screen genius - blow [script] lyrics
on black:
“a man must look at his life and think luxury.”
fade in:
ext. guarjira, colombia – 1989 – day
a majestic panorama of the lush green slopes that are the
columbian highlands. a faint chopping sound is heard and
then another. whoosh. whoosh. the view changes and tiny
dots appear on the hillside vegetation. whoosh
closer
we realize the dots are people. workers swinging long steel
machetes in slow methodical rhythm. whoosh. whoosh. we see
the south american indian men clearly now. their tar stained
teeth. their gaunt faces riddled with crow’s feet. their
jaws chewing away on huge wads of coca leaves as they collect
the harvest
ext. dirt road – colombia – day
old rickety trucks carrying the huge green tractor-sized
bales speed along the narrow road
ext. clearing – colombia – day
the bundles are undone and columbian women separate out the
leaves. tribes of underweight workers carry armload after
armload of the harvest and ritualistically dump them into a
gigantic cannibal pot which sits on top of a raging bonfire
the leaves are being boiled down and a huge plume of smoke
streaks the sky. wizened indios brave the heat and shovel
ashes into the pot to cool the solution
int. jungle – colombia – day
a primitive but enormous makeshift lab contains all the
equipment. the machinery. the solutions. the over-sized
vats. dark-skinned bandoleros smoke cigarettes and sport
automatic weapons at all the points of entry. the coca is
now a “basuco” paste and is being sent in for a wash
int. laboratory – colombia – 1989 – day
a conveyor belt pours out brick after brick of pure cocaine
hydrochloride. the bricks are wrapped, tied up, weighed, and
stamped with a “p” before being thrown into duffel bags
ext. jungle airstrip – colombia – day
a small twin-engine cessna is loaded with dozens of duffel
bags and the plane takes off
ext. vero beach airfield – night
the cessna touches down
ext. worksite – weymouth – 1966 – day
the worksite is busy. george is amongst other workers
working a summer job. as george is taking five, he looks
across the sight to fred, who is sweeping up debris. a long
way from being the boss
int. college admissions office – weymouth – 1966 – day
george stands in line to register for college, wearing his
brooks brothers suit, bowtie, and freshly bryllcreamed hair
the room is crowded and the line is long. bob dylan’s
“subterranean homesick blues” blares out of one of the kid’s
transistor radios. george looks around the room. he is
uncomfortable. he catches his reflection in the shiny gl-ss
part-tion and stops. he doesn’t like what he sees
something is not right. he looks like everyone else. same
cookie-cutter hair, same cookie-cutter clothes, same cookie
cutter faces. he’s a carbon copy
registration woman
next
it’s george’s turn but he doesn’t hear it. “twenty years of
schooling and they put you on a day shift.” the words h-t
him like a tone of bricks as he continues to stare at his own
reflection
george (v.o.)
i was standing there, and it was like
the outside of me and the inside of me
didn’t match, you know? and then i
looked around the room and it hit me. i
saw my whole life. where i was gonna
live, what type of car i’d drive, who my
neighbors would be. i saw it all and i
didn’t want it. not that life
ext. construction site – weymouth – 1966 – day
george sits with fred. it’s breaktime and fred eats from a
lunch box
george
there’s something out there for me, dad
something different. something free
form, you know? something for me, and
college just isn’t it
fred
that’s too bad. you would have been the
first one in the family
george
i know
fred
alright. you want me to get your old
job back? because i could, you know, i
could put in that word
george
no, dad. i don’t want to…i mean, i
just don’t want…
it’s obvious to fred that his son doesn’t want to be like
him
fred
what are you going to do?
george
i’m going to california
ext. belmont sh-r-s apartment – 1968 – day
superimpose: manhattan beach, california 1968
george and tuna, now 21-years old, struggle with their bags
their new place is a tackily furnished, two-story apartment
with small balconies and a view of the ocean. as george and
tuna struggle with the bags, two california beauties appear
on the balcony next door: barbara buckley, 20, and maria
gonzales, 21
girls
you guys need some help?
george and tuna share a look
tuna
i don’t know about you, but i think
we’re gonna like it here
ext. manhattan beach – 1968 – day
series of shots
barbara and maria introduce george and tuna around to the
manhattan beach regulars. they are immediately accepted
despite their ill fitting shorts and tuna’s unhip black
socks. the beach scene is one big party. lots of beer
music, bikinis, and good times. by the end of the day
george and tuna have a hundred new friends
george (v.o.)
california was like nothing i’d ever
experienced. the people were liberated
and independent and full of new ideas
george (v.o.) (cont’d)
they used words like “right on,”
“groovy,” and “solid.” the women are
all beautiful and seemed to share the
same occupation
woman #1
i’m a flight attendant
woman #2
i’m a flight attendant
woman #3
i’m a flight attendant
the weed comes out and is p-ssed around. pipes. joints
bongs. in slow motion, barbara takes a huge hit of gr-ss
grabs george’s face, french kissing him, and giving him a
huge shotgun
int. belmont sh-r-s apartment – 1968 – day
george and barbara are sleeping late. their bodies
intertwined beneath the sheets. a slam of the front door
wakes them up. it’s tuna
tuna
hey, wake up. come on, you two
lovebirds. hurry, i want to show you
something
george and barbara shake cobwebs out and stumble into the
kitchen to find tuna holding a brown paper shopping bag
tuna (cont’d)
figured it out
george
figured what out?
tuna
you know how we were wondering what we
were going to do for money? being how
we don’t want to get jobs and whatnot?
well, check this out
tuna takes the paper bag and empties its contents on the
kitchen table. it’s a grey mound of stocky, seedy marijuana
barbara examines the reefer
barbara
tuna, this is cr-p
tuna
i know it’s not the greatest. it’s
commercial
barbara
it’s garbage
george
it’s oregano. you got ripped off, pal
what are you gonna do with all this?
tuna
we sell it. i got it all figured out
we make three finger lids and sell them
on the beach. we move all of it. we’ve
made ourselves a hundred bucks. or a
lot of weed for our head. what do you
think? not bad, huh? i got the baggies
and everything
barbara
you can’t sell this to your friends
tuna
man. f-ck you guys. i have this great
idea and you guys have to be all
skeptical
barbara
look, if you really wanna score some
dope, i got the guy
ext. the whipping post – manhattan beach – 1968 – day
george, barbara and tuna stop outside the front door
george
are you sure this guy is cool?
barbara
you’ll see for yourself
tuna
a beauty parlor for men? sounds pretty
queer
they walk in
int. the whipping post – manhattan beach – 1968 – continuous
george, tuna and barbara enter. the whipping post is
california’s first male hair salon. george looks around at
the customer’s being pampered. haircuts, pedicures
manicures
george
nothing like this back home
barbara
derek!
derek foreal is a curious man. daringly effeminate
especially for the sixties, he is always surrounded by
beautiful women. as he sees barbara, he stops his haircut
and runs to embrace her
derek
barbie!
derek’s female entourage rush over as well. kisses all
around
derek (cont’d)
so, this is the new man, huh? he’s
cute!
george and tuna stick out there hands
george
george
tuna
tuna
derek
tuna, oh my. enchante, george. barbie
he’s yummy. he looks like a ken doll
oooh, ken and barbie. it’s perfect
alright, girls, give me five minutes
derek makes dismissing gestures and the girls scatter
derek (cont’d)
everyone, shoo! you, too, barbie. i
want to talk to the boys alone
after the girls leave, derek closes the part-tion and his
playful demeanor changes. he’s all business now
derek (cont’d)
what can i do for you guys?
george
we want some gr-ss
derek
i know what you want. but, first of
all, are you cops?
george
no
derek
because if you are, you have to tell me
if not, it’s entrapment
george
we’re not cops. we’re from
m-ssachusettes. i mean, does he look
like a cop?
derek
i guess not. okay. you know, you’re
very lucky you’re friends of barbie’s
if you weren’t, i’d never talk to you
derek pulls a television-sized brick of quality marijuana out
from under a sink and sets it down in front of george
george
what the f-ck is that?
derek
it’s your gr-ss
tuna
wow. that’s more than we had in mind
derek
i don’t nickel and dime. you want it or
not?
george and tuna look at each other
george
we’ll take it
ext. manhattan beach – 1968 – day
series of shots
summer on the beach. it’s one big party. george and tuna
are on the beach. they are the new kings. they smoke pot
and drink brews
george and barbara get close as do tuna and maria. slowly
george’s clothes and hair start to look better, cooler
george and tuna hanging out with the surfers
george and tuna hang with barbara, maria and some girlfriends
in bikinis
george and barbara hang together at the life guard stand
george and tuna on the strand with hippy professors selling
half-ounces
derek, tuna, george, barbara, maria and the elves play
volleyball
barbecue at belmont sh-r-s apartment with george, barbara
derek, tuna, maria and different elves
george and tuna sell half-ounces to bikers
derek is having a party out of a mini-van in the beach
parking lot. george, barbara, tuna and maria are there
ext. manhattan beach – 1968 – sunset
george and barbara sit by the water, watching the waves crash
into the sand. the sky is streaked with purple and red
george
this is it for me
barbara
what is?
george
just everything. you. california. the
beach. this spot right here. i feel
like i belong here, you know? it just
feels right
barbara
you happy, baby?
george
yeah. i am
ext. worksite – weymouth – 1966 – day
the worksite is busy. george is amongst other workers
working a summer job. as george is taking five, he looks
across the sight to fred, who is sweeping up debris. a long
way from being the boss
int. college admissions office – weymouth – 1966 – day
george stands in line to register for college, wearing his
brooks brothers suit, bowtie, and freshly bryllcreamed hair
the room is crowded and the line is long. bob dylan’s
“subterranean homesick blues” blares out of one of the kid’s
transistor radios. george looks around the room. he is
uncomfortable. he catches his reflection in the shiny gl-ss
part-tion and stops. he doesn’t like what he sees
something is not right. he looks like everyone else. same
cookie-cutter hair, same cookie-cutter clothes, same cookie
cutter faces. he’s a carbon copy
registration woman
next
it’s george’s turn but he doesn’t hear it. “twenty years of
schooling and they put you on a day shift.” the words h-t
him like a tone of bricks as he continues to stare at his own
reflection
george (v.o.)
i was standing there, and it was like
the outside of me and the inside of me
didn’t match, you know? and then i
looked around the room and it hit me. i
saw my whole life. where i was gonna
live, what type of car i’d drive, who my
neighbors would be. i saw it all and i
didn’t want it. not that life
ext. construction site – weymouth – 1966 – day
george sits with fred. it’s breaktime and fred eats from a
lunch box
george
there’s something out there for me, dad
something different. something free
form, you know? something for me, and
college just isn’t it
fred
that’s too bad. you would have been the
first one in the family
george
i know
fred
alright. you want me to get your old
job back? because i could, you know, i
could put in that word
george
no, dad. i don’t want to…i mean, i
just don’t want…
it’s obvious to fred that his son doesn’t want to be like
him
fred
what are you going to do?
george
i’m going to california
ext. belmont sh-r-s apartment – 1968 – day
superimpose: manhattan beach, california 1968
george and tuna, now 21-years old, struggle with their bags
their new place is a tackily furnished, two-story apartment
with small balconies and a view of the ocean. as george and
tuna struggle with the bags, two california beauties appear
on the balcony next door: barbara buckley, 20, and maria
gonzales, 21
girls
you guys need some help?
george and tuna share a look
tuna
i don’t know about you, but i think
we’re gonna like it here
ext. manhattan beach – 1968 – day
series of shots
barbara and maria introduce george and tuna around to the
manhattan beach regulars. they are immediately accepted
despite their ill fitting shorts and tuna’s unhip black
socks. the beach scene is one big party. lots of beer
music, bikinis, and good times. by the end of the day
george and tuna have a hundred new friends
george (v.o.)
california was like nothing i’d ever
experienced. the people were liberated
and independent and full of new ideas
george (v.o.) (cont’d)
they used words like “right on,”
“groovy,” and “solid.” the women are
all beautiful and seemed to share the
same occupation
woman #1
i’m a flight attendant
woman #2
i’m a flight attendant
woman #3
i’m a flight attendant
the weed comes out and is p-ssed around. pipes. joints
bongs. in slow motion, barbara takes a huge hit of gr-ss
grabs george’s face, french kissing him, and giving him a
huge shotgun
int. belmont sh-r-s apartment – 1968 – day
george and barbara are sleeping late. their bodies
intertwined beneath the sheets. a slam of the front door
wakes them up. it’s tuna
tuna
hey, wake up. come on, you two
lovebirds. hurry, i want to show you
something
george and barbara shake cobwebs out and stumble into the
kitchen to find tuna holding a brown paper shopping bag
tuna (cont’d)
figured it out
george
figured what out?
tuna
you know how we were wondering what we
were going to do for money? being how
we don’t want to get jobs and whatnot?
well, check this out
tuna takes the paper bag and empties its contents on the
kitchen table. it’s a grey mound of stocky, seedy marijuana
barbara examines the reefer
barbara
tuna, this is cr-p
tuna
i know it’s not the greatest. it’s
commercial
barbara
it’s garbage
george
it’s oregano. you got ripped off, pal
what are you gonna do with all this?
tuna
we sell it. i got it all figured out
we make three finger lids and sell them
on the beach. we move all of it. we’ve
made ourselves a hundred bucks. or a
lot of weed for our head. what do you
think? not bad, huh? i got the baggies
and everything
barbara
you can’t sell this to your friends
tuna
man. f-ck you guys. i have this great
idea and you guys have to be all
skeptical
barbara
look, if you really wanna score some
dope, i got the guy
ext. the whipping post – manhattan beach – 1968 – day
george, barbara and tuna stop outside the front door
george
are you sure this guy is cool?
barbara
you’ll see for yourself
tuna
a beauty parlor for men? sounds pretty
queer
they walk in
int. the whipping post – manhattan beach – 1968 – continuous
george, tuna and barbara enter. the whipping post is
california’s first male hair salon. george looks around at
the customer’s being pampered. haircuts, pedicures
manicures
george
nothing like this back home
barbara
derek!
derek foreal is a curious man. daringly effeminate
especially for the sixties, he is always surrounded by
beautiful women. as he sees barbara, he stops his haircut
and runs to embrace her
derek
barbie!
derek’s female entourage rush over as well. kisses all
around
derek (cont’d)
so, this is the new man, huh? he’s
cute!
