Should I fuck him?

BIANCA
I don't know. Do whatever you want.

CYNTHIA
He's great, right. Is he great?

BIANCA
He's alright.

CYNTHIA
(disappointed)
I know.

BIANCA
(cheerleader)
But maybe that's okay. Maybe that's
just what you need.

BOBBY
Can you excuse me for a minute?

Bobby leaves the room. He finds Ricky in a hotel robe filling
the BATHTUB.

BOBBY
What the fuck's going on?

RICKY
Dude, get back out there. You gotta
help me get them in the hot tub.
(shouts)
Hang on girls! Just get out there.
I'll be right out. You know how I
do.

BOBBY
Yeah, I know how you do. I know how
you do. I've heard your kibbles and
bits all fucking night. You've been
shaking your ass like an unemployed
clown. How the room's a boiling pot
of sugar water. How you're gonna dip
a string into it and make rockcandy.
Who wants to play 'Just the tip?'
Dancing around like a smacked ass.
Oh, and that coat check girl you've
been dragging around as 'insurance'
doesn't even speak English.
(leaves)

Ricky checks the water and comes out talking.

RICKY
Okay. We got a lot happening here.
Here comes the good part... Okay...

BIANCA
(re: robe)
Somebody's getting comfortable.

CYNTHIA
Where's the surprise?

RICKY
You want your surprise?

CYNTHIA
Yeah. I want it.

RICKY
Well, come on then. It's back here.

Cynthia leaves with Ricky. Bobby is left with Bianca and the
Asian coat check girl. Bianca and he are uncomfortable.
After a long pause...

BIANCA
You mind if I roll a joint?

Ricky sits in the BATHTUB with a glass of champagne.

RICKY
You want to come splash around.

CYNTHIA
I'm just warning you, I can't swim.

Then... Bianca sparks up. She offers to Bobby, who refuses.

BIANCA
I'm not like her, you know. I mean,
I'm not judging, but I'm more about
my dogs. Do you have dogs? Are you a
dog guy?

CUT TO:

Cynthia lets her towel drop. She dips her toe into the water.
Out of nowhere she begins to wail. Back in the main room
Bobby, Bianca, and the Asian girl react to the off-screen
crying. Cynthia comes rushing out in a bathrobe, bursting
with tears. Ricky follows in a towel.

CYNTHIA
I want to leave right now.

RICKY
I didn't do anything --

BOBBY
What the hell did you do?

RICKY
I swear to God, I didn't do anything.

BIANCA
Oh no. What is it this time.

CYNTHIA
We used to take baths together.

BIANCA
Come on. Let's go.

Cynthia calls her boyfriend on the cell phone.

CYNTHIA
Sean? I want you to pick me up... I
know. I'm sorry too.

They leave.

BOBBY
What the fuck was that about?

RICKY
She was jonesing for me.

They notice the Asian girl still sitting there in the room.
Bobby hands her cab fare and escorts her out.

BOBBY
Here you go, darling. Get home safe.

BEEBEEP... BEEBEEP... Both their pagers go off.

BOBBY
Fuck.

He reaches for the phone. Dials.

BOBBY
Hi.
(mouthes to Ricky)
It's Ruiz.
(phone)
Yeah. So the driver knows where to
go? When? We'll be down in five. No,
I'll tell him. He's right there.
Bye.

RICKY
What's up?

BOBBY
He wants to see us now.

RICKY
Where?

BOBBY
He said it's being arranged. He said
Jimmy will know.

RICKY
We're getting whacked.

BOBBY
We're not getting whacked.

RICKY
Why else you think he won't tell us
where the sit down is?

BOBBY
It's not a 'sit down.' He said he's
telling us the plan.

Ricky is waving around a STEAK KNIFE from a room service
tray, testing the weight and balance.

BOBBY
What are you doing.

RICKY
I got a bad feeling, man. I don't
want to go in naked.

BOBBY
You gonna shank him in the shower?

RICKY
Is it so unrealistic to think Ruiz,
who doesn't even want us here, is
throwing us to the wolves? As an
apology? And I don't even know what
we're dropping off or picking up --

BOBBY
We're getting ahead of ourselves.
We haven't gotten any sleep. Let's
just keep our mouthes shut and not
make any mistakes. Now hurry up and
get your shit on so we're not late
and make things worse.

CUT TO:

INT. LIMOUSINE - MANHATTAN - MORNING

Ricky and Bobby look awful. They have bags under their swollen
eyes, gorged stomachs, bruised faces, tattered clothes, and
yolk on their chin. Ricky lights a smoke.

