Blow [Script] lyrics

ON BLACK:

"A MAN MUST LOOK AT HIS LIFE AND THINK LUXURY."

FADE IN:

EXT. GUARJIRA, COLOMBIA - 1989 - DAY

A majestic panorama of the lush green slopes that are the
Columbian highlands. A faint chopping sound IS HEARD and
then another. WHOOSH. WHOOSH. The view changes and tiny
dots appear on the hillside vegetation. WHOOSH

CLOSER

We realize the dots are people. Workers swinging long steel
machetes in slow methodical rhythm. WHOOSH. WHOOSH. WE SEE
the South American Indian MEN clearly now. Their tar stained
teeth. Their gaunt faces riddled with crow's feet. Their
jaws chewing away on huge wads of coca leaves as they collect
the harvest

EXT. DIRT ROAD - COLOMBIA - DAY

Old rickety trucks carrying the huge green tractor-sized
bales speed along the narrow road
EXT. CLEARING - COLOMBIA - DAY

The bundles are undone and Columbian women separate out the
leaves. Tribes of underweight workers carry armload after
armload of the harvest and ritualistically dump them into a
gigantic cannibal pot which sits on top of a raging bonfire
The leaves are being boiled down and a huge plume of smoke
streaks the sky. Wizened Indios brave the heat and shovel
ashes into the pot to cool the solution

INT. JUNGLE - COLOMBIA - DAY

A primitive but enormous makeshift lab contains all the
equipment. The machinery. The solutions. The over-sized
vats. Dark-skinned bandoleros smoke cigarettes and sport
automatic weapons at all the points of entry. The coca is
now a "basuco" paste and is being sent in for a wash

INT. LABORATORY - COLOMBIA - 1989 - DAY

A conveyor belt pours out brick after brick of pure cocaine
hydrochloride. The bricks are wrapped, tied up, weighed, and
stamped with a "P" before being thrown into duffel bags

EXT. JUNGLE AIRSTRIP - COLOMBIA - DAY
A small twin-engine Cessna is loaded with dozens of duffel
bags and the plane takes off

EXT. VERO BEACH AIRFIELD - NIGHT

The Cessna touches down

EXT. WORKSITE - WEYMOUTH - 1966 - DAY

The worksite is busy. George is amongst other workers
working a summer job. As George is taking five, he looks
across the sight to Fred, who is sweeping up debris. A long
way from being the boss

INT. COLLEGE ADMISSIONS OFFICE - WEYMOUTH - 1966 - DAY

George stands in line to register for college, wearing his
Brooks Brothers suit, bowtie, and freshly Bryllcreamed hair
The room is crowded and the line is long. Bob Dylan's
"Subterranean Homesick Blues" blares out of one of the kid's
transistor radios. George looks around the room. He is
uncomfortable. He catches his reflection in the shiny 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. f*ck you guys. I have this great
idea and you guys have to be all
skeptical

BARBARA
Look, if you really wanna score some
dope, I got the guy

EXT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY

George, Barbara and Tuna stop outside the front door

GEORGE
Are you sure this guy is cool?

BARBARA
You'll see for yourself

TUNA
A beauty parlor for men? Sounds pretty
queer

They walk in

INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - CONTINUOUS

George, Tuna and Barbara enter. The Whipping Post is
California's first male hair salon. George looks around at
the customer's being pampered. Haircuts, pedicures
manicures

GEORGE
Nothing like this back home

BARBARA
Derek!

DEREK FOREAL is a curious man. Daringly effeminate
especially for the sixties, he is always surrounded by
beautiful women. As he sees Barbara, he stops his haircut
and runs to embrace her

DEREK
Barbie!

Derek's female entourage rush over as well. Kisses all
around

DEREK (CONT'D)
So, this is the new man, huh? He's
cute!

George and Tuna stick out there hands

GEORGE
George

TUNA
Tuna

DEREK
Tuna, oh my. Enchante, George. Barbie
he's yummy. He looks like a Ken doll
Oooh, Ken and Barbie. It's perfect
Alright, girls, give me five minutes

Derek makes dismissing gestures and the girls scatter

DEREK (CONT'D)
Everyone, shoo! You, too, Barbie. I
want to talk to the boys alone

After the girls leave, Derek closes the 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 f*ck 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. f*ck you guys. I have this great
idea and you guys have to be all
skeptical

BARBARA
Look, if you really wanna score some
dope, I got the guy

EXT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY

George, Barbara and Tuna stop outside the front door

GEORGE
Are you sure this guy is cool?

BARBARA
You'll see for yourself

TUNA
A beauty parlor for men? Sounds pretty
queer

They walk in

INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - CONTINUOUS

George, Tuna and Barbara enter. The Whipping Post is
California's first male hair salon. George looks around at
the customer's being pampered. Haircuts, pedicures
manicures

GEORGE
Nothing like this back home

BARBARA
Derek!

DEREK FOREAL is a curious man. Daringly effeminate
especially for the sixties, he is always surrounded by
beautiful women. As he sees Barbara, he stops his haircut
and runs to embrace her

DEREK
Barbie!

Derek's female entourage rush over as well. Kisses all
around

DEREK (CONT'D)
So, this is the new man, huh? He's
cute!

George and Tuna stick out there hands

GEORGE
George

TUNA
Tuna

DEREK
Tuna, oh my. Enchante, George. Barbie
he's yummy. He looks like a Ken doll
Oooh, Ken and Barbie. It's perfect
Alright, girls, give me five minutes

Derek makes dismissing gestures and the girls scatter

DEREK (CONT'D)
Everyone, shoo! You, too, Barbie. I
want to talk to the boys alone

After the girls leave, Derek closes the 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 f*ck 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 sh*t, 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 f*cking guy. I
didn't know you guys were living in
California

GEORGE
Yeah, but what are you doing out here?

KEVIN
I'm on vacation. On my way back to
school

GEORGE
This calls for a joint. You want to do
the honors?

KEVIN
No, man. I'm too f*cked up

TUNA
Nice weed, huh?

KEVIN
f*ck yeah. I never seen nothing like
it. I'm f*cking wasted

GEORGE
Right on

KEVIN
G-d, I'm stoned. I'm stoned. I'm
really...

GEORGE
Stoned?

KEVIN
I wish there was sh*t like this back
home

GEORGE
Yeah?

KEVIN
sh*t, yeah. Do you know how much money
I could make if I had this stuff back
east?

TUNA
No sh*t, Kevin?

KEVIN
That's right

GEORGE
Yeah?

KEVIN
When there's something to move, it's too
easy not to. Do you know how many
colleges are in a twenty mile radius?
U. 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 sh*t

INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY

Derek, George and Barbara sit around. The blinds are drawn

GEORGE
The way we figure it, Barbara flies to
Boston twice a week. Two bags per
flight. Twenty-five pounds in each bag

DEREK
You're kidding, right? That's a hundred
pounds a week

GEORGE
Yeah, I know, it's a lot of weight

BARBARA
We're gonna call it California
sinsemilla. Sounds exotic

GEORGE
I'm telling you, Derek, it will sell

DEREK
I don't know...

GEORGE
Here's the best part. We can charge
five-hundred a pound

DEREK
Come on, George, no one is going to pay
that

GEORGE
It's already been negotiated. It's
done. The money is there waiting

Derek looks at Barbara. She nods

DEREK
Goodness

GEORGE
Goodness is right. If you do the math
that's over thirty grand a week profit
I want you to be my partner on this
Derek. Fifty-fifty. That's fifteen
thousand a week for you, my friend. In
your pocket, free and clear

DEREK
And I only deal with you?