george and tuna stick out there hands
george
george
tuna
tuna
derek
tuna, oh my. enchante, george. barbie
he’s yummy. he looks like a ken doll
oooh, ken and barbie. it’s perfect
alright, girls, give me five minutes
derek makes dismissing gestures and the girls scatter
derek (cont’d)
everyone, shoo! you, too, barbie. i
want to talk to the boys alone
after the girls leave, derek closes the part-tion and his
playful demeanor changes. he’s all business now
derek (cont’d)
what can i do for you guys?
george
we want some gr-ss
derek
i know what you want. but, first of
all, are you cops?
george
no
derek
because if you are, you have to tell me
if not, it’s entrapment
george
we’re not cops. we’re from
m-ssachusettes. i mean, does he look
like a cop?
derek
i guess not. okay. you know, you’re
very lucky you’re friends of barbie’s
if you weren’t, i’d never talk to you
derek pulls a television-sized brick of quality marijuana out
from under a sink and sets it down in front of george
george
what the f-ck is that?
derek
it’s your gr-ss
tuna
wow. that’s more than we had in mind
derek
i don’t nickel and dime. you want it or
not?
george and tuna look at each other
george
we’ll take it
ext. manhattan beach – 1968 – day
series of shots
summer on the beach. it’s one big party. george and tuna
are on the beach. they are the new kings. they smoke pot
and drink brews
george and barbara get close as do tuna and maria. slowly
george’s clothes and hair start to look better, cooler
george and tuna hanging out with the surfers
george and tuna hang with barbara, maria and some girlfriends
in bikinis
george and barbara hang together at the life guard stand
george and tuna on the strand with hippy professors selling
half-ounces
derek, tuna, george, barbara, maria and the elves play
volleyball
barbecue at belmont sh-r-s apartment with george, barbara
derek, tuna, maria and different elves
george and tuna sell half-ounces to bikers
derek is having a party out of a mini-van in the beach
parking lot. george, barbara, tuna and maria are there
ext. manhattan beach – 1968 – sunset
george and barbara sit by the water, watching the waves crash
into the sand. the sky is streaked with purple and red
george
this is it for me
barbara
what is?
george
just everything. you. california. the
beach. this spot right here. i feel
like i belong here, you know? it just
feels right
barbara
you happy, baby?
george
yeah. i am
int. belmont sh-r-s apartment – 1968 – day
george walks in to find tuna and maria sitting with kevin
dulli, an old friend from back east. he’s sitting in front
of a water pipe and coughing his -ss off
tuna
look what the cat dragged in
george
holy sh-t, dulli. what the h-ll are you
doing here?
kevin
well, i’ll tell you. i was walking down
the beach, minding my business, when who
did i see but this f-cking guy. i
didn’t know you guys were living in
california
george
yeah, but what are you doing out here?
kevin
i’m on vacation. on my way back to
school
george
this calls for a joint. you want to do
the honors?
kevin
no, man. i’m too f-cked up
tuna
nice weed, huh?
kevin
f-ck yeah. i never seen nothing like
it. i’m f-cking wasted
george
right on
kevin
g-d, i’m stoned. i’m stoned. i’m
really…
george
stoned?
kevin
i wish there was sh-t like this back
home
george
yeah?
kevin
sh-t, yeah. do you know how much money
i could make if i had this stuff back
east?
tuna
no sh-t, kevin?
kevin
that’s right
george
yeah?
kevin
when there’s something to move, it’s too
easy not to. do you know how many
colleges are in a twenty mile radius?
u. m-ss, amherst, b.u….
tuna
smith. hampshire….
kevin
right. and holyoke. there are a
hundred thousand rich kids with their
parents’ money to spend, but there’s
never anything available. nothing good
anyway. i’m paying four hundred dollars
for sh-t
int. the whipping post – manhattan beach – 1968 – day
derek, george and barbara sit around. the blinds are drawn
george
the way we figure it, barbara flies to
boston twice a week. two bags per
flight. twenty-five pounds in each bag
derek
you’re kidding, right? that’s a hundred
pounds a week
george
yeah, i know, it’s a lot of weight
barbara
we’re gonna call it california
sinsemilla. sounds exotic
george
i’m telling you, derek, it will sell
derek
i don’t know…
george
here’s the best part. we can charge
five-hundred a pound
derek
come on, george, no one is going to pay
that
george
it’s already been negotiated. it’s
done. the money is there waiting
derek looks at barbara. she nods
derek
goodness
george
goodness is right. if you do the math
that’s over thirty grand a week profit
i want you to be my partner on this
derek. fifty-fifty. that’s fifteen
thousand a week for you, my friend. in
your pocket, free and clear
derek
and i only deal with you?
george
barbara and me. no one else
derek thinks about it
barbara
it’s gonna work, derek
derek
i don’t know. east coast. airplanes
it all sounds pretty risky
george
she’s a flight attendant. they don’t
check her bags
ext. los angeles international airport – 1968 – day
george drops barbara off in her uniform curbside. they kiss
and she walks away with two big, red samsonites. she checks
them with a skycap and tips him
ext. sky – 1968 – day
a huge jet goes right to left through frame
int. logan airport – gate – boston – 1968 – day
barbara is greeted by kevin dulli with a hug. a baggage
claim check is slipped into kevin’s hand
barbara
any message?
kevin
keep it coming
int. logan airport – baggage claim – boston – 1968
we see barbara’s two red samsonites being taken off the belt
by kevin
int. logan airport – gate – boston – 1968
same scene repeated, except different clothes on all. maybe
kevin is dressed a little better
kevin
more
int. logan airport – gate – boston – 1968
the same scene repeated, same things changed again; now kevin
is definitely dressed a little better
kevin
i need more
barbara
what do you want me to do? i can only
take two bags, and i can’t fly back here
everyday
kevin
i know, but i’ve got a feeding frenzy on
my hands. tell george this is small
potatoes. we’re missing out on some
serious cash. you tell george. he’ll
think of something
ext. winnebago – 1968 – day
music cue:
tuna drives the big winny. maria rides shotgun. barrelling
cross-country, it’s a party on wheels
ext. white oak lodge – amherst – 1968 – night
kevin and his girl, rada, are the welcoming committee as the
rv pulls into the parking lot. they wave, slap the sides of
the winnebago, and greet the prodigal sons with hugs and
handshakes
int. white oak lodge – amherst – 1968 – later
george’s room is rustic and plush. a log fire burns and
empty champagne bottles adorn the surroundings. the girls
have taken to each other. the music is loud, and they dance
while the boys do business. kevin counts out the money
it’s stacked in piles all over the table
kevin
twenty, forty, sixty, eighty, nine
twenty, forty, sixty, eighty, a
thousand. it’s all there. wow. a
hundred and twenty-eight thousand
dollars
tuna
jesus christ, i’m getting a b-n-r just
looking at it
but george isn’t paying attention. his wheels are turning
kevin
what’s the matter, george? something
wrong? you look like you just f-cked
your mother
tuna
cheer up, man. half this money is ours
we’re f-cking rich
george
it’s not enough
kevin
what?
tuna
what the f-ck are you talking about
man?
george
the set-up is wrong. we’re doing all
the legwork, and at the end of the day
we’re still paying retail. we’re
getting middled
kevin
so?
george
so, we need to get to the source
tuna
source? what about derek?
george
he’s getting middled, too. and derek’s
our partner. what’s good for us is good
for him
kevin
okay. so we need a source. where do we
start?
george
who speaks spanish?
ext. puerto vallarta – mexico – 1968 – day
music cue
superimpose: puerto vallarta, mexico
we pan off the beautiful waters of puerto vallarta. this is
a local beach on a sat-rday afternoon. the girls on the
beach are drinking coco-locos and swimming
series of shots – the gang looking for a connection
george with a bartender
tuna and dulli with cabbies
george and derek talking with a local man, ramon, at a corner
bar
barbara, maria and rada talk with local girls
ext. oceana bar – puerto vallarta – 1968 – day
tuna
this is bullsh-t, george. we’re never
going to find anything down there
kevin
you know, he’s got a point. we’re
f-cking americans. we stick out like
sore thumbs
derek
i don’t think so
george
you guys are such babies. you want to
go home, go. me, i’m not going to stop
until i find the f-cking motherlode
rada
georgie, we’re gonna get busted if we
keep this up
george
we’re not gonna get busted
kevin
george, we’ll wind up in a mexican
prison getting f-cked up the -ss by one
of maria’s relatives
maria
hey, f-ck you, dulli. i’m not mexican
i’m italian
barbara
you’re italian?
kevin
yeah, right. gonzales. what is that
sicilian?
tuna
as far as i’m concerned, we’re on
f-cking vacation
he grabs maria, runs and does a huge belly-flop into the
water. they all laugh
series of shots
george and barbara with local musicians on the beach
george and derek at a cab stand
george talks with a bellboy in the lobby of a local hotel
int. cocos frios bar – puerto vallarta – 1968 – day
george, barbara, tuna, derek, maria, kevin, and rada are at
the bar. ramon comes up to george, they briefly discuss and
george follows him out of the bar
ext. streets – puerto vallarta – 1968 – day
george and ramon climb into a beat up v.w. bug and take off
ext. countryside – puerto vallarta – 1968 – day
fields and farms. the v.w. bug pulls up to an old ranch
they get out of the bug and are greeted by santiago and his
three sons
santiago
ramon tells me you are looking for some
mota
george
yes, i am
santiago moves to a tarp and pulls it back to reveal many
bales of green, seedless sinsemilla
santiago
for instance, something like this?
george
very nice. i’ll take it
santiago
ha ha ha. you are funny. really, how
much will you be needing?
george
all of it. as much as you’ve got. a
couples thousand pounds. i’ll be back
in a week with a plane
santiago
listen, americano, it is very nice to
meet you, but maybe we are going too
fast. you take a little and then come
back
george
i don’t need a little. i need a lot
santiago
marijuana is illegal in my country, and
i believe in yours, as well. we must be
careful
george
what if i brought you, let’s say, fifty
thousand dollars? would that eliminate
some of your concerns?
santiago
amigo, you bring me fifty-thousand
dollars, and i have no more concerns
ext. santa monica airport – 1968 – day
a pair of boltcutters snaps the chain off a single-engine
cessna
tuna
i can’t believe we’re stealing a plane
kevin
don’t be such a p-ssy
george
it’s fine. we’re not stealing it
we’re borrowing it. and try to look
natural. we’ve got company
a mechanic working on the adjacent plane is giving them the
hairy eyeball
george (cont’d)
be cool
the three boys nod their heads in acknowledgement and give a
small wave. the mechanic smiles and waves back
int. cessna – 1968 – day
the engine is on and the propeller is spinning. kevin is at
the controls. tuna is not making the trip. he pokes his
head in before shutting the c-ckpit
tuna
you guys are f-cking insane
george reads from a flight manual
george
alright, pull back the throttle…
the engine screams
george (cont’d)
not that far, only halfway. you sure
you know what you’re doing?
kevin
relax. i’ve flown with my old man a
million times. and he always told me
the taking off part is easy, it’s the
landing you’ve got to worry about
ext. santiago farm – mexico – 1968 – day
the plane tries to land. it’s a clumsy one. the cessna is
tipping and touching, first one wheel, then another, almost
sideways before straightening out and stopping. george and
kevin hop out of the plane. they are greeted by santiago and
the mexican contingency
amigos
hola, george! bienvenido!
george hands out presents to everyone. he’s like santa
claus, giving gifts to every man, woman and child. they love
him. santiago pumps george’s hand
santiago
good to see you, jorge. you are a man
of your word
george
actually, i’ve got some news. that
fifty thousand i promised you, i
couldn’t get it
george throws santiago a duffel bag
george (cont’d)
so i brought you sixty
ext. dry lake beds – twenty-nine palms, ca. – 1968 – dusk
rada sits in the winnebago and keeps flashing the headlights
barbara, tuna, and maria stand on top of the winnebago waving
big, white towels. the plane descends from the sky and
touches down, making another extremely shaky landing
int. foreal’s house – manhattan beach – 1968 – night
it’s on the water and beautiful. the furnishings are
distinctly derek foreal. it’s a surreal scene
the holiday decorations are up, topless women in elf outfits
sip champagne, and a thousand pounds of cannabis lays on the
living room floor
george
are you sure you want to do this in
front of everyone?
derek
don’t be ridiculous, these are my
babies
george empties the pot all over the floor
derek (cont’d)
george, you’re a g*nius. we’re rich
come, children
the girls dive on top of derek, caressing and kissing him
derek (cont’d)
george, get my camera
derek poses with a load of marijuana like it’s a new fur
derek (cont’d)
take a picture of me, george. take a
picture of me with my new friends
it’ll be a fabulous christmas card
int. villa – puerto vallarata – 1970 – day
a mexican real estate agent shows barbara and george a
sprawling villa in puerto vallarta. it’s amazing. white
marble on the water. george looks at barbara
george
should we buy it?
barbara
are you kidding?
george
we’ll take it
ext. villa – puerto vallarata – 1970 – magic hour
the team is there. all of them. george, barbara, kevin
rada, tuna, maria and derek with a couple of new senorita
friends. they all wear identical mexican sombreros. a
mexican boy approaches them with a camera
mexican boy
picture?
they pose, their arms thrown around each other in
camaraderie, and flash. the picture freezes and we dissolve
int. the buggy whip – weymouth – 1972 – night
george is taking barbara and his parents out to dinner. the
buggy whip is ermine’s favorite
ermine
i just can’t get over the size of that
ring. i just love it. fred, look at
it. tell me you don’t love that ring
fred
i’m just happy that george has found
someone he cares for
ermine
yes. of course. but, i’m talking about
that ring. it’s something else. let me
tell you
barbara
george has exquisite taste
ermine
what is that, two carats? that’s got to
be two carats
barbara
i don’t know
ermine
yes. it’s at least two carats, darling
treasure it
fred
hard to imagine being able to afford a
ring like that on a construction salary
all eyes turn to george, who fumbles
george
well, you know. it’s um…
ermine
oh, shut up, fred. shut your big fat
mouth. you don’t buy it all at once
it’s called layaway
fred
layaway shmayaway
ermine
that’s right. layaway. something you
wouldn’t know anything about, you
cheapskate
fred
who’s the cheapskate?
ermine
you, you big old tightwad. he still has
his communion money. tell him, george
tell your father about layaway
george
yeah, layaway
ermine
the boy is happy, fred. don’t be such a
k!lljoy
fred
k!lljoy?