BOBBY
Put that shit out...

RICKY
C'mon, man...

BOBBY
I swear to God, I'll fucking puke.

RICKY
(obliging)
Hey, Jimmy, where they taking us?

BOBBY
Yeah. Where they gonna whack us?

Ricky looks at him without an ounce of humor. Jimmy laughs.

JIMMY
If they're whacking you, they're
doing it in style.

The limo pulls up to...

EXT. TAVERN ON THE GREEN - CENTRAL PARK - MORNING -
CONTINUOUS

Jimmy lets them out.

INT. TAVERN ON THE GREEN - CENTRAL PARK - MOMENTS LATER

The MAITRE D' leads them past an orgy of a BUFFET. Everything
looks sickening to our bloated drunks. The head of a whitefish
in particular makes an impression on the boys.

They are lead to a table joining Ruiz and Horrace, who are
both dressed appropriately for a society brunch.

RUIZ
Jesus Christ, where the fuck you
been all night? You look like you
got shit out in the gorilla house.

BOBBY
Good morning.

HORRACE
(laughs)
Good morning.

RUIZ
You think this shit's funny, Ho?

HORRACE
Nah, man...

RUIZ
You think it's funny, motherfucker?

BOBBY
Easy, Ruiz.

A WAITER shows up.

RUIZ
Don't 'easy Ruiz' me. Y'all turned a
Easter egg hunt into a butt-fuck-a-
thon.
(to waiter)
Bring me four eggs Benedict and a
mimosa. You all want mimosas?

BOBBY
(ill)
Nah, man...

RICKY
No...

RUIZ
Four mimosas.
(to guys)
You'll love them. So here's the plan.
I didn't say shit to Maxie, cause
the man has acute angina, and I don't
want to get him all worked up.

RICKY
He has a cute what...?

BOBBY
A bad heart.

RUIZ
I didn't tell him shit. He worries
too much. I love that old Jew, but
he's gonna kill himself worrying. We
started this shit, and we're gonna
finish it.

RICKY
Who's gonna outfit us?

RUIZ
Outfit? What's he talking about?

BOBBY
Nothing, man.

RICKY
You want us strapped, don't you?

RUIZ
Last thing I want is you with a gun.

HORRACE
Word.

BOBBY
What's the plan?

RUIZ
Tom, the Welsh dude --

RICKY
The Red Dragon.

RUIZ
Shut it, man. Shut it. Tom is a
square. He don't but dabble in shit.
Maxie had me hook up a loan-back
with him, through an Austrian passbook
account.

RICKY
So, we're talking money laundering...

RUIZ
Will you tell Peter Jennings to shut
up and fucking listen. The shit's as
routine as you get. I coulda turned
it over offshore in a week, but Maxie
likes to do it all his way. Safe. I
coulda dropped the bag alone. It's
only two hundred G's. But he sent
you all. So I can either send you
home and tell Maxie, or we can flush
the toilet one more time and hope it
all goes down.

BOBBY
Let's do it.

RICKY
I'm your soldier.

RUIZ
Now listen. The gig couldn't be
simpler. You carry the money to the
Welshman, he checks it, hands you
his marker, you're done. The washed
money goes directly to Maxie. Long
as you hand off the bag, you're tight.

BOBBY
Where's the drop?

RUIZ
You three are gonna meet him for
dinner. Find out if and where. Now
any of you motherfuckers got anything
else to say?

RICKY
Yeah.

RUIZ
What?

RICKY
When all this is over and we're not
working for Maxie, I'd love to run
into you on the street.
(beat of silence)
Why aren't you coming?

RUIZ
That's none of your fucking business.

INT. HALLWAY - TAVERN ON THE GREEN - CENTRAL PARK - DAY

Bobby tries to hold his shit together as he wanders down a
mirrored hallway. He arrives at a DOOR. He opens the door to
find a...

INT. DINING ROOM - TAVERN ON THE GREEN - CONTINUOUS

...windowless dining room, painted with grotesque greenery.
He quickly ducks out.

INT. BATHROOM - TAVERN ON THE GREEN - CENTRAL PARK

Bobby splashes water on his face.

CUT TO:

EXT. CENTRAL PARK ZOO - POLAR BEAR TANK - DAY

Horrace, Bobby and Ricky walk and talk through the picturesque
park. Ricky picks at a tuft of cotton candy.

