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THE 25th HOUR
by
David Benioff
4/30/01
INDUSTRY ENTERTAINMENT
EXT . WES T SIDE HIGHWAY -- NIGHT
o A blac k dog sleeps on the shoulder of the highway, head
between his paws , curled up next to the barricad e that
separates the north and southbound lanes .
Traffic rumbles past him: yellow cabs , blu e polic e cruisers ,
white limousines with tinted glass and Jersey plates .
We hea r the squeal of brakes. A black *65 Ford Mustang, min t
condition, pulls onto the shoulder, ten yard s past the dog ,
and back s up . Th e dog raises its head.
Two me n step out of the car. The driver , MONT Y BROGAN, mid -
twenties , is pale-skinned in the flickering light . A small
silver crucifix hangs from a silver chain around his neck ;
his fingers are adorned with silver rings .
The passenger , KOSTYA NOVOTNY, a hulking ma n in his late
thirties , blow s his nose in his handkerchief.
It's a cold night . Monty wears a camel's hai r overcoat,
Kostya an old blue Soviet Navy coat .
MONTY
He's alive.
KOSTYA
(Ukrainian accent)
This dog, how do you call it?
MONTY
Pit bull . Must have lost somebody some
money .
The dog stares at them and they stare at the dog .
KOSTYA
What d o w e do , Monty, w e watch hi m rot ?
·· ' .·····- · ' ? -. : · ·- ·' MONTY : . ·' ·· '' ' ' ;:; '' '
: · "· "· -
· ·
I was thinking of shooting him .
KOSTYA
Shooting him? Ar e you sick in the head ?
The dog continues to stare at them impassively, his face lit
by the passing headlights. The pavement by hi s paws is
littered with broken glass, twisted scraps of metal , black
rubber from blow n tires.
o
(CONTINUED)
CONTINUED:
MONTY
They just left him here to die. They
threw him out the window and kept
driving.
A ship's horn sounds from the Hudson.
KOSTYA
Come, my friend, it is cold. Come, people
wait for us.
MONTY
They're used to waiting.
Monty squats near the dog and inspects him. From this angle
it is clear that the pit bull has been badly abused. One ear
has been chewed to mince; his hide is scored with cigarette
burns; flies crawl in his bloodied fur.
MONTY (CONT'D)
I think maybe his hip --
The dog pounces, jaws snapping,; lunging for Monty's face.
Monty stumbles backwards. The dog, too badly injured to
continue the attack, remains in his crouch, growling.
Monty sits on the pavement, shaking his head.
MONTY (CONT'D)
Christ.
(beat)
He's got some bite left.
KOSTYA
I think he does not want to play with
you. Come, you want police to pull over?
You want police looking through your car?
MONTY
Look what they did to him. Used him for a
fucking ashtray.
Monty stands and dusts his palms on the seat of his pants.
MONTY (CONT'D)
Let's get him in the trunk.
KOSTYA
What?
(CONTINUED)
3.
CONTINUED : (2 )
MONTY
There's a vet emergency room on the East
Side. I like this guy.
KOSTYA
You like him? He tries to bite your face
off. Look at him, he is meat. You want
some dog, I buy you.nice puppy tomorrow.
Monty is not listening. He walks back to his car, opens the
trunk, pulls out a soiled green army blanket.
Kostya holds up his hands: stop.
KOSTYA (CONT'D)
Wait one minute, please. Please stop one
minute? I do not go near pit bull. Monty?
I do not go near pit bull.
Monty, carrying the army blanket, walks back toward the dog.
MONTY
This is a good dog. I can see it in his
eyes. He's a tough little bastard.
KOSTYA
Sometimes I think you are very stupid
man.
The dog has slumped back to the pavement. His breath, comes in.
shorts rasps and wheezes. But he never takes his eyes off the
two men.
MONTY
We wait much longer, he'll be dead.
KOSTYA
One minute ago you want to shoot him.
MONTY
That was a mercy thing. But he's not
ready to go yet.
KOSTYA
Yes? He told you this?
Monty slowly circles behind the dog, holding the blanket the
way a matador wields his cape.
MONTY
Distrac t him.
U
(CONTINUED )
CONTINUED: (3)
Kostya stares at his friend in disbelief. He looks down. A
crumpled soda can lies by his feet. He kicks the can.
The dog's head pivots to follow the aluminum flash.
Monty hurls the blanket over the dog and spring forward,
wrapping his arms around the dog's midsection. The dog
growls, bites the wool, tries to break the blanket's neck.
Monty lurches toward the Mustang, struggling to retain his
bearhug while the pit bull slithers in his grasp. As they
stumble closer to the car the dog releases the blanket and
snaps at Monty's throat.
Monty hurls the dog into the trunk and slams the lid. He
returns to the driver's seat.
Kostya watches him in silence, stares at the sky for a few
seconds, finally gets back in the car. The dog thrashes in
the trunk.
INT. MUSTANG
Both men sit in silence as Monty revs the engine. Blood is
beginning to leak from a bite on the right side of Monty's
neck.
KOSTYA
What goes on in your little head?
Monty grins. He has no idea that he's bleeding.
MONTY
I got him, didn't I? Surprised you how
.-- quick I was, huh?
Monty checks for traffic and pulls back onto the highway.
KOSTYA
Yes, you are so quick.
He points at the wound on Monty's neck, which has begun to
flow faster.
KOSTYA (CONT'D)
Meanwhile, you are bleeding.
MONTY
That's the dog's blood.
KOSTYA
Oh? Because you have hole in your neck
and blood is coining out.
(CONTINUED)
5.
CONTINUED : ,,,..-. .
"(/"~^) Mont y lift s hi s han d to hi s nec k and feel s th e blood .
MONT Y
They'l l stitc h i t u p a t th e vet's .
KOSTY A
Rul e numbe r one : don' t gra b half-dea d pi t
bulls . W e hav e peopl e waitin g fo r us ,
peopl e wit h money , and you g o playin g
cowboy -- no , dogboy -- i n middl e o f
highway .
Mont y laughs , hi s han d presse d t o th e sid e o f hi s neck , bloo d
leakin g betwee n hi s fingers .
KOSTY A (CONT'D)
Yes , h a ha . You'r e ba d luck . Yo u brin g
ba d luc k o n me . Alway s everythin g tha t
ca n g o wrong , goe s wrong . I t i s no t jus t
yo u an d m e whe n w e g o out , no , no , i t i s
you , me , an d Miste r Doyle o f Doyle' s law .
Mont y frowns .
MONT Y
fly Doyle' s law ? Yo u mea n Murphy' s law .
KOSTY A
Who' s Murphy ?
MONT Y
Who' s Doyle ? Murphy' s law : whateve r ca n
g o wrong , wil l g o wrong .
KOSTY A
Yes . Him .
EXT . EAST RIVE R ESPLANAD E -- DAWN \
TITL E CARD : Four Years Later
Mont y sits o n a par k benc h overlookin g th e Eas t River . H e
stub s out hi s cigarette , pull s anothe r fro m hi s pack , light s
it .
Th e blac k pi t bull , no w health y and well-fed , squat s b y
Monty' s side . I t i s winter : th e dog's war m breat h rise s a s
whit e vapor .
.Two tough-lookin g YOUN G ME N wal k by , wearin g hoode d
sweatshirts belo w thei r dow n parkas , on e o f the m leadin g hi s
i} spike-collare d rottweiler . . /
(CONTINUED )
·- · -· - ··""·- · ·-"- 6.
CONTINUED:
o DOYLE (for the nameless pit bull has become Doyle) growls.
Monty tugs on his leash and Doyle grunts and quiets down.
YOUNG MAN 1
What up, Monty.
Monty nods but doesn't say anything. He's studying the view.
He stares at the green river, the steel bridges , the red
tugboats, the stone lighthouse of Roosevelt Island.
Doyle barks and Monty turns. SIMON, a bone-thin ma n in his
early thirties, approaches them. He wears rubber boots that
rise to his knees and a dirty yellow down parka .
SIMON
Easy, Doyle, easy, buddy. What's up
there, Monty?
Monty turns back to the river. Doyle barks again.
SIMON (CONT'D)
You want to tell the dog to relax? Hey
there, Doyle. Good dog.
0),^ Doyle has extended the leash as far as Monty will allow. He
~7 sniffs suspiciously at Simon.
SIMON (CONT'D)
I don't think your dog likes me .
MONTY
Go away, Simon.
SIMON
I'm hungry here. Woke up an hour ago and
I was hungry.
.- ··' " ·· · ··. , ···· \ ·: '·MONTY/ ' " ' ·- V ; :· · /'.I. · .- · ' "' . .',.· ' ·
,· ' · . - · · .
Nothing I can do about that. Go up to On e
Hundred and Tenth.
SIMON
One Hundred and Tenth? Come on, I'm good.
He reaches into his pocket and brings out a wad of five
dollar bills held together by a rubber band.
MONTY
(angry)
~, Put that away.
^V- ^ Doyle snarls. Simon repockets the money.
(CONTINUED)
CONTINUED: (2)
SIMON
Okay, okay. I'm just saying, I'm not
looking for a mercy pop.
/
MONTY
I'm over, man.
Simon points at a line of scabs that run along his throat.
SIMON
Cut myself shaving this morning -- four
times. Can't keep my hands steady. Come
on, Monty, help me out. I can't go to
Harlem. Look at me--- they'll eat me alive
up there.
Monty finally stands and walks toward the man, closer and
closer until their faces are inches apart.
MONTY
You need to leave me alone, friend. I
told you, I'm out of business.
Doyle sniffs Simon's boots, then raises his head, snout
climbing the man's leg. Simon dances a half-step, trying to
keep away from the pit bull without provoking him.
·
SIMON
You worried about me narking you out? You
know who I am.
MONTY
You're not listening to me. I got
touched. Game over.
Simon blinks, tries to JLaugh, looks behind him,,,looks down at
Doyle, rubs his nose with the back of his hand.
SIMON
Five years I've been coming to you. All
right, all right, I'm leaving. There's no
need to be nasty.
Monty and Doyle watch the man go; they begin walking in the
opposite direction. They pass the concrete chessboards, the
sandboxes, and pause for a moment by a basketball court.
Six TEENS play -- with little skill -- one last game before
school. Monty shakes his head disdainfully, watching one
player dribble at the top of the key.
MONTY
You got no left.
(CONTINUED)
CONTINUED: (3)
The player drives right and misses an open lay-up. Monty
spits and continues walking, Doyle leading the way.
EXT. CAMPBELL-SAWYER HIGH SCHOOL -- LATER
Monty looks up at the old private school, tucked away on a
leafy street on the Upper East Side.
Two TENTH GRADE GIRLS look at Monty as they pass by. People
are always looking at Monty.
Both girls take long final drags on their cigarettes before
crushing them out and entering the school.
INT. CAMPBELL-SAWYER HIGH SCHOOL
Monty walks down a corridor of the school building, Doyle
padding along beside him. STUDENTS, hurrying to their
classes, stare at the dog and then at Monty.
The bells ring and within moments the corridor is empty.
Monty stops before a row of framed photographs. He examines
one photograph and smiles.
INSERT PHOTOGRAPH
The Campbell-Sawyer basketball team. The players stand in a
semi-circle with their coaches. We move in closer on one face
in particular: Monty, when he was sixteen, free and easy.
We move closer still and the black-and-white face begins to
blur.
ADMINISTRATOR (O.S.)
,,.. .... Excus.e-.me-,- sir, can I help_ you?
. ··
- --
Monty, lost in a reverie, looks up. The ADMINISTRATOR, a
tall, harried-looking woman in her mid-fifties, squints at
him through her glasses.
MONTY
What?
ADMINISTRATOR
Can I help you with something?
MONTY
(smiling)
No, I don't think so.
ADMINISTRATOR
There are no dogs allowed on school
grounds.
(CONTINUED)
CONTINUED:
f~\ MONTY -^
U Okay. .. 'J\
(pointing at the picture)
I used to go here.
ADMINISTRATOR
I really have to ask you to remove the
dog.
MONTY
(still looking at picture)
Look at what a little punk I was.
The administrator bends forward and squints at the photo.
ADMINISTRATOR
I guess you weren't, the center.
MONTY
, Ha ha. Starting point guard. Started on
varsity from my first game, freshman
year. I still hold the all-time assist
record.
ADMINISTRATOR
Mm, no, Marvin Ray broke the record last ^V
year. mm^
Monty stares at her. She shrugs.
ADMINISTRATOR (CONT'D)
I coach the girl's team.
Monty turns back to the photo.
MONTY
·- we* Weire undefeated that" year.
ADMINISTRATOR
Really?
MONTY
Until I got kicked off the team. After
that, they fell apart. Do you know where
Jakob Elinsky is?
ADMINISTRATOR
Probably in his classroom. Room 301.
MONTY
Thanks.