george looks to barbara, whose nose is bleeding
george
honey, your nose!
barbara
oh my g-d, i’m so sorry
ermine
barbara, here, take my napkin
barbara
thanks. i’ll be okay
george
you wanna split?
barbara
yeah, i don’t feel so well
george
okay, guys, we’re gonna leave. let’s
get the check
ext. the buggy whip – weymouth – 1972 – later
george and barbara exit the restaurant
george
are you sure you’re okay? you’re pale
barbara
i feel like sh-t. me and my frigging
nosebleeds
george
i’m taking you to the doctor when we get
home, and i don’t want to hear any
arguments
barbara
would you be b-mmed out if i didn’t go
to chicago with you?
george
no, not at all. sure. you’re right
you fly home and get some rest
barbara
nice first impression. a nose bleed in
front of your parents
george
oh my g-d, how embarr-ssing were they?
i wanted to shoot myself
barbara
oh, they weren’t that bad. i mean, they
were kind of cute
george
promise me that we’ll never be like
them. i don’t want to wind up like
that
barbara
relax, baby. we’re going to wind up
like us
int. police station – chicago – 1972 – day
superimpose
mug shots of george. left, right, center. george sits
handcuffed to a chair. piles of marijuana bricks roll past
him
george (v.o.)
i had a little problem in chicago
something about trying to sell a
truckload of dope to an undercover
officer. so i applied the three rules
of the game under if and when arrested
int. cook county courthouse – chicago – 1972 – day
george and his court appointed attorney stand before the
judge at the arraignment
george (v.o.)
rule one: don’t fight. a trial will
cost you a fortune in lawyer’s fees and
the jury will chop off your b-lls and
hand them to you on a platter
judge
george jung, you have been accused of
possession of six-hundred and sixty
pounds of marijuana with intent to
distribute. how do you plead?
george (v.o.)
rule two: plead not guilty and get
bailed out of jail
george (cont’d)
your honor, i’d like to say a few words
to the court
the court appointed attorney puts his head in his hands
judge
by all means
george
in all honesty, i don’t feel like what
i’ve done is a crime and i think it’s
illogical and irresponsible for you to
sentence me to prison. none of the real
criminals of the world ever end up
behind bars. i mean, when you think
about it, what did i really do? cross
an imaginary line with a bunch of
plants? you say that i’m an outlaw, you
say that i’m a thief, but where’s the
christmas dinner for the people on
relief?
george stops when his attorney stamps on his foot. the court
officers roll their eyes and the judge smiles
judge
those are very interesting concepts you
have, mr. jung
unfortunately for you, the imaginary
line you crossed is real, the plants you
brought with you are illegal, and what
you did const-tutes a crime
the judge slams his gavel
judge (cont’d)
bail is set at twenty-thousand dollars
ext. cook county courthouse – chicago – 1972 – night
george walks out, free on bond, to find barbara waiting for
him. she doesn’t look so good
barbara
surprise
george
baby, you didn’t have to come
barbara
what, and miss all the fun? c’mon, not
a chance. so, what’s the verdict?
george
lawyer says he can plead it down to five
years. i’ll serve two
barbara
two years. george, i can’t wait that
long
george
what? you’re not going to wait for me?
barbara
george, i went to the doctor. i don’t
have two years
george (v.o.)
which brings me to rule number three:
which says, f-ck rules one and two, skip
bail and take off
ext. rent-a-car – 1972 – day
george hits the gas and the car screams down the road
ext. villa – puerto vallarta – 1973 – golden hour
george and barbara sit on the veranda drinking champagne and
watching the sun go down over the pacific. barbara is
completely bald. rail thin, eyes sunken
but it doesn’t matter. they’re having a great time. they
laugh and hold hands and laugh some more
ext. cemetery – puerto vallarta – 1973 – day
everyone is there. all in black. barbara’s casket is
lowered into the ground and george climbs to his knees to
push the first dirt on the grave
george (v.o.)
time is such a funny thing. i look at
where i am now, and in here, time inches
along. so slow, it hardly seems like it
moves. but back then, time went fast
ext. otisville f.c.i. – new york – 1999 – day
george pushes dirt along the edge of a flower root. still
planting those sunflowers, he presses down firmly, standing
before him is barbara, still beautiful and young with flowing
locks. george raises his hand and makes a small wave
barbara opens and closes her hand. bye bye
george
it went too fast
george looks down and barbara is gone. no barbara
ext. jung house – backyard – weymouth – 1973 – night
george hops the fence like he did when he was a boy and goes
in the back door
int. jung house – kitchen – continuous
ermine looks at george blankly
george
hi, mom
ermine just keeps looking at him
george (cont’d)
surprised to see me?
ermine
take your boots off. you’re tan
george
mexico
ermine
yeah. we heard all about it. i want
you to know i’m deeply sorry about your
girlfriend
george
barbara
ermine
yes, barbara. she was very pretty
george
thank you. have you been getting the
money i sent you?
ermine
you mean the drug money? yes, i got it
ermine’s hands are trembling. she is emotional. she hugs
george ferociously, not letting go
ermine (cont’d)
g-d, son
george
okay, mom. it’s okay. where’s dad?
george turns around to see fred’s beaming face
int. jung house – kitchen – later
george and fred sit at the table, a bottle of scotch sits
between them. the gl-sses are raised
george
may the wind always be at your back and
the sun always upon your face…
fred
…and the winds of destiny carry you
aloft…
both
…to dance with the stars
the gl-sses clink and the drinks are sucked down
int. jung house – later
the bottle is dwindling. george and fred are feeling it
fred
you alright?
george nods
george
just low
fred
you loved her, didn’t you? you really
loved her
george
yeah, dad. i really did. what am i
gonna do?
fred
tough spot
the gl-sses are refilled
george
you mad at me?
fred
not mad
george
yeah, you are. i can tell by the way
you look at me
fred
i just don’t know what you’re thinking
i don’t understand your choices. you
know, the police are looking for you
george
i know. i’m great at what i do, dad. i
mean, i’m really great
fred
let me tell you something, son. you
would have been great at anything
something outside catches george’s eye. a light. a
reflection. a movement. george is up and on the move
fred (cont’d)
where are you going?
ext. jung house – night
the front door opens and federal agents pour into the house
int. jung house – continuous
george is up the stairs in a flash
ermine
george!
int. george’s bedroom – continuous
george slams the door behind him, moves over to the window
and opens it. cops everywhere. he’s trapped. out of
options, he folds. he moves to the corner and sits down
turns on the train set. a knock on the door is heard. fbi
agent, james t. trout
trout
george jung, you are under arrest
fred
open the door, son
ext. jung house – later
they lead george outside in handcuffs. ermine and fred
watch
ermine
i had no choice
george stops and looks at his mother, for the first time
realizing her betrayal
ermine (cont’d)
don’t look at me like that. what was i
supposed to do? you’re in our house
what, was i supposed to be an
accomplice?
as george is led to the police car, ermine follows
ermine (cont’d)
you don’t think people know you’re a
drug dealer? everyone knows. it’s no
secret. how do you think that reflects
on me? every time i go out, i’m
humiliated. i see the stares. i hear
the whispers. how do you think that
makes me feel? did you ever once stop
and think of me?
george’s head is pushed down as he is put in the squad car
he looks up at his mother
ermine (cont’d)
so you go to jail. it’s for your own
good. you need to straighten your life
out
int. danbury f.c.i. – 1974 – day
superimpose:
george is being led through a series of gated corridors
guard
prisoner in
as he walks, he takes in the faces of the other inmates. he
arrives at his cell and notices he has a roommate
guard (cont’d)
prisoner in
the cell door opens and george steps inside. there are books
and papers spread out over both bunk beds. george watches as
his cellmate quickly clears everything off the top bunk
apparently, the papers are private. george puts his things
down and the little man proffers his hand. he is dark
polite and colombian
diego delgado
my name is diego delgado. how do you
do?
int. danbury f.c.i. – mess hall – 1974 – day
george pushes his tray through the cafeteria line. diego is
behind him
diego
if you don’t mind me asking, what is the
reason you are in this place?
george
what?
diego
your offense? why are you here?
george
i don’t want to talk about it
diego
intriguing. i see. would you like to
know my crime?
george
not really, no
diego
no?
george
i don’t like a lot of conversation
diego
diego
me, too. too much blah, blah, blah
blah is no good. but we are roommates
okay? and we must talk to each other
i am arrested for stealing cars. for
the grand theft auto. okay? so, now it
is your turn. now you will tell me
okay? you will tell me why you are
here?
george says nothing. he keeps eating his food
diego (cont’d)
oh, come on, george. if we are to be
friends, we must trust each other
george
murder
diego
ah, yes. the murder
int. danbury f.c.i. – george’s cell – night
george lays on his bunk, smoking. diego is on the bottom
bunk, furiously writing on a notepad. he flips through his
books and rustles his papers. george peeks over the side to
see what diego is doing
george
what do you got there, diego?
diego
nothing. just a little project
george
what kind of project?
diego
never mind. not for you to worry
george
i thought you said we were roommates
that we should talk about everything
diego
you have your intrigues. i have mine
this is a happy day for me, george
nine months from today, i will be in
medellin sipping champagne. in nine
months, i am free. how much time do you
have?
george
twenty-six months
diego
twenty-six months? for murder? i must
be your lawyer
george
i’ve got to get out of here, diego
diego
only two ways i know to leave here
early. one is to escape
george
what’s the other one?
int. danbury f.c.i. – cl-ssroom – day
george is trying to teach basic education to the inmates
the room, mostly black and hispanic, is hostile. they don’t
want to learn
george
alright, let’s open our books
inmate #1
man, f-ck you
inmate #2
we ain’t opening sh-t
inmate #1
you just the warden’s boy. we on to
you. you just trying to knock some time
off, -sskissing motherf-cker
diego watches as the room reacts with laughter. this ain’t
going to be easy
george
alright. you’re right. i want to get
out of this sh-thole as fast as i can
and i don’t want to do this any more
than you do. but for me to walk early
some of you have to graduate. you
forget about it. you’re hopeless, go to
sleep
the room laughs again
inmate #3
d-mn, homeboy, you got ruined
george
but the rest of you could get diplomas
and get jobs when you’re on the outside
the room looks at him. they ain’t buying it
inmate #1
sh-t, i’m in for life
inmate #2
i’m a criminal. i ain’t getting no
motherf-cking job
george
we can learn some criminal sh-t, too
alright, i’ll make you a deal. what if
half the time, we learn about george
washington, and the other half, i’ll
teach you how to smuggle drugs?
inmate #2
man, you don’t know d-ck about smuggling
no drugs
george
i was arrested in chicago with six
hundred and sixty pounds of gr-ss. i
think that qualifies me
diego looks up from his desk, suddenly very interested
inmate #1
how did you get a hold of six-hundred
and sixty pounds of dope?
george
flew it in from mexico on a single
engine cessna. now, do we have a deal
or not?
they react. they’re in
george (cont’d)
alright, the first thing you need to
know about smuggling drugs is that it’s
easy. the dea are a bunch of losers
they couldn’t find their d-cks in a
wh-r-house. they don’t know what the
f-ck they’re doing…
diego watches george winning over the room. he listens
intently to george’s every word. his wheels are turning
int. danbury f.c.i. – george’s cell – night
lights out. diego and george lay in their cots. george is
tired. diego is not
diego
george? hey, george? i listen to what
you say to the cl-ss today about the
smuggling. you are a magico, ah?
george doesn’t respond
diego (cont’d)
i never believed you were a murderer. i
knew. i knew you are a magico. i have
seen it in you. it’s in your spirit
george
i’m tired, diego. go to bed
diego
you like to make the boundaries
disappear. it’s not only the money, is
it, george? the adventure is part of
the victory. it’s the thrill, ah?
george
good night
diego
in my country, i am a magico. a man
with a dream. a man on the rise. to
take nothing and make it something
okay? i have failed my dream, but i
will accomplish. that is why i am in
your country. yes, i lose my freedom
but they do not take my dream. do you
have a dream, george?
george
i would if i could get some sleep
diego
yes, you have a dream. and maybe you
accomplish your dream. but yet you
failed. why?
george
because i got caught
diego
no, my brother
george
because they caught me?
diego
you failed because you had the wrong
dream
diego climbs off his bunk and looks george square in the eye
diego (cont’d)
george? what do you know about cocaine?
int. danbury f.c.i. – mess hall – day
george
i don’t know, diego. i’ve got a good
thing going already. everybody smokes
pot. it’s easy. cocaine is a rich
man’s drug. it’s too expensive
diego
no, no. that is where you are wrong
for us, it is cheap. in medellin, we
buy for six-thousand dollars a kilo. in
miami, we sell for sixty
george’s interest is piqued
george
that’s over fifty-thousand dollars
profit per kilo
diego
and that’s wholesale. cut it a few
times and retail, you’re looking at two
three-hundred thousand
george
oh my g-d
diego
yes. and a kilo of coca is smaller than
a kilo of your precious marijuana
everything is the same, george, except
instead of thousands, you are making
millions
george
jesus christ. jesus f-cking christ
diego
now do you see what i am saying?
george
getting it here is no problem. trust
me. i’ll fly it in myself if i have to
what about supply? how much can we get?
diego
don’t worry. we will talk of
everything. we have the time. you
arrive here with a bachelor of
marijuana, but you will leave with a
doctorate of cocaine
int. danbury f.c.i. – george’s cell – night
diego and george pouring over diego’s plans. discussing
planning, plotting
diego
what type of planes do you have?
george
four p-ssenger, single engine cessna
diego
how many kilos can we fit in these
planes?
george
i don’t know. a hundred, hundred and
fifty. how many miles is it from
colombia to miami?
diego
fifteen hundred. we’ll have to stop
somewhere to refuel
george
we’ll refuel in the bahamas. i know
someone there
diego
great. i love the bahamas
ext. liquor store – weymouth – 1976
superimpose: july, 1976
george is at a payphone. he drops in about a million
quarters until he is finally connected
george
diego delgado, please?
diego
allo?
george
diego? it’s george
diego
george, hallo! today is the day, ah?
are you out?
george
yeah, i’m out
diego
congratulations, brother. i’ve been
waiting for you
george
how are we doing?
diego
perfect, george. perfect. everything
is fine down here. everything is all
set up
george
do we need a plane? how does this work?