BOBBY
Why isn't Ruiz coming?

HORRACE
This Welsh dude is tripping on Ruiz
cause he's a Shot Caller.

BOBBY
What's that?

HORRACE
A Shot Caller. A boss, a Capo. He's
running shit.

BOBBY
Yeah.

CUT TO another view of the bears.

HORRACE
The Welsh dude, sees all these niggers
in perms and diamonds and shit, he
gets nervous. But you motherfuckers,
he just laughs. All beat up in your
babaloo suit like Fruitpie the
Magician.

RICKY
So we just go eat with him and that's
gonna solve everything?

HORRACE
Dude, you just gotta settle your
shit down. You gotta go and say all
that 'Red Dragon' shit. Make him
think he's on Barretta.

RICKY
Like you were doing any better
shucking and jiving like you were
waiting for wings outside the Quick
and Split.

CUT TO another view of the bears.

BOBBY
So what do we do?

HORRACE
We go and hang out with the dude,
make him happy, drink some tea,
whatever it takes, until he feels
comfortable enough to bring it up on
his own. We make the drop, go home
to California.

BOBBY
Where is this happening?

HORRACE
(hands him matchbook)
We meet at the Globe on Park Avenue
at six forty-five. I'll see you then.

Horrace walks away, leaving Bobby and Ricky.

RICKY
Let's check out the penguins.

BOBBY
The what?

RICKY
The penguin house.

BOBBY
Wait a minute. You want to look at
fucking penguins now?

RICKY
Yeah. Let's look at the penguins.

BOBBY
Did you hear what he just said?

RICKY
Whatever. We're here. We may as well
go to the penguin house.

BOBBY
I'm tired and I'm scared, and I'm
not looking at fucking penguins.

SMASH CUT TO:

INT. PENGUIN HOUSE - CENTRAL PARK - DAY

Bobby and Ricky watch the PENGUINS frolic in their arctic
habitat. The silence is broken by...

RICKY
We need guns.

BOBBY
We don't need guns.

RICKY
I'm pretty sure we do.

BOBBY
I listened extremely carefully.
Nothing was even vaguely implied. He
even laughed in your face when you
asked him

RICKY
All the more reason.

BOBBY
You wouldn't even know where to get
one.

RICKY
Wanna bet?

BOBBY
You couldn't even get a hand job
from bridge and tunnel posse, how
you gonna get a gun?

RICKY
That's cause you decided to get all
tired all of a sudden.

BOBBY
It was six in the fucking morning.

RICKY
Float me a hundred bucks.

BOBBY
Why?

RICKY
You wanna see how fast I get a gun?

BOBBY
You're out of money?

RICKY
No.

BOBBY
What do you have left?

RICKY
Eighty.

BOBBY
Eighty bucks?!?

RICKY
Eighty five.

BOBBY
What happened to the fifteen hundred?

RICKY
You coulda picked up a tab every
once in a while.

BOBBY
I did! I paid for half the fuckin
drinks!

RICKY
You did?

BOBBY
Yes I did. You asshole! What about
the room?

RICKY
What about it?

BOBBY
They only cover one fifty in
incidentals. You've been ordering
fucking... Motherfucker...

He starts to count out his cash.

RICKY
Calm down.

BOBBY
I fucking vouched for you. I vouched
for you and you fucked me.

RICKY
This shit's peanuts compared to what
we're gonna make with Maxie.

BOBBY
Ricky. I'm trying to save this money.
Understand? I'm trying to make it so
my girlfriend doesn't have to grind
her ass into other men's erections
so her daughter can go to private
school.

RICKY
I'm sorry...

BOBBY
This is horseshit. It coulda been so
easy.

RICKY
It's gonna be fine.

BOBBY
No more, man.

RICKY
Let's get some sleep. That's what we
need, man. Sleep.

BOBBY
How we gonna sleep? We only got a
few hours til dinner.

RICKY
So what do we do?

BOBBY
Let's just go now and wait.

RICKY
Three and a half hours?

BOBBY
I don't want to take any more chances.

RICKY
Let's just go get guns, I'd feel
better.

BOBBY
Don't fuck around. You're gonna get
us all killed.

RICKY
Think about it: You knocked out that
Jewish kid's tooth, cost him eight
grand, maybe more. Maybe lost his
whole line of clientele? He knows
you're fucking up Jess' dancing, and
I got a feeling he knows I stole his
carpet cleaning van by the way he
looks at me. He can't kill us in LA
cause that leads to too many
questions. So he flies us out here
first class for a 'drop' that's turned
into whatever? He can make us
disappear out here real nice...