GEORGE
Barbara and me. No one else

Derek thinks about it

BARBARA
It's gonna work, Derek

DEREK
I don't know. East coast. Airplanes
It all sounds pretty risky

GEORGE
She's a flight attendant. They don't
check her bags

EXT. LOS ANGELES INTERNATIONAL AIRPORT - 1968 - DAY

George drops Barbara off in her uniform curbside. They kiss
and she walks away with two big, red Samsonites. She checks
them with a SKYCAP and tips him

EXT. SKY - 1968 - DAY

A huge jet goes right to left through frame

INT. LOGAN AIRPORT - GATE - BOSTON - 1968 - DAY

Barbara is greeted by KEVIN DULLI with a hug. A baggage
claim check is slipped into Kevin's hand

BARBARA
Any message?

KEVIN
Keep it coming

INT. LOGAN AIRPORT - BAGGAGE CLAIM - BOSTON - 1968

We see Barbara's two red Samsonites being taken off the belt
by Kevin

INT. LOGAN AIRPORT - GATE - BOSTON - 1968

Same scene repeated, except different clothes on all. Maybe
Kevin is dressed a little better

KEVIN
More

INT. LOGAN AIRPORT - GATE - BOSTON - 1968

The same scene repeated, same things changed again; now Kevin
is definitely dressed a little better

KEVIN
I need more

BARBARA
What do you want me to do? I can only
take two bags, and I can't fly back here
everyday

KEVIN
I know, but I've got a feeding frenzy on
my hands. Tell George this is small
potatoes. We're missing out on some
serious cash. You tell George. He'll
think of something

EXT. WINNEBAGO - 1968 - DAY

MUSIC CUE:

Tuna drives the big Winny. Maria rides shotgun. Barrelling
cross-country, it's a party on wheels

EXT. WHITE OAK LODGE - AMHERST - 1968 - NIGHT

Kevin and his girl, RADA, are the welcoming committee as the
RV pulls into the parking lot. They wave, slap the sides of
the Winnebago, and greet the prodigal sons with hugs and
handshakes

INT. WHITE OAK LODGE - AMHERST - 1968 - LATER

George's room is rustic and plush. A log fire burns and
empty champagne bottles adorn the surroundings. The girls
have taken to each other. The music is loud, and they dance
while the boys do business. Kevin counts out the money
It's stacked in piles all over the table

KEVIN
Twenty, forty, sixty, eighty, nine
Twenty, forty, sixty, eighty, a
thousand. It's all there. Wow. A
hundred and twenty-eight thousand
dollars

TUNA
Jesus Christ, I'm getting a 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 f*cked
your mother

TUNA
Cheer up, man. Half this money is ours
We're f*cking rich

GEORGE
It's not enough

KEVIN
What?

TUNA
What the f*ck are you talking about
man?

GEORGE
The set-up is wrong. We're doing all
the legwork, and at the end of the day
we're still paying retail. We're
getting middled

KEVIN
So?

GEORGE
So, we need to get to the source

TUNA
Source? What about Derek?

GEORGE
He's getting middled, too. And Derek's
our partner. What's good for us is good
for him

KEVIN
Okay. So we need a source. Where do we
start?

GEORGE
Who speaks Spanish?

EXT. PUERTO VALLARTA - MEXICO - 1968 - DAY

MUSIC CUE

SUPERIMPOSE: PUERTO VALLARTA, MEXICO

We PAN OFF the beautiful waters of Puerto Vallarta. This is
a local beach on a 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 bullsh*t, George. We're never
going to find anything down there

KEVIN
You know, he's got a point. We're
f*cking Americans. We stick out like
sore thumbs

DEREK
I don't think so

GEORGE
You guys are such babies. You want to
go home, go. Me, I'm not going to stop
until I find the f*cking motherlode

RADA
Georgie, we're gonna get busted if we
keep this up

GEORGE
We're not gonna get busted

KEVIN
George, we'll wind up in a Mexican
prison getting f*cked up the ass by one
of Maria's relatives

MARIA
Hey, f*ck you, Dulli. I'm not Mexican
I'm Italian

BARBARA
You're Italian?

KEVIN
Yeah, right. Gonzales. What is that
Sicilian?

TUNA
As far as I'm concerned, we're on
f*cking vacation

He grabs Maria, runs and does a huge belly-flop into the
water. They all laugh

SERIES OF SHOTS

George and Barbara with local musicians on the beach

George and Derek at a cab stand

George talks with a bellboy in the lobby of a local hotel

INT. COCOS FRIOS BAR - PUERTO VALLARTA - 1968 - DAY

George, Barbara, Tuna, Derek, Maria, Kevin, and Rada are at
the bar. Ramon comes up to George, they briefly discuss and
George follows him out of the bar

EXT. STREETS - PUERTO VALLARTA - 1968 - DAY

George and Ramon climb into a beat up V.W. bug and take off

EXT. COUNTRYSIDE - PUERTO VALLARTA - 1968 - DAY

Fields and Farms. The V.W. bug pulls up to an old ranch
They get out of the bug and are greeted by SANTIAGO and his
THREE SONS

SANTIAGO
Ramon tells me you are looking for some
mota

GEORGE
Yes, I am

Santiago moves to a tarp and pulls it back to reveal many
bales of green, seedless sinsemilla

SANTIAGO
For instance, something like this?

GEORGE
Very nice. I'll take it

SANTIAGO
Ha ha ha. You are funny. Really, how
much will you be needing?

GEORGE
All of it. As much as you've got. A
couples thousand pounds. I'll be back
in a week with a plane

SANTIAGO
Listen, Americano, it is very nice to
meet you, but maybe we are going too
fast. You take a little and then come
back

GEORGE
I don't need a little. I need a lot

SANTIAGO
Marijuana is illegal in my country, and
I believe in yours, as well. We must be
careful

GEORGE
What if I brought you, let's say, fifty
thousand dollars? Would that eliminate
some of your concerns?

SANTIAGO
Amigo, you bring me fifty-thousand
dollars, and I have no more concerns

EXT. SANTA MONICA AIRPORT - 1968 - DAY

A pair of boltcutters snaps the chain off a single-engine
Cessna

TUNA
I can't believe we're stealing a plane

KEVIN
Don't be such a pus*y

GEORGE
It's fine. We're not stealing it
We're borrowing it. And try to look
natural. We've got company

A MECHANIC working on the adjacent plane is giving them the
hairy eyeball

GEORGE (CONT'D)
Be cool

The three boys nod their heads in acknowledgement and give a
small wave. The mechanic smiles and waves back

INT. CESSNA - 1968 - DAY

The engine is on and the propeller is spinning. Kevin is at
the controls. Tuna is not making the trip. He pokes his
head in before shutting the c*ckpit

TUNA
You guys are f*cking insane

George reads from a flight manual

GEORGE
Alright, pull back the throttle...

The engine screams

GEORGE (CONT'D)
Not that far, only halfway. You sure
you know what you're doing?

KEVIN
Relax. I've flown with my old man a
million times. And he always told me
the taking off part is easy, it's the
landing you've got to worry about

EXT. SANTIAGO FARM - MEXICO - 1968 - DAY

The plane tries to land. It's a clumsy one. The Cessna is
tipping and touching, first one wheel, then another, almost
sideways before straightening out and stopping. George and
Kevin hop out of the plane. They are greeted by Santiago and
the Mexican contingency

AMIGOS
Hola, George! Bienvenido!