when do i see you?
diego
slow down, george. slow down
fred exits the liquor store carrying two bottles of dom
perignon. as he catches george’s eye, he lifts the bottles
showing them off. george holds up his finger, indicating
he’ll be just a second
diego (cont’d)
you need to come down here, everybody
meets everybody. ho ho ho. ha ha ha
we do one for good faith and then we
talk about airplanes
george
i can’t go anywhere, diego. i’m on
parole. i can’t leave the state
diego
but you must. it’s the only way
george
i just got released five minutes ago
diego
george, are we gonna do this or not?
ext. b-sseterre hotel – antigua – poolside – 1976 – day
george steps outside and spots diego. their eyes meet
diego looks different, relaxed. he wears a straw hat
shorts, and sports a healthy tan. the two men embrace
george
good to see you, diego
diego
yes. look around you. the sun. the
water. the women. it’s better than
danbury, no? come on. i have some
friends i would like you to meet
ext. b-sseterre hotel – antigua – poolside – 1976 – day
diego and george sit with five other colombians, most
notably, a man named cesar roza. the mood is not friendly
diego
fifteen kilos. seven and a half in each
suitcase. you receive a hundred
thousand dollars upon delivery
george
okay
cesar
not so fast. i would like to go over
the details
george
what details? i put the c-ke in the
false bottoms and take it through
customs
cesar
tell me about the suitcases. what is
the make and the color?
diego
samsonites. red. no tags
cesar thinks about it
cesar
hmm. i see. will there be clothes in
the suitcase?
george
what? yeah, sure
cesar
whose cloths? your clothes?
george
my clothes, your clothes. what does it
matter?
cesar
i would like to know the contents
every detail is important
george
what are we doing here, diego? this
guy’s a clown. he’s talking about
clothes
cesar
i demand to know everything. i do not
trust six-hundred thousand dollars of
coca to someone i don’t know
george
it’s a lousy fifteen kilos. i p-ss
fifteen kilos
cesar
the coca is my responsibility!
george
you’re a f-cking amateur!
diego
gentlemen, please. there is no need to
be impolite. cesar, this will be fine
you have my word. george, cesar is just
being thorough. that’s all
cesar
very well. but just remember, mr. jung
i will be with you the whole way. and i
will be watching
int. logan airport – customs – 1976 – day
george carries the two samsonites over to customs
inspections. it’s a long walk. george’s heart beats hard
the sound is audible and grows with every beat. ba-b-mp. ba
b-mp. cesar lurks at the baggage carousel
george (v.o.)
when you’re carrying drugs across the
border, the idea is to remain calm. the
way i do it is to think of something
pleasant, a fun party, a moment of
triumph. a s-xual encounter. i
actually project myself to that place
anything to keep your mind off the fact
that you’re going to jail for a very
long time if they find the fifteen kilos
of cocaine in your suitcases
george stands in front of the customs agent. he tries his
best to look relaxed as the agent reviews his doc-ments
customs agent
on vacation?
george
yes
customs agent
on vacation for only one day?
ba-b-mp. ba-b-mp. the heartbeats are very loud
george
(weak smile)
my brother’s wedding. imagine that
huh?
george’s breathing is labored and his swallowing reflex
doesn’t seem to be working. cesar p-sses through, eyeballing
george the whole time
customs agent
open your bags, please
george opens the samsonites. super dry mouth. ba-b-mp. ba
b-mp. the beats are deafening now. cesar nervously monitors
the situation from the payphones
customs agent (cont’d)
whose clothes are these?
george
mine
the customs agent holds up a woman’s undergarment. cesar
throws up his hands in frustration
customs agent
and this?
george
what can i tell you? different strokes
george winks at the customs agent, who shakes his head before
finishing the inspection
customs agent
alright, go ahead
ext. logan airport – payphones – continuous
george moves to the payphones, sets down the two suitcases
and pretends to make a call. not inconspicuously, cesar
grabs the bags and walks quickly out of the terminal
int. b-sseterre hotel – antigua – 1976 – day
diego, cesar, george and jack stevens, a silver haired
executive type, lounge around the mini-suite. cesar still
has that crazy look in his eye
diego
three-hundred kilos it is, then
a beautiful latin woman enters and kisses both diego and
cesar. her name is inez, and friendly she is not
diego (cont’d)
has everyone met inez? this is george
i’ve told you about him. and this is
friend, jack stevens
the men proffer their hands, but she just looks at them like
ants before sitting down next to diego
diego (cont’d)
try to be more respectful, darling. my
apologies. but she is mistrustful of
americans. shall we proceed? let’s
hear it again, mr. stevens
stevens
i’ll fly down on a friday, refuel in the
bahamas, and then to medellin
inez
friday?
inez addresses diego and cesar only. she speaks in spanish
the conversation is about “why friday?” inez has some
problem with it. diego explains. and inez is re-ssured
diego
please, continue
george
we make the pick-up, refuel once more in
the bahamas, and fly back on sunday with
the mom and pop traffic
cesar
why are you speaking?
george
excuse me?
cesar
you. your responsibility is over. you
do not fly. you are not a pilot. you
are not a distributor. you introduced
us to mr. stevens and the use of his
airplane. that is all. you make a
percentage. a generous one. and you’re
lucky to get that
george
i see. how much?
cesar
padrino will pay ten-thousand per kilo
for everyone. for you, and you, and
you
he indicates george, diego and jack stevens
cesar (cont’d)
there is no negotiation. three-million
dollars. that is all
stevens
i want two
george
gee, jack, a million each had such a
nice ring to it
stevens
no way. i’m doing all the work. taking
all the risk, and it’s my plane
diego and george look at each other
stevens (cont’d)
hey, you guys don’t have to do sh-t
just sit back and collect your money
george
you good with this?
diego nods
george (cont’d)
alright
this is too much for inez to handle. she starts screaming
machine gun spanish. something about a “lousy two-hundred
and fifty-thousand dollars,” and how diego is “such a coward”
to give away all his money. diego is embarr-ssed but tries
to remain calm
diego
you will watch what you say. especially
around george. he is my brother and he
speaks as good spanish as you
but inez is wild. she starts in again, a log of “putos
(sob’s)”, and “cojones” and “maricones (g-y/sissys).” even
cesar is uncomfortable. diego stands
diego (cont’d)
okay. that’s enough
inez
get your hands off me
inez takes a swing at diego and catches him full across the
face. time stops in the room. question. what will diego
do? answer: smack! diego swings back and a full scale is
on. cesar continues the conversation. it’s surreal. as if
diego and inez weren’t beating the sh-t out of each other
right in front of them
cesar
do you have pictures of your kids?
stevens
what?
cesar
i’ll need to see them. also need their
names and the names of their schools
we are trusting you with ninety million
dollars worth of coca, mr. stevens
without your children, there is no deal
stevens thinks about it. kids as collateral. inez and diego
are still duking it out. but diego finally gets the upper
hand and drags her into the bedroom
stevens
fine. so if that’s all, i’ll be leaving
now
cesar walks him to the door
cesar
don’t forget the pictures
diego calls from the other room
diego (o.s.)
george. george, come in here
int. la belle mer – bedroom – later
diego has put inez in the bathroom and is holding the door
closed. she pounds and kicks and screams in frustration, but
he pays no attention
diego
what’s the matter, george?
george
what’s the matter? we’re moving three
hundred f-cking kilos and we’re making
dogsh-t
diego
a million dollars for our first run is
not bad, george
george
it is bad. it’s chump change. we might
as well be hauling suitcases across the
border. we’re getting screwed
diego
i know
george
and what happens when these guys stop
paying? sooner or later, these guys are
going to cut us out. then where are we?
diego
that’s my george, always thinking
the door is yanked open to reveal inez. she is in a rage
diego slams it in her face
diego (cont’d)
this is only part of the business
george. a very small part. don’t
worry, there is so much more to do
which reminds me, i need a favor from
you. i must go to colombia
george
what is it, george? because i have to
get home. i’ve got a parole officer
waiting for me
diego
i need you to go to miami
ext. venetian king apts. – miami – 1977 – day
george gets out of a taxi to find several colombian men
hanging around outside an apartment. he checks the address
and moves over to the men
george
i’m george. friend of diego’s?
the colombian men are not impressed. they grab george and
pull him inside
int. venetian king apts. – continuous
george is pinned against the wall and the colombian men all
start screaming at him in spanish. there seems to be a
problem. a man, alessandro, steps forward. he is the one
who speaks english
alessandro
quiet! callate! where’s diego?
george
i don’t know. he sent me. i’m george
alessandro
oh, i see. george. well, that explains
everything. open your mouth, george
george’s puzzled look is replaced by a gun barrel in his
face. alessandro presses it against george’s front teeth
alessandro (cont’d)
now, you listen to me. are you hearing
me?
george nods
alessandro (cont’d)
you see this?
he indicates two duffel bags stuffed with fifty kilos of
cocaine
alessandro (cont’d)
i’ve been holding this sh-t for him for
three weeks. you tell diego i don’t
appreciate it. you tell him i want my
money by friday. can you do that?
george
um-hmm
int. jung house – george’s room – day
george sits on his bed, reading. two duffel bags are tucked
away in the closet. ermine pokes her head in
ermine
you have a phone call
george picks up the phone
diego (o.s.)
george
george
jesus christ, diego, where are you?
it’s been eleven days and these guys
want their f-cking money
diego (o.s.)
bad news, george. i’m in colombia
george
well, you better get here fast. i’m
sitting on…
george notices ermine is loitering in the hallway
eavesdropping
george (cont’d)
hi, mom
george acknowledges her before shutting the door in her face
george (cont’d)
i’m sitting on fifty f-cking keys. get
your -ss up here
int. carcel de varones – medellin, colombia – continuous
it’s a south american prison. diego is on the pay phone
diego
it’s a little hard to get away right
now. i’m afraid you’re on your own
int. foreal’s house – manhattan beach – 1977 – night
george and derek sit in the living room with mr. t, a hippie
ish looking professor. on the table sits various
paraphernalia. scales, beakers, test tubes, and a hot box
george and derek watch as mr. t scoops some of george’s
cocaine and sets it onto the two-inch metal plate
mr. t
what we’re doing is measuring the
purity. pure c-ke melts out a hundred
and eighty-five, a hundred and ninety
degrees. cutting agents melt much
lower. about a hundred degrees
quality product starts melting at a
hundred and forty degrees. that’s what
i’m hoping for
mr. t turns the dial. 120. 130. 140
mr. t (cont’d)
good
150. 160
mr. t (cont’d)
jesus christ
170. 180
mr. t (cont’d)
holy f-cking mary! jesus, f-ck me
running! where did you get this sh-t!
at one-hundred and eighty-seven degrees, the white powder
dribbles off the hotplate and melts away
mr. t (cont’d)
d-mn! can i do a f-cking line?!
mr. t puts his nose in the powder. george pulls foreal
aside
george
what did i tell you?
derek
it’s great and everything, but what am i
going to do with all this?
george
sell it?
diego
jesus christ, george, i don’t see you in
two years, and you show up at my door
with a hundred and ten pounds of
cocaine?
george
just sell it, derek
derek
alright, but it’s gonna take me a year
int. the whipping post – manhattan beach – 1977 – night
money everywhere. all over the floor, the counters, the
chairs, and even in the sinks. george and derek count the
money patiently, writing the dollar amount in yellow high
lighter on the top of each stack, before wrapping it with a
rubber band
diego
thirty-six hours. i can’t believe it
everything is gone in thirty-six hours
george
i think it’s fair to say you
underestimated the market there, derek
diego
touche
george
but to the victor belong the spoils
george divides the money. there’s a h-ll of a lot
george (cont’d)
half a million for you. half a million
for me. one-point-three five for the
colombians
derek
nice doing business with you, george
george
not bad for a weekend’s work, huh?
int. airport – miami – day
immaculate in his white turtleneck and sungl-sses, george
walks with two aluminum cases. he is greeted by alessandro
and his thugs
alessandro
greetings, mr. george
george
where do you guys want to count?
alessandro
on the plane
george
what plane? we going someplace? where
we headed? you have your money. it’s
all there. what the f-ck is going on?
they usher him away
ext. olaya herrera airport – medellin – day
superimpose: medellin, colombia
the lear jet lands
ext. deserted sugar factory – los rios, colombia – day
the blazer pulls into a long driveway. they approach a gate
where shirtless teenagers with mac-10’s stand guard. the
gate opens. young soldiers open the door for george and
roughly usher him over to a jeep within the confine. they
frisk him top to bottom. diego is leaning against another
jeep and waits for george to be released
diego
george, good to see you, my brother
george
what the f-ck is going on? when did you
get out of jail?
diego
pablo used his influence. now, george
watch what you say. everybody hears
everything. a lot of things get said
and done that, well, let’s just say this
isn’t america. life is cheap here, you
know? no offense, but you know what i’m
saying?
george
yeah. keep my mouth shut and let you do
the talking
diego
right. now who is the person in
california? the connection?
george
just a friend
diego
who? i need to know. ah, never mind
we’ll talk about it later
george
yeah. you do the talking
the sound of a young man, a maleton, struggling can be heard
in the distance. from another area, pablo escobar emerges
he is singular in purpose. he is handed a pistol and moves
quickly over to the man and quietly speaks a few words. and
then, without emotion, he shoots the maleton in the head
george and diego, who is visibly shaken, watch. escobar is
handed a towel, and he wipes the splattered blood off his
hands, as he moves back
large colombian man
he will see you now
(to diego)
not you
diego
there must be some kind of mistake
large colombian man
no mistake. mr. escobar will see mr
jung alone. you are to wait here
george hesitates
diego
it’s alright, george. you go
large colombian man
this way, please
the large colombian man escorts george towards the area where
the maleton was just shot. george looks back at diego as he
is led away
escobar
so, this is the man who takes fifty
kilos and makes them disappear in one
day?
george
actually, it was three
escobar
the man who gives us the airplanes. the
man from america. the mafia. chicago
boom boom. hollywood. you are going to
open for us the gates of hollywood
george?
george
it would be my pleasure
escobar
good. very good. welcome, my friend
welcome to my country
escobar moves over to embrace george. george returns it, and
their hands come together. george can’t help it. he
reflexively looks at his hands. escobar understands
escobar (cont’d)
the man in the garden. he was full of
courage
george
un sapo?