BOBBY
Where do you get this shit?

RICKY
Scenario B. I think I'm getting under
Ruiz's skin. I'm no dummy. He doesn't
like how it went down with the Red
Drag -- Welshman, whatever. Now I
got Fruitpie the Magician telling me
I can't call my man Max? And that
Welshman's sketchy. Whatever, I
don't know where it's coming, which
way it's coming from, I'm telling
you one thing right now, I'm not
gonna be late for the dance.

BOBBY
You're not getting a gun.

INT. LIMOUSINE - MANHATTAN - DAY

Bobby is on the CAR PHONE beside Ricky. He leaves a message.

BOBBY
Hi girls. It's Bobby. Can't seem to
get a hold of you. Gonna be home
soon. I miss you. Chloe, Uncle Ricky's
here. He wants to say hello. Say hi
to Chloe.

Ricky fights with him in whispers, then finally takes the
phone.

RICKY
Hi Princess. It's Ricky. I hope you're
doing good sweety. Everyone's okay.
Nobody's hurt... Talk to you soon.
Bye.

INT. GLOBE - MANHATTAN - DAY

Ricky and Bobby look horrible. They stare in silence drinking
coffee.

INT. GLOBE - MANHATTAN - DAY

TIME LAPSE of the two guys shifting and resting.

INT. GLOBE - MANHATTAN - DAY

Horrace arrives with the Welshman.

RICKY
Look. They're together. You telling
me this ain't a set-up?

BOBBY
Easy...

They arrive.

WELSHMAN
Hey, boys.

BOBBY
Tom. How's it going?

WELSHMAN
Fine, fine. And you were...?

BOBBY
Bobby and Ricky.

WELSHMAN
Right, right. The 'thugs.'

They share a laugh. The tension is slowly dissipating.

WELSHMAN
And where is...?

HORRACE
Ruiz? Oh, he ain't here.

WELSHMAN
No?

HORRACE
Nah, see, Maxie just asked him to
set that shit up as a favor. He, you
know, he tied in with the club. Set
us up so, you know, you feel at home.

WELSHMAN
Well, I didn't care for the club
much. And, I must say, I didn't care
for him either.

HORRACE
Well, he ain't gonna be around no
more.

WELSHMAN
Pity. What's say we have a drink?

CUT TO:

INT. LOT 61 - MANHATTAN - NIGHT

Ricky and Bobby can barely keep they're eyes open. Horrace
seems equally irritated as the Welshman drains what appears
to be his fifth pint of ale. Ricky is preoccupied by a
projected image on the wall.

WELSHMAN
This is the greatest fucking country
in the world. I love this fucking
place. I mean the food, the women,
the fucking curbs. This country has
the highest fucking curbs in the
world. It's fucking brilliant. You
know what I love most? This shit.

He pulls out a can of SKOAL chewing tobacco and pinches off
a chew.

RICKY
Dip?

WELSHMAN
Yeah. This shit's fucking brilliant.
I just fucking love the fact that
you have kids driving around in pickup
trucks with a mouthful of this shit,
speeding their brains out. I gotta
bring a case of it home to my mates.
It's illegal back home, you know.

HORRACE
No shit?

WELSHMAN
Does anyone want another?

HORRACE
You want another drink?

RICKY
I'll get it.

WELSHMAN
Who's up for a night on the town.

This is the worst possible thing he could've said as far as
Bobby is concerned. He is exhausted. The guys play the host.

HORRACE
Sure. Anyplace in particular?

WELSHMAN
I hear the China Club is a laugh.

CUT TO:

INT. THE CHINA CLUB - MANHATTAN - NIGHT

They sit in a booth. Loud club music bombards their growing
impatience. Bobby and Ricky strain to stay awake. The Welshman
drains a cocktail, watching a table-hopping MAGICIAN relishing
his enthusiastic audience of one as he presents him with the
Queen of diamonds.

WELSHMAN
Bloody hell! Brilliant! Did you see
that?

Horrace slips the performer a bill and he trots off.

WELSHMAN
Now, about the business at hand...

They all perk up and lean in. Tom drains his glass.

WELSHMAN
Anyone have any drugs.

A wave of dread.

HORRACE
What do you want?

WELSHMAN
A little Charlie, perhaps.