George hands out presents to everyone. He's like Santa
Claus, giving gifts to every man, woman and child. They love
him. Santiago pumps George's hand

SANTIAGO
Good to see you, Jorge. You are a man
of your word

GEORGE
Actually, I've got some news. That
fifty thousand I promised you, I
couldn't get it

George throws Santiago a duffel bag

GEORGE (CONT'D)
So I brought you sixty

EXT. DRY LAKE BEDS - TWENTY-NINE PALMS, CA. - 1968 - DUSK

Rada sits in the Winnebago and keeps flashing the headlights
Barbara, Tuna, and Maria stand on top of the Winnebago waving
big, white towels. The plane descends from the sky and
touches down, making another extremely shaky landing

INT. FOREAL'S HOUSE - MANHATTAN BEACH - 1968 - NIGHT

It's on the water and beautiful. The furnishings are
distinctly Derek Foreal. It's a surreal scene
The holiday decorations are up, TOPLESS WOMEN in elf outfits
sip champagne, and a thousand pounds of cannabis lays on the
living room floor

GEORGE
Are you sure you want to do this in
front of everyone?

DEREK
Don't be ridiculous, these are my
babies

George empties the pot all over the floor

DEREK (CONT'D)
George, you're a 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 sh*t. Me and my frigging
nosebleeds

GEORGE
I'm taking you to the doctor when we get
home, and I don't want to hear any
arguments

BARBARA
Would you be 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, f*ck rules one and two, skip
bail and take off

EXT. RENT-A-CAR - 1972 - DAY

George hits the gas and the car screams down the road

EXT. VILLA - PUERTO VALLARTA - 1973 - GOLDEN HOUR

George and Barbara sit on the veranda drinking champagne and
watching the sun go down over the Pacific. Barbara is
completely bald. Rail thin, eyes sunken
But it doesn't matter. They're having a great time. They
laugh and hold hands and laugh some more

EXT. CEMETERY - PUERTO VALLARTA - 1973 - DAY

Everyone is there. All in black. Barbara's casket is
lowered into the ground and George climbs to his knees to
push the first dirt on the grave

GEORGE (V.O.)
Time is such a funny thing. I look at
where I am now, and in here, time inches
along. So slow, it hardly seems like it
moves. But back then, time went fast

EXT. OTISVILLE F.C.I. - NEW YORK - 1999 - DAY

George pushes dirt along the edge of a flower root. Still
planting those sunflowers, he presses down firmly, standing
before him is Barbara, still beautiful and young with flowing
locks. George raises his hand and makes a small wave
Barbara opens and closes her hand. Bye bye

GEORGE
It went too fast

George looks down and Barbara is gone. No Barbara

EXT. JUNG HOUSE - BACKYARD - WEYMOUTH - 1973 - NIGHT

George hops the fence like he did when he was a boy and goes
in the back door

INT. JUNG HOUSE - KITCHEN - CONTINUOUS

Ermine looks at George blankly

GEORGE
Hi, Mom

Ermine just keeps looking at him

GEORGE (CONT'D)
Surprised to see me?

ERMINE
Take your boots off. You're tan

GEORGE
Mexico

ERMINE
Yeah. We heard all about it. I want
you to know I'm deeply sorry about your
girlfriend

GEORGE
Barbara

ERMINE
Yes, Barbara. She was very pretty

GEORGE
Thank you. Have you been getting the
money I sent you?

ERMINE
You mean the drug money? Yes, I got it

Ermine's hands are trembling. She is emotional. She hugs
George ferociously, not letting go

ERMINE (CONT'D)
G-d, son

GEORGE
Okay, Mom. It's okay. Where's Dad?

George turns around to see Fred's beaming face

INT. JUNG HOUSE - KITCHEN - LATER

George and Fred sit at the table, a bottle of Scotch sits
between them. The 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, f*ck you

INMATE #2
We ain't opening sh*t

INMATE #1
You just the warden's boy. We on to
you. You just trying to knock some time
off, asskissing motherf*cker

Diego watches as the room reacts with laughter. This ain't
going to be easy

GEORGE
Alright. You're right. I want to get
out of this sh*thole as fast as I can
And I don't want to do this any more
than you do. But for me to walk early
some of you have to graduate. You
forget about it. You're hopeless, go to
sleep

The room laughs again

INMATE #3
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
sh*t, I'm in for life

INMATE #2
I'm a criminal. I ain't getting no
motherf*cking job

GEORGE
We can learn some criminal sh*t, too
Alright, I'll make you a deal. What if
half the time, we learn about George
Washington, and the other half, I'll
teach you how to smuggle drugs?

INMATE #2
Man, you don't know di*k 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 di*ks in a
whorehouse. They don't know what the
f*ck they're doing...

Diego watches George winning over the room. He listens
intently to George's every word. His wheels are turning

INT. DANBURY F.C.I. - GEORGE'S CELL - NIGHT

Lights out. Diego and George lay in their cots. George is
tired. Diego is not

DIEGO
George? Hey, George? I listen to what
you say to the 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 f*cking Christ

DIEGO
Now do you see what I am saying?

GEORGE
Getting it here is no problem. Trust
me. I'll fly it in myself if I have to
What about supply? How much can we get?

DIEGO
Don't worry. We will talk of
everything. We have the time. You
arrive here with a Bachelor of
Marijuana, but you will leave with a
Doctorate of Cocaine

INT. DANBURY F.C.I. - GEORGE'S CELL - NIGHT

Diego and George pouring over Diego's plans. Discussing
planning, plotting

DIEGO
What type of planes do you have?

GEORGE
Four 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 p*ss
fifteen kilos

CESAR
The coca is my responsibility!

GEORGE
You're a f*cking amateur!

DIEGO
Gentlemen, please. There is no need to
be impolite. Cesar, this will be fine
You have my word. George, Cesar is just
being thorough. That's all

CESAR
Very well. But just remember, Mr. Jung
I will be with you the whole way. And I
will be watching

INT. LOGAN AIRPORT - CUSTOMS - 1976 - DAY

George carries the two Samsonites over to customs
inspections. It's a long walk. George's heart beats hard
The sound is audible and grows with every beat. BA-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 doc*ments

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 sh*t
Just sit back and collect your money

GEORGE
You good with this?

Diego nods

GEORGE (CONT'D)
Alright

This is too much for Inez to handle. She starts screaming
machine gun Spanish. Something about a "lousy two-hundred
and fifty-thousand dollars," and how Diego is "such a coward"
to give away all his money. Diego is 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 sh*t out of each other
right in front of them

CESAR
Do you have pictures of your kids?

STEVENS
What?

CESAR
I'll need to see them. Also need their
names and the names of their schools
We are trusting you with ninety million
dollars worth of coca, Mr. Stevens
Without your children, there is no deal

Stevens thinks about it. Kids as collateral. Inez and Diego
are still duking it out. But Diego finally gets the upper
hand and drags her into the bedroom

STEVENS
Fine. So if that's all, I'll be leaving
now

Cesar walks him to the door

CESAR
Don't forget the pictures

Diego calls from the other room

DIEGO (O.S.)
George. George, come in here


INT. LA BELLE MER - BEDROOM - LATER

Diego has put Inez in the bathroom and is holding the door
closed. She pounds and kicks and screams in frustration, but
he pays no attention

DIEGO
What's the matter, George?

GEORGE
What's the matter? We're moving three
hundred f*cking kilos and we're making
dogsh*t

DIEGO
A million dollars for our first run is
not bad, George

GEORGE
It is bad. It's chump change. We might
as well be hauling suitcases across the
border. We're getting screwed

DIEGO
I know

GEORGE
And what happens when these guys stop
paying? Sooner or later, these guys are
going to cut us out. Then where are we?