escobar
un rata – no good. but he could have
run, fled the country. gone to the
policia. but then his wife, his
children, his parents, his friends, many
people would die
george
yes
escobar
but, never mind. i am thinking we can
do much together. this problem with
diego, the stolen car, the jail, is very
silly business. to release him from the
carcel, it causes me much inconvenience
the fifty kilos could have been a big
problem. and i don’t like problems
george
with all respect, padrino. diego is my
partner. i do not do business without
him
escobar looks at him with a cold stare. but george doesn’t
flinch. his face reveals nothing. finally, a smile breaks
across pablo’s lips
escobar
i like you, george. you are loyal
that is good. that is rare. maybe
crazy. yes. i can tell already. you
are like me. i look at you and i see
myself. it’s in the eyes, no, george?
george
yes, it is
escobar
so, you are wanting to sell the cocaine
for me in your country, george?
george
yes, sir. as much as you can give me
escobar
as much as i can give you? ha ha. very
good. i like that. come, george. let
us drive. we have much to talk about
diego watches the two men walk outside. escobar throws an
arm around george’s shoulder. pablo hops into a jeep and
motions for george. the bodyguards come running. but pablo
waves them away
ext. mountainside – colombia – day
escobar pulls the jeep off the road and parks it. before
them is a stunning panorama
escobar
i like to come up here. to make the
decisions. to be one with nature
george
it’s beautiful
escobar
people tell me that i am crazy. that my
business will never work in your
country. what do you think, george?
escobar looks out over the vista, allowing george the time to
respond in full
george
what do i think? i don’t want my answer
to be influenced by what i want, so i’m
going to have to say i don’t know
escobar
yes. i do not know, either. what do
you want, george?
george
i want money
escobar
yes. money. which is what, george?
george
freedom
escobar
power?
george
yeah, maybe
escobar
family
george
sure
escobar
beautiful girls?
george
keep them coming
escobar
keep them coming? ah, yes. ha ha. you
are right. but money
george
money
escobar
and diego?
george
diego is my brother
escobar looks at george a long time. he’s inscrutable
escobar
good. take care of him, george. i’m
fond of him, but he is sometimes like a
baby. keep an eye on him, okay?
ext. deserted sugar factory – entrance – day
diego is a little p-ssed off for being left for so long. he
taps his foot and picks at his fingernails. escobar and
george pull up in the jeep. diego leaps to his feet
diego
padrino
escobar wraps his arms around diego in an embrace
escobar
diego, mijo. i’ve made a decision. we
are going into business and i would like
to start right away
montage – george and diego taking over the world
the following images are overlaid with snow falling and money
dropping through frame. close shots of george and diego on
the phone, wheeling and dealing, hands counting cash, and
lines being drawn off mirrors. the effect is surreal and
dreamy
int. warehouse – day
a duffel bag is unzipped, revealing bricks and bricks of
cocaine. each marked with a “p.” a knife punctures one of
the bricks. a mound of white powder is brought up to a man’s
nose. it’s george who samples, and then it is sampled by the
man he is doing business with. the shot widens to reveal all
the partic-p-nts and dozens and dozens of duffel bags. a
handshake seals the deal
still photos
handshake after handshake after handshake
int. miami house – night
george and diego counting cash. it’s everywhere. all over
the floor, in two-foot stacks
more still photos
various transactions completed
int. miami house – night
george and diego count. it’s ridiculous how much money there
is. the stacks are now waist high and spill into other
rooms. inez is there, pacing the floor and rapid-fire
talking on the phone
more still photos
george and diego, the banditos. cigars. champagne. arms
around each other in camaraderie. in diego’s yellow ferrari
with inez, sunning on a yacht. more c-ke and more
transactions. when the deals are with derek foreal, diego is
always notably absent
int. miami house – night
the money is so high, it almost reaches the ceiling. there
is nowhere to put it. george and diego sit at the coffee
table, dwarfed by the stacks of bills. there is a
discrepancy in the count
george
three million. i counted it twice
diego
it’s two-point-five, george. i am sure
george starts to pick up the money
george
i’m calling it three
diego
we’re half a million off
george
f-ck it. i’m not counting it again
diego
weight it. if it’s sixty pounds, it’s
three. if it’s fifty, it’s two-point
five
george
i don’t give a sh-t. close enough
george moves down the hall looking for a place to stack the
money, but there is no more room
george (cont’d)
where do i put this!?
diego
try the back bedroom
george opens the back bedroom door to find wall-to-wall
money. it’s packed
george
there’s no room
diego
try the closet
no luck there, either. george drops the money on the floor
and moves back into the living room
george
we’ve got to do something about this
int. banco de federale – panama city – day
superimpose: panama city, panama
george and diego watch as their money is hauled into a huge
wall safe. armed panamanian soldiers stand guard. the
panamanian officials and the bank president oversee the
proceedings
george
are you comfortable with this?
diego
george, we’ve got sixty-one million
dollars. it’s either here or someplace
else. we’ve got to put it somewhere
unless you want to launder it
george
and keep only forty-percent? no thanks
diego
then relax. it’s a federal bank
guaranteed by the government. and senor
noriega has very lenient banking
principles. no questions. no problems
all the pesados keep their money here
even el padrino. what do you worry?
everyone knows we are with escobar. who
is going to f-ck with us?
int. banco de federale – president’s office – day
george and diego sign papers. the bank president
congratulates them and hands them doc-mentation
george
i love it
bank president
i’m sorry
george
i give you thirty-million dollars and
you give me this little book
more still photos
diego and inez’s wedding. the ceremony. the ring. the
kiss. the lineup with all of the bridesmaids. george is the
best man, and the only american
int. biltmore hotel – ballroom – night
a huge reception. all the pomp and circ-mstance colombian
money can buy. politicians. policemen. and every smuggler
north of colombia. george sits with diego and inez at the
table of honor. inez is opening presents. diego’s tipsiness
is a little out of character, but hey, it’s his wedding day
and a little champagne never hurt anyone. he drunkenly
throws his arm around george’s shoulder
diego
i’m married, george. me. i can’t
believe it. can you believe i’m
married, george?
george
you’re a lucky man, diego
diego
i love you, my brother, do you know
that?
george
i love you too, man
george notices mirtha showing teeth across the room
george (cont’d)
i’ll be right back, diego
inez
look, honey, a power boat
diego
great, baby, great!
they kiss. george walks across the dance floor directly
towards mirtha
george
h-llo
mirtha
h-llo
george
do i know you?
mirtha
i don’t think so
george
why are you smiling?
mirtha
why are you smiling?
george
i don’t know. my name is george
mirtha
i know who you are, el americano
mister george
george
what is your name?
cesar arrives
cesar
mr. jung, i see you’ve met my fiancee
mirtha
he kisses her
george
mirtha
cesar
diego needs to see you right away
please. excuse us, amorcito
they leave. george looks back, mirtha is giving him more
teeth. george arrives at the table. various greetings
augusto
pleased to meet you finally, george. i
am augusto oliveras
george
my pleasure, augusto. diego has told me
much about you
ramon ochoa
congratulations on your conquest of the
west coast. how much bigger can we
get?
george
sky’s the limit. we’re just beginning
to tap the market. if it’s accepted by
actors and musicians, the rest will
follow
they all agree. mirtha still gives george the teeth from
across the room. diego returns to the table
augusto
we are talking about george’s west coast
operation
diego
ah, george’s mystery man
rafael ojeda
yes, where is this man? when do we meet
him?
diego
you don’t meet him. george keeps this a
secret. he’s here meeting everyone
goes to colombia and meets pablo, but
still keeps his secrets. even from his
brother
juan carlos “the guapo”
come on, george, we’re all in this
together
emilio ochoa
yes, george, there’s enough for
everybody
george
i think padroni is happy with the
current situation. will you please
excuse me?
george exits after mirtha
int. biltmore hotel – ballroom – continuous
george steps into the empty lobby looking for mirtha. he
can’t find her. she appears from the shadows and startles
him. george embraces her and plants one on her
mirtha
you better know what you’re doing
george. you’re playing with fire
george
i like fire
montage – music cue – living the good life
close up – george does a huge line, left to right
close up – mirtha does a huge line, right to left
ext. miami drag – day
a stretch limo flies by, left to right. the windows are open
and mirtha and george whoop it up as they go by
int. miami nightclub – night
george and mirtha out on the crowded dance floor, grooving to
the salsa rhythms
still photos
champagne bottles in hand, george and mirtha on the tarmac
running from the limo to the waiting private plane
ext. five star hotel – los angeles – day
george and mirtha poolside, wearing shades, getting some sun
she blows him a kiss from the adjoining lounge chair. he
blows one back. she licks her lips and it’s on. he’s out of
the chair, pouring champagne over her tan body, and licking
it off. she squeals with delight
a table gets knocked over as they cause a commotion. a hotel
manager comes over, but george hands him a wad of cash and he
quickly f-cks off
int. miami nightclub – night – magical reality
the dancing is in super slow motion now. p-ssionate, carnal
intimate
still photos
george buys gifts for mirtha and she shows them off for the
camera. a fur. a ring. a house
int. eastham house – day
overhead shot of george and mirtha’s bedroom. it’s
completely covered with money. completely covered. george
and mirtha make love on the sea of cash. as camera pulls up
we see money slowly falling from the ceiling
int. silver star wedding chapel – las vegas – 1978 – day
there is no white dress. there is no tuxedo. george and
mirtha haven’t even taken off their sungl-sses
mirtha
i do
they kiss. mirtha wipes her red nose
mirtha (cont’d)
i need a f-cking drink
int. eastham house – continuous
george moves to the bedroom. mirtha is pregnant and she’s
showing. she’s also bent over a mirror with a straw in her
hand. george opens the door and takes her by surprise
george
jesus christ
mirtha
oh, don’t be such a f-cking hypocrite
i quit smoking, didn’t i?
george
put that sh-t away, they’re here
int. eastham house – downstairs – later
mirtha and george lead fred and ermine from room to room
showing off the house. the decor is, well, eclectic. it
doesn’t match the architecture
ermine
it’s all so beautiful
mirtha
what do you think, dad?
fred
yeah. nice
ermine
look at this credenza. if you don’t
mind me asking, how much is something
like that? it’s got to cost a fortune
george
(quickly)
it’s a family heirloom
ermine
i’ve seen those in magazines. they’re
not cheap
george
mirtha comes from a very wealthy family
ermine
oh, i see
mirtha
come on. i’ll show you the rest of the
house
george and his father move outside
ext. grounds – continuous
george and his father walk
george
so, business is going good. i’ve got
this import/export thing going on in
miami that’s been very profitable. with
my investments…
fred
don’t bullsh-t me, george. i don’t see
you very much, i don’t want to waste the
time
they move along the rear of the house. cl-ssic cars line the
driveway
fred (cont’d)
you come from my body, remember? you’re
my baby boy. the same kid who would
jump off a mountain if someone told him
he couldn’t do it. you haven’t changed
much. i know the things you do. not
everything. but i get the picture and i
don’t care. i don’t like it. it’s not
what i would have chosen for you, but
it’s your life. it doesn’t have
anything to do with me
he turns and looks at his boy
fred (cont’d)
you’re like your mother. you love
money
george
dad
fred
no, it’s good. you have a family. it’s
good if it makes you happy. it’s nice
to have nice things. are you happy
son?
george
yeah, dad. i’m happy right now
int. holiday motel – little havana – 1978 – day
diego puts a straw in his nose and snorts a big gakker. his
eyes are wide, his pupils dilated, and a weapon sticks out of
the back of his pants. he knocks the dust off his nose
before moving outside. george is on the porch, smoking a
cigarette
diego
three years. how long have we been in
business? three years. does she get to
meet your connection? was she good
enough?
george
shut up, diego. they’re going to be
here any minute. i’m trying to
concentrate
diego
i’m very angry with you, george. very
angry. you don’t take me to california
but you take your b-tch wife? a woman?
i understand you love her, but it was
you and me who started this. you and
me
george
what do you need my connection for
diego? what are you going to do with
it?
diego
what do i do with it? nothing. it’s
for peace of mind. it’s for the
principle
george doesn’t have time for this. he checks the cylinders
on his weapon and runs over possible scenarios in his mind
but diego won’t get off the soap box
george
jesus f-cking christ, diego. i ain’t
telling you. it’s just business. now
shut up. you’re driving me crazy
diego
i’m driving you crazy? no. you’re
driving me crazy. we had a dream. what
happened to our dream?
a black sedan pulls up and five puerto rican men approach the
room. george and diego greet them and lead them inside
it’s game time. the atmosphere is charged with danger and
everyone is acutely aware of everything. the guys sit down
their guns bulging through the inside of their suits. the
suitcases are opened. the rules are the same. no english
no raising voices. no sudden movements. george offers their
leader, tony, beers for his men, and is politely declined
the count starts. george and diego riff through ten thousand
dollar bundles. diego is still acting p-ssy. he’s mumbling
to himself, making faces, slamming the money all around. the
guys keep a close eye on him. diego finishes a stack, throws
one of the bags on the ground. the conversation is in
spanish unless otherwise indicated
tony
algun problema?
george
no no no… no problema, amigo. el
dinero esta todo aqui
lleves las “llaves” y mas tarde lo
contaremos. okay? no problem
tony
que problema? nosotros esperamos
the pressure is getting to one of the hoods. his name is
benny. he’s got a crazy eye and he seems ready to snap
george resumes the count, but diego won’t get off it
diego
(english)
you embarr-ssed me, george. you make me
look very bad
benny
que esta diciendo?
george
nothing. todo esta bien
diego
(english)
everything is not alright. i bring you
in, and you slap my f-cking face!
george
this is not the time, diego
the men all reach for their pieces and all h-ll starts to
break loose
tony
hay algun problema? hablame!
diego
(english)
you f-cked me in front of my whole
family!
george
f-ck you…i didn’t f-ck you
benny
maldita sea, que diablos esta diciendo?
george
esta todo aqui, amigo…take the keys
take ’em and go
tony
que esta pasando aqui, jefe?
diego
sientese ye no se meta en lo que no le
importa
the guns are out and pointed. it’s out of control now
george
take it easy! everything’s okay!
diego
que es lo que quieren de me, hijueputas
campesinos?
george steps forward with the keys
george
take the f-cking keys!
blam! courtesy of benny, george is h-t. the shoulder, the
collarbone. it’s hard to tell
george (cont’d)
estoy bien, okay? everything is
alright. there’s no problem. okay?