HORRACE
Coke?

WELSHMAN
I've heard you've got the best coke
in the States. The shit back home is
pants.

HORRACE
(slipping Ricky some
bills)
That shouldn't be a problem.

Ricky looks to Bobby, who shrugs. Ricky reluctantly goes off
to find drugs. Tom smiles and hugs Bobby and Horrace.

WELSHMAN
You guys are the fucking best. I
swear, I didn't know about this whole
thing, but you guys are okay.

CUT TO:

INT. BATHROOM STALL - CHINA CLUB - LATER - NIGHT

Horrace, Ricky, Tom, and Bobby are all packed like sardines
in the toilet stall. Ricky hands Tom a glassine envelope
full of coke.

WELSHMAN
(slurring)
God love you...

He opens it with drunken abruptness, sending part of it's
contents onto Bobby's jacket.

WELSHMAN
Aw, fuck me. Sorry...

He starts rubbing the spillage from Bobby's lapel onto his
gums. Horrace prevents any more waste by taking the envelope
away.

WELSHMAN
Sorry, mates. Now there isn't even
enough to go around...

HORRACE
Don't worry, man. It's all for you.

WELSHMAN
(touched)
No, really, mate?

HORRACE
Here...

Horrace positions himself so that the Welshman can sniff
from his hand. The four large men all reposition themselves
in the tiny stall, inevitably stepping on each other and
banging heads.

RICKY
Ow, shit...

HORRACE
Watch it...

BOBBY
C'mon...

WELSHMAN
Fuck...

OUTSIDE THE STALL, the attendant watches the feet shuffle as
they curse from within. INSIDE, Tom snorts a pile of cocaine
from Horrace's outstretched hand.

WELSHMAN
Fuck, that's good shit. So, what's
say we make a go of this and you
drop off the cash tomorrow?

Finally.

CUT TO:

INT. LIMOUSINE - MANHATTAN - LATER - NIGHT

The limo settles to a STOP to drop off Horrace.

HORRACE
Now, here's what worries me. He said
he wants to meet up at a bar in Red
Hook. You know where that is?

BOBBY
No.

HORRACE
Brooklyn.

BOBBY
Yeah?

HORRACE
He must have that shit troughed.

BOBBY
What do you mean 'troughed?'

HORRACE
Troughed off. Protected. Like, you
know, like he got a moat around it.

BOBBY
Ruiz tied in out there?

HORRACE
Nah, man. No one is. They got some
Puerto Ricans and a new crop of fuckin
Irish immigrants.

RICKY
I'm half Irish.

HORRACE
I don't fuck with those crazy, off-
the-boat fuckin Irish. You heard of
the Westies?.

BOBBY
Heard of them.

HORRACE
They ran shit back in the Eighties.
Used to cut motherfuckers heads off
and sit them on the bar. That's back
when the Irish was making a play
against the Italians. I don't know
if they still around, but I don't
fuck with those motherfuckers just
in case.

BOBBY
It sounds to me like everybody's
just a little jumpy. And since all
it is is a drop, the Welshman's got
nothing at stake. I say we go to his
'troughed off' bar. It'll calm his
nerves, we drop the bag, and we all
get back to our lives.

HORRACE
And not a word to Maxie. He'll shit
if he knew we crossed a bridge.

They all nod. Horrace gets out.

INT. LIMOUSINE - MANHATTAN - DAY

They pull up to the Soho Grand. Ricky wakes Bobby, who begins
to doze.

RICKY
Get up brother. We're home. Go up
and get some sleep.

INT. BOBBY'S SUITE - SOHO GRAND HOTEL - DAY

Bobby drags himself into his suite. He drops his drawers and
lays down. Instead of sleeping, he picks up the phone and
dials.

CHLOE (V.O.)
Hello.

BOBBY
Chloe?

CHLOE (V.O.)
Uncle Bobby?

BOBBY
Hi, baby. What are you doing awake?
Where's mommy?

CHLOE (V.O.)
I don't know.

BOBBY
(concerned, checking
watch)
Mommy's not home?

CHLOE (V.O.)
No.

BOBBY
What time is it there?

CHLOE (V.O.)
Can you take me to Color Me Mine?

BOBBY
Yeah. Are you sure mommy's not home?
It's very late.

BEEBEEP... BEEBEEP... Shit. The pager.

BOBBY
I gotta go, baby. I love you. Tell
mommy I called. You be a big girl
and be careful when you're alone.