DIEGO
That's my George, always thinking

The door is yanked open to reveal Inez. She is in a rage
Diego slams it in her face

DIEGO (CONT'D)
This is only part of the business
George. A very small part. Don't
worry, there is so much more to do
Which reminds me, I need a favor from
you. I must go to Colombia

GEORGE
What is it, George? Because I have to
get home. I've got a parole officer
waiting for me

DIEGO
I need you to go to Miami

EXT. VENETIAN KING APTS. - MIAMI - 1977 - DAY

George gets out of a taxi to find SEVERAL COLOMBIAN MEN
hanging around outside an apartment. He checks the address
and moves over to the men

GEORGE
I'm George. Friend of Diego's?

The Colombian men are not impressed. They grab George and
pull him inside

INT. VENETIAN KING APTS. - CONTINUOUS

George is pinned against the wall and the Colombian men all
start screaming at him in Spanish. There seems to be a
problem. A man, ALESSANDRO, steps forward. He is the one
who speaks English

ALESSANDRO
QUIET! Callate! Where's Diego?

GEORGE
I don't know. He sent me. I'm George

ALESSANDRO
Oh, I see. George. Well, that explains
everything. Open your mouth, George

George's puzzled look is replaced by a gun barrel in his
face. Alessandro presses it against George's front teeth

ALESSANDRO (CONT'D)
Now, you listen to me. Are you hearing
me?

George nods

ALESSANDRO (CONT'D)
You see this?

He indicates two duffel bags stuffed with fifty kilos of
cocaine

ALESSANDRO (CONT'D)
I've been holding this sh*t for him for
three weeks. You tell Diego I don't
appreciate it. You tell him I want my
money by Friday. Can you do that?

GEORGE
Um-hmm

INT. JUNG HOUSE - GEORGE'S ROOM - DAY

George sits on his bed, reading. Two duffel bags are tucked
away in the closet. Ermine pokes her head in

ERMINE
You have a phone call

George picks up the phone

DIEGO (O.S.)
George

GEORGE
Jesus Christ, Diego, where are you?
It's been eleven days and these guys
want their f*cking money

DIEGO (O.S.)
Bad news, George. I'm in Colombia

GEORGE
Well, you better get here fast. I'm
sitting on...

George notices Ermine is loitering in the hallway
eavesdropping

GEORGE (CONT'D)
Hi, Mom

George acknowledges her before shutting the door in her face

GEORGE (CONT'D)
I'm sitting on fifty f*cking keys. Get
your 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 f*cking Mary! Jesus, f*ck me
running! Where did you get this sh*t!

At one-hundred and eighty-seven degrees, the white powder
dribbles off the hotplate and melts away

MR. T (CONT'D)
Damn! Can I do a f*cking line?!

Mr. T puts his nose in the powder. George pulls Foreal
aside

GEORGE
What did I tell you?

DEREK
It's great and everything, but what am I
going to do with all this?

GEORGE
Sell it?

DIEGO
Jesus Christ, George, I don't see you in
two years, and you show up at my door
with a hundred and ten pounds of
cocaine?

GEORGE
Just sell it, Derek

DEREK
Alright, but it's gonna take me a year

INT. THE WHIPPING POST - MANHATTAN BEACH - 1977 - NIGHT

Money everywhere. All over the floor, the counters, the
chairs, and even in the sinks. George and Derek count the
money patiently, writing the dollar amount in yellow high
lighter on the top of each stack, before wrapping it with a
rubber band

DIEGO
Thirty-six hours. I can't believe it
Everything is gone in thirty-six hours

GEORGE
I think it's fair to say you
underestimated the market there, Derek

DIEGO
Touche

GEORGE
But to the victor belong the spoils

George divides the money. There's a 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 f*ck is going on?

They usher him away

EXT. OLAYA HERRERA AIRPORT - MEDELLIN - DAY

SUPERIMPOSE: MEDELLIN, COLOMBIA

The lear jet lands

EXT. DESERTED SUGAR FACTORY - LOS RIOS, COLOMBIA - DAY

The blazer pulls into a long driveway. They approach a gate
where SHIRTLESS TEENAGERS with MAC-10's stand guard. The
gate opens. YOUNG SOLDIERS open the door for George and
roughly usher him over to a Jeep within the confine. They
frisk him top to bottom. Diego is leaning against another
Jeep and waits for George to be released

DIEGO
George, good to see you, my brother

GEORGE
What the f*ck is going on? When did you
get out of jail?

DIEGO
Pablo used his influence. Now, George
watch what you say. Everybody hears
everything. A lot of things get said
and done that, well, let's just say this
isn't America. Life is cheap here, you
know? No offense, but you know what I'm
saying?

GEORGE
Yeah. Keep my mouth shut and let you do
the talking

DIEGO
Right. Now who is the person in
California? The connection?

GEORGE
Just a friend

DIEGO
Who? I need to know. Ah, never mind
We'll talk about it later

GEORGE
Yeah. You do the talking

The sound of a young man, a MALETON, struggling can be heard
in the distance. From another area, PABLO ESCOBAR emerges
He is singular in purpose. He is handed a pistol and moves
quickly over to the man and quietly speaks a few words. And
then, without emotion, he shoots the maleton in the head
George and Diego, who is visibly shaken, watch. Escobar is
handed a towel, and he wipes the splattered blood off his
hands, as he moves back

LARGE COLOMBIAN MAN
He will see you now
(to Diego)
Not you

DIEGO
There must be some kind of mistake

LARGE COLOMBIAN MAN
No mistake. Mr. Escobar will see Mr
Jung alone. You are to wait here

George hesitates

DIEGO
It's alright, George. You go

LARGE COLOMBIAN MAN
This way, please

The large Colombian man escorts George towards the area where
the maleton was just shot. George looks back at Diego as he
is led away

ESCOBAR
So, this is the man who takes fifty
kilos and makes them disappear in one
day?

GEORGE
Actually, it was three

ESCOBAR
The man who gives us the airplanes. The
man from America. The mafia. Chicago
Boom boom. Hollywood. You are going to
open for us the gates of Hollywood
George?

GEORGE
It would be my pleasure

ESCOBAR
Good. Very good. Welcome, my friend
Welcome to my country

Escobar moves over to embrace George. George returns it, and
their hands come together. George can't help it. He
reflexively looks at his hands. Escobar understands

ESCOBAR (CONT'D)
The man in the garden. He was full of
courage

GEORGE
Un sapo?

ESCOBAR
Un rata - no good. But he could have
run, fled the country. Gone to the
policia. But then his wife, his
children, his parents, his friends, many
people would die

GEORGE
Yes

ESCOBAR
But, never mind. I am thinking we can
do much together. This problem with
Diego, the stolen car, the jail, is very
silly business. To release him from the
carcel, it causes me much inconvenience
The fifty kilos could have been a big
problem. And I don't like problems

GEORGE
With all respect, Padrino. Diego is my
partner. I do not do business without
him

Escobar looks at him with a cold stare. But George doesn't
flinch. His face reveals nothing. Finally, a smile breaks
across Pablo's lips

ESCOBAR
I like you, George. You are loyal
That is good. That is rare. Maybe
crazy. Yes. I can tell already. You
are like me. I look at you and I see
myself. It's in the eyes, no, George?

GEORGE
Yes, it is

ESCOBAR
So, you are wanting to sell the cocaine
for me in your country, George?

GEORGE
Yes, sir. As much as you can give me

ESCOBAR
As much as I can give you? Ha ha. Very
good. I like that. Come, George. Let
us drive. We have much to talk about

Diego watches the two men walk outside. Escobar throws an
arm around George's shoulder. Pablo hops into a Jeep and
motions for George. The bodyguards come running. But Pablo
waves them away

EXT. MOUNTAINSIDE - COLOMBIA - DAY

Escobar pulls the Jeep off the road and parks it. Before
them is a stunning panorama

ESCOBAR
I like to come up here. To make the
decisions. To be one with nature

GEORGE
It's beautiful

ESCOBAR
People tell me that I am crazy. That my
business will never work in your
country. What do you think, George?