this never happened. no one has to know
anything about this. diego, i want you
to calmly tell them where the f-cking
c-ke is. do it now
diego
es un ford blanco junto a una pick-up
tony very carefully takes the car keys
george
no problem, gentlemen. goodbye
the men slowly back out the door. george looks at diego
george (cont’d)
derek foreal
diego
what?
george
derek foreal. derek foreal. derek
f-cking foreal. alright? the answer to
all your dreams. are you happy now?
ext. los angeles international airport – day
george and diego exit the terminal. george’s arm is in a
sling. the familiar sight of derek foreal is lincoln
continental
the three men come together, and diego and derek are
introduced. the men’s hands come together and the frame
freezes on their handshake
ext. eastham house – upstairs – day
fred pulls into the driveway in his new car and honks the
horn. fred and ermine get out of the car
fred
h-llo, h-llo
int. oliveros mansion – miami – night
it’s a new year’s eve party. a lavish colombian celebration
george and a very pregnant mirtha move through the crowd to
find augusto
augusto
i’m so glad you two could make it
mirtha, look at you. so beautiful. you
look like you’re about to burst
mirtha
thanks. i am. where’s martha?
augusto
i don’t know. drunk somewhere. try the
bar. and if you find her, tell her to
come, it’s almost midnight
as mirtha leaves, augusto throws his arm around george’s
shoulder
augusto (cont’d)
it’s good you came down, george. we
need to discuss a few things
diego
where’s diego?
augusto
he’s not here, george
george
yeah, well where is he? and who is this
norman k. guy? that’s all anyone is
talking about. norman k. norman k. do
i know him?
augusto lets out a big laugh
augusto
norman cay is not a person. he is an
island, george. in the bahamas. from
what they say, it is free and it’s
diego’s new home
george
what?
augusto throws an arm around george’s shoulder
augusto
let us walk. from what i understand
diego has bought a hundred and sixty
acres, a marina, a hotel, and an
airstrip
george
motherf-cker works fast
augusto
the word is that soon he is to be king
of the middle empire. he is doing
multiple runs right now and using the
island as a jump-off point
george
he what?
augusto
yes. jack stevens is already a very
busy man. along with many others. you
shouldn’t stay away so long
george
that’s impossible. we can’t be up and
running. who’s distributing?
augusto says nothing. but the ball is dropping in times
square. 10, 9, 8, 7…
george (cont’d)
oh, no
happy new year. streamers, confetti, and champagne. george
marches through the kissing guests and over to a phone. he’s
steaming. the music is up, so he has to scream
george (cont’d)
h-llo, derek? this is george. am i
wearing lipstick?
i said, am i wearing lipstick? because
when i’m getting f-cked, i want to make
sure my face is pretty. you’re buying
directly from diego, aren’t you, you son
of a b-tch?
intercut
derek foreal in full new year’s regalia, complete with party
hat
derek
i don’t want to get caught in the middle
of this. that’s between you and diego
george’s face scrinches in pain
derek (cont’d)
it’s nothing personal, george. just
business
george
yeah. i understand. just business
right. f-ck you
the song ends, and george is left standing there screaming
george (cont’d)
i bring you in, and this is how you
repay me? you little h-m-! hey, derek?
derek?
int. oliveros mansion – dining room – 1979 – later
it’s late. the family is all there. fifteen, twenty strong
cuban coffees all around
mirtha
que va hacer?
augusto
que queres decir. que es lo que el va
hacer? pues, no va hacer nada
maria
alguna cosa tiene que hacer
family member #2
de otra manera, es un marica
family member #3
un hijueputa
family member #1
maricon
family member #2
mira, vos sos responsable por el exito
de diego
family member #3
el se esta burlando de vos. debes hacer
algo, hombre
maria
no puedes hacer ni un culo
augusto
el no va hacer nada. hay un problema
aqui, hubo un error y nosotros lo vamos
ha arreglar
blanca
no le escusches a mi yerno. a el solo
le importa la plata
blanca reaches into her purse, pulls out an ice pick folded
in a piece of linen cloth, and puts it down in front of
george
blanca (cont’d)
vos lo tenes que matar, ahorita mismo
de lo contrario vas a quedar como un
marica sin horror
family member #3
mejor dicho vos sos un aculillado
family member #1
maricon
blanca
sabes que, vos no tenes pantalones
nadie te va a respetar. usa esto. deja
solo un huequito tan pequeno, que ni
sangre le va a salir a ese malparido del
diego
augusto
blanca, por favor
mirtha
mama, vos sos bien antigua. como lo va
a matar con un picahielo. eso era en su
tiempo, estamos casi ya en los ochenta
el lo va a meter un tiro, lo va a volar
le va a hechar un hijueputa carro
encima
augusto
dejen la maricada pues! no jodan!
nadie va a matar a nadie! george
debemos hablarle al patron, es la unica
manera, mano
george
no, no, no, no yo puedo arregarlo solo
ext. norman cay – bahamas – 1979 – dusk
george cruises through the turqoise water of the caribbean in
a sport fisherman. before him is norman cay. white sand
beaches. beautiful. pristine
ext. norman cay – docks – dusk
waiting for him is cesar
cesar
good to see you, george. it’s been a
long time
int. the yacht club – sunset
the yacht club is a tavern style bar that juts out over the
water. the crimson sky streaks the windows. diego looks
like che guavera. his hair is long, and a graying beard
sticks through his gaunt face. the bar has been taken over
by diego’s banditos. automatic weapons and prost-tutes
accent this drunken setting. george is escorted through the
door by cesar, and the room quiets. all eyes on diego and
george. diego rises
diego
george, i am happy to see you. how are
you, my brother?
george
no more brothers, diego
diego
of course we are brothers. why do you
say that? you hurt me, george
george
you f-cked me, diego
diego
i did not
george
you went behind my back and you cut me
out
diego
no, i never. i would not do that
george. never
george
i talked to foreal, diego
there is a pause. diego’s goons ready their weapons as diego
scoops up a cringer with his pinky and sniffs
diego
maybe you are right. i did betray you a
little bit
one of the men says something in spanish and everyone laughs
george is furious. he starts to tremble and his face turns
red
diego (cont’d)
oh, boo hoo, boo hoo. so sad, george
i stole your california connection. so
what? who introduced you to pablo
escobar? me. who introduced you to
your f-cking colombian wife? me. who
protected you when my friend cesar roza
wanted to slice your f-cking throat
huh? who mad you millions and millions
of dollars? me. and what do i get in
return? this? accusations? i have
always given you everything, george, but
that is over now. this is my operation
my dream. so go home, george. go back
to your stupid little life. you can
sell half grams to your f-cking
relatives for all i care. because you
are out!
george lunges at diego and is immediately grabbed
george
you’d better k!ll me now, diego, because
you’re a dead man
diego
george, don’t be so emotional. this is
business. besides, i can’t k!ll you
you are my brother
they lead him away
ext. yacht club – continuous
george is getting the sh-t kicked out of him. his teeth
broken, kicked in the head, the body, the groin. his arm
stomped. blood and broken bones. it’s a king size beating
the men prop him up and cesar reaches back and hits him with
a haymaker. crack. george’s nose is broken. blood spurts
everywhere. george is dropped to the ground, spit on, and
left for dead
cesar
say “hi” to your pretty wife for me
ext. hacienda los napoles – colombia – pool – day
a beautiful, sprawling estate. a family barbecue, colombian
style, is in full swing. kids play soccer. zoo animals run
wild together
george is led outside by two over-armed bodyguards. pablo
sees him and gives george a big hug
escobar
george, you look terrible
george
yeah, well…
escobar
diego?
george
yeah
escobar
please. sit down. we’ll drink some
scotch
george
i didn’t come here to drink scotch
escobar
i see. i’m sorry about this, george
i’m not happy about this situation
it’s bad. you now know who your brutus
is
george
you know why i’m here. you know what i
have to do. i came here for permission
out of respect, pablo. this is
bullsh-t, he’s making me look like a
punk
escobar
it is very difficult. diego makes me a
lot of money. if diego goes so does the
money. you were an excellent teacher
george. when the student has learned
well, the teacher is no longer
necessary. we must remember we have
wives, friends, familia. even familia
that has not been born. but sometimes
we must forget as well. i am like you
i must teach the lesson. we want to
teach the lesson. but we cannot. we
must remember that life is the teacher
george
you’re saying life will take care of
diego?
escobar
life will take care of everybody
diego, me, you. it is the teacher
george
i get it. i’m really p-ssed, pablo
you know the dea knows about norman’s
cay. for chrissakes, diego worships
adolf hitler and john lennon, that’s
f-cked up!
escobar
i’m sorry, george
george
yeah, well, what are you gonna do? you
and me, pablo? are we good?
escobar
of course, george. we are beautiful
we are brothers. real brothers. not
like diego. we started this, george
escobar embraces george for a moment, and then george starts
to move away
escobar (cont’d)
and, george? the vengance? it is best
served cold
int. eastham house – george’s bedroom – night
mirtha is sleeping. she’s so big, she looks like she’s gonna
explode. george sits on the bed and rests his hand on
mirtha’s face. he looks like the elephant man
mirtha
george. oh, jesus christ, george. look
at you
george
shhh, honey, never mind. it’s alright
it’s over. i quit the business. i’m
out
mirtha
pablo said no?
george
pablo said no. it’s all over. and i’m
never going back. i have you. we have
the baby. and there’s nothing else
it’s just the family now. shhh. sleep
now
ext. eastham house – day
fred, ermine and mirth are waiting for george in the car
mirtha’s water has broken. ermine honks the horn from the
back seat and screams out the window
ermine
george, it’s time! george! george!
int. house – continuous
george is high and in a panic. he races around, trying to
get a suitcase packed and find his keys
george
coming!
he finally gets it together, but before he runs out the door
he does one last blast
int. cape cod hospital – hyannis – maternity – day
mirtha is on the birthing table and screaming in pain. she’s
crowning. george wears hospital scrubs and a surgical mask
he and his saucer pupils hold mirtha’s hand in comfort. the
baby comes, and doctor mick bay slaps it’s behind and cuts
the cord. tough -ss mirtha breaks down and sobs
hysterically. but something is wrong with george. the color
drains from his face. he grabs his chest and falls over onto
the floor. the medical staff attends to him
george (v.o.)
watching my baby girl born did something
to me
they talk about religious experiences, i
didn’t believe in religion. but when
kristina sunshine jung came into this
world, something in me changed. i
looked at her and i knew right then that
i could never love anything but my
daughter ever again. it sounds sappy
but it was like, click, i knew what i
was put on this planet for. it was the
greatest feeling i ever had followed by
the worst feeling i ever had
nurse
he fainted
mirtha
george!
the doctor grabs george’s wrist
dr. bay
he’s in tachycardia. george, your heart
is racing. have you been using drugs?
george
c-ke
dr. bay
cocaine? how much?
george
i don’t know. maybe eighteen grams
dr. bay
in how long? a week?
george
today
dr. bay
oh, jesus, get me a 12-lead e.k.g. and
start an i.v. stat! this man is having
a heart attack
int. cape cod hospital – hyannis – later
george lies in the recovery room, sedated, tubes everywhere
he’s hooked up to iv’s, monitors, and machines. dr. bay
enters
dr. bay
i’ve reviewed your toxicology report
three times, george. i’ve never seen
anything like it. eighteen grams
the lethal dose is a gram and a half
you should be in the guiness book
george cracks a faint smile
dr. bay (cont’d)
it’s not funny, george. you should be
dead right now. absolutely. i cannot
come up with one logical explanation for
why you’re still breathing. i’m not
here to give you lectures, i’ve got no
moral interest in what you do. but
take it easy, george. stay with us a
while. you’ve got a daughter now
int. eastham house – day
kristina is crying. daddy george to the rescue. he picks
her up, cuddles her. gives her a bottle and she quiets
ext. eastham house – front yard – 1980 – day
a one-year-old kristina is being coaxed by george to take her
first steps
george
come on. come on, honey. you can do
it. come to daddy
kristina tries, stumbles. gets up again. she looks like a
drunk, but she’s doing it
george (cont’d)
good girl!
mirtha enters. she’s all pinned out, dressed in ungaro
cartier, and dark sungl-sses
george (cont’d)
look, mirtha. she’s walking
mirtha
she did that before
george
no. these are her first steps. watch
her
mirtha
yeah. i know. she did that before
george
but this is…
mirtha
i said, i’ve seen it before
george
alright
mirtha
can you lift the furnace. i need money
george
where are you going?
mirtha
out
montage – series of shots – 1980-85
home movie style & photographs
the years go by and they are superimposed as they p-ss
george, clean and sober, enjoying family life. healthy and
happy. mr. mom. mirtha looks worse and worse as her habit
becomes bigger and bigger. as george and kristina grow
closer and closer, mirtha is stepping out on the town
blowing money right and left. shopping with mirtha, buying
clothes, furs, and diamonds. as kristina gets older, we see
her birthday parties. george and kristina wearing paper hats
and eating ice cream. she’s two years old, she’s three
four, five, six…
int. eastham house – 1985 – night
the eastham house is all done up for a party deluxe. fully
catered, with bartenders, waiters, music, the works. and of
course the three c’s, champagne, caviar and colombians
george is laughing with augusto and martha oliveros, but when
derek foreal appears in the doorway, george excuses himself
and walks over
derek
happy birthday, george. mirtha invited
me
george
yeah. she told me
derek
look, i’m sorry about everything. i
feel like an idiot. you were right. i
did f-ck you. and then diego f-cked me
cut me out, too
george
i heard
derek
i lost sight of everything. forgot who
my friends were
george
it’s in the past. i’m out of the
business now, so forget about it. no
hard feelings. we need to move on. and
besides, i’m sorry, too
derek
you?
george
for calling you a h-m-
derek
that was out of line
george throws his arm around derek’s shoulder
george
good to see you, derek
mirtha runs in with a giant crystal punch bowl filled with
mother of pearl. she holds it over her head triumphantly
mirtha
now let’s f-cking party, motherf-ckers!
let’s have some f-cking fun
derek
jesus, is that mirtha!?
a very underweight mirtha nervously runs around the party
shoving c-ke up everyone’s noses. she is gakked to the gills
and out of control. her pupils a mile wide
derek (cont’d)
christ almighty, george. feed her a
cheeseburger or something. what does
she weight, eighty pounds?