(CONTINUED)
10
CONTINUED: (2)
o He leads Doyle away, but stops after a few feet and turns
back.
MONTY (CONT'D)
Marvin Ray?
.ADMINISTRATOR
Mm hm.
MONTY
You're sure?
ADMINISTRATOR
I was there when he broke the record.
Monty nods and continues on his way. The administrator
watches man and dog walk down the long corridor.
INT. CAMPBELL-SAWYER CLASSROOM
JAKOB ELINSKY stands at the blackboard, facing three rows of
uninspired teenage faces. He wears a tweed jacket that seems
a few sizes too large, with chalk stains on the sleeves.
Jakob is the same age as Monty but he seems younger. There is
something adolescent in his slouch, in the way he chews his
lip.
One of his students, MARY D'ANNUNZIO (17), stands at her
desk, reading from a poetry textbook. Her eyes drown in pools
of painted shadow, her hair is dyed black, tattooed roses
garland her wrist.
MARY
-«=·-------···: .· (reading) - ·· -- ···
· ·· -
·
"Let us roll all our strength and all
Our sweetness up into one ball,
And tear pur pleasures with rough strife,
Through the iron gates of life."
Jakob watches her. We don't know the Campbell-Sawyer dress
code, but we can guess that she's violating it . We can also
guess that Jakob is watching her a little too avidly.
Her pierced navel is visible below her Donnas tee-shirt.
MARY (CONT'D)
(reading)
"Thus, though we cannot make our sun
Stand still, yet we will make him run."
Mary shrugs and sits down.
(CONTINUED)
11.
CONTINUED:
JAKOB
Good, good, excellent reading. Urn, okay,
so. What do people think? What' s going on
here?
Nobody says anything. Jakob nods .
JAKOB (CONT'D)
Okay.
LUKE , a sullen-looking student with a shaved head and a
failed goatee, raises his hand.
JAKOB (CONT'D)
Luke?
LUKE
Can I go to the bathroom?
JAKOB
No . You went twenty minutes ago .
LUKE
I have a bladder infection.
JAKOB
The poem. The poem, folks. Hello?
MARY
It's not real deep or anything. The guy
wants to get laid and he's telling her to
give it up .
A few of the students titter half-heartedly.
A knock on the door releases Jakob from his hell . He goes to
answer it and then "stops/ startled. ~"~
It's the type ofdoo r popular in school buildings> with a
wire-reinforced glass panel at head height , allowing you to
look into the classroom without disturbing anyone.
Doyle, tongue dangling from his mouth , stares back at Jakob
through the panel .
MARY (CONT'D)
I didn't know your mother was coming
today, Luke .
LUKE
o
Eat me .
Jakob opens the door .
(CONTINUED)
12
CONTINUED : (2)
Mont y stands there, holding up Doyle. Doyle scramble s out of
hi s arms and jumps on Jakob , nearly knocking th e teache r
down , getting his dirty paw s all over Jakob's jacket .
MONT Y
Easy, Doyle.
Doyle immediately calms down , squatting by Jakob' s feet and
staring up at the teacher .
JAKOB
Hey -- uh , what' s going on?
Jakob seems awkward around Monty , nervous .
MONT Y
(looking at Doyle)
Look at him . He loves you.
Jakob looks at Doyle, wh o wag s the stump of hi s tail .
MONT Y (CONT'D)
He really love s you . So what are you
doing?
Jakob turns to look at hi s class , who all stare at Mont y and
the dog. For the first time today, they're quiet .
JAKOB
(to Monty )
Teaching m y class , I guess.
MONT Y
Cool .
ffco class) " ···
" ------,,...--.-.,··:.
Hey, class .
A few students shyly wave .
MONT Y (CONT'D)
(to Jakob)
Sorry to interrupt . .Listen, change of
plans . They'r e throwing me a goodbye
part y downtown . Yo u and Frank get
together somewher e and I'll com e pic k yo u
up .
Jakob is a little flustere d by this encounter , acutel y awar e
that his class is watching .
JAKO B
Okay.
(CONTINUED )
13
CONTINUED: (3 )
{ \ Monty lean s close r t o Jakob .
MONTY
(whispering)
I think the one with the bell y button' s
checking me out.
Jakob turns and sees Mary staring at them. He quickly turns
back to Monty , wh o is smiling at Mary. Jako b grab s the door
knob.
JAKOB
Okay, so I'll see you later?
Monty nods .
MONTY
Tel l Frank we'll meet up after midnight .
He leads Doyle away and Jakob closes the door , the n turns to
look at his silent class. The bell rings and all the students
grab their bags . ,
INT. TEACHERS ' LOUNG E -- LATER
Jakob, alon e in the room, sits on a sofa, his hea d in his \
hands. He looks up when he hears a knock on the door. xl"y
Mary D'Annunzio peek s in.
MARY
Yo u have a minute?
Jakob sits up straighter and smiles.
JAKOB
Sure . Come in.
/ '· '··· · ' , - · / . - . · M A R Y . , · ·,······· · ;·;·. ··:'· . - · . A , - ·. · · · · · ; - ; · .-. . '
:
I thought no students were allowed in the
teachers ' lounge.
JAKOB
I won' t tell on you.
Mary walks into the room, looking around suspiciously. Jakob
points at a chair .
JAKOB (CONT'D)
Tak e a seat.
Mary sits . ( )
(CONTINUED)
- -· - ·· - . · - - 1
4
CONTINUED:
JAKOB (CONT'D)
So what's up?
MARY
Who was that guy who came to class?
JAKOB
Monty? An old friend of mine. He went
here, too.
MARY
He doesn't look like you.
JAKOB
Actually, I have many friends who don't
look like me.
MARY
No, I mean, he doesn't look like someone
you'd be friends with.
JAKOB
We grew up together.
(beat)
So what can I do for you?
MARY
I want to know why I got a B+ on my
story.
JAKOB
Okay, first of all --
MARY
Nobody else in this class can write. You
know it, too. Don't start --
JAKOB
Don't worry about everyone else.
MARY
Vince Miskella writes a story about his
grandmother dying and you give him an A?
What is that, a charity A? Everyone's
always writing about their grandmother
dying. You know why? Not because it's so
traumatic. Because it's a guaranteed A.
And you're all sentimental, like, "Oh,
Vince, that was very powerful, very
moving." No it wasn't. You didn't care, I
didn't care, nobody cared. That's what
grandmothers do, they die.
(CONTINUED)
15.
CONTINUED : (2)
Mary has worked herself into a lather and Jakob watches her
admiringly.
JAKOB
What did your mother say when you go t
that?
Mary stares at him, not comprehending.
MARY
What? When I got what?
JAKOB
(pointing at her wrist)
The tattoo.
MARY
She said, "Where'd you get the mone y for
that. "
JAKOB
Oh . And?
MARY
And what did I say or where did I get the
money?
JAKOB
Well , what did you say, I guess .
MARY
I said he did it for free.
JAKOB
Oh . Did he?
MARY
No . Why do you care so much?
JAKOB
Just curious. __
MARY
So you're not going to change the grade?
JAKOB
No , I'm not changing the grade. I'd be
happy to discuss --
Mary yanks her bookbag off the floor and straps it on her
shoulder.
(CONTINUED)
' · ~'T ' "' 16,
CONTINUED: (3)
MARY
Great. That was a big waste of time.
JAKOB
Look, instead of worrying about the grade
so much, let's talk about the actual---
MARY
(muttering)
Forget it.
She stomps out of the lounge, her black combat boots clomping
on the corridor's linoleum floor.
Jakob shakes his head and looks up at the clock. 9:15. He
reaches for the phone sitting on the coffee table.
INT. SHREVE ZIMMER INVESTMENT BANK -- SAME TIME
FRANK SLATTERY, also in his mid-twenties, stares at the row
of clocks on the far wall. Below each clock is a sign: Tokyo,
Hong Kong, Frankfurt, London. The clock marked New York reads
9:15.
The trading floor is one giant room: rows of TRADERS seated
before their computers, jabbering into their telephone
headsets. No women -- the place is loud and aggressive.
Slattery is built like a former college wrestler: thick-
necked, broken-nosed, muscular, his hair retreating from his
forehead, his eyes undercast with dark crescents.
One of his phones rings. He answers.
----SEATTER Y - ·- -
Frank Slattery.
He listens for one second.
SLATTERY (CONT'D)
Can't talk right now. Employment number's
coming out.
INT. TEACHERS' LOUNGE - CONTINUOUS
JAKOB
All right. Just wanted to let you know
that Monty --
INT. SHREVE ZIMMER - CONTINUOUS
SLATTERY
I'll call you later.
(CONTINUED)
17
CONTINUED: -,^-.- ..... ,
.·
He hangs up the phone and returns his gaze to the computer
screens in front of him. Clearly he's waiting for something
and clearly he's anxious.
LICHTER (O.S.)
Coming out with us later on?
Slattery looks up at his boss, ARI LICHTER, early forties, a
plump, genial man.
SLATTERY
Nah, I'm meeting some friends tonight.
LICHTER
Big date?
The subject clearly makes Slattery uncomfortable.
SLATTERY
More of a going-away party.
LICHTER
Listen, the other thing, you're still
holding onto all those contracts?
. SLATTERY
Why, you're nervous?
LICHTER
I don't like it. The claims numbers have
dropped three weeks straight.
SLATTERY
And everybody's thinking, if claims have
dropped, employment must be up.
LICHTER
Everybody's thinking that because it's
pretty much always true.
SLATTERY
Not this time.
LICHTER
Frank--
SLATTERY
I've got a theory.
LICHTER
Oh good, you've got a theory. Look,
you're in awfully deep. You've got sixty
million of the bank's money in there--
(CONTINUED)
18
CONTINUED : (2)
e SLATTERY
A hundred million.
The news startles Lichter.
LICHTER
A hundred million? Jesus, Frank.
SLATTERY
They authorized me to a hundred million.
Other traders sitting nearby have begun watching this
exchange, and Lichter is careful to keep his voice down.
LICHTER
A week ago. They raised your limit a week
ago, and you're already maxing out.
SLATTERY
I'm telling you, we're in for a low
number. One-forty, maybe one-thirty-five.
LICHTER
Cut your stake in half, all right? You've
been doing a great job, everyone knows
that, but I'm still you r boss and I'm
telling you: sell those contracts.
Lichter grips Slattery's shoulder for a moment and then walks
toward his office (a real office, with walls and a door) ,
exchanging hellos with other traders on the floor.
PHELAN, fresh from college, walks down the row, handing fax
sheets to all the traders. He hands a sheet to Slattery, wh o
looks-at--it briefly before crumpling it . ........
.
PHELAN
Sollie's looking for a high number. Tw o
hundred and eighty thousand's their call .
SLATTERY
Fuck Sollie.
PHELAN
Fuck Salomon Brothers?
SLATTERY
They're hedging their bets . They want
everyone on their side of the fence.
PHELAN
What's the big deal with the employment
number, anyway?
(CONTINUED)
19.
CONTINUED : (3) ...,.,
.
Slattery doesn't want to discuss this right now .
SLATTERY
More jobs means fewer people looking for
work, right? Which means it's harder to
find the right people for a job, which
means you got to raise wages to get them,
which mean s inflation goes up -- you
following?
PHELAN
(not following)
Yeah.
Slatter y frowns.
SLATTERY
You're wearing a striped shirt with a
striped tie .
Phelan looks down at his tie .
PHELAN
Yeah? Is that bad ?
SLATTERY "x
,L#bi You look like a xuoAiiiig optical -LJ.JHJOJ.LJII.
xxiv c a fuckin j u^t.J.^ax illusion . **
Go away.
Phelan walks away, nervously adjusting his tie .
MARCUSE peeks over the partition in front of Slattery. With
his slicked-back hair , red suspenders, and obnoxious smirk,
Marcuse looks like a ma n who owns the Gordon Gekk o action
figure.
- MARGUSE- ...·-..-
Better hop to , sonny boy.
Slattery says nothing, just stabs angrily at hi s keyboard.
MARCUSE (CONT'D)
I don't see you pickin g up the phone .
Didn't Lichter just tell you to sell?
Sounds like your allowance got cut off .
Slattery, nostrils flared, pretends to ignore the taunts .
MARCUSE (CONT'D)
You're not going to disobey a direct
order, are you?
(CONTINUED)
-- 20
CONTINUED : (4)
Slattery rolls back in his wheeled office chair and stares at
Marcuse.
SLATTERY
I don't come into your bedroom and tell
yo u how to fuck your wife, do I?
Marcuse grins . He calls to another trader down the floor.
MARCUSE
Hey , Schultz, what are we looking at for
the employment number?.
SCHULTZ
(yelling from his desk)
Two-fifty, two-seventy, somewhere in
there .
Marcuse sits down again, disappearing behind the partition.
Slattery glowers at his desk. He picks up his phon e and holds
the receiver to his ear, never dialing a number.