Escobar looks out over the vista, allowing George the time to
respond in full

GEORGE
What do I think? I don't want my answer
to be influenced by what I want, so I'm
going to have to say I don't know

ESCOBAR
Yes. I do not know, either. What do
you want, George?

GEORGE
I want money

ESCOBAR
Yes. Money. Which is what, George?

GEORGE
Freedom

ESCOBAR
Power?

GEORGE
Yeah, maybe

ESCOBAR
Family

GEORGE
Sure

ESCOBAR
Beautiful girls?

GEORGE
Keep them coming

ESCOBAR
Keep them coming? Ah, yes. Ha ha. You
are right. But money

GEORGE
Money

ESCOBAR
And Diego?

GEORGE
Diego is my brother

Escobar looks at George a long time. He's inscrutable

ESCOBAR
Good. Take care of him, George. I'm
fond of him, but he is sometimes like a
baby. Keep an eye on him, okay?

EXT. DESERTED SUGAR FACTORY - ENTRANCE - DAY

Diego is a little p*ssed off for being left for so long. He
taps his foot and picks at his fingernails. Escobar and
George pull up in the Jeep. Diego leaps to his feet

DIEGO
Padrino

Escobar wraps his arms around Diego in an embrace

ESCOBAR
Diego, mijo. I've made a decision. We
are going into business and I would like
to start right away

MONTAGE - GEORGE AND DIEGO TAKING OVER THE WORLD

The following images are overlaid with snow falling and money
dropping through frame. CLOSE SHOTS of George and Diego on
the phone, wheeling and dealing, hands counting cash, and
lines being drawn off mirrors. The effect is surreal and
dreamy

INT. WAREHOUSE - DAY

A duffel bag is unzipped, revealing bricks and bricks of
cocaine. Each marked with a "P." A knife punctures one of
the bricks. A mound of white powder is brought up to a man's
nose. It's George who samples, and then it is sampled by the
man he is doing business with. The shot widens TO REVEAL all
the 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
f*ck it. I'm not counting it again

DIEGO
Weight it. If it's sixty pounds, it's
three. If it's fifty, it's two-point
five

GEORGE
I don't give a sh*t. Close enough

George moves down the hall looking for a place to stack the
money, but there is no more room

GEORGE (CONT'D)
Where do I put this!?

DIEGO
Try the back bedroom

George opens the back bedroom door to find wall-to-wall
money. It's packed

GEORGE
There's no room

DIEGO
Try the closet

No luck there, either. George drops the money on the floor
and moves back into the living room

GEORGE
We've got to do something about this

INT. BANCO DE FEDERALE - PANAMA CITY - DAY

SUPERIMPOSE: PANAMA CITY, PANAMA

George and Diego watch as their money is hauled into a huge
wall safe. Armed Panamanian soldiers stand guard. The
Panamanian officials and the BANK PRESIDENT oversee the
proceedings

GEORGE
Are you comfortable with this?

DIEGO
George, we've got sixty-one million
dollars. It's either here or someplace
else. We've got to put it somewhere
Unless you want to launder it

GEORGE
And keep only forty-percent? No thanks

DIEGO
Then relax. It's a federal bank
Guaranteed by the government. And Senor
Noriega has very lenient banking
principles. No questions. No problems
All the pesados keep their money here
Even El Padrino. What do you worry?
Everyone knows we are with Escobar. Who
is going to f*ck with us?

INT. BANCO DE FEDERALE - PRESIDENT'S OFFICE - DAY

George and Diego sign papers. The bank president
congratulates them and hands them doc*mentation

GEORGE
I love it

BANK PRESIDENT
I'm sorry

GEORGE
I give you thirty-million dollars and
you give me this little book

MORE STILL PHOTOS

Diego and Inez's wedding. The ceremony. The ring. The
kiss. The lineup with all of the bridesmaids. George is the
best man, and the only American

INT. BILTMORE HOTEL - BALLROOM - NIGHT

A huge reception. All the pomp and circ*mstance Colombian
money can buy. Politicians. Policemen. And every smuggler
north of Colombia. George sits with Diego and Inez at the
table of honor. Inez is opening presents. Diego's tipsiness
is a little out of character, but hey, it's his wedding day
and a little champagne never hurt anyone. He drunkenly
throws his arm around George's shoulder

DIEGO
I'm married, George. Me. I can't
believe it. Can you believe I'm
married, George?

GEORGE
You're a lucky man, Diego

DIEGO
I love you, my brother, do you know
that?

GEORGE
I love you too, man

George notices MIRTHA showing teeth across the room

GEORGE (CONT'D)
I'll be right back, Diego

INEZ
Look, honey, a power boat

DIEGO
Great, baby, great!

They kiss. George walks across the dance floor directly
towards Mirtha

GEORGE
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 f*cks 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 f*cking drink

INT. EASTHAM HOUSE - CONTINUOUS

George moves to the bedroom. Mirtha is pregnant and she's
showing. She's also bent over a mirror with a straw in her
hand. George opens the door and takes her by surprise

GEORGE
Jesus Christ

MIRTHA
Oh, don't be such a f*cking hypocrite
I quit smoking, didn't I?

GEORGE
Put that sh*t away, they're here

INT. EASTHAM HOUSE - DOWNSTAIRS - LATER

Mirtha and George lead Fred and Ermine from room to room
showing off the house. The decor is, well, eclectic. It
doesn't match the architecture

ERMINE
It's all so beautiful

MIRTHA
What do you think, Dad?

FRED
Yeah. Nice

ERMINE
Look at this credenza. If you don't
mind me asking, how much is something
like that? It's got to cost a fortune

GEORGE
(quickly)
It's a family heirloom

ERMINE
I've seen those in magazines. They're
not cheap

GEORGE
Mirtha comes from a very wealthy family

ERMINE
Oh, I see

MIRTHA
Come on. I'll show you the rest of the
house

George and his father move outside

EXT. GROUNDS - CONTINUOUS

George and his father walk

GEORGE
So, business is going good. I've got
this import/export thing going on in
Miami that's been very profitable. With
my investments...

FRED
Don't bullsh*t me, George. I don't see
you very much, I don't want to waste the
time

They move along the rear of the house. 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 b*tch wife? A woman?
I understand you love her, but it was
you and me who started this. You and
me

GEORGE
What do you need my connection for
Diego? What are you going to do with
it?

DIEGO
What do I do with it? Nothing. It's
for peace of mind. It's for the
principle

George doesn't have time for this. He checks the cylinders
on his weapon and runs over possible scenarios in his mind
But Diego won't get off the soap box

GEORGE
Jesus f*cking Christ, Diego. I ain't
telling you. It's just business. Now
shut up. You're driving me crazy

DIEGO
I'm driving you crazy? No. You're
driving me crazy. We had a dream. What
happened to our dream?

A black sedan pulls up and FIVE PUERTO RICAN MEN approach the
room. George and Diego greet them and lead them inside
It's game time. The atmosphere is charged with danger and
everyone is acutely aware of everything. The guys sit down
their guns bulging through the inside of their suits. The
suitcases are opened. The rules are the same. No English
No raising voices. No sudden movements. George offers their
leader, TONY, beers for his men, and is politely declined
The count starts. George and Diego riff through ten thousand
dollar bundles. Diego is still acting p*ssy. He's mumbling
to himself, making faces, slamming the money all around. The
guys keep a close eye on him. Diego finishes a stack, throws
one of the bags on the ground. The conversation is in
Spanish unless otherwise indicated

TONY
Algun problema?