george
i know. she needs to slow down. she’s
going to blow an o-ring
singing. the birthday cake is brought in, the candles are
blown out and everyone cheers
mirtha runs over to her husband, still holding the cocaine
she’s sweaty, her hair matted down on one side
mirtha
happy birthday, baby. do a line
she tries to push a line up his nose
george
no, that’s alright
mirtha
oh f-cking relax. let your hair down
for once. it’s your f-cking birthday
for chrissakes. you’re such a f-cking
p-ssy. i swear to g-d, i married this
big time drug dealer and wound up with
the maid
mirtha’s loud now and making a scene. he thinks about it
george
no honey, i’m alright
augusto
a toast! to mister george jung. mr. i
95, north and south. my brother-in-law
happy birthday!
everyone raises their gl-sses
everyone
to george!
a party guest comes running inside
party guest
cops! they’re all over the place
the waiters, in their white jackets, exchange knowing looks
the bartender comes out from behind the bar
bartender
freeze!
in an instant, all of the waiters’ guns are out
waiter
m-ssachusetts state police department!
everybody on the floor!
ext. eastham house – later
police cars everywhere. all the party guests are filed out
the door, and are being led away. mirtha is dragged out
spitting and screaming. george, in handcuffs, is pushed to a
squad car. he looks through the window to see a female
police officer escorting kristina out of the house
int. m.p.d. – interrogation room – night
george, still dressed in his party clothes, sits at a desk
two detectives set a confession in front of him
george
what’s this?
detective #2
it’s your statement. how it was all
yours, the pound of c-ke was for
personal use and none of the guests had
any idea it was there, yeah, right
george looks through the papers
george
i want my kid out of protective custody
now. no f-cking around. my wife and my
kid on a plane tonight. i sign when
they call me safe and sound
detective #1
no f-cking way
george
f-ck you, then. i sign nothing
the detectives ponder
detective #2
do it
detective #1 walks to the door
detective #1
george? you better get yourself a good
lawyer this time. we’re gonna nail your
-ss to the wall on this one
george
oh hey, one more thing?
detective #1
what’s that?
george
get me a six pack
ext. eastham house – garage – night
it’s the middle of the night. george walks through a dark
and lonely house. he goes to the furnace, opens it up and
sees that there are only five stacks left
george
f-ck
ext. jung house – weymouth – porch – morning
george pulls up to the front
george
hi
fred
i heard. ermine, your son is here
ermine (o.s.)
tell him i don’t want to see him. tell
him he’s not welcome here
george
mom
ermine’s back is to george. she won’t look at him
ermine
don’t you dare step one foot in this
house. you’re not my son, you hear me?
i don’t have a son anymore
she disappears into the house. the sound of a door slamming
fred
she’s angry. it’s all over the news
george
yeah. listen. i’m going to be going
away for awhile
fred
you’re not going to trial?
george
no
fred
good
they stand there and look at each other for a while. there’s
a lot to say but nothing’s coming out. george hands fred a
gym bag
george
give this to mom, will you?
fred
money. you and your mother. all the
time chasing it. i never understood it
george
give it to her, dad. it’ll make her
happy
fred
yeah, i know. this is it, isn’t it?
the two men throw their arms around each other and hold on to
one another in the doorway of the old house
george
tell mom, you know…
fred
i’ll tell her
george breaks away and moves to the t-bird
fred (cont’d)
take care of yourself
int. banco de federale – panama city – 1985 – day
george walks through the bank
int. banco de federale – panama city – continuous
george sits at a desk in front of a panamanian bank employee
he slides his bank book across the table
george
i’d like to make a withdrawal
the employee opens the book and gets a funny look on his
face. nervous
bank employee
excuse me, please
he gets up and moves to the bank manager. they move to
another manager type. and another
and then everyone disappears behind closed doors. finally
the bank president emerges and moves over to george
bank president
i’m afraid there is a problem, mr. jung
the banks have gone through a change, a
nationalization. i’m afraid your funds
have been appropriated by the panamanian
government…
george starts to shake. the bank president tries to explain
but whatever he says is unimportant. george is paralyzed
int. apartment – liberty city, florida – night
an inexpensive one-bedroom furnished apartment. it ain’t
much, but it’s home. mirtha has just received the news and
is losing her mind. clara blanca is cooking dinner
mirtha
what are we going to do?! what are we
going to use for money?!
george
please, mirtha. i’ll start working for
augusto. i’ll talk to him tonight
i’ll do something
mirtha
don’t touch me. tell me. just answer
the question. what do i spend? what?
how will we live?
kristina sits there. she hears everything, so does clara
blanca
george
not in front of the kid
mirtha
don’t give me that sh-t. you just
better do something
she storms into the bedroom and slams the door. george
stands there. awkward silence. george goes to kristina
george
everything’s gonna be okay, sweetheart
don’t be upset
kristina
what’s happening to us?
tough question to answer
george
i don’t know
kristina
are we gonna split up?
george
no, never. don’t even think about that
it’s impossible. i love your mother
and you are my heart. could i live
without my heart? could i?
kristina nods “no.” they embrace
int. george’s thunderbird – miami – night
the car moves along i-95. george is driving while a jacked
up mirtha does a speed b-mp. a cop is following in the
distance. it is not okay
george
there’s a f-cking cop behind us, mirtha
be cool, will ya
mirtha
f-ck you, george, just f-cking drive
george
hey, why don’t you just put a “i’m doing
cocaine” sign on the car. what is your
f-cking problem?
mirtha
my problem? we’re broke, that’s my
f-cking problem. and you’re a f-cking
spy
george
what?
mirtha
that’s right. always spying, always
judging. everyone’s laughing at you
you f-cking p-ssy. you let diego f-ck
you in the -ss. maybe you are a f-cking
f-ggot. you must be f-cking diego
because you’re not f-cking me
mirtha grabs nuts
george
those are my nuts!
george tries to fend her off. the car swerves all over the
road. it’s turned into a full scale fist fight. the red
lights of florida’s finest come up behind them and george is
pulled over
ext. i-95 – continuous
mirtha leaps out of the car, teary eyed, crazed and bloodied
the policemen step from their car
mirtha
he’s a fugitive and a f-cking cocaine
dealer! there’s a kilo in his trunk
right now! take this sorry motherf-cker
to jail!
george sits behind the wheel. he knows it’s over
int. m.c.i. walpole – visiting area – 1989 – day
superimpose: four years later
visiting day. inmates sit across from their families
mirtha is sitting at the gl-ss. george walks to his seat
mirtha
i’m divorcing you, george. i’m getting
custody of kristina. and when you get
out next week, you’re going to pay
support and that’s the end of it
alright? there’s someone else. i’m
sorry
george just looks at her. his face is stone. but he is
moved
mirtha (cont’d)
you should have taken better care of me
you know? you’ve been away a long time
four years. say something
george
what do you want me to say? i’m in
prison. you should know. you put me
here
mirtha
f-ck you, george. i knew you’d say
something like that. always thinking
about yourself
she moves away and drags nine-year old kristina into the
room
kristina yanks her arm away and they get into a heated
argument. through the gl-ss, george can’t hear the words but
it’s clear that kristina doesn’t want to be here
george
my baby. she’s so big
mirtha forces kristina over to the gl-ss and keeps showing
her, prompting her to talk. kristina stares at george
through the gl-ss. cool. defiant. angry. she picks up the
phone and speaks, every word an accusation
kristina
i thought you couldn’t live without your
heart
she drops the phone, walks away, and doesn’t look back
int. phone booth – miami streets – day
george puts in the quarters
george
h-llo, derek? it’s george. yeah
yeah, i am. i’m in miami. i’m looking
to do something. i want to put together
a crew. do you know anybody? leon? i
don’t know him. what’s his last name?
alright. give me the number
ext. elementary school – miami – day
nine-year old kristina jung leaves school. george, fresh out
of prison, moves across the street to meet her
kristina
what are you doing here?
george
nothing. i just wanted you to know i
was out. i just wanted to see you
kristina
well, here i am. see?
george
how are you doing?
kristina
george, you just can’t show up, tell me
you love me, and have everything be
okay
george
dad
kristina
what?
george
you can call me dad if you want
kristina
i don’t want, alright? it’s not funny
i’m really p-ssed off, george. you blew
it, now leave me alone
george
kristina, c’mon, i’m sorry. i’m going
to make this right. i’ve got a few
things going on…
kristina
what do you want from me?
george
just to walk with you. i want to be
your dad again
kristina
do what you want, it’s a free country
she walks away. he follows
int. the palm lounge – miami – day
george sits at the bar with a man named leon mingh-lla
leon
it’s a four-man operation. two on the
ground. two in the air
george
who’s the co-pilot?
leon
you’re looking at him. we provide the
plane, transportation cost, u.s. landing
spot, and take it to wherever you want
it to go. you provide the pick up point
in south america, and are responsible
for payment. you -ssume all the bust
risks. we take sixty-five percent of
all transportation fees, ten percent of
the gross, plus our expenses
this is not a negotiation, so if this is
okay with you, we can talk further. if
not, we can forget we had this
conversation
george
sounds fine. i’ll need to meet
everybody
leon
they’re over at the booth
leon leads george over
leon (cont’d)
gentlemen, this is george. george, this
is ben, g.g. and…
george’s eyes widen as he looks at the last man. it’s kevin
dulli
george
holy sh-t, dulli!
kevin
georgie, oh man, hold the mayo!
george (v.o.)
that was it. seeing dulli after
fourteen years sealed the deal for me
the rest was just details. my end was
roughly five-hundred thousand. kristina
and i could have a good life for five
hundred grand. start over somewhere
one final score. that’s all i needed
int. oliveros mansion – miami – day
augusto
three-hundred kilos is a very big load
georgie. why don’t we start small?
george
no. i have the sp-ce. i figured it
out. this is what i want to do
augusto
alright. i’ll ask pablo, tell him it’s
for you. i don’t think there will be a
problem
george
five-thousand per kilo
augusto
ha ha. that’s too much, georgie. those
days are over. the rate is one-thousand
dollars. inflation, you know?
george
this is a one time thing, gusto. one
and i’m out. give me a good price for
old time’s sake. what do you think?
ext. residential street – miami – day
george and kristina walk through the neighborhood. he
carries her books
george
let me ask you something. if you could
go anywhere in the world, anywhere
where would you want to go?
kristina
you mean, like a trip?
george
yeah, sure, whatever
kristina thinks about it
kristina
i don’t know. maybe california
george is amused by her answer
george
california? you can go anywhere in the
world. india. tibet. australia
paris. and you choose california?
kristina
yeah
george
what is it? a disneyland thing?
kristina
no. i just kind of like the sound of
it
george
california, huh?
kristina
california
they turn a corner and arrive at kristina’s house. mirtha is
standing in the doorway
george
go on inside now. i want to talk to
your mom alone
he kisses his daughter goodbye
kristina
bye, dad. see you in the morning, okay?
george
i’ll be here
george moves over to mirtha. it’s been a while
mirtha
what do you want?
george
you knew i was seeing kristina, right?
mirtha
yeah. she told me. you walk her to
school
george
yeah, so i’ve been thinking. i love
her, y’know? i kind of want to have
her. i’ve been away for so long. make
up for the missed time, you know?
mirtha
i haven’t seen one dollar from you. you
haven’t paid me one cent in child
support, alimony
george
yeah, well. i’m working on that. i’ve
got something going
mirtha
yeah? i better see some money out of
it
george
yeah, you will. of course
mirtha looks at her ex-husband. it’s not all bad
mirtha
hey, look. you start paying, who knows
what will happen. you’re a good father
george. i always gave you that. but
you’ve got to talk to her
george
yeah
mirtha
she’s getting big. getting her own
ideas
george
i know. well, that’s all i really
wanted to say. so, okay, then
he moves down the steps and heads for the sidewalk
mirtha
hey, george. you okay?
george
yeah. i’m fine. i’m good
int. the palm lounge – day
the restaurant is filled with the team. they discuss, argue
re-examine every little detail
kevin
we take off from lauderdale, sunday
refuel, and be in medellin by monday
leon
overnight, refuel, and back wednesday
night
george
where are you coming in?
ben
vero beach
g.g
it’s good. it’s small
leon
then we drive it to the lauderdale house
where it stays until pick up and payment
the next morning. you want to go over
it again?
george
no. all set. piece of cake
int. george’s studio apartment – miami – night
george is cooking dinner for kristina. he’s only got a hot
plate so it’s slow. the table is set with plasticware
kristina chops the salad
george
i’m thinking about getting out of town
this week. you want to come with me?
kristina
where are you going?
george
i don’t know. maybe california
kristina
you swear?
george
yeah. go out there, check it out, see
what it’s like. i’ve got some stuff to
do this week, but i’m thinking maybe
thursday. thursday after school
kristina
you know i can’t. mom will never let me
go
george
you let me take care of your mother
you just pack your bags
kristina
but i’ve got school
george
there’s schools in california
kristina
you swear?
george
that’s right. three o’clock. thursday
at your mother’s. you and me. it’s a
date
kristina
i don’t believe you
george
i swear. on my life
kristina
swear on my life
george
i swear on your life
ext. vero beach airfield – dusk
george, ben and g.g. wait on the tarmac. george is pacing
the sound of a cessna is heard and soon it is dropping out of
the sky. the plane lands and taxis over
kevin and leon stick their fists out of the airplane in
triumph. the men quickly unload the plane into the trunks of
two broncos and the back of a truck
int. ft. lauderdale house – night
we follow the duffel bags out of the bronco into the house
the boys sit around as george samples the product
kevin
are we good?
george
are we good? yeah, we’re good. we’re
beautiful. we’re perfect. this is a
grade, one-hundred percent pure
colombian cocaine, ladies and gentlemen
disco sh-t. pure as the driven snow
good riddance
he looks the boys over
george (cont’d)
you saved my life, dulli. you’ll never
f-cking know. all you guys. everyone
just got a raise. instead of ten
percent, you get fifteen
leon
jesus, george, fifteen percent. that’s
an extra two-hundred large
george
i don’t give a sh-t. split it up. have
a great life. i’m done. i’m out
starting over. cheers
they clank. george gets up and does the snoopy dance to the
bathroom
george (cont’d)
yeah! unbelievable. dulli, pour us
another round. i gotta hit the head
george leaves the room. the camera slowly pans back to the
guys. something doesn’t look right. they have not moved
they look b-mmed. leon looks at g.g
leon
what?
