BLOW
by David McKenna and Nick
Cassavetes
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 glass
partition 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 hit
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 SHORES 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 passed around. Pipes. Joints.
Bongs. In SLOW MOTION, Barbara takes a huge hit of grass,
grabs George's face, french kissing him, and giving him a
huge shotgun.
INT. BELMONT SHORES 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 crap.
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. Fuck 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 partition and his
playful demeanor changes. He's all business now.
DEREK (CONT'D)
What can I do for you guys?
GEORGE
We want some grass.
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
Massachusettes. 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 fuck is that?
DEREK
It's your grass.
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 Shores 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 glass
partition 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 hit
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 SHORES 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 passed around. Pipes. Joints.
Bongs. In SLOW MOTION, Barbara takes a huge hit of grass,
grabs George's face, french kissing him, and giving him a
huge shotgun.
INT. BELMONT SHORES 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 crap.
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. Fuck 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 partition and his
playful demeanor changes. He's all business now.
DEREK (CONT'D)
What can I do for you guys?
GEORGE
We want some grass.
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
Massachusettes. 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 fuck is that?
DEREK
It's your grass.
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 Shores 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 SHORES 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 ass off.
TUNA
Look what the cat dragged in.
GEORGE
Holy shit, Dulli. What the hell 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 fucking 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 fucked up.
TUNA
Nice weed, huh?
KEVIN
Fuck yeah. I never seen nothing like
it. I'm fucking wasted.
GEORGE
Right on.
KEVIN
G-d, I'm stoned. I'm stoned. I'm
really...
GEORGE
Stoned?
KEVIN
I wish there was shit like this back
home.
GEORGE
Yeah?
KEVIN
Shit, yeah. Do you know how much money
I could make if I had this stuff back
east?
TUNA
No shit, 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. Mass, 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 shit.
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 boner 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 fucked
your mother.
TUNA
Cheer up, man. Half this money is ours.
We're fucking rich.
GEORGE
It's not enough.
KEVIN
What?
TUNA
What the fuck 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 Saturday 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 bullshit, George. We're never
going to find anything down there.
KEVIN
You know, he's got a point. We're
fucking 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 fucking 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 fucked up the ass by one
of Maria's relatives.
MARIA
Hey, fuck 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
fucking 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 pussy.
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 cockpit.
TUNA
You guys are fucking 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 genius. 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
killjoy.
FRED
Killjoy?
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 shit. 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 bummed 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 embarrassing 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 balls 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 constitutes 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, fuck 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 glasses 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 glasses 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 glasses 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. - CLASSROOM - 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, fuck you.
INMATE #2
We ain't opening shit.
INMATE #1
You just the warden's boy. We on to
you. You just trying to knock some time
off, asskissing motherfucker.
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 shithole 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
Damn, 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
Shit, I'm in for life.
INMATE #2
I'm a criminal. I ain't getting no
motherfucking job.
GEORGE
We can learn some criminal shit, 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 dick about smuggling
no drugs.
GEORGE
I was arrested in Chicago with six
hundred and sixty pounds of grass. 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 dicks in a
whorehouse. They don't know what the
fuck 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 class 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 fucking 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 passenger, 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. BASSETERRE 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. BASSETERRE 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 coke 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 piss
fifteen kilos.
CESAR
The coca is my responsibility!
GEORGE
You're a fucking 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-BUMP. BA
BUMP. 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 sexual 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 documents.
CUSTOMS AGENT
On vacation?
GEORGE
Yes.
CUSTOMS AGENT
On vacation for only one day?
BA-BUMP. BA-BUMP. 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 passes through, eyeballing
George the whole time.
CUSTOMS AGENT
Open your bags, please.
George opens the Samsonites. Super dry mouth. BA-BUMP. BA
BUMP. 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. BASSETERRE 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 reassured.
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 shit.
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 embarrassed 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 (gay/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 shit 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 fucking kilos and we're making
dogshit.
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 shit 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 fucking 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 fucking keys. Get
your ass 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 coke 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 fucking Mary! Jesus, fuck me
running! Where did you get this shit!
At one-hundred and eighty-seven degrees, the white powder
dribbles off the hotplate and melts away.
MR. T (CONT'D)
Damn! Can I do a fucking 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 hell 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 sunglasses, 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 fuck 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 fuck 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 pissed 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 participants 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 coke 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
Fuck 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 shit. 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 fuck with us?
INT. BANCO DE FEDERALE - PRESIDENT'S OFFICE - DAY
George and Diego sign papers. The bank president
congratulates them and hands them documentation.
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 circumstance 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
Hello.
MIRTHA
Hello.
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 fucks off.
INT. MIAMI NIGHTCLUB - NIGHT - MAGICAL REALITY
The dancing is in SUPER SLOW MOTION now. Passionate, 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 sunglasses.