GEORGE
No no no... no problema, amigo. El
dinero esta todo aqui
Lleves las "llaves" y mas tarde lo
contaremos. Okay? No problem

TONY
Que problema? Nosotros esperamos

The pressure is getting to one of the hoods. His name is
BENNY. He's got a crazy eye and he seems ready to snap
George resumes the count, but Diego won't get off it

DIEGO
(English)
You 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 f*cking 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 f*cked me in front of my whole
family!

GEORGE
f*ck you...I didn't f*ck you

BENNY
Maldita sea, que diablos esta diciendo?

GEORGE
Esta todo aqui, amigo...take the keys
Take 'em and go

TONY
Que esta pasando aqui, jefe?

DIEGO
Sientese ye no se meta en lo que no le
importa

The guns are out and pointed. It's out of control now

GEORGE
Take it easy! Everything's okay!

DIEGO
Que es lo que quieren de me, hijueputas
campesinos?

George steps forward with the keys

GEORGE
Take the f*cking keys!

BLAM! Courtesy of Benny, George is 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 f*cking
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
f*cking Foreal. Alright? The answer to
all your dreams. Are you happy now?

EXT. LOS ANGELES INTERNATIONAL AIRPORT - DAY

George and Diego exit the terminal. George's arm is in a
sling. The familiar sight of Derek Foreal is Lincoln
Continental

The three men come together, and Diego and Derek are
introduced. The men's hands come together and the FRAME
FREEZES on their handshake

EXT. EASTHAM HOUSE - UPSTAIRS - DAY

Fred pulls into the driveway in his new car and honks the
horn. Fred and Ermine get out of the car

FRED
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
Motherf*cker works fast

AUGUSTO
The word is that soon he is to be king
of the middle empire. He is doing
multiple runs right now and using the
island as a jump-off point

GEORGE
He what?

AUGUSTO
Yes. Jack Stevens is already a very
busy man. Along with many others. You
shouldn't stay away so long

GEORGE
That's impossible. We can't be up and
running. Who's distributing?

Augusto says nothing. But the ball is dropping in Times
Square. 10, 9, 8, 7...

GEORGE (CONT'D)
Oh, no

Happy New Year. Streamers, confetti, and champagne. George
marches through the kissing guests and over to a phone. He's
steaming. The music is up, so he has to scream

GEORGE (CONT'D)
Hello, Derek? This is George. Am I
wearing lipstick?
I said, am I wearing lipstick? Because
when I'm getting f*cked, I want to make
sure my face is pretty. You're buying
directly from Diego, aren't you, you son
of a b*tch?

INTERCUT

Derek Foreal in full New Year's regalia, complete with party
hat

DEREK
I don't want to get caught in the middle
of this. That's between you and Diego

George's face scrinches in pain

DEREK (CONT'D)
It's nothing personal, George. Just
business

GEORGE
Yeah. I understand. Just business
Right. f*ck you

The song ends, and George is left standing there screaming

GEORGE (CONT'D)
I bring you in, and this is how you
repay me? You little 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 f*cked me, Diego

DIEGO
I did not

GEORGE
You went behind my back and you cut me
out

DIEGO
No, I never. I would not do that
George. Never

GEORGE
I talked to Foreal, Diego

There is a pause. Diego's goons ready their weapons as Diego
scoops up a cringer with his pinky and sniffs

DIEGO
Maybe you are right. I did betray you a
little bit

One of the men says something in Spanish and everyone laughs
George is furious. He starts to tremble and his face turns
red

DIEGO (CONT'D)
Oh, boo hoo, boo hoo. So sad, George
I stole your California connection. So
what? Who introduced you to Pablo
Escobar? Me. Who introduced you to
your f*cking Colombian wife? Me. Who
protected you when my friend Cesar Roza
wanted to slice your f*cking throat
huh? Who mad you millions and millions
of dollars? Me. And what do I get in
return? This? Accusations? I have
always given you everything, George, but
that is over now. This is my operation
My dream. So go home, George. Go back
to your stupid little life. You can
sell half grams to your f*cking
relatives for all I care. Because you
are out!

George lunges at Diego and is immediately grabbed

GEORGE
You'd better 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 sh*t kicked out of him. His teeth
broken, kicked in the head, the body, the groin. His arm
stomped. Blood and broken bones. It's a king size beating
The men prop him up and Cesar reaches back and hits him with
a haymaker. CRACK. George's nose is broken. Blood spurts
everywhere. George is dropped to the ground, spit on, and
left for dead

CESAR
Say "hi" to your pretty wife for me

EXT. HACIENDA LOS NAPOLES - COLOMBIA - POOL - DAY

A beautiful, sprawling estate. A family barbecue, Colombian
style, is in full swing. Kids play soccer. Zoo animals run
wild together

George is led outside by TWO OVER-ARMED BODYGUARDS. Pablo
sees him and gives George a big hug

ESCOBAR
George, you look terrible

GEORGE
Yeah, well...

ESCOBAR
Diego?

GEORGE
Yeah

ESCOBAR
Please. Sit down. We'll drink some
scotch

GEORGE
I didn't come here to drink scotch

ESCOBAR
I see. I'm sorry about this, George
I'm not happy about this situation
It's bad. You now know who your Brutus
is

GEORGE
You know why I'm here. You know what I
have to do. I came here for permission
Out of respect, Pablo. This is
bullsh*t, he's making me look like a
punk

ESCOBAR
It is very difficult. Diego makes me a
lot of money. If Diego goes so does the
money. You were an excellent teacher
George. When the student has learned
well, the teacher is no longer
necessary. We must remember we have
wives, friends, familia. Even familia
that has not been born. But sometimes
we must forget as well. I am like you
I must teach the lesson. We want to
teach the lesson. But we cannot. We
must remember that life is the teacher

GEORGE
You're saying life will take care of
Diego?

ESCOBAR
Life will take care of everybody
Diego, me, you. It is the teacher

GEORGE
I get it. I'm really p*ssed, Pablo
You know the DEA knows about Norman's
Cay. For Chrissakes, Diego worships
Adolf Hitler and John Lennon, that's
f*cked up!

ESCOBAR
I'm sorry, George

GEORGE
Yeah, well, what are you gonna do? You
and me, Pablo? Are we good?

ESCOBAR
Of course, George. We are beautiful
We are brothers. Real brothers. Not
like Diego. We started this, George

Escobar embraces George for a moment, and then George starts
to move away

ESCOBAR (CONT'D)
And, George? The vengance? It is best
served cold

INT. EASTHAM HOUSE - GEORGE'S BEDROOM - NIGHT

Mirtha is sleeping. She's so big, she looks like she's gonna
explode. George sits on the bed and rests his hand on
Mirtha's face. He looks like the Elephant Man

MIRTHA
George. Oh, Jesus Christ, George. Look
at you

GEORGE
Shhh, honey, never mind. It's alright
It's over. I quit the business. I'm
out

MIRTHA
Pablo said no?

GEORGE
Pablo said no. It's all over. And I'm
never going back. I have you. We have
the baby. And there's nothing else
It's just the family now. Shhh. Sleep
now

EXT. EASTHAM HOUSE - DAY

Fred, Ermine and Mirth are waiting for George in the car
Mirtha's water has broken. Ermine honks the horn from the
back seat and screams out the window

ERMINE
George, it's time! George! George!

INT. HOUSE - CONTINUOUS

George is high and in a panic. He races around, trying to
get a suitcase packed and find his keys

GEORGE
Coming!