Lichter calls to Slattery from his office door.
LICHTER
Slattery! We're good?
Slattery nods and gives a thumbs up. As soon as Lichter
returns to his office, Slattery hangs up the phone .
Marcuse sticks his head above the partition again.
MARCUSE
Good thing you got rid of those
contracts.-Looks like a huge numbe r o n -- ,«--·-.·----««».
the way.
The trading floor suddenly -- and eerily-^ goes quiet.
Everyone's attention is fixed on the television monitors
hanging from th e ceilings. The monitors ar e muted; closed
captioning files along the bottoms of the screens.
Each monitor is tuned to the same station, a financial
network broadcasting the employment number's release. A
REPORTER wearing a bowtie reads the statistics.
Slattery bows hi s head. He holds his hands in his lap and
closes his eyes . For a long while the room is very quiet.
Then a commotion of shouts and groans riles the floor.
Everyone is hollering at the same time, and we can only make
out a few phrases .
(CONTINUED)
21.
CONTINUED: (5)
TRADER 1 (O.S.)
Stop out of that! Stop out!
TRADER 2 (O.S.)
We're going for a ride!
Slattery looks up at the nearest monitor. A white number is
emblazoned on a blue background: 138,112. Every monitor in
the room flashes the same number.
Slattery stares at his computer screen. There it is again,
displayed prominently in the largest window: 138, 112.
Slattery raises his eyebrows. He juggles the crumpled fax
sheet a few times and then tosses it over the partition,
where Marcuse is sitting.
MARCUSE (O.S.)
Fuck you, Slattery.
Slattery grins and leans back in his chair, hands behind his
head.
EXT. MONTY'S BUILDING -- LATE AFTERNOON
A four-story walk-up on a quiet street in Yorkville.
NATURELLE ROSARIO sits on the stoop steps, reading a book.
Naturelle, in her early twenties, has the lean body of a
runner. It's cold outside but she doesn't seem to mind. When
she sees Monty coming she closes the book and stands.
NATURELLE
How long have you guys been walking? I
woke up at seven and you were already
gone. _ _
Monty, digging in his pocket for his keys, kisses her for an
answer. Naturelle closes her eyes and tries to embrace him
but Monty abruptly ends the kiss and climbs the stairs.
Doyle wags the stump of his tail.
NATURELLE (CONT'D)
How you doing, Mr. Doyle?
She bends down to scratch him behind his mangled ear.
MONTY
Why you waiting down here?
, ' NATURELLE
I had my book. It was a beautiful day.
(CONTINUED)
·'"··· ··""·· " ' : '2
·· " 2
CONTINUED:
c Monty smiles.
MONTY
Of course it was a beautiful day.
He holds the door open for her and Doyle.
INT. MONTY'S APARTMENT
Monty closes the apartment door behind Naturelle and Doyle,
then locks it. There are five locks and a heavy steel
deadbolt.
Despite the ominous security, it's a nice one-bedroom
apartment, with hardwood floors and tall windows facing the
brownstones across the street.
Black-and-white photographs line the walls: shots of the
Manhattan skyline, of Bensonhurst, of Doyle. The largest
photo, hanging above the sofa, is of Brogan's Bar.
Doyle curls up next to the radiator and quickly falls asleep.
Monty sits on the sofa and flicks on the television with the
remote.
WEATHERMAN
The first major storm of winter is
heading our way --
Monty turns off the television. He stares at the dead screen.
Naturelle comes out of the kitchen carrying a jar of honey
and a spoon.
She hands the jar to Monty, who opens it for her. She sits
· beside him and begins eating" the honey, watching him. He sees
her watching.
MONTY
What?
NATURELLE
What are you thinking about?
MONTY
What am I thinking about?
He leans forward and unclips a hand-tooled leather holster
from the back of his belt. A "B" for Brogan is tooled into
the leather, stylized like the old Brooklyn Dodgers' logo.
A .40 caliber automatic, squat and black, rests in the
holster. Monty drops the holster onto the coffee table and
runs his fingers over the B. Naturelle stares at the gun.
(CONTINUED)
23
CONTINUED:
MONTY (CONT'D)
I'm thinking I want to be like that girl
from the X-Men, the one who can walk
through walls.
He's still tracing the holster's "B " with his fingertips.
MONTY (CONT'D)
And if I can't do that, if I can't figure
out how to walk through walls, I'm
thinking one shot through the roof of the
mouth, boom, problem solved.
Naturelle hits him on the shoulder.
NATURELLE
Don't joke about that.
MONTY
You think I'm joking?
NATURELLE
So what are we doing tonight? Before you
shoot yourself.
Monty reclines, arms spread wide and resting on the sofa's
back cushions.
MONTY
Uncle Blue's throwing me a party at
Velvet.
NATURELLE
I thought it was over with him.
...MONTY. -- - .--
Almost.
He watches her eat another spoonful of raw honey.
MONTY (CONT'D)
That's a nasty habit you have.
She leans forward and kisses him on the lips.
NATURELLE
Come take a bath with me.
MONTY
Not right now.
She caresses his jaw but Monty is distant, his mind J
elsewhere. ^--^
(CONTINUED)
24.
CONTINUED: (2)
o She sets the honey jar on the table and walks out of the
living room. Monty listens to her in the bathroom, drawing
the bathwater.
He listens to the sound of running water.
CUT TO:
INT. MONTY'S BATHROOM -- SIX MONTHS AGO
Naturelle sits on Monty's lap in the narrow bathtub. He's
massaging her shoulders. Music plays from a radio on the
windowsill.
She is laughing at something he just said. He leans closer
and kisses the back of her neck, behind her ears. She
stretches back, lifting one leg out of the bath.
He runs his hand down her thigh and then stops, looking at
the Puerto Rican flag tattooed on her ankle. She follows his
gaze to the tattoo and then groans.
NATURELLE
Not this again.
MONTY
You were born in America, you lived in
America your whole life, you've been to
Puerto Rico twice, for vacation. What is
that? I should get an Irish flag tattooed
on my ass cause my grandparents are from
there?
NATURELLE
You,don!t have room on your ass for an
Irish flag.
Monty dips his hands into the warm water, reaches below her,
grabs her butt. Naturelle shrieks and Monty laughs.
MONTY
Between you and me the kids will be just
right.
Loud pounding on the apartment door startles them. They stare
at each other. Doyle barks from the other room.
Naturelle gets out of the tub, pulls on a bathrobe, and goes
to answer the door. Monty waits, listening. He knows who it
is. He stares out the bathroom's open window.
25.
C) INT. MONTY'S LIVING ROOM -- STILL IN FLASHBACK
Monty, wearing sweatpants and no shirt, walks into the living
room. Four D.E.A. AGENTS, all wearing D.E.A. windbreakers and
shoulder holsters, wait for him.
Doyle, ears back, growls at the agents. Monty scratches
Doyle's head and the dog relaxes a bit.
Naturelle, panicked, stares at Monty. She's still holding the
apartment door open.
MONTY
Close the door, baby.
She closes the door.
AGENT BRZOWSKI
Montgomery Brogan?
MONTY
Yeah.
Brzowski flips open a badge and hands a paper to Monty, who
looks it over.
AGENT BRZOWSKI ^^
I'm Agent Brzowksi with the Drug
Enforcement Agency. We've got a warrant
to search your apartment.
Brzowksi walks over to the sofa and sits down. The other
three agents stroll around the apartment. One looks out the
window; one starts flipping through a magazine on the coffee
table; one stares at a photograph on the wall.
AGENT CUNNINGHAM
You take this picture?
MONTY
Yeah.
AGENT CUNNINGHAM
Nice picture.
When one of the agents steps too close to Doyle, the dog
growls and the agent jumps back.
MONTY
Easy, Doyle.
AGENT BRZOWSKI I)
I don't see any tags on that dog. ^"^^
(CONTINUED)
26,
· ---· -
·
CONTINUED :
o MONTY
He's inside. He doesn't have to wear
tags.
AGENT BRZOWSKI
He better stay calm or I'll have the
pound come get him. I've seen too many
men bit by these little bastards .
Monty whistles and Doyle stands and walks over to him. Monty
crouches, one hand stroking Doyle's thick neck.
Naturelle, uncomfortable wearing only the bathrobe, begins
heading back to the bedroom.
AGENT BRZOWSKI (CONT'D)
Ms . Rosario? That's your name , right? I
need you to stay right here, ma'am.
He winks at her.
AGENT BRZOWSKI (CONT'D)
Can't have you sneaking around.
Naturelle leans against the wall, looking for a sign from
Monty, who gives her none.
The agents don't seem to be searching very hard.
AGENT BRZOWSKI (CONT'D)
Hm.
He stares down at the sofa he's sitting on .
AGENT BRZOWSKI (CONT-?D)
This sofa is not very comfortable.
Monty stares at the agent for a second and then exhales. He
turns and looks carefully at Naturelle.
AGENT CUNNINGHAM
Maybe it's your posture. Posture's very
important.
AGENT BRZOWSKI
No , it's this sofa. It's very
uncomfortable. It's lumpy.
MONTY
Get it over with.
(CONTINUED)
27
CONTINUED: (2)
yj AGENT BRZOWSKI
I just don't understand. It looks like
such a nice sofa. How much did you pay
for this sofa, Ms . Rosario?
Brzowksi stands and looks down at the cushion. Monty is still
staring at Naturelle, who meets his eye for a second and then
quickly turns away.
AGENT BRZOWSKI (CONT'D)
Maybe it's the padding?
AGENT CUNNINGHAM
Could be the padding.
Brzowski picks up the center cushion, turns it in his hands,
and unzips it.
AGENT BRZOWSKI
Probably the padding.
He pulls out handfuls of white fiber filling and lets them
drift to the floor. Monty and Naturelle watch.
, AGENT BRZOWSKI (CONT'D)
rsS*f Yeah, there's something lumpy in here,
v-v Mr. Brogan. It's a good thing I found
this, you know. It'll make your sofa much
more comfortable to sit on.
The other agents laugh. Brzowski pulls out a package the size
of a bottle of wine from the cushion, a bundle of plastic
wrap and masking tape.
Brzowski raises his eyebrows in mock shock while the other
agents poh and. cluck* -- --, --· -~ -- ---
-
AGENT BRZOWSKI (CONT'D)
Mr. Brogan, I do believe you're fucked.
END FLASHBACK
INT. MONTY'S LIVING ROOM
Monty sits on the sofa, running his hand over the sofa
cushion. Outside it's dark and Monty hasn't turned on the
lights.
NATURELLE (O.S.)
Baby?
V_/ Monty looks up. Naturelle stands in the bathroom's doorway,
wearing a bathrobe.
(CONTINUED)
28
CONTINUED :
For a moment they watch each other in silence. Then he
stands, grabs the holster off the table, and clips it to the
back of his belt.
NATURELLE (CONT'D)
Where you going?
MONTY
I got to meet my dad for dinner. I'll
call you in a couple hours.
He kisses her quickly and turns to go, but then stops and
looks at her.
MONTY (CONT'D)
Could you wear the silver dress tonight?
NATURELLE
You want me to?
He nods.
MONTY
I want to remember you in that dress .
He walks out of the apartment, leaving Naturelle alone in the
dark living room.
EXT. MONTY'S BUILDING
Kostya sits on the top step of the stoop, sipping from a
silver flask. A female JOGGER runs past and Kostya calls
after her.
KOSTYA
···· Hello ,--teeauti-f-uA~ woman!
-
She doesn't look in his direction. He takes another swig from
his flask.
A young MOTHER pushes a baby stroller past the stoop.
KOSTYA (CONT'D)
Hello, beautiful mother! Hello, little
baby!
The mother doesn't look at him, but the two-year old GIRL,
fascinated, stares at him.
KOSTYA (CONT'D)
(calling after mother)
You look like Julia Roberts. They tell
you this, yes? Come back! I make you a
new baby. I make you a boy!
(CONTINUED)
29
CONTINUED:
Monty opens the front door. He stares down at Kostya.
MONTY
What are you doing here?
KOSTYA
So many beautiful women, this
neighborhood. I like very much.
Kostya stands and grips Monty's arm.
KOSTYA (CONT'D)
You are okay?
MONTY
I'm having the time of my life.
KOSTYA
Uncle Blue wants me talking with you. He
wants you coming to Velvet tonight.
MONTY
Yeah, three other people already told me .
He's really dying to say goodbye, huh?
Kostya releases Monty's arm and nods sadly.
KOSTYA
It seems.
MONTY
What does he want?
KOSTYA
I don't know.
· --·-- MONTY : "-" " ·""""
~ ·
You came all the way up here to tell me
this? You heard of telephones?
KOSTYA
Yes, I heard, but you don't return my
calls. And Uncle wants to make sure.
MONTY
I'll be there. I'm bringing Naturelle and
some friends.
KOSTYA
You bring her? Why?