CHLOE (V.O.)
I love you. Come home.

He hangs up, then dials.

BOBBY
Yeah...? Now...? Did Ricky call
yet...? See you in a minute.

He sits up, hunched over. He motivates reluctantly. He claws
his way into the bathroom and rinses his face in a meagre
attempt to wash away the cobwebs. He looks awful. The COLORS
are beginning to INTENSIFY as sleep deprivation sets in.

INT. LIMOUSINE - MANHATTAN - DAY - MOMENTS LATER

Bobby sits into the car once again. Jimmy pulls away.

BOBBY
Aren't we waiting for Ricky?

JIMMY
Ricky's taken care of.

BOBBY
Taken care of?

JIMMY
Yeah, he's getting there on his own.

Bobby fights to clear his head and think.

EXT. CITY STREET - MANHATTAN - DAY

The limo pulls up, and Horrace steps in, talking on the phone.
Horrace carries a BRIEFCASE.

INT. LIMOUSINE - MANHATTAN - CONTINUOUS

The car pulls away. Bobby has the no-sleep-sweats. He looks
awful. No one greets anyone. There is a tension. Horrace is
on the phone.

HORRACE
(phone)
Yeah... Yeah... Uhu... I can't really
talk now, but it's all going as
planned. If things change, I'll call.

He hangs up. PAUSE.

BOBBY
Where we going?

HORRACE
Quick drop. In and out.

BOBBY
Where's Ricky?

HORRACE
Ricky's taken care of.

BOBBY
How so?

HORRACE
He was uptown when I paged him. I
gave him the address. He's meeting
us there.

BOBBY
(re: briefcase)
That it?

HORRACE
That's it.

PAUSE.

EXT. LIMOUSINE - BROOKLYN - DAY

The car crosses the Brooklyn Bridge and drives through
Brooklyn.

INT. LIMOUSINE - BROOKLYN - SAME

Bobby is watching and thinking as Brooklyn goes by. Horrace
seems distant.

EXT. ICARUS TAVERN - RED HOOK - BROOKLYN - DAY

The limo passes the corner and settles in front of the time
worn Icarus Tavern.

A young IRISH MAN stands out front smoking a fag. The place
is open, but the neon 'OPEN' sign is off.

INT. LIMOUSINE - IN FRONT OF THE ICARUS - CONTINUOUS

They pop the doors.

HORRACE
This is it.

BOBBY
Where's Ricky.

HORRACE
I guess inside. Or he never made it.
Either way, I don't give a shit.
Let's get this over with.

EXT. ICARUS TAVERN - RED HOOK - CONTINUOUS

The two guys get out and enter the pub. Horrace carries the
case of cash. The guy at the door watches them enter and
snuffs out his smoke.

INT. ICARUS TAVERN - RED HOOK - CONTINUOUS

They enter the old world gin mill. It's dark. There's a long,
aged wooden bar and oak booths. The floor boards are faded
and bowed. A middle-aged BARTENDER reads the Post by the
oversized beer taps. He looks up over his reading glasses
without expression. Two young Irish TOUGHS stand up from a
booth and lead the men into the back room. There is a silent
tension. No sign of Ricky.

INT. BACK ROOM - ICARUS TAVERN - CONTINUOUS

Even darker. They slowly walk in, sending cautious looks to
every corner. A simple round table sits in the center of
this sparse dining room. Three ROGUES sit around it, all
facing the door. Tom, the Welshman, sits with his back to
the door. They all have pints before them. A muted
conversation ends as Tom follows their stares over his
shoulder to see Bobby and Horrace enter. Silence for a BEAT,
then...

WELSHMAN
Here they are, then.

HORRACE
(falsely relaxed)
How's it going?

WELSHMAN
Brilliantly. Care for a pint?

HORRACE
No, thanks, man. We got to head out.

WELSHMAN
Come, now. You just got here.

HORRACE
That's alright, man. It's a little
early for me to drink.

This draws an uncomfortably bass chuckle from the seven dark
characters now surrounding them.

WELSHMAN
Nonsense. We'll have three half pints
of lager.

One Irishman goes to fetch the drinks. Two of the Irishmen
pat them down for guns.

WELSHMAN
Sorry about that. Where's your mate?

HORRACE
Couldn't make it. Here's the money.

Horrace places the case on the table. Its weight makes a
loud thunk as it hits the hardwood. He pops the catch and
lifts the lid. Wow. That's a lot of money. The toughs lose
their poker faces as their knees weaken from the sight of
it. Even Bobby has to swallow as the Devil blows on his nape.
Tom fingers the stacks.