He finally gets it together, but before he runs out the door
he does one last blast

INT. CAPE COD HOSPITAL - HYANNIS - MATERNITY - DAY

Mirtha is on the birthing table and screaming in pain. She's
crowning. George wears hospital scrubs and a surgical mask
He and his saucer pupils hold Mirtha's hand in comfort. The
baby comes, and DOCTOR MICK BAY slaps it's behind and cuts
the cord. Tough 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 f*ck you. And then Diego f*cked me
Cut me out, too

GEORGE
I heard

DEREK
I lost sight of everything. Forgot who
my friends were

GEORGE
It's in the past. I'm out of the
business now, so forget about it. No
hard feelings. We need to move on. And
besides, I'm sorry, too

DEREK
You?

GEORGE
For calling you a 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 f*cking party, motherf*ckers!
Let's have some f*cking fun

DEREK
Jesus, is that Mirtha!?

A very underweight Mirtha nervously runs around the party
shoving 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 f*cking relax. Let your hair down
for once. It's your f*cking birthday
for Chrissakes. You're such a f*cking
pus*y. 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 f*cking around. My wife and my
kid on a plane tonight. I sign when
they call me safe and sound

DETECTIVE #1
No f*cking way

GEORGE
f*ck you, then. I sign nothing

The detectives ponder

DETECTIVE #2
Do it

Detective #1 walks to the door

DETECTIVE #1
George? You better get yourself a good
lawyer this time. We're gonna nail your
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
f*ck

EXT. JUNG HOUSE - WEYMOUTH - PORCH - MORNING

George pulls up to the front

GEORGE
Hi

FRED
I heard. Ermine, your son is here

ERMINE (O.S.)
Tell him I don't want to see him. Tell
him he's not welcome here

GEORGE
Mom

Ermine's back is to George. She won't look at him

ERMINE
Don't you dare step one foot in this
house. You're not my son, you hear me?
I don't have a son anymore

She disappears into the house. The sound of a door slamming

FRED
She's angry. It's all over the news

GEORGE
Yeah. Listen. I'm going to be going
away for awhile

FRED
You're not going to trial?

GEORGE
No

FRED
Good

They stand there and look at each other for a while. There's
a lot to say but nothing's coming out. George hands Fred a
gym bag

GEORGE
Give this to Mom, will you?

FRED
Money. You and your mother. All the
time chasing it. I never understood it

GEORGE
Give it to her, Dad. It'll make her
happy

FRED
Yeah, I know. This is it, isn't it?

The two men throw their arms around each other and hold on to
one another in the doorway of the old house

GEORGE
Tell Mom, you know...

FRED
I'll tell her

George breaks away and moves to the T-bird

FRED (CONT'D)
Take care of yourself

INT. BANCO DE FEDERALE - PANAMA CITY - 1985 - DAY

George walks through the bank

INT. BANCO DE FEDERALE - PANAMA CITY - CONTINUOUS

George sits at a desk in front of a Panamanian BANK EMPLOYEE
He slides his bank book across the table

GEORGE
I'd like to make a withdrawal

The employee opens the book and gets a funny look on his
face. Nervous

BANK EMPLOYEE
Excuse me, please

He gets up and moves to the BANK MANAGER. They move to
another MANAGER TYPE. And another
And then everyone disappears behind closed doors. Finally
the BANK PRESIDENT emerges and moves over to George

BANK PRESIDENT
I'm afraid there is a problem, Mr. Jung
The banks have gone through a change, a
nationalization. I'm afraid your funds
have been appropriated by the Panamanian
Government...

George starts to shake. The bank president tries to explain
but whatever he says is unimportant. George is paralyzed

INT. APARTMENT - LIBERTY CITY, FLORIDA - NIGHT

An inexpensive one-bedroom furnished apartment. It ain't
much, but it's home. Mirtha has just received the news and
is losing her mind. Clara Blanca is cooking dinner

MIRTHA
What are we going to do?! What are we
going to use for money?!

GEORGE
Please, Mirtha. I'll start working for
Augusto. I'll talk to him tonight
I'll do something

MIRTHA
Don't touch me. Tell me. Just answer
the question. What do I spend? What?
How will we live?

Kristina sits there. She hears everything, so does Clara
Blanca

GEORGE
Not in front of the kid

MIRTHA
Don't give me that sh*t. You just
better do something

She storms into the bedroom and slams the door. George
stands there. Awkward silence. George goes to Kristina

GEORGE
Everything's gonna be okay, sweetheart
Don't be upset

KRISTINA
What's happening to us?

Tough question to answer

GEORGE
I don't know

KRISTINA
Are we gonna split up?

GEORGE
No, never. Don't even think about that
it's impossible. I love your mother
And you are my heart. Could I live
without my heart? Could I?

Kristina nods "no." They embrace

INT. GEORGE'S THUNDERBIRD - MIAMI - NIGHT

The car moves along I-95. George is driving while a jacked
up Mirtha does a speed bump. A cop is following in the
distance. It is not okay

GEORGE
There's a f*cking cop behind us, Mirtha
Be cool, will ya

MIRTHA
f*ck you, George, just f*cking drive

GEORGE
Hey, why don't you just put a "I'm doing
cocaine" sign on the car. What is your
f*cking problem?

MIRTHA
My problem? We're broke, that's my
f*cking problem. And you're a f*cking
spy

GEORGE
What?

MIRTHA
That's right. Always spying, always
judging. Everyone's laughing at you
you f*cking pus*y. You let Diego f*ck
you in the ass. Maybe you are a f*cking
faggot. You must be f*cking Diego
because you're not f*cking me

Mirtha grabs nuts

GEORGE
Those are my nuts!

George tries to fend her off. The car swerves all over the
road. It's turned into a full scale fist fight. The red
lights of Florida's finest come up behind them and George is
pulled over

EXT. I-95 - CONTINUOUS

Mirtha leaps out of the car, teary eyed, crazed and bloodied
The policemen step from their car

MIRTHA
He's a fugitive and a f*cking cocaine
dealer! There's a kilo in his trunk
right now! Take this sorry motherf*cker
to jail!

George sits behind the wheel. He knows it's over

INT. M.C.I. WALPOLE - VISITING AREA - 1989 - DAY

SUPERIMPOSE: FOUR YEARS LATER

Visiting day. Inmates sit across from their families
Mirtha is sitting at the 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
f*ck you, George. I knew you'd say
something like that. Always thinking
about yourself

She moves away and drags nine-year old Kristina into the
room
Kristina yanks her arm away and they get into a heated
argument. Through the 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 p*ssed off, George. You blew
it, now leave me alone

GEORGE
Kristina, c'mon, I'm sorry. I'm going
to make this right. I've got a few
things going on...

KRISTINA
What do you want from me?

GEORGE
Just to walk with you. I want to be
your dad again

KRISTINA
Do what you want, it's a free country

She walks away. He follows

INT. THE PALM LOUNGE - MIAMI - DAY

George sits at the bar with a man named LEON 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 sh*t, Dulli!

KEVIN
Georgie, oh man, hold the mayo!

GEORGE (V.O.)
That was it. Seeing Dulli after
fourteen years sealed the deal for me
The rest was just details. My end was
roughly five-hundred thousand. Kristina
and I could have a good life for five
hundred grand. Start over somewhere
One final score. That's all I needed

INT. OLIVEROS MANSION - MIAMI - DAY

AUGUSTO
Three-hundred kilos is a very big load
Georgie. Why don't we start small?