MONTY "V
Why wouldn't I ? v^
(CONTINUED)
30
CONTINUED : (2)
Kostya shrugs.
KOSTYA
We have this conversation one time,
remember? You get angry.
MONTY
Oh , Jesus. She didn't dime me out, man .
KOSTYA
No?
MONTY
Why would she?
Kostya shrugs again.
KOSTYA
Maybe her aunt is illegal alien.
MONTY
What if she is?
KOSTYA
Maybe the Federals threaten her.
Monty shakes his head and walks down the stairs.
MONTY
. You're insane. She wouldn't do that.
KOSTYA
No? Did you ask her?
Monty--stares--up--at- Kostya for a few seconds before-walking --
away.
Kostya stands at the top of the stoop. He feels something and
raises his palms to the air. The snow has begun to fall.
He looks up into the sky. Something catches his eye -- in one
of the fourth floor windows, Naturelle is staring down at
him.
Kostya watches her. She lets the curtain close. Kostya takes
another slug from his flask.
INT. SUBWAY STATION
Monty waits for the 6 train. Two BOYS (12), wearing winter
parkas and knit caps, crouch near the edge of the platform,
pointing down at the tracks and laughing.
(CONTINUED)
31
CONTINUED:
MONTY
What's down there?
The boys point and Monty looks. We follow his gaze. We can't
see anything at first, but then, as if our eyes were
adjusting to the dark, we begin to pick out movement.
A gang of large RATS crawls through the tracks, nosing
through balled-up paper bags, candy wrappers and orange
peels.
BOY 1
These ones, they eat rat poison like
chocolate.
The biggest rat of all sniffs around the base of an upright
wax-paper coffee cup that sits just outside the third rail.
Monty reaches into the pocket of his camel's hair coat and
pulls out a handful of change.
MONTY
Watch this.
He selects a quarter and -- with a free throw motion as smooth
as Hersey Hawkins's-- tosses it into the empty cup, a ten-
foot shot.
The big rat, startled, hustles into the alcove below the lip
of the platform. The boys, impressed, whistle.
MONTY (CONT'D)
Here --
He offers his palmful of change.
MONTY (CONT'D)
Take a shot at it.
The boys look at each other for a moment before each takes a
coin. They stare up at Monty. He nods at them.
MONTY (CONT'D)
Let's see what you got.
Boy 1 takes careful aim at the coffee cup. His shot is way
off target, though -- it pings off the tile on the far side of
the tunnel.
MONTY (CONT'D)
Your release is too high. Look --
He mimics the boy's shooting motion.
(CONTINUED)
32
CONTINUED : (2)
o
^^ MONTY (CONT'D)
See? You're letting go way up here, so
it's floating on you. It's like -- you
play basketball?
BOY 1
No.
MONTY
Baseball?
BOY 1
No .
MONTY
No? What do you play?
BOY 1
Soccer.
MONTY
(disgusted)
Soccer? All right, forget it.
(turning to the other boy)
Your turn, little man .
Boy 2 toes the edge of the yellow danger line and practices
his motion . When he finally releases the coin, it flashes
through the air and drops neatly into the cup.
MONTY (CONT'D)
Thataboy!
He raises his fist and the boy taps knuckles, grinning
BOY 1
You see that! You see that! Charlie got
mad skills!
Charlie says nothing, just grins and hops around on one foot.
MONTY
Make a wish.
CHARLIE
I get a wish?
MONTY '
Hell , yes . A shot like that deserves a
wish.
Monty and Charlie stare at the coffee cup and concentrate.
33
INT . 6 TRAI N
Mont y rest s wit h hi s eye s close d a s th e trai n shudder s
throug h th e tunnels .
TRE Y (O.S.)
Monty ? Mont y Brogan ?
Mont y open s hi s eyes . TRE Y POWEL L (27) stand s abov e him ,
holdin g th e ba r an d smilin g dow n a t Monty . A blonde , blandl y
handsom e man , Tre y look s lik e h e migh t hav e rowe d fo r Yale' s
crew . H e wear s a well-cu t navy-blu e suit . Hi s wife , NANC Y
(26) , stand s besid e him -- equall y blonde , equall y bland .
MONT Y
(not recognizin g them )
Hey.. .
TRE Y
Tre y Powell ! Fro m Campbell-Sawyer !
MONT Y
(trying fo r enthusiasm )
Oh , Trey . Hey . Ho w yo u been ?
TRE Y \
Excellent , excellent . Well , Goldman' s go t w*^jf
m e locke d awa y twent y hour s a day , bu t
othe r tha n that.. . I'm sorry , Nancy , thi s
i s Mont y Brogan . Bes t basketbal l playe r
eve r t o pla y fo r Campbell-Sawyer .
Mont y stand s an d shake s he r hand .
MONT Y
Nic e t o mee t you . Here , tak e m y seat .
NANC Y
No , no , please --
MONT Y
Thi s i s m y stop . I go t t o catc h th e B
train .
j
Trey claps Monty on the shoulder.
TREY
Too bad, I wanted to catch up.
MONTY
Yeah, well I'm sure I'll see you soon --
\J
(CONTINUED)
"- .,*..--- ~- 34
CONTINUED:
TREY
Tenth reunion. It's coining up! I'm the
alumni rep for our class, actually. We'll
see you there, I hope? June fifteenth?
The train has pulled into the station and Monty moves toward
the doors.
MONTY
Yeah, I hope so, definitely. Good seeing
you.
Monty makes his escape and Trey watches him go.
NANCY
He went to Campbell-Sawyer?
TREY
Mm. Well, he was a scholarship kid. It
didn't take, though. They threw him out
junior year.
Through the subway car windows, they watch Monty jogging up
the stairs.
NANCY
For what?
TREY
Selling drugs.
(beat)
You can take the kid out of Bensonhurst,
but you can't take the Bensonhurst out of
the kid.
EXT. BROGAN'S BAR -- NIGHT
The snow is falling faster. We watch the flakes spin through
a yellow cone of streetlight.
We see the bar from the street.. The name "Brogan's Bar &
Grill" is written in gold script on the storefront window.
From the outside it looks like any other Bensonhurst bar,
neon beer signs hanging in the window.
INT. BROGAN'S BAR
On the inside, though, it's clear that attention has been
paid to every detail. Everything is right: the zinc bartop,
the brass foot-rail, the antique mirrors behind the liquor.
(CONTINUED)
35,
CONTINUED : - ···--<··
A BARTENDER wipes down the bartop with a rag and a spray-
bottle . Two CUSTOMERS sit on stools and watc h the basketball
game on television.
Mont y sits at a corner table with his father, JAME S BROGAN ,
fifty. Each ma n has a pint of Guinness. The olde r Broga n was
clearly a fine-looking ma n in his day, but the year s hav e
bee n hard on him.
Monty points at the Tiffany-glass sconces on the wall .
MONT Y
Where'd you find those?
MR . BROGAN
Estate sale in Sheepshead Bay. Old lady
dies and her kids sell everything five
days later. The china -- she probably
thought her great-grandkids would be
eating off those plates.
MONT Y
Maybe they didn't need any more plates .
MR . BROGAN
(wistfully)
It was beautiful china.
Monty leans back in his chair and surveys the place . No t that
he hasn't seen the bar a thousand times -- he' s havin g a hard
time looking directly at his father.
RUTH (60), a waitress with a face like a crumpled pape r bag,
arrives with the food: pork chops for the elder Brogan , a
steak for Monty.
MONT Y
Thanks, Ruth .
RUTH
Anytime, sweetie .
She rests her hand on Monty's shoulder for a moment .
RUTH (CONT'D)
I'll send you cookies every month . Peanut I
butter, right? Your favorite.
Monty smiles and nods . Ruth exchanges glances wit h Mr . Brogan
before departing. Mr . Brogan breaks a bread roll an d butters
it . He stares at the buttered bread and leaves it on his
plate . \j
(CONTINUED)
36,
CONTINUED : (2)
MR. BROGAN
So I talked to Sal --
MONTY
Ah , come on, Dad.
MR. BROGAN
See if he can help with anything.
MONTY
Sal? The guy's been out of the picture
for twenty years.
MR. BROGAN
He might know some people in there .
MONTY
The guy's three hundred years old. He
sits around playing gin rummy all day.
What's he going to do for me?
MR. BROGAN
He still knows people.
MONTY
Dad, would you please? I'll be all right.
Just, please, don't get involved in this .
(beat)
Okay?
MR. BROGAN
You're still going to be a young man when
you get out.
- Monty lets his fork drop and wipes his mouth with his napkin.
MR. BROGAN (CONT'D)
I know you don't think so. But listen to
me . You keep your head down in there.
Don't start any trouble.
MONTY
Jesus. Enough.
Both men stare at the uneaten food on their plates .
MR. BROGAN
This should never have happened.
Monty raps the tabletop with his knuckles.
(CONTINUED)
37 .
CONTINUED: (3) "-·-
MONTY
Dad? I fucked up. Okay? What else can I
tell you? I fucked up.
INT. BROGAN'S BATHROOM -- LATER
Monty stands in the cramped bathroom, staring into the
mirror. Someone has scrawled "Fuck you" in magic marker on
the wall above the mirror.
CUT TO:
INT. DEA DIVISION OFFICE, INTERROGATION ROOM ~ MORNING
Monty stares into the mirror covering one wall of the room.
INT. OBSERVATION ROOM -- CONTINUOUS
Two agents stare back at him through the one-way glass.
INT. DEA DIVISION OFFICE, INTERROGATION ROOM -- CONTINUOUS
Monty.sits at the table and waits. Agent Brzowksi walks in,
followed by Agent Cunningham. Brzowski leaves the door ajar
for a moment.
Monty looks through the door and sees Naturelle leaving
another room, escorted by two agents. She makes eye contact
with Monty. Brzowski shuts the door. He smiles at Monty.
AGENT BRZOWSKI
Good looking girl you got there.
Monty glares at him. Brzowski pretends to sh,iver.
Ooh, that's a scary look. Yikes. You see
the look he gave me?
Cunningham laughs. Both agents take seats at the table.
AGENT BRZOWSKI (CONT'D)
Naturelle Rosario. What a name. You see
the body on that girl?
Cunningham laughs again.
MONTY
You fucking touch her --
AGENT BRZOWSKI
No, no, you've got it all wrong. She
fucking touched you.
(CONTINUED)
38
CONTINUED :
Monty is silent for a few seconds. When he does speak, his
tone is very quiet and deliberate -- he is trying to restrain
his temper.
MONTY
You're lying to me .
AGENT BRZOWSKI
Am I? That's sweet, you really trust her .
All I know is, she's walking away. We
just signed her release. Bye bye ,
Naturelle.
AGENT CUNNINGHAM
She's probably having a big party
tonight.
AGENT BRZOWSKI
Sure, why not? Big celebration. She's got
that whole big apartment to herself now.
AGENT CUNNINGHAM
She's a smart girl. You on the other
hand...
AGENT BRZOWSKI
You're supposed to be smart. Got yourself
a scholarship to a fancy private school,
huh? Not bad for a kid from Bensonhurst.
AGENT CUNNINGHAM
And then you get yourself thrown out for
dealing. Pretty dumb, buddy.
"~ -- --'--AGENT" BRZOWSKI
You know what happens to pretty boys like
you in prison?
AGENT CUNNINGHAM
Oh , they are gonna love you.
AGENT BRZOWSKI
But it's not too late, Brogan . First
felony offense, we can offer you a nice
deal. You just gotta be smart . So why
don't you tell us about your friend Uncle
Blue.
MONTY
(to Cunningham)
Can I ask you a question?
(CONTINUED)
39.
CONTINUED: (2) .. , , ._..,._...
AGENT CUNNINGHAM
Sure.
Cunningham and Brzowski lean forward, eager to hear Monty
name the names.
MONTY
When you've got your dick up his ass, is
he still talking all the time?
Cunningham and Brzowski sit back.
MONTY (CONT'D)
Cause it seems to me he never shuts up,
and I'm just wondering, is that annoying,
you're fucking the guy up the ass and he
never shuts up?
CUT TO:
INT. BROGAN'S BATHROOM
Monty still stares at the mirror. He wets his thumb and tries
to rub out the magic marker "Fuck you". Someone knocks on the
door. Monty rubs harder. It's not coming out.
VZ7 Another knock.
MONTY
Yeah, all right.
INT. BROGAN'S BAR
Monty returns to the table, sits, drinks some Guinness. ,
MONTY
Let me aBk you "a question.
MR. BROGAN
Okay.
MONTY
What do you think of Naturelle?
MR. BROGAN
She's a good girl. Your mother would have
liked her.
MONTY
Do you trust her?
Q
(CONTINUED)
..... . 40
CONTINUED:
MR. BROGAN
Do I trust her? Why do J have to trust
her?
MONTY
Do you think I can trust her?
MR. BROGAN
Where you going with this?