g.g
i feel bad
ben
me too. he’s not such a bad guy
kevin
f-ck you guys. all of you. i’ve known
him for thirty f-cking years. f-cking
george
leon
yeah, i like him, too. but what’s done
is done. so let’s not get all
sentimental about it, okay?
the camera pans back slowly to the bathroom door, george
comes back into the room, dancing. he goes and sits down
with the guys
george
(laughing)
dulli, i was just thinking about that
time we landed in mexico. you’ve gotten
a lot better since then, huh pal?
remember that f-cking landing strip?
huh?
george is the only one smiling. no one is looking at him
george (cont’d)
hey, what’s wrong fellas? why the long
faces?
he looks at each one. he slowly realizes something’s up. he
looks to dulli finally
george (cont’d)
(defeated)
no. c’mon, dulli
the front door busts down, agents pour in. the camera swish
pans to george. lights out. slow motion. slow dolly into
xcu
ext. otisville f.c.i. – new york – 1999 – day
george has tears in his eyes. he is frozen. paralyzed by
the memories
george
oh, no
int. ft. lauderdale house – 1989 – day
the voices from the bust can be heard as the camera pushes
slowly into george’s face. surreal
george (v.o.)
i was busted. set up by the fbi and the
dea. that didn’t bother me. set up by
kevin dulli and derek foreal to save
their own -sses. that didn’t bother me
sentenced to sixty years at otisville
that didn’t bother me
ext. mirtha’s house – miami – 1989 – day
nine-year old kristina sunshine jung sits on the front porch
as the sun goes down. her bags are packed and ready to go
george (v.o.)
i had broken a promise. everything i
loved in my life goes away
int. otisville f.c.i. – 1989 – day
george is led into a small room and greeted by his lawyer
archie zigmond
zigmond
here’s the deal, george. you’re not
getting out. i tried to get you
furloughed, but your mother squashed it
said it would only upset him. i’m
sorry
george takes it in. blinks. the years have not been kind
george
how’s he doing?
zigmond
well, he’s out of the hospital, but
there’s not much anyone can do for him
it’s just a matter of time. listen, i
brought a tape recorder in case you
wanted to say something to him. that
way he could hear your voice
george
right
zigmond sets the tape recorder down and leaves the room
george stares long at the machine. he pushes the record
b-tton and looks at the red light
george (cont’d)
h-llo, dad…
ext. jung house – day
a sixty-nine year old fred shuffles from his house to the
blue ltd. he gets in, turns the key, and puts his son’s tape
into the deck
george (v.o.)
you know, i remember a lifetime ago, i
was about three-and-a-half feet tall
weighing all of sixty-pounds, every inch
your son…
ext. jung house – 1953 – day
six-year old george runs through the leaves to the truck and
rides to work with his father
george (v.o.)
…those sat-rday mornings going to work
with my dad. we’d climb into that big
yellow truck. i used to think it was
the biggest truck in the world
int. fred’s ltd. – 1989 – continuous
close on fred
visibly moved
george (v.o.)
i remember how important the job we did
was
how if it weren’t for us, people would
freeze to death. i thought you were the
strongest man in the world
flashback – visuals match dialogue
ermine as loretta young
fred jung and his son tossing a baseball
tuna and george driving off in the black oldsmobile
convertible
the fbi arresting george in his old bedroom
george (v.o.) (cont’d)
remember those home movies when mom
would dress up like loretta young? and
the ice creams and the football games?
waino, the tuna, and the day i left for
california only to come home with the
fbi chasing me?
int. jung house – george’s bedroom – 1973 – night
james j. trout pulls a handcuffed george’s boots over his
socks as fred and ermine watch
george (v.o.)
and that fbi agent, trout? when he had
to get on his knees to put my boots on?
you said…
fred
that’s where you belong…
int. fred’s ltd. – 1989 – continuous
a choked up fred repeats the words
fred
…you sonofab-tch. putting on george’s
boots
george (v.o.)
that was a good one, dad. that was
really something. remember that?
int. otisville f.c.i. – new york – 1989 – day
george’s eyes well up and he sparks a cigarette, as he keeps
trying to tell his father goodbye
george (v.o.)
and that time you told me that money
wasn’t real? well, old man, i’m forty
two years old. i finally learned what
you tried to tell me so many years ago
int. fred’s ltd. – 1989 – continuous
tears come crashing out of the old man’s stoic face
george (v.o.)
i finally understand. you’re the best
dad. i just wish i could have done more
for you. i wish we had more time
ext. otisville f.c.i. – new york – 1999 – day
a vision of fred jung sits on the ground before his fifty-two
year old son
george
i guess i kind of lost sight of things
“may the wind always be at your back and
the sun always upon your face, and the
winds of destiny carry you aloft to
dance with the stars.” love, george
fred
that was a beautiful message
george
i meant every word of it
fred
did you know i died two weeks after you
sent me that tape?
the apparition of fred disappears and george is left alone
once again
george
yeah, dad. i knew that
int. otisville f.c.i. – new york – 1990 – day
george is led into the room where three fbi men await him
one of them is named fred garcia
garcia
how are you doing, george?
george
what do you guys want?
garcia
you hear about your old friend, diego?
george
what about him?
garcia tosses a newspaper onto the table. the miami herald
inside is a full page letter addressed from diego delgado to
vice president george bush. in the letter, diego offers to
make a deal. in exchange for immunity, diego will rat out
the entire cocaine business. americans, colombians, noriega
escobar, everybody. just let him free
george (cont’d)
what the f-ck? is he going to walk?
garcia
he’s going down, george. it’s election
year. we’re not making any deals
fbi guy #1
he’s never getting out. orders from the
top
garcia
so, how would you like to help us put
him away?
fbi guy #2
we’ve done our homework. we know you
hate this motherf-cker
george
i don’t think so
garcia
don’t be stupid, george. we’ve got him
we’ve got him dead to rights. but like
i said, this is top priority so we’re
handing out free p-sses on this one
and the first one’s got your name on it
cut your sentence in half, maybe more
george
no thanks, fellas. you’ve got the wrong
f-cking guy. i’m not a rat
int. otisville f.c.i. – visitor’s room – 1990 – day
george sits in the chair behind the plexigl-ss. mirtha
enters and takes a seat on the other side
george
mirtha, what’s going on? everything
okay with kristina?
mirtha
kristina’s fine
george
is she here? is she coming?
mirtha
is she here? george, kristina hates
you. you f-cked her over one too many
times. and i’m not here to socialize
did you hear about diego?
george
yeah
mirtha
well, i got a call from pablo. he said
this thing with diego is a disaster
he’s giving up lab locations, names
bank accounts, he was very p-ssed off
pablo said to take him down. his exact
words were “f-ck diego.”
george
he wants me to testify? is that what
he’s asking me to do?
mirtha
george, he wasn’t asking
mirtha gets up and starts to move away
george
mirtha, how are you doing?
mirtha
better than you
int. courthouse hallway – jacksonville – 1990 – day
george, archie zigmond and two armed guards walk down the
corridor
george
hey, arch, you think the judge will let
us get a c-cktail after this is all
over?
zigmond
i’ll see what i can do, george
george
thanks, arch
they walk into the crowded courtroom
int. courthouse hallway – jacksonville – 1990 – day
packed. nuts. standing room only. the courtroom buzzes as
george is led down the center aisle and is handed off to the
bailiff. over this we hear…
clerk
sir, please state your name
george
i’m george jung. spelled j-u-n-g
clerk
thank you
prosecutor
mr. jung, do you know diego delgado?
george
yes, i do
prosecutor
do you see him here in the courtroom?
george
yes, he’s sitting right there at the end
of the table
prosecutor
let the record state the witness has
identified, diego delgado
the following sound bytes are dissolved together in montage
style…
prosecutor (cont’d)
mr. jung, can you describe the
circ-mstances of how you began talking
about cocaine with mr. delgado?
george
shortly after i arrived at danbury
federal correctional inst-tute i related
to diego that the crime i was in for was
smuggling marijuana
diego told me he had high level
connections in colombia and they needed
to find someone to help them transport
cocaine into america…
george (cont’d)
the first run was fifteen kilos, which
we smuggled into logan airport in hard
sh-lled suitcases
george (cont’d)
we wrapped the cocaine in kitchen
cabinet paper, and duct tape, that way
if there were any dogs in customs…
george (cont’d)
i introduced diego to a pilot named jack
stevens, who helped us fly 300 kilos of
cocaine per week into the united states
via twin-engine cessnas. jack would fly
into north carolina, we’d meet him there
and drive it down to different
distribution points…
george (cont’d)
i never met pablo escobar. diego
delgado was my only connection to
cocaine from colombia…
george (cont’d)
diego convinced me to keep most of my
money in a panamanian bank. diego had a
close relationship with manuel noriega
in exchange for allowing us to keep our
money there, we paid him a percentage
george (cont’d)
there was an 85% chance that if you
snorted cocaine between 1977-1984, it
was ours. initially with my la
connections, we invented the
marketplace. in 1977, there was no
other real compet-tion
george (cont’d)
the first year we made about 100 million
dollars between us. it was an expensive
operation. eventually we built up to
three different pilots doing multiple
runs per week, connections on both
coasts, everything was running smooth
we were like a corporation…
george (cont’d)
he was very anti-government. he talked
about revolution, forming his own
country or island, he was looking for
power as well as money. i was just
looking for money
george (cont’d)
he disliked the united states, thought
it was a police state. he hoped that by
flooding the country with cocaine, it
would disrupt the political system and
tear down the morality of the country
george (cont’d)
well, yes, derek foreal was my
connection, i met him back in 1968 when
i first moved to manhattan beach. it
was foreal’s marijuana connections that
kicked off our cocaine market
george (cont’d)
yes, it was my idea to bring the kilos
to los angeles. when diego finally got
derek foreal’s name from me, it was only
a matter of months before he’d cut me
out
george (cont’d)
i’m not sure how my relationship with my
daughter and ex-wife have anything to do
with this trial. i mean we’re here to
talk about diego delgado, aren’t we?
calibanos
yes, we are mr. jung
we come out of the montage, the defense attorney diego
delgado, joe calibanos, a sleazy-greek-like-ex-basketball
weight lifter guy is now doing the questioning
calibanos (cont’d)
mr. jung, you’re a convicted felon
correct?
george
yes, i am
calibanos
do you have any agreement or
understanding whatsoever with the united
states government in regards to your
testimony?
george
no, i cam here out of my own volition
calibanos
excuse me?
george
something about vengance being best
served cold
calibanos
really. are you getting paid, mr. jung?
george
excuse me?
calibanos
mr. jung, don’t you have an agreement or
understanding with the united states
government in connection with your
testimony in this case?
george
i’m doing sixty years at otisville, no
chance of parole. even if they cut my
sentence in half i’ll be seventy-three
years old. that’s some f-cking deal. i
don’t know if the parole board, the
judge, the pope or jesus christ himself
can get me out of here. i have a really
bad record, i’m not sure what’s going to
happen
calibanos
so you do have an agreement with the
united states government, mr. jung
correct?
george can’t respond. looks to diego. looks from the jury
the judge, george is on the spotlight and it’s uncomfortable
he feels suddenly sleazy
calibanos (cont’d)
i thought so. no more questions
silence. the judge tells george he can step down. calibanos
laughs quietly with -ssociates. george is b-mmed. he walks
by diego. they look at each other
george
you shouldn’t have taken the 30 million
diego, i was out
george is lead away
clerk
the court calls mr. jack stevens
jack stevens is lead to the stand. we slowly dissolve to:
int. car – 1999 – day
the green of the new york state countryside drifts by as a
brown mazda moves along highway 19. behind the wheel is a
beautiful 20 year old woman wearing dark sungl-sses. she
drives absently, her mind somewhere else
int. otisville f.c.i. – visitor’s entrance – 1999 – day
the woman is buzzed through the double doors. she moves to
the man behind the desk and takes off her sungl-sses
kristina
i’m here to see my father
admissions officer
name?
kristina
kristina sunshine jung
ext. otisville f.c.i. – late afternoon
the guards are rounding up the other prisoners and escorting
them inside, but george is still planting sunflowers
guard
hey, george, five more minutes, buddy
int. visitor’s entrance – continuous
the admissions officer looks up from his paperwork
admissions officer
jung
kristina grabs her papers and moves to the counter
admissions officer (cont’d)
belongings in here
kristina empties her pockets and deposits her possessions
into a locker box. she is handed a key
admissions officer (cont’d)
feet on the blue line
kristina stands on a blue piece of tape and the admissions
officer buzzes open the giant metal door. but kristina
doesn’t move
admissions officer (cont’d)
miss?
he presses the buzzer again, but she just stands there
admissions officer (cont’d)
miss? something wrong?
ext. otisville f.c.i. – continuous
george turns around as a guard taps him on the shoulder
guard
george? george, come on. you’ve got a
visitor
george looks up to find kristina being buzzed through the
gate. she moves through the open area and onto the gr-ss
quickly. slow motion: father and daughter come together at
last in a long embrace
george
i’m sorry, baby. i’m so sorry
kristina
it’s alright, dad
george
i didn’t mean to…
kristina
i know, dad. i know…
he hugs her hard
george
i f-cked up
kristina
shhhh
george
i love you. i love you so much. you’ve
got to know that. you’ve got to know
kristina
i know, dad. i love you too
george
after everything. after everything, the
only thing left out of my whole life is
you
kristina looks at her father, smiles, and disappears. there
was no kristina. the guard continues to tap
guard
george? george, come on. it’s getting
dark
george looks up to find a prison guard. his name is gus, and
he helps george to his feet
george
but i have a visitor
gus
not today, george. time to go back
george
but i want to put her name on the list
for tomorrow. my daughter
gus
okay, george
george
because she’s visiting me
gus
we’ll do that tomorrow, okay? it’s
lockdown time
the shadows grow long, and gus leads george down a cement
path that cuts through the gr-ss. the huge structure of
otisville looms dark against the sky, and gus and george take
the long walk back
ext. otisville f.c.i. – new york – dusk
standing outside the fences, kristina smokes a cigarette as
she watches her father being led away. after a few moments
she turns around, walks to her car and gets in. time to go
home. and as the brown mazda pulls out of the driveway, the
taillights turn red, growing smaller and smaller, until they
finally disappear
the end
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