GEORGE
No. I have the 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 sh*t. Pure as the driven snow
Good riddance

He looks the boys over

GEORGE (CONT'D)
You saved my life, Dulli. You'll never
f*cking know. All you guys. Everyone
just got a raise. Instead of ten
percent, you get fifteen

LEON
Jesus, George, fifteen percent. That's
an extra two-hundred large

GEORGE
I don't give a sh*t. Split it up. Have
a great life. I'm done. I'm out
Starting over. Cheers

They clank. George gets up and does the Snoopy Dance to the
bathroom

GEORGE (CONT'D)
Yeah! Unbelievable. Dulli, pour us
another round. I gotta hit the head

George leaves the room. The camera slowly pans back to the
guys. Something doesn't look right. They have not moved
They look bummed. Leon looks at G.G

LEON
What?

G.G
I feel bad

BEN
Me too. He's not such a bad guy

KEVIN
f*ck you guys. All of you. I've known
him for thirty f*cking years. f*cking
George

LEON
Yeah, I like him, too. But what's done
is done. So let's not get all
sentimental about it, okay?

The CAMERA PANS BACK SLOWLY to the bathroom door, George
comes back into the room, dancing. He goes and sits down
with the guys

GEORGE
(laughing)
Dulli, I was just thinking about that
time we landed in Mexico. You've gotten
a lot better since then, huh pal?
Remember that f*cking landing strip?
Huh?

George is the only one smiling. No one is looking at him

GEORGE (CONT'D)
Hey, what's wrong fellas? Why the long
faces?

He looks at each one. He slowly realizes something's up. He
looks to Dulli finally

GEORGE (CONT'D)
(defeated)
No. C'mon, Dulli

The front door busts down, agents pour in. The CAMERA SWISH
PANS to George. Lights out. Slow motion. Slow dolly into
XCU

EXT. OTISVILLE F.C.I. - NEW YORK - 1999 - DAY

George has tears in his eyes. He is frozen. Paralyzed by
the memories

GEORGE
Oh, no

INT. FT. LAUDERDALE HOUSE - 1989 - DAY

The voices from the bust can be heard as the CAMERA PUSHES
SLOWLY into George's face. Surreal

GEORGE (V.O.)
I was busted. Set up by the FBI and the
DEA. That didn't bother me. Set up by
Kevin Dulli and Derek Foreal to save
their own 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 sonofab*tch. Putting on George's
boots

GEORGE (V.O.)
That was a good one, Dad. That was
really something. Remember that?

INT. OTISVILLE F.C.I. - NEW YORK - 1989 - DAY

George's eyes well up and he sparks a cigarette, as he keeps
trying to tell his father goodbye

GEORGE (V.O.)
And that time you told me that money
wasn't real? Well, old man, I'm forty
two years old. I finally learned what
you tried to tell me so many years ago

INT. FRED'S LTD. - 1989 - CONTINUOUS

Tears come crashing out of the old man's stoic face

GEORGE (V.O.)
I finally understand. You're the best
Dad. I just wish I could have done more
for you. I wish we had more time

EXT. OTISVILLE F.C.I. - NEW YORK - 1999 - DAY

A vision of Fred Jung sits on the ground before his fifty-two
year old son

GEORGE
I guess I kind of lost sight of things
"May the wind always be at your back and
the sun always upon your face, and the
winds of destiny carry you aloft to
dance with the stars." Love, George

FRED
That was a beautiful message

GEORGE
I meant every word of it

FRED
Did you know I died two weeks after you
sent me that tape?

The apparition of Fred disappears and George is left alone
once again

GEORGE
Yeah, Dad. I knew that

INT. OTISVILLE F.C.I. - NEW YORK - 1990 - DAY

George is led into the room where THREE FBI MEN await him
One of them is named FRED GARCIA

GARCIA
How are you doing, George?

GEORGE
What do you guys want?

GARCIA
You hear about your old friend, Diego?

GEORGE
What about him?

Garcia tosses a newspaper onto the table. The Miami Herald
Inside is a full page letter addressed from Diego Delgado to
Vice President George Bush. In the letter, Diego offers to
make a deal. In exchange for immunity, Diego will rat out
the entire cocaine business. Americans, Colombians, Noriega
Escobar, everybody. Just let him free

GEORGE (CONT'D)
What the f*ck? Is he going to walk?

GARCIA
He's going down, George. It's election
year. We're not making any deals

FBI GUY #1
He's never getting out. Orders from the
top

GARCIA
So, how would you like to help us put
him away?

FBI GUY #2
We've done our homework. We know you
hate this motherf*cker

GEORGE
I don't think so

GARCIA
Don't be stupid, George. We've got him
We've got him dead to rights. But like
I said, this is top priority so we're
handing out free 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
f*cking guy. I'm not a rat

INT. OTISVILLE F.C.I. - VISITOR'S ROOM - 1990 - DAY

George sits in the chair behind the 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 f*cked her over one too many
times. And I'm not here to socialize
Did you hear about Diego?

GEORGE
Yeah

MIRTHA
Well, I got a call from Pablo. He said
this thing with Diego is a disaster
He's giving up lab locations, names
bank accounts, he was very p*ssed off
Pablo said to take him down. His exact
words were "f*ck Diego."

GEORGE
He wants me to testify? Is that what
he's asking me to do?

MIRTHA
George, he wasn't asking

Mirtha gets up and starts to move away

GEORGE
Mirtha, how are you doing?

MIRTHA
Better than you

INT. COURTHOUSE HALLWAY - JACKSONVILLE - 1990 - DAY

George, Archie Zigmond and two armed guards walk down the
corridor

GEORGE
Hey, Arch, you think the judge will let
us get a c*cktail after this is all
over?

ZIGMOND
I'll see what I can do, George

GEORGE
Thanks, Arch

They walk into the crowded courtroom

INT. COURTHOUSE HALLWAY - JACKSONVILLE - 1990 - DAY

Packed. Nuts. Standing room only. The courtroom buzzes as
George is led down the center aisle and is handed off to the
bailiff. Over this we hear...

CLERK
Sir, please state your name

GEORGE
I'm George Jung. Spelled J-U-N-G

CLERK
Thank you

PROSECUTOR
Mr. Jung, do you know Diego Delgado?

GEORGE
Yes, I do

PROSECUTOR
Do you see him here in the courtroom?

GEORGE
Yes, he's sitting right there at the end
of the table

PROSECUTOR
Let the record state the witness has
identified, Diego Delgado

The following sound bytes are dissolved together in montage
style...

PROSECUTOR (CONT'D)
Mr. Jung, can you describe the
circ*mstances of how you began talking
about cocaine with Mr. Delgado?

GEORGE
Shortly after I arrived at Danbury
Federal Correctional 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 f*cking deal. I
don't know if the parole board, the
judge, the pope or Jesus Christ himself
can get me out of here. I have a really
bad record, I'm not sure what's going to
happen

CALIBANOS
So you do have an agreement with the
United States Government, Mr. Jung
correct?

George can't respond. Looks to Diego. Looks from the jury
the judge, George is on the spotlight and it's uncomfortable
He feels suddenly sleazy

CALIBANOS (CONT'D)
I thought so. No more questions

Silence. The judge tells George he can step down. Calibanos
laughs quietly with 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 f*cked up

KRISTINA
Shhhh

GEORGE
I love you. I love you so much. You've
got to know that. You've got to know

KRISTINA
I know, Dad. I love you too

GEORGE
After everything. After everything, the
only thing left out of my whole life is
you

Kristina looks at her father, smiles, and disappears. There
was no Kristina. The guard continues to tap

GUARD
George? George, come on. It's getting
dark

George looks up to find a prison guard. His name is GUS, and
he helps George to his feet

GEORGE
But I have a visitor

GUS
Not today, George. Time to go back

GEORGE
But I want to put her name on the list
for tomorrow. My daughter

GUS
Okay, George

GEORGE
Because she's visiting me

GUS
We'll do that tomorrow, okay? It's
lockdown time

The shadows grow long, and Gus leads George down a cement
path that cuts through the 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