MONTY
I've been hearing weird things.
(beat)
Some people are saying she dimed me out
MR. BROGAN
(incredulous)
Why would she do that?
MONTY
I don't know. Maybe the Feds got to her
somehow. Blackmailed her.
MR. BROGAN
The girl loves you/ Monty. I can't
believe she would betray you.
MONTY
Everything's gotten so strange, Dad. I
wake up some mornings and it takes me a
minute to remember who I am, you know?
Where I'm going.
Mr. Brogan looks down at his plate and nods.
MONTY (CONT'D)
Most of the people I'm with, I look at
them and I think, these are my friends?
(beat)
The only ones I trust these days are you
and the guys I grew up with -- Frank,
Jake.
MR. BROGAN
I miss those boys.
MONTY
And Naturelle... Jesus. I can't get it
out of my head.
vL MR. BROGAN
It doesn't really matter now, does it?
(CONTINUED)
41
CONTINUED : (2)
·( Monty stares at his father, blue eyes unblinking.
MONTY
It matters to me .
Monty checks his watch.
MONTY (CONT'D)
I should get going.
MR. BROGAN
Okay. I'll see you in the morning.
Mr . Brogan removes his wallet from the inside pocket of his
jacket.
MONTY
The morning? What for? I'm taking a bus
up there.
MR. BROGAN
Forget the bus. I'll drive you. It'll
take half as long.
Monty frowns, backing his chair away from the table.
MONTY
No thanks. I'd rather say goodbye here.
Mr . Brogan pulls a small photograph from his wallet and hands
it to his son.
MR. BROGAN
Take this. They'll let you keep it.
Monty holds the picture carefully. ._., ._
_ =!
INSERT PHOTO
James Brogan, twenty years younger, his arm around his
beautiful wife. The six-year-old Montgomery Brogan stands in
front of them, wearing yellow pajamas and a red plastic
fireman's helmet, staring at the floor.
MR. BROGAN (CONT'D)
When you were a little kid you used to
sleep in that fireman's helmet. Your
mother --
MONTY
(still looking at photo) ..-?·-.
Don't, Dad. Not now. L'·')
(CONTINUED )
CONTINUED: (3)
> Monty carefully inserts the photo into his own wallet , kisses
his father's forehead, and walks away.
James Brogan stares at the empty chair where Monty had sat.
INT. ELEUTHERIA GREEK RESTAURANT -- NIGHT
UNCLE BLUE, SENKA VALGHOBEK, and VICTOR GEDNY sit on the
private balcony that overlooks the restaurant's mai n room.
The place is furnished in classic Outer Borough Greek
fashion: whitewashed walls , clay-tiled floors, poster s of the
Parthenon at dawn and Santorini at sunset.
Uncle Blue owns the place . He's a fierce-looking ma n with a
thick black beard, powerful hands, and no tolerance for
incompetence. It's hard to determine his age -- anywhere from
forty to sixty.
Valghobek, his lieutenant, looks at first glance like an
overweight suburban dad. But on closer inspection there is
something absolutely mirthless in his smile, a meannes s
around his eyes. He's in his late forties.
Gedny, mid-thirties, Uncle Blue's lawyer, wears a shiny suit,
a gold bracelet, and a deep , artificial-looking tan .
Gedny busily eats his shrimp and feta while the other two
watch him. Gedny gestures toward the windows.
GEDNY
Starting to snow.
UNCLE BLUE
You met with Brogan this morning. ··-
Uncle Blue's accent, like his age, is difficult to pi n down.
He could be Afghani or Iranian or Turkish.
GEDNY
I did, yeah.
Gedny reaches for his wine , takes a sip.
UNCLE BLUE
And?
GEDNY
He' s no t lovin g lif e righ t now,
obviously . I don' t know. He' s har d t o
read .
(CONTINUED)
43 .
CONTINUED :
( ) UNCL E BLU E
I kno w h e is . I don' t lik e that .
GEDN Y
Listen , on e hundre d percen t certain , th e
ki d didn' t flip . The y woul d no t b e
sendin g hi m t o Otisvill e i f h e flipped .
Uncl e Blu e an d Valghobe k exchang e glances . It' s clea r the y
don' t hav e muc h respec t fo r th e lawyer .
UNCL E BLU E
We'r e talkin g abou t huma n behavior , Mr .
Gedny . Nothin g i s on e hundre d percen t
certain .
VALGHOBE K
Don' t assum e they'r e idiots .
GEDN Y
That' s jus t it . They'r e no t idiots . N o
wa y i n hel l th e kid' s stil l walkin g
aroun d ou t her e i f h e flippe d Federal .
Secon d h e goe s he' s gone, right ? I f he' s
thei r sta r witness , they' d hav e
j-J§i disappeare d him .
Gedn y fork s anothe r shrim p an d eat s it .
GEDN Y (CONT'D )
(mout h full )
He' s kep t hi s mout h shut .
VALGHOBE K
S o far .
:' - ~ " GEDN Y ""~"
He' s a smar t kid . H e know s what' s goo d
fo r him .
UNCL E BLU E
He' s soft . H e won' t las t lon g i n there .
GEDN Y
He'l l hav e to . Fe d mandatory , tha t mean s
on e da y of f pe r mont h o f goo d behavior .
Eve n i f he' s a fuckin g choirboy , he' s i n
ther e seve n years .
UNCL E BLU E
(to Valghobek )
He' s comin g tonight ? r,,'J
(CONTINUED)
i 44
4 CONTINUED: (2)
Valghobek nods.
GEDNY
Where to? Throwing him a goodbye party at
VelVet?
UNCLE BLUE
You won't be there, Mr . Gedny.
GEDNY
What do I have to do to rate one of those
VelVet parties? Aside from getting locked
up for seven years.
UNCLE BLUE
Win more trials.
Gedny laughs but quickly notices that Uncle Blue and
Valghobek are not amused.
GEDNY
Listen, they found six hundred and fifty
g's in your boy's sofa cushion. They got
every white junkie on the East Side
saying Brogan's the sell. Game over.
Uncle Blue and Valghobek say nothing. Gedny licks his lips
GEDNY (CONT'D)
It's U.S . Code. There's nothing to argue.
Who do I argue with, the fucking grid?
It's seventy-eight to ninety-seven
months, automatic. I kept him out of
stepback* kep_t him in the world for a few
extra months --
UNCLE BLUE
The judge kept him out of stepback. Why?
If he's not talking with the Federals,
how come he's still on the street?
Gedny shrugs.
GEDNY
It's pretty common for non-violent
offenders. He's a white boy with no
record and his father put up his bar as
the bail bond. They're not worried about
him jumping.
(CONTINUED)
45
CONTINUED: (3)
UNCLE BLUE
They know more than you think. If
Brogan's telling the truth, he was
touched. The DEA went straight to his
sofa. They knew exactly where it was.
GEDNY
Someone dimed him out. You know who?
Uncle Blue and Valghobek watch the lawyer, impassive and
silent.
GEDNY (CONT'D)
None of my business.
UNCLE BLUE
Correct.
EXT. MULBERRY STREET -- NIGHT
Monty walks down the snow-covered street, hands in the
pockets of his camel's hair coat. He watches everything
intently: the passersby, the cars swerving through the slush,
the stores and restaurants.
EXT. CLOTHING BOUTIQUE
He stops in front of a fashionable shop. Beyond the plate
glass window, bald mannequins wear the latest styles.
CUT TO:
EXT. CLOTHING BOUTIQUE -- FLASHBACK (TWO YEARS EARLIER)
Monty and Naturelle, hand in hand, stare through the window
at the elegantly attirejl manneguins_» ,,The shop appears to be
closed for the night.
NATURELLE
This is my favorite store.
' MONTY
I know. Let's go in.
NATURELLE
It's closed.
MONTY
Not for you it's not.
He raps on the window. A SALES CLERK (25) walks over to the
window, peers out and sees Monty. He goes to the door,
unlocks it, holds it open for Naturelle and Monty.
. (CONTINUED)
46
CONTINUED:
Naturelle stares at Monty, who smiles and beckons for her to
enter. She raises her eyebrows and goes in. Monty nods to the
clerk as he enters the store.
MONTY (CONT'D)
How you doing?
CLERK
Pretty good, Monty, how you been?
INT. CLOTHING BOUTIQUE
Naturelle and Monty have the shop to themselves. She walks
around, inspecting the blouses, the pants, the jackets and
handbags. Monty watches hex.
NATURELLE
Everything here is so expensive.
MONTY
Don't worry about that. It's your
birthday.
The clerk emerges from the back room.
/"'.'Jaillt
[]^m CLERK
vs"
"~ We got some of the new stuff in from
Italy this morning. You want to take a
look?
INT. BACK ROOM
The new clothes are still wrapped in plastic. Naturelle pokes
around, touching the fabrics, examining the cuts. The clerk
touches her arm* - - - --- -
CLERK
Here, check out this dress. It's the best
thing they've made in years.
He tears the plastic wrap off a dress hanging in the corner
of thp rnrmu--It really is a gorgeous dress,--sleek and silver,--
looking almost liquid under the fluorescent lights.
Naturelle holds the hanger to her chest and looks at herself
in a full-length mirror leaning against one wall. She turns
to Monty and smiles.
CUT TO:
47
EXT. CLOTHING BOUTIQUE WINDOW -- NIGHT
Monty, still remembering, stares through the window. His
reflection stares back at him.
INT. SLATTERY'S APARTMENT -- NIGHT
Slattery opens the door and Jakob hurries in, his Yankees hat
(which he wears for the rest of the night) and coat dusted
with snow.
SLATTERY
It's really coming down, huh?
Slattery lives in a Young Man with Money without Woman
Apartment. The television set in the living room is so large
that the weatherman startles Jakob.
The living room itself is bigger than many Manhattan
apartments, but it's empty except for the television, an old
sofa, a coffee table, a Persian rug (still rolled) under the
windows, and a shiny red electric guitar in the corner.
Slattery returns to the sofa, bottle of beer in hand, while
Jakob remains standing, brushing the snow from his coat.
JAKOB ^
(indicating guitar)
You taking lessons?
SLATTERY
You think I have time for guitar lessons?
It's nice though, huh?
JAKOB
Yeah, it's nice.
SLATTERY
I like that color red. Have you checked
out the TV yet? Big, right?
JAKOB =
Very big.
On television, the weatherman blabs on about the coming
storm.
WEATHERMAN
...for the New York metropolitan area,
and I'll tell you what, Carol, it could
be a doozy. Expect anywhere from six to -
ten inches of snow. \
(CONTINUED)
--.-........ -
. 48
CONTINUED :
JAKOB
Do you think real human beings use the
word "doozy"?
SLATTERY
Ten inches of snow!
JAKOB
Maybe we'll have a snow day tomorrow.
SLATTERY
We should go skiing this weekend. I
bought some racing skis. Six hundred
bucks.for a pair of fucking skis .
JAKOB
I don't know how to ski.
SLATTERY
Well so what. Neither do I. But ten
inches!
(beat) !
You gonna stand all night? You'r e making !
me nervous.
Jakob sits beside Slattery and stares unhappily at the huge
television. When the screen goes blank befor e a commercial, \
he sees his own face reflected in the glass . j|
JAKOB ·!
Frank?
SLATTERY
Yeah?
JAKOB
Are you ready for this?
Slattery changes channels.
SLATTERY
For what?
JAKOB
For tonight.
SLATTERY
What's there to be ready for?
JAKOB
What do we say to him? He's goin g to be
living in a cell for seven years .
(MORE)
(CONTINUED)
49 .
CONTINUED : <2)
JAKOB (CONT'D)
It's like visiting a friend in the -
hospital with cancer . What do we say?
SLATTERY
We don't say anything. We get him drunk
and go wherever he wants to go .
JAKOB
I don't even know wh y he invited me .
SLATTERY
What are you talking about?
JAKOB
We hardly ever see each other these days .
You and I are his friends from the past .
SLATTERY
His friends from the present haven't done
him much good.
They're quiet for a time, staring at the huge television.
JAKOB
I can't believe he'l l be gone for seven
years. Someone turns him in and boom,
goodbye.
SLATTERY
It's the best thing that ever happened to
him.
The comment startles Jakob.
JAKOB
What does that mean ?
SLATTERY
It means if he didn't get arrested, he
wouldn't be alive in seven years . They'd
find him under the Manhattan Bridge with
two bullets in hi s head.
Jakob thinks about this for a second before picking up a
framed photograph from the coffee table.
INSERT PICTURE
Slattery, Jakob and Monty at age sixteen, mugging for the
camera.
JAKOB .
God, we were little punks, huh? { J
(CONTINUED)
· · - ·""·· 50,
··
"" ·-
CONTINUED : (3)
Slattery grunts. Jakob continues to stare at the photograph .