HORRACE
(anxious)
Give me your marker, and we'll be on
our way.

Tom begins to write out a receipt.

WELSHMAN
I can't yet vouch for the amount,
unless you want me to sit here and
count.

HORRACE
No, man, that's fine. Just put that
you took delivery.

Then, in what takes only a matter of seconds, Bobby has a
LOCKBLADE to his THROAT and Horrace takes a truncheon to the
gut, flooring him.

HORRACE
What the fuck, man? Why? The money's
in your hand. Why you pulling this
shit?

Tom is scared shit. He's more surprised than any of them.

WELSHMAN
I... I just hired these guys to watch
my back...

HORRACE
Motherfucker, we're handing you money.
What the hell we gonna pull?

ROGUE
Shut your goddamn mouth! As far as
any of you are concerned, a gang of
spics took the bag. Understood? Grab
their wallets. I'll know where to
find each and every one of you.

WELSHMAN
I didn't know, I swear to God, I --

WHACK. He takes one in the gut, violently losing his wind.

HORRACE
(to Bobby)
If you and your boy set this up,
you're way out of your league.

ROGUE
Shut up!

VOICE (O.S.)
Maybe you're the one who better shut
up.

They all turn to see RICKY standing tall with a PISTOL to
the head of a tough with two beers. Ricky sips the third
lager.

ROGUE
He's only got six shots, he's bound
to miss.

RICKY
Or maybe I'm real lucky. I'll tell
you one thing, I'll waste every bullet
making sure you're dead if you don't
take that knife away from my friends
throat.

The thug removes the blade from Bobby's neck. His eyes narrow
as he looks at the gun. He notices something...

THUG
That's a starter pistol.

RICKY
(covering)
What?

THUG
His gun's a starter pistol. I can
see the red plug in the barrel.

The toughs begin to relax and converge...

RICKY
(nervous)
Are you willing to risk your life
over --

But the moment proves enough of a distraction for Bobby to
unload a damaging COMBINATION to his captor. He may not have
what it takes to cut it as a professional boxer, but these
untrained goons are way outclassed. He drops one like a lead
weight. It's about to get ugly as weapons are raised. Then...
The melee is cut short by a resounding VOICE calling from
the door.

JIMMY
That's enough.

Jimmy the driver stands in the door aiming a Glock 45 at the
crowd.

They all freeze.

JIMMY
You guys, over in the corner. Leave
the hardware and your wallets on the
table.
(to bartender)
Make out an invoice on damages. You
got e-mail?
(nods. Jimmy hands
him a card.)
E-mail it to me. A check will arrive.
Call the number at the bottom and
tell them the Rook is code four.
Then destroy the card.
(to Bobby)
Nice. I'll let Maxie know you're
good in the pocket.
(to Ricky)
Staduch.
(to the guys)
Go. I'll take care of this.

Things are about to get ugly. Bobby grabs the case. They
split.

EXT. ICARUS TAVERN - RED HOOK - MOMENTS LATER

They get in. The limo pulls out.

INT. LIMOUSINE - IN FRONT OF THE ICARUS - CONTINUOUS

Horrace peels out and Bobby, Ricky, Horrace, and the Red
Dragon all sit in silence catching their breath. Bobby holds
the case. Looks are exchanged.

RICKY
Holy shit. Get me back to Manhattan.

BOBBY
(interrupts)
Take us right to Kennedy. Now.

Horrace nods.

FADE OUT:

FADE UP ON:

INT. MAX'S OFFICE - VAN NUYS - DAY

Bobby and Ricky sit before Max. They look the worst we've
ever seen them. They've obviously not slept or changed yet
and flew right out after the melee.

Maxie looks at the open case of cash.

A long, tense BEAT of unclear reaction. Is Maxie mad or happy.
Finally...

MAX
You did good.

He throws them each a bundle off the top of the pile of bills.
Ten grand stacks?

MAX
I never intended to test you two to
that extent, but you both came
through. I should've been informed
there was a flag on the play, but
I'll take that up with Ruiz. I made
a few calls back East. Those punks
weren't tied in with anyone. As for
the Welshman, he wasn't in on it. He
was just plain dumb. As for you,
Ricky, your draw will go towards a
new carpet cleaning van.

RICKY
But, Max --

MAX
We're square.

RICKY
Yes, sir.