MIRTHA
I do.
They kiss. Mirtha wipes her red nose.
MIRTHA (CONT'D)
I need a fucking 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 fucking hypocrite.
I quit smoking, didn't I?
GEORGE
Put that shit 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 bullshit 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. Classic 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 bitch 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 fucking 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 pissy. 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 embarrassed 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 fucking face!
GEORGE
This is not the time, Diego.
The men all reach for their pieces and all hell starts to
break loose.
TONY
Hay algun problema? Hablame!
DIEGO
(English)
You fucked me in front of my whole
family!
GEORGE
Fuck you...I didn't fuck 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 fucking keys!
BLAM! Courtesy of Benny, George is hit. 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 fucking
coke 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
fucking 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
Hello, hello.
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
Motherfucker 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)
Hello, Derek? This is George. Am I
wearing lipstick?
I said, am I wearing lipstick? Because
when I'm getting fucked, I want to make
sure my face is pretty. You're buying
directly from Diego, aren't you, you son
of a bitch?
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. Fuck 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 homo! 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 PROSTITUTES
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 fucked 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 fucking Colombian wife? Me. Who
protected you when my friend Cesar Roza
wanted to slice your fucking 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 fucking
relatives for all I care. Because you
are out!
George lunges at Diego and is immediately grabbed.
GEORGE
You'd better kill me now, Diego, because
you're a dead man.
DIEGO
George, don't be so emotional. This is
business. Besides, I can't kill you,
you are my brother.
They lead him away.
EXT. YACHT CLUB - CONTINUOUS
George is getting the shit 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
bullshit, 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 pissed, Pablo.
You know the DEA knows about Norman's
Cay. For Chrissakes, Diego worships
Adolf Hitler and John Lennon, that's
fucked 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 ass 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
Coke.
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 sunglasses.
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 pass.
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 fuck you. And then Diego fucked 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 homo.
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 fucking party, motherfuckers!
Let's have some fucking fun.
DEREK
Jesus, is that Mirtha!?
A very underweight Mirtha nervously runs around the party,
shoving coke 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 fucking relax. Let your hair down
for once. It's your fucking birthday,
for Chrissakes. You're such a fucking
pussy. 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 glasses.
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
Massachusetts 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 coke 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 fucking around. My wife and my
kid on a plane tonight. I sign when
they call me safe and sound.
DETECTIVE #1
No fucking way.
GEORGE
Fuck 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
ass 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
Fuck.
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 shit. 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 bump. A cop is following in the
distance. It is not okay.
GEORGE
There's a fucking cop behind us, Mirtha.
Be cool, will ya.
MIRTHA
Fuck you, George, just fucking drive.
GEORGE
Hey, why don't you just put a "I'm doing
cocaine" sign on the car. What is your
fucking problem?
MIRTHA
My problem? We're broke, that's my
fucking problem. And you're a fucking
spy.
GEORGE
What?
MIRTHA
That's right. Always spying, always
judging. Everyone's laughing at you,
you fucking pussy. You let Diego fuck
you in the ass. Maybe you are a fucking
faggot. You must be fucking Diego
because you're not fucking 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 fucking cocaine
dealer! There's a kilo in his trunk
right now! Take this sorry motherfucker
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 glass. 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
Fuck 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 glass, 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 glass and keeps showing
her, prompting her to talk. Kristina stares at George
through the glass. 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
Hello, 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 pissed 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 MINGHELLA.
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 assume 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 shit, 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 space. 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 shit. Pure as the driven snow.
Good riddance.
He looks the boys over.
GEORGE (CONT'D)
You saved my life, Dulli. You'll never
fucking 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 shit. 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 bummed. Leon looks at G.G.
LEON
What?
G.G.
I feel bad.
BEN
Me too. He's not such a bad guy.
KEVIN
Fuck you guys. All of you. I've known
him for thirty fucking years. Fucking
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 fucking 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 asses. 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
button and looks at the red light.
GEORGE (CONT'D)
Hello, 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 Saturday 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 sonofabitch. 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 fuck? 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 motherfucker.
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 passes 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
fucking guy. I'm not a rat.
INT. OTISVILLE F.C.I. - VISITOR'S ROOM - 1990 - DAY
George sits in the chair behind the plexiglass. 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 fucked 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 pissed off.
Pablo said to take him down. His exact
words were "Fuck 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 cocktail 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
circumstances of how you began talking
about cocaine with Mr. Delgado?
GEORGE
Shortly after I arrived at Danbury
Federal Correctional Institute 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
shelled 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 competition.
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 fucking 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 associates. George is bummed. 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 sunglasses. 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 sunglasses.
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 grass
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 fucked 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 grass. 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.