CU T TO:
INT. CAMPBELL-SAWYER CAFETERIA -- FLASHBACK
The three boys, age sixteen, sit at a table with their trays
of food. They wear the school uniform: blazers with the
Campbell-Sawyer crest, loosely knotted ties.
Young Slattery picks up a strand of limp spaghetti from his
plate .
YOUNG SLATTERY
Watch this.
He sticks one end up one nostril while his friends stare at
him.
Slattery snorts and then blows his nose. Monty and Jakob back
away in disgust. Slattery sticks a finger into his other
nostril and pulls down the end of the spaghetti strand.
One end of the spaghetti strand now dangles from each
nostril. He pulls on each end, a little this way, a little
that way.
YOUNG SLATTERY (CONT'D)
It's called brain flossing.
YOUNG MONTY
This is why you're still a virgin.
YOUNG SLATTERY
I'm not a virgin.
Two classmates, TREY and MASON, come over to their table .
Both are blonde, WASPy, and lazily elegant.
TREY
That's attractive, Slattery.
MASON
Very classy. Here they are , the three
Lords of the Outer Boroughs.
Slattery glares at them, the spaghetti still dangling from
his nose .
YOUNG SLATTERY
Fuck you.
(CONTINUED)
51
CONTINUED: >
TRE Y
Ooh, good comeback. Come on, we expect
our scholarship boys to be a little
quicker than that.
YOUNG SLATTERY
(clenching his fists)
You want to see how quick I am?
MASON
All right, all right, take it easy. What
are you boys up to this weekend?
YOUNG JAKOB
We've got that Paradise Lost paper due
Monday.
Trey rolls his eyes.
TREY
Monty, you coming to my party?
YOUNG MONTY
I don't know, maybe.
It's gonna be a rager.
YOUNG SLATTERY
A Park Avenue rager? You're gonna sit
around drinking tea?
Slattery drinks from his milk carton, letting his pinkie
finger dangle in imitation of an aristocrat drinking tea
TREY ,,. ...
Smoking tea, more like. I'm buying half
an ounce in the Meadow later on.
Mason mimics smoking a J.
MASON
Two hundred bucks, going up in smoke.
YOUNG MONTY
1
Two hundred bucks for half an ounce?
TREY
Why, how much does it cost you?
Monty shrugs
(CONTINUED)
-··-·· - · -- - -52.
CONTINUED : (2)
YOUNG MONTY
I could get it for seventy.
Trey pull s out his calfskin wallet and selects a crisp
hundred dollar bill . He hands it to Monty.
TREY
You get it, you can keep the change.
Trey and Mason amble away. Monty snaps the bill between hi s
fingers. Jakob looks at Monty skeptically.
YOUNG JAKOB
Since when are you the big player?
YOUN G MONTY
(gesturing at Trey and Mason)
They were born with money, right? Okay,
fair enough. I was born with sway.
YOUNG JAKOB
What's sway?
Monty leans toward the next table over, where four GEEKISH
STUDENTS are poring over their textbooks.
YOUNG MONTY
Hey, Julian. How's that math homework
treating you?
JULIAN, a pale, pudgy boy with an odd resemblance to Alfred
Hitchcock, grins at Monty and shrugs. He's clearly flattered
by Monty's attention; his three friends stare at Monty.
-- -- - --· JULIAN "
Piece of cake. Want to borrow it?
YOUNG MONTY
Just to make sure you didn't screw it up .
Julian laughs and hands Monty a sheet of graph paper covered
with geometric proofs .
JULIAN
Try no t to copy my name this time.
YOUNG MONTY
Ha ha .
Monty smiles at Jakob and flutters the graph paper .
(CONTINUED)
53 .
CONTINUED : (3 ) «.->.. - -^
(Ifl YOUNG MONTY (CONT'D)
^~y Sway.
K
(beat)
Hey, Frank, you eating that? Cause I'm
still hungry.
He grabs for the spaghetti strand dangling from Slattery's
nose. Slattery defends himself with a butter knife.
CUT TO:
INT. SLATTERY'S APARTMENT
Jakob returns the photograph to the coffee table.
JAKOB
Lords of the Outer Boroughs. Remember
that?
Slattery stands and stretches. He looks tired.
SLATTERY
You want to help me with this rug? It's
been sitting here for a month.
JAKOB
Where do you want it?
SLATTERY
Over here.
They carry the rolled rug to the center of the room and tear
off the plastic wrap.
JAKOB
What's he planning to do with Doyle?
SLATTERY
Doyle? I don't know. Give him to
Naturelle?
Slattery balls up the plastic wrap and tosses it into the
corner. They begin unrolling the rug.
JAKOB
They should at least let him take his dog
with him. Maybe it wouldn't be so lonely.
Slattery cocks an eyebrow and stares at Jakob.
SLATTERY
You can't take your dog to prison with
you.
(CONTINUED)
CONTINUED :
JAKOB
I'm just saying it would be nice if you
could.
They look down at the unrolled rug.
SLATTERY
That looks pretty good^
JAKOB
Monty's tough. I think he'll be okay.
Slattery starts shaking his head and Jakob hurriedly
continues.
JAKOB (CONT'D)
If it was me , I'd never last a day. But
Monty's different.
SLATTERY
(dismissively)
You don't get it. Here, let's move it
closer to the sofa.
They lift the rug and shift it a few feet.
JAKOB
So explain it to me .
SLATTERY
You want the simple version? People wh o
look like Monty don't do wel l in prison .
JAKOB
You're talking about... It can't be as
bad as people say. I mean, it's a Federal
prison. I'm sure they're pretty careful --
Slattery starts to laugh.
SLATTERY
Man , you talk exactly like a guy who
never left school.
Jakob has no comeback for this . He simmers.
SLATTERY (CONT'D)
Monty's got three choices, and none of
them are good. One , he can run. Get on a
train going to wherever and hope they
never catch up to him.
(CONTINUED)
55.
CONTINUED: (2)
JAKOB
He won't do that. His dad's bar --
SLATTERY
I'm not saying what he will do, I'm
saying what his choices are. Number two --
Slattery makes a gun with his thumb and index finger and
points it at his temple. Jakob's eyes go wide.
JAKOB
Kill himself? Not a chance. No way.
What's the third choice?
SLATTERY
The third choice?
Slattery thinks about it for a minute.
SLATTERY (CONT'D)
The third choice is he goes to prison.
JAKOB
That's what's going to happen. He'll go
and he'll make it through.
SLATTERY
Maybe. But no matter what, it's bye-bye
Monty.
JAKOB
What does that mean?
Slattery raises his thumb.
SLATTERY
If he runs, he's gone. And he won't be
coming home.
He raises his index finger.
SLATTERY (CONT'D)
If he pulls the trigger, he's gone.
They'll keep the casket closed.
He raises his middle finger.
SLATTERY (COM" D)
If they lock him away, he's gone. You'll
never see him again.
Q
(CONTINUED)
56.
CONTINUED: (3)
o JAKOB
I'll see him again. I'll visit him up
there and I'll see him when he gets out.
SLATTERY
I wouldn't bet on it. You think you're
still gonna be friends? You think you'll
kick back with a couple beers and
reminisce? Forget it, Jake. It's over
after tonight.
INT. MONTY'S KITCHEN -- NIGHT
Naturelle, wearing the sleek, shimmering silver dress, enters
the kitchen. She's looking for something.
She finds her keys by the cutting board, and then stops for a
moment, looking at the carving knife atop the clean cutting
board.
CUT TO:
INT. MONTY'S KITCHEN --ON E YEAR EARLIER
Naturelle, wearing shorts and a t-shirt, slices onions while
music plays on the stereo. We hear the apartment door open
and close, and then Monty comes into the kitchen.
Naturelle continues slicing onions. Monty walks over to her
and embraces her from behind. He kisses her neck, her ears.
NATURELLE
You have a good day?
"· MONTY " "
Mm hm.
NATURELLE
Do anything special?
MONTY
Nope.
NATURELLE
Anyone call for me when I was out?
MONTY
Nah.
NATURELLE
Nobody?
Monty begins to get worried.
(CONTINUED)
57
·CONTINUED: - '
MONTY
Urn. .. I don't --
Naturelle wheels around and Monty has to jump back to avoid
getting gutted by the carving knife.
NATURELLE
Like, for example, my mother didn't call?
MONTY
Oh, shit. Shit, I'm sorry. I completely--
Naturelle stabs the air to emphasize her point.
NATURELLE
This is the third time this month,
Montgomery. What's your problem, you're
illiterate? You can't write down a
message on a piece of paper?
MONTY
I meant to.y I just --
NATURELLE
You meant to? You meant to?
MONTY
Could you put the knife away?
NATURELLE
I'll put the knife away. You want me to
put the knife away?
MONTY
(smiling)
Okay -- ^
NATURELLE
This is funny?
Monty steps back and Naturelle advances on him with the
knife. She's kidding, basically, but it's hard to tell.
NATURELLE (CONT'D)
You think this is funny? I'll carve your
heart out, you shit.
Monty laughs. Doyle has walked into the kitchen and now
stands behind Monty, staring up curiously at the two humans.
MONTY x
You're gonna carve my heart out? · i)
· (CONTINUED)
58
CONTINUED: (2)
Naturelle waves the knife at him and Monty takes another step
backward, trips over Doyle, and lands hard on his back . He
begins to laugh hysterically.
NATURELLE
Keep laughing.
She kicks him in the ribs, not very hard, and Mont y howl s
with laughter. Doyle, a little confused, licks Monty' s face.
NATURELLE (CONT'D)
Yeah, keep laughing, you fuck. I'll carve
your heart out and feed it to Doyle.
She continues kicking while Monty laughs and Doyle,
mystified, begins to bark, and finally Naturelle starts
laughing too.
Monty grabs her wrist and pulls her down on top of him . She
drops the knife to the side and bites Monty, hard, oh the
lips.
CUT TO :
INT. MONTY'S KITCHEN -- PRESENT
Naturelle, in her silver dress, stares at the carving knife.
Doyle pads in behind her, panting. Naturelle turns and looks
down at his blunt, expectant face.
NATURELLE
You ready for this?
INT. VELVET NIGHTCLUB -- MANAGER'S OFFICE -- NIGHT
LUIS VOLANDES has decorated his office walls with signed
photographs of various low-rung celebrities.
Volahdes, a potbellied ma n in his late thirties, wit h a mane
of curly black hair , sits behind his desk, listening to
Kostya, who shadowboxes, ringed fists flashing.
VOLANDES
You move prett y wel l fo r a fa t man. S o
tel l m e abou t thi s part y tonight .
Kostya throw s a left-right-lef t combination .
KOSTYA
Uncl e Blu e want s th e VIP room.
(CONTINUED)
59
CONTINUED : ·· - - · ..,.-.,.
, ·...-··. ..-..--
. · ..
.
VOLANDES
Al l right, that's what he wants . It's his
place. If someone had asked, I'd have
said do this party some other night .
Tonight's gonna be insane. This DJ we've
got playing, he's like Jesus these days .
Every high school kid in the five
boroughs is gonna be at my door .
Kostya frowns at the smaller man .
KOSTYA
Monty goes to prison tomorrow. You wan t
we have party tomorrow night?
VOLANDES
(holding up his hands)
Hey, I like Monty. He's a good kid. Okay,
any special requests for this party?
Volandes taps the side of his nose. Kostya shakes his head
KOSTYA
None of that. For his last night , we get
him a girl.
VOLANDES
What does he like?
Kostya smiles.
KOSTYA
Monty? He likes everything. Get him a
pretty girl. And don't be cheap.
The office door opens. Uncle Blue and Valghobek walk in.
Volandes quickly stands.
VOLANDES
Hey. I didn't -- we weren't expecting you.
UNCLE BLUE
(to Kostya)
What time is Monty coining tonight?
KOSTYA
One , two, who knows? Monty will be late
for his own funeral.
UNCLE BLUE
(grim)
No , he won't. Bring him here at three.
(CONTINUED)
- ' - -····"- - · ·" - -- ···--- 60
CONTINUED: (2)
KOSTYA
Sure.
UNCLE BLUE
You hear me? Three o'clock.
VOLANDES
You want m e to, uh --
UNCLE BLUE
From midnight on, I want you somewhere
else. Nobody comes down here, you got
that?
INT. BUG BAR -- NIGHT
Slatter.y. and Jakob sit on bar stools. Slattery sips from a
glass of whiskey; Jakob nurses a bottle of beer.
The Bug Bar gets its name from the exotic insects in glass
jars behind the bar. A television above the bar shows the
entertainment news.
A VETERAN in an army jacket practices trick shots on the pool
table, JODY, the young, zaftig bartender, runs a rag over the
bartop.
JODY
How you doing, Frank? You want another
one?
SLATTERY
Thanks.
- She pours-his-bourbon-. *,,»·-=«,.-.,,.-.··--^. -- __
JODY
How about you, honey?
JAKOB
No , I'm fine.