MAX
And, as for you, Bobby, you just
moved up a notch. Your days of
fighting for crumbs is through. Take
a week off, come back, and we'll
talk about the next thing.

BOBBY
There won't be a next thing.

MAX
Take a few days --

BOBBY
I don't need a few days. I'm gonna
settle down with Jess. She's through
dancing. We're opening a restaurant.

MAX
I hate to ruin your fairy tale, but
I've been paying Jess' rent for six
months. She's got to keep dancing --

Bobby throws his stack of cash at Maxie. Ricky grimaces.

BOBBY
She's through too. Thank you for the
opportunity, Max. We'll see you
around.

They rise to leave.

MAX
(smiling)
You got a lot to learn, kid. Say hi
to Jess for me.

EXT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES - CONTINUOUS -
NIGHT

The Trans Am pulls up in front of Jess' house. Bobby and
Ricky both pop out. We catch the end of a conversation.

RICKY
Dude, we were practically made...

BOBBY
I'll drop you off in a minute. I
want to see if the baby's up. You
wanna come in?

RICKY
No. I'll wait here.

BOBBY
I'll be a minute.

Bobby trots up the stairs. Ricky lights a smoke and watches
him go. We linger on his look.

INT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES - NIGHT

The door opens. The living room looks like a disaster area.
The sink is full of dishes, stacked high above the counter.
Dirty clothes are strewn all over. Half eaten plates of food
are on the coffee table and bags of carry-out containers and
pizza boxes lie about. In the center of it all, Chloe sits
alone watching a Hollywood Hills brushfire on the news. She
looks up with the solemnity of one much older.

BOBBY
Where's mommy? Did she leave you
alone again?

Chloe looks to the back room as she sips from her juice box.
Bobby sees a MIRROR and COKE laid out on the table. He grits
his teeth and goes for the bedroom door.

INT. BEDROOM - JESSICA'S HOUSE - CONTINUOUS

Bobby bursts in to find Jess in bed with the HORNY BACHELOR
whose nose he broke the week before. The guy jumps in fear.
Jess is startled and coked out of her mind.

HORNY GUY
I -- I -- I... Don't...

BOBBY
I don't get it.

JESS
I never promised you anything.

BOBBY
How could you let her see this?

JESS
Goodbye, Bobby.

BOBBY
Just so you know, I bought you out
with Maxie. I suggest you leave while
you can.

JESS
Don't you get it? I don't want to
leave. This is who I am.

BOBBY
Tell you the truth, I don't give a
shit for me. But that little girl is
so special, and you're gonna fuck
her up.

He crosses to go, but is interrupted by...

JESS
(quietly)
Take her.

BOBBY
What'd you say?

JESS
I want you to take her with you.

Off Bobby's look we...

CUT TO:

INT. FRONT ROOM - JESSICA'S HOUSE - NIGHT

Bobby walks in. Chloe looks up at him. A tense silence.

BOBBY
I, uh... Listen, hon. Mommy thinks
it's a good idea if, just for a while,
if you and me go on a trip --

Before he can finish, his stammering is cut short by her
bolting across the room and into his arms.

She squeezes him with all her might.

We see Bobby's relief and happiness over her shoulder.

FADE TO:

EXT. BOBBY'S CAR - SMALL DESERT HIGHWAY - OUTSIDE LOS
ANGELES - NEXT MORNING

We FADE UP on a beautiful sunny morning traveling on an empty
desert road. The only car visible is Bobby's Trans Am in the
deep background, leaving the mountains behind. The CAMERA
TRACKS BACKWARDS along the road as the car closes slowly. We
hear Chloe's angelic voice as she sings a melody. As the car
draws closer, we see Bobby, still in the clothes from the
trip, driving. There is luggage packed for a journey. Bobby
looks content. When the car finally settles into a TWO-SHOT
through the windshield, we notice SMOKE coming from the back
seat. A moment later, Ricky sits up behind them. He is half
awake and cranky.

RICKY
Baby, you got the sweetest voice I
ever heard, but Uncle Ricky's gotta
sleep. I've been driving all night,
Princess.

She ignores him.

RICKY
Shhh, c'mon, baby. It's quiet time.
Isn't it quiet time, Bobby? Bobby?
Tell her it's quiet time Bobby.
Please tell her it's quiet time...

Bobby smirks and accelerates, passing CAMERA, which PANS to
watch them speed off into the big sky horizon.

FADE TO BLACK:

THE END

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