Jody walks away. Slattery and Jakob examine her tush.
JAKOB (CONT'D) ;
One of the guys at school, this biology i
teacher, Terry -- did you ever meet Terry? j
SLATTERY |
(still watching tush)
No.
(CONTINUED)
. 61
CONTINUED:
JAKOB {-
Anyway, h e reall y like s thi s girl . In a
sor t of--
SLATTERY
A girl ? What d o you mean , a student ?
JAKOB
A student, yeah. A junior. What's weird
is, I mean this girl is sixteen. Maybe
seventeen, I don't know. She's not really
pretty -- not in the usual way, but she's --
I don't know, she's got something.
SLATTERY
Uh-huh.
JAKOB
I told him -- I told Terry he ought to
just forget about it, put her out of his
mind, but he's -- he's kind of obsessing.
It's a little scary, the way he talks
about it. He's like, ^Five years from
now, she'll be almost out of college. And
I'll be thirty-one. Nothing wrong with
that.' r~\
Slattery sips from his whiskey. He still hasn't looked at
Jakob.
SLATTERY
You haven't fucked her yet, have you?
Jakob's eyes go wide.
_
See, wait a second. If you were listening
to me you'd know I was talking about
Terry. The biology teacher? Terry?
Slattery turns and appraises Jakob.
SLATTERY
You haven't fucked her, right?
Jakob starts to protest and Slattery raises his eyebrows.
JAKOB
No.
SLATTERY
Good. That would be a mistake. fv \
(CONTINUED )
62 .
CONTINUED : (2)
Jakob angrily picks at the label of his beer bottle.
JAKOB
I'm not a pervert or anything.
Slattery drains his whiskey. He tries to catch Jody's eye ,
but she's staring at someone who just walked into the bar .
Slattery and Jakob see Monty in the mirror. For a momen t
neither of them moves .
Then both of them force cheerful expressions onto their
faces. They rise and each embraces Monty in turn.
MONTY
You been here long?
JAKOB
Oh, we got here early.
MONTY
Uncle Blue's throwing me a party at
VelVet. We ought to head over there.
JAKOB
Whose Uncle is he?
MONTY
Huh? Nah, it's a nickname. His real
name's like Ankaybusim or something, but
no one can pronounce it .
Monty surveys the sawdust-covered floor, the country rtiusic-
piay-ing--j-u-keboxy--the-glass jars of bugs_,_.. _.
_ .
MONTY (CONT'D)
What is this place?
JAKOB
Frank wants to be a redneck. He comes
here and whistles Dixie while he's
peeing.
Jody lines up three shot-glasses of whiskey.
JODY
It's nasty outside. You fellas gotta warm
up before you head out .
SLATTERY
Thanks, Jody.
Jody smiles at Monty.
(CONTINUED)
63
CONTINUED : (3) --~~ ~ .
JODY
Y'all ought to come by on Sunday for th e
Super Bowl . We're setting up a big
screen. I have a second cousin playing
for the Packers .
Slattery rubs the calluses on his palm and Jakob stares at
the floor. Jody laughs at their morose reaction.
JODY (CONT'D)
You don't have to come! I was just
saying.
Monty raises his glass and Slattery and Jakob grab their
glasses and raise them too .
MONTY
Fuck Sunday.
He drinks. Slattery and Jakob hesitate and then follow suit .
EXT . VELVET -- NIGHT
Monty steps out of a taxi, followed by Slattery and Jakob . A
roiling MOB occupies half the block, crowding in front of the
entrance to the dance club .
Most are teenagers. They clot together in groups of fours and
fives, smoking cigarettes and stomping their feet to keep
warm. Almost none are dressed for the snow.
MONTY
The whole city came out to say goodbye .
SLATTERY
«Jto-u'^ve»jgot a lot of yojxng _f an.s. I- think- --
we're the oldest ones here.
MONTY
Wait a second.
Monty slips through the maz e of boys and girls . The kids look
at him as he walks by .
Monty makes his way to the velvet ropes . KHARI GREENE , a
pillar of a ma n wearing the exact same camel's hair coat as
Monty, stands by the door, checking names off a clipboard.
Two pale scars run in parallel lines down Khari's left cheek.
MONTY (CONT'D)
Nice coat , you bastard. ( ;
(CONTINUED)
64 .
CONTINUED:
Khar i look s u p from hi s clipboar d and smiles . H e offer s hi s
hand and the y shake .
KHARI
It's the man . The man has arrived.
Wearing my coat.
MONTY
I gotta tell you, buddy, it looks better
on me .
Khari skeptically fingers the sleeve of Monty's coat .
KHAR I
Yeah, well, I hope you got some seven-
year mothballs for that coat.
Monty hesitates and then laughs. Khari puts his arm around
Monty's shoulders.
KHARI (CONT'D)
You doing all right?
MONTY
Just trying not to think, you know?
(gesturing at the crowd)
What's with all the kids?
KHARI
The legendary DJ Dusk is spinning wax
tonight. My homeboy from Hollis. Boy's
seventeen years old. Seventeen! But damn ,
he gets the girlies moving. Don't worry
about -the -crowds ·? They- -got-.thgL-.YIP setjup
-
for y'all.
MONTY
I've got my people waiting. You want me
to bring them through here?
KHARI
Take ^em to the avenue entrance. I'll get
the door opened.
MONTY
Thanks, man .
KHARI
You got it . When you going in?
MONTY
Bus leaves at nine a.m.
65 .
v
CONTINUED : (2) "~ "' * ,-,,,·.,,,,,,, =·
,,-
KHAR I
Otisvill e right?
Monty nods .
KHAR I (CONT'D)
Uncl e go t an y peopl e i n there ?
MONT Y
N o one wort h knowing .
KHAR I
Th e Federals , the y ru n a nic e place . Lo t
nice r tha n Sta^e .
MONT Y
I'm a luck y kid.
KHAR I
Luc k o f th e Irish , right ?
MONT Y
Luc k o f th e Irish .
Khar i grip s Monty ' s shoulder .
KHAR I ^
Liste n up . Don't los e you r tempe r unti l
it' s tim e t o los e you r temper . Yo u hear ?
MONT Y
Al l right . I'll se e yo u aroun d th e way .
The y shak e hand s an d Mont y signal s fo r Slatter y an d Jako b t o
follo w him . Mont y slide s throug h th e crowd ; Slatter y bull s
through * lik-& a--f-ullback blockin g for--his speedier--teammate .
Jako b walk s wit h a hig h degre e o f self-consciousness ,
nervousl y dodgin g aroun d th e variou s obstacles . H e passe s on e
stone d gir l wh o stand s wit h he r hea d back , catchin g
snowflake s i n he r mouth .
MAR Y
Hey ! Elinsky ! Mr . Elinsky ! Hey !
Jako b freezes . He r han d catche s hi s sleev e an d h e i s force d
t o tur n around , force d t o star e int o th e unnaturall y brigh t
eye s o f Mar y D'Annunzio .
Sh e wear s dar k deni m jeans , a fak e raccoo n fu r coat , an d n o
hat . He r we t blac k hai r snake s acros s he r forehea d an d neck . ^
Blac k trail s o f ey e shado w stai n he r cheeks . ()
(CONTINUED)
··
· · -- 66
CONTINUED : (3 )
MARY (CONT'D )
Ha! It' s Elinsky!
JAKOB
Oh .
MARY
What are you doing here? God, I didn't
know you ever left the school! I thought
you had a bed down in the boiler room or
something.
JAKOB
Mary D'Annunzio.
MARY
Mary W B+ " D'Annunzio, that's me.
She sees the look on his face and quickly continues.
MARY (CONT'D)
I'm kidding. It's not a big deal.
JAKOB
I've got to go. I'm here with friends.
MARY
The guy who came to class today, right?
He knows people, huh? What do you think,
could he get us in?
JAKOB
Uh, I don't --
MARY~
They're not letting anyone in right now.
They say it's too crowded already.
(increasingly hyper)
I have to get in there. I have to! You're
a fan of Dusk?
JAKOB
Sure.
MARY
He's the absolute truth, right? He is so
truth. I can't believe you're into Dusk!
No offense, I mean, but I thought you
were more into flutes or --
JAKOB
I think Dusk is very good. But I like his
earlier stuff better.
(CONTINUED)
67
CONTINUED: (4)
MARY
His earlier stuff?
MONTY (O.S.)
Jake, what are you doing?
Monty has circled back and now motions for Jakob to hurry.
MONTY (CONT'D)
I've got someone holding the door for us .
MARY
Hey! You're the guy with the dog.
Monty recognizes her from the classroom.
MONTY
It's past your bedtime, isn't it?
Mary clutches Jakob's arm and rests her head on his chest.
MARY
I'm with Jake. We're lovers.
Jakob closes his eyes. Monty grins.
· MONT Y
Is tha t right? I didn' t realiz e you tw o
wer e lovers . Well , com e on , plent y o f
roo m inside .
MAR Y
Wait.. . I've got thre e friend s wit h me .
MONT Y
Girls ? .._. ,, _._:
. _...._,,. . _
MAR Y
No .
MONT Y
Ar e yo u retarded?
He turn s and lead s the m around th e corner .
i
MARY
Better one than none, I guess.
Jakob disengages himself from Mary. She beams at him. They
follow Monty to the side door and disappear inside.
o
68
INT. VELVET -- MOMENTS LATER
Monty walks up the back staircase (marked Club Employees
Only). Mary follows him. Jakob's in the rear. He still looks
stunned.
MARY
(to Monty)
So how do you know Jake?
MONTY
We went to school together.
MARY
You went to Campbell-Sawyer? You don't
seem the type.
MONTY
They didn't think so, either.
MARY
I hate that place. Elinsk -- Jake's okay,
but mostly --
JAKOB
Look, Monty, she's seventeen. We can't
take her in here.
MONTY
Why not? We're already in.
MARY
I've got ID.
·"-
' " ' MOlfTY
""
What did you say your name was? Mary
^P^AgOjtinO?^;'..:;../:.,ni;.,:,s.r.. .;.:··,·.,:,.;>'.,.; ·:,:-·,;. .. :..;-,' .,
. .·
D'Annunzio.
MONTY
What do you think of Mr . Elinsky?
MARY
He's all right. He acts like a little old
man sometimes.
JAKOB
Now listen --
(CONTINUED)
·
69.
CONTINUED : -'" ' ' - \
;
MONT Y j\
That's true, he does. I think tonight ";
should be a big night for Mr. Elinsky. I
think we should make sure Mr. Elinsky has
fun for once.
Monty pushes open the door at the stop of the staircase. The
noise rushes in, overwhelmingly loud, the bass vibrating in
our bones.
Mary opens her mouth and speaks, but we might not be able to
hear it over the music.
MARY
Truth.
INT. VELVET VIP ROOM -- MOMENTS LATER
Monty leads Jakob and Mary into the VIP room. Naturelle is
already there, speaking with Slattery.
The walls of the VIP room are covered with crushed red
velvet. The couches are upholstered in red velvet, the small
bar in the corner is draped with red velvet, the carpet is
red faux velvet.
----^ DJ Dusk's music pours from speakers bolted into the corners.
s
His beats are impossible to sit still for, incorporating
elements of bossa nova, techno, hip hop, and jazz.
Slattery has a hard time keeping his eyes off Naturelle. His
gaze tends to slide her way, and his desire for her is
apparent to everyone.
Naturelle smiles when she sees Monty and goes to him. She
looks beautiful in-the silver dr.ess_...-_Sh .hugs him. Monty
e
stands awkwardly in her embrace.
When she realizes he's not returning the hug, she quickly
releases him. He's watching her carefully. She sees Jakob and
smiles at him.
NATURELLE
Hey, Jake.
She hugs Jakob. Mary has not stopped dancing since first
hearing Dusk's mix.
NATURELLE (CONT'D)
(looking at Mary)
Is this your friend? ·- .
[^J · · KJ
(CONTINUED)
.-·-· · · " '70-;
···
CONTINUED :
o JAKOB
No . . .
MARY
I'm his lover, Mary.
Naturelle arches one eyebrow.
NATURELLE
Okay. I'm Naturelle.
MARY
I've seen pictures of this room. The
Smashing Pumpkins were in here.
She turns and examines Monty more closely.
MARY (CONT'D)
Who are you? Are. you somebody famous?
MONTY
Do us a favor, D'Annunzio. Don't talk too
much .
Mary grins, tears off her fake fur coat, and hides it
underneath a sofa. She wears a white tank-top with Tweety
Bird emblazoned on the front. Tweety Bird looks scared.
DAPHNE, a young waitress in a green dress , comes over with a
tray of champagne flutes. Naturelle kisses Daphne on the
cheek and the two women exchange greetings. Everyone takes a
glass.
MONTY (CONT'D)
·-"" ' (raising his glass~)
Champagne for my real friends, real pain
for my sham friends.
Everyone takes a sip except for Mary, who guzzles hers in one
giant gulp, then belches and wipes her mouth with the back of
her hand. Jakob stares at her, horrified.
MARY
Anyone want to go dance?
Naturelle glances at Monty.
MONTY
Do what you want to do .
Jakob and Slattery hear the coldness in Monty's voice and are
surprised by it .
(CONTINUED)
71
CONTINUED: (2) ~ """ , ^TM <----.
Mary grabs Naturelle's hand and leads her out the door.
SLATTERY
(to Daphne)
You have any whiskey?
DAPHNE
What kind do you want? I'll call down for
some.
SLATTERY
Nah, don't bother, I'll get it.
He nods at Monty and Jakob.
SLATTERY (CONT'D)
Back in a minute.
Daphne sets a champagne bottle in an ice bucket on the table,
then retreats to the small bar in the corner of the room.
Monty sits on the red velvet sofa and Jakob lies down next to
him, covering his eyes with his arm.
JAKOB
I can't believe you brought my student in
here.
MONTY
She's cute, buddy. She talks too much but
she's cute.
JAKOB
You're going to get me fired. Do you
realize that? She'll tell her friends,
--'···=-=· --- and they'll -t-e-1-1-the-i-r friends --
" --
MONTY
So what, so you ran into her at a dance
club. You haven't done anything wrong,
have you? Not yet.
JAKOB
Not yet? What does that mean?
MONTY
You want this girl, don't you?
JAKOB
Shit, Monty, she's seventeen! She's my
o
student. I can't touch her.
{CONTINUED)
I
CONTINUED : (3)
MONT Y
I would . She' s go t tha t look . I lik e
littl e girl s wit h tattoos .
Jako b groan s an d rub s hi s han d ove r hi s face .
MONT Y (CONT'D)
It' s goo d seein g you , man . I gues s we'v e
kin d o f gon e ou r separat e ways .
Jako b sit s up .
JAKO B
Yeah .
MONT Y
It' s to o bad . You'r e smarte r tha n th e
peopl e I kno w thes e days .
Mont y pour s mor e champagn e for Jako b an d himself , the n raise s
hi s glass .
MONT Y (CONT'D)
Mak e m e a toast .
Jako b i s startle d b y th e request .
JAKO B
Yo u wan t m e t o mak e a toast ?
MONT Y
Yeah . Com e on , I won' t b e seein g yo u fo r
a while . Sa y somethin g nice .
Jako b stare s a t th e tin y bubble s risin g infills glass .
JAKO B
Urn. . .
MONT Y
Al l right . Here' s t o Doyle .
JAKO B
T o Doyle .
The y touc h glasse s an d drink .
MONT Y
He' s you r do g now .
JAKO B
What ?
73.
CONTINUED: (4)
MONTY
He needs a home. And he loves you.
JAKOB
Yeah, but... I don't know. You've seen
the size of my apartment.
MONTY
Poor Doyle, he'll live in a small
apartment. Hey, he's a tough dog. He'll
survive.
JAKOB
What about Nat?
MONTY
She's moving in with her mom. Woman hates
him. And Doyle hates Frank. And my Dad's
allergic.
JAKOB
The thing is --
Monty takes another sip and then holds the champagne flute up
to the light.
MONTY
Cristal. They went all out for me , huh?
I'm lucky to work for such caring people.
JAKOB
One more glass of this and I'm officially
drunk.
MONTY
Listen, this is important to me.. Doyle is
important to me . You understand that?
JAKOB
Yeah, of course.
MONTY
Doyle's the toughest guy I know. He was
lying there off the highway when I found
him, waiting to die. He knew he was going
to die. And he didn't make a sound. The
best thing I ever did, my whole life, was
rescue that black little son-of-a-bitch.
Every day he's had since then is because
of me . Every time he runs through the
park, that's me . Every bone he chews --
because of me . I saved him.
(MORE)
(CONTINUED)
~ ~ 74 .
·
'
CONTINUED : (5)
MONTY (CONT'D) ,|
And it's different from what you'd
expect, right? I saved him but I'm the
one that's grateful. Because I see him
running around, I hear him barking, and
there he is, the best thing I ever did,
in the flesh.
(beat)
I'm not going to let the pound have him.
Doyle's the ugliest fucking dog in the
five boroughs. Who's gonna adopt him? And
I'm telling you now, I will not let a vet
stick a needle in him and end him. I
saved his life, right? I'm responsible
for him. I didn't go through all that
just so some vet can put hi m to sleep. If
it comes to that, I'll do it myself. I'll
put a bullet in his ear tonight. So I'm
asking you, Jake -- for me , as a favor for
me , and it's a big favor but I'm asking
you -- will you take him? Will you take
him home with you?
Jakob is quiet, rubbing his palms over the red velvet sofa
cushions.
JAKOB
You know what? It would be an honor.
MONTY
I was hoping you'd say that. I really
was.
JAKOB
After that speech, Jesus Christ, how
could I refuse?
Slattery returns with a glass of whiskey. He sits next to his
friends and sighs.
SLATTERY
There's some talent here tonight.
Monty raps Slattery's knee.
MONTY
What do you think, Jake's girl's looking
pretty good, huh?
SLATTERY
Who, the little one? Who is she?
JAKOB
She's my student. MY STUDENT.
(CONTINUED)
75
CONTINUED': (6)
The lights go off. The room is completely dark.
When the lights come on again, a few seconds later, Monty is
crouching in front of the sofa, his .40 caliber automatic in
his hand .
Kostya stands just inside the doorway of the room, hands on
the light switch.
KOSTYA
The party begins without me ?
MONTY
I should have shot you, you fat Russian
fuck.
Kostya ambles over to the sofa, wagging his finger.
KOSTYA
Ukrainian. Fat Ukrainian fuck.
He bea r hugs Monty and kisses both his cheeks .
KOSTYA (CONT'D)
Montgomery, my friend! You have been here
long? An d you open champagne without me ?
Frank, hello Frank!
SLATTERY
Hey, Konstantine. How are you?
KOSTYA
Kostya, please, Kostya. I am good, yes . I
will be better when our friend comes back
to us .
(to Jakob) -- -
Hello! It is Jason, yes?
JAKOB
Jakob.
KOSTYA
(to Monty)
The champagne is good?
(elbowing Slattery and winking)
I have nice girl for you, Monty . Very
nice.
MONTY
I'm really not in the mood for that .
(CONTINUED)
Ll ····- - -· " · - · 76,
CONTINUED : (7)
KOSTYA
Ah , when you see her, you will be in
mood. I pick her out special for you.
MONTY
The last girl you picked out special had
three teeth.
KOSTYA
(laughing loudly)
Funny you should say that.
Everyone waits for the rest. When it becomes obvious that
Kostya will not provide the rest --
MONTY
Why is it funny I should say that?
KOSTYA
It was funny, what you said.
Monty looks at Slattery for a second.
MONTY
Wait, when you say, "Funny you should say
that," it's like saying, "That reminds me
of this other funny story."
KOSTYA
No , no , I am saying what you say was
funny. "Funny you should say that. " You
see? It was funny, the thing you said.
Nobody speaks for a moment.
KOSTYA (CONT'D)
Come, you want to meet her?
MONTY
I don't think so. Naturelle's dancing
downstairs.
KOSTYA
So we go quick, we go right now. You must
see this girl.
MONTY
You have someone nice for my friends?
SLATTERY
« * . ·_
_ŁT _ __
Not for me . Thanks.
(CONTINUED)
77
CONTINUED: (8) ~ ""
JAKOB
Yeah, I'm --
Monty puts his hand on Slattery's arm.
MONTY
Come down there with me . I need to talk
to you.
SLATTERY
That's not my style, Monty. I really --
MONTY
No, that's cool. I just want to ask you
something.
JAKOB
Do you want me to stay here?
MONTY
You've got to stay here. Who's gonna look
after Mary D'Agostino when she gets back?
JAKOB
Should I tell Nat you're downstairs -x
having sex with a prostitute? \, ,. J
KOSTY A
(horrified )
No , don' t tel l he r that !
Mont y grin s an d punche s Jakob' s arm .
MONT Y
Tell her whatever you want. But don't
take off. We'll go back to my place after
the party and get Doyle.
Monty, Slattery and Kostya leave the room. Jakob sits alone,
rubbing his arm.
INT. CATWALK -- MOMENTS LATER
The three men stand on a glass-enclosed catwalk overlooking
the dance floor. The place is so crowded and dark that the ]
dancers look like one strange beast, thrashing and swaying to j
the beat. ]
DJ DUSK, the teen prodigy from Queens, mans his turntables I
from a riser above the dance floor. He stands in the eye of a
spotlight, deftly flipping needles onto spinning records. / \i
(CONTINUED)
ii
·-""
· ·· · -«--»-- - . --,,-..- - _
. . ,, 78
CONTINUED:
The music is loud, even behind the glass, but not loud enough
to overwhelm conversation.
MONTY
(to Kostya)
Where we going, the White Room?
KOSTYA
Yes, White Room.
MONTY
I'll meet you down there. I need to talk
with Frank about something.
Kostya leans closer to Monty and speaks quietly.
KOSTYA
After the girl, Uncle Blue wants word
with you. Okay?
Monty nods. Kostya grins and slaps Monty's shoulder.
KOSTYA (CONT'D)
She is waiting!
Kostya walks down the staircase that leads from the catwalk
to the dance floor and disappears into the crowd. For a while
neither Monty nor Slattery speaks. ·
Then Slattery looks at Monty and notices his eyes are closed.
SLATTERY
You all right?
Monty opens his eyes". ~ "'"
MONTY
They knock out your teeth the first
night. You know why? So you can give them
head all night long and they don't have
to worry about biting.
SLATTERY
Come on. None of that's gonna happen.
MONTY
How the fuck do you know it's not gonna
happen?
Two broad-shouldered HOODLUMS in expensive suits saunter down
the catwalk. They stop to embrace Monty.
(CONTINUED)
79
CONTINUED : (2) _,
HOODLUM 1 '^
My ace deuce. _>
MONTY
Hey, fellas.
HOODLUM 2
Bid's tomorrow, huh?
MONTY
Yeah.
HOODLUM 2
Nothing but a catnap. Be good, brother.
The hoods nod at Slattery and walk away. Monty presses his
forehead against the window.
MONTY
Believe me , Frank, I've studied this.
I've looked at the options. Seven years,
man . Seven years .
SLATTERY
Thirty-four is still young. You and me ,
we'll start something up . A bar , maybe . /x
Two Irish kids from Brooklyn, how could fcr--]
we not have a bar? Green beer for St .
Paddy's Day, free hot dogs for Monday
Night Football. Think about it . Old
fashioned jukebox sitting in the corner --
MONTY
I hate green bee r on St . Paddy's Day.
SLATTERY
Yeah : Well, m e t o o . " """""""*-""""--"· -
MONTY
But it's a nice thought, man . I don't see
it happening, bu t it's a nice thought.
SLATTERY
Have I ever broken a promise to you? Have
I ever once in my life broken a promise
to you? Have I ever said I would be
somewhere and not shown up?
MONTY
No .
C
(CONTINUED)
· ····- ··'·- - -- - " 80
-"- -
CONTINUED : (3)
o SLATTERY
When you get out, I will be there. You
hear me? I will be there.
Monty finally turns and looks at Slattery.
MONTY
But you won't be there tomorrow.
(beat)
Cute little white boy like me , how long
am I gonna last?
(beat)
I need a favor from you.
SLATTERY
Anything.
MONTY
Not here . Stick around, okay? We'll go
uptown in a couple hours.
Monty points to the dancers below. We can see Mar y dancing
wildly on a platform.
MONTY (CONT'D)
Our friend Jake has picked himself a
winner.
INT. VELVET VIP ROOM -- LATER
The room is beginning to crowd with Monty's friends and
acquaintances. Jakob sits alone on the sofa, sipping
champagne. He clearly recognizes no one .
The men speak loudly, holding their- champagne flutes in
ringed fists. Lean women stand in clusters, heads bowed
together. We hear snippets of banter in four different
languages.
Jakob dips his head against the sofa's velvet armrest. He's
clearly exhausted. He begins slipping into sleep.
Mary walks into the room. The men standing nearby turn to
look at her, then whisper to each other and laugh. Mary sees
Jakob curled up on the sofa and dances over to him.
She pulls off his Yankees cap and puts it on her own head,
where it sits, crookedly. She climbs on top of him, her knees
straddling his chest, and bends close to whisper in his ear.
MARY
Jakey... Jakey...
(CONTINUED)
81
CONTINUED,:
O She runs her fingernail down his side. Jakob, half-sleeping,
smiles and caresses her hand. Then his eyes pop open. He
jerks upright and Mary slides off him.
JAKOB
Whoa, what are you doing? What are you
doing?
Mary, now standing and slightly swaying, laughs.
MARY
Don't panic. Nobody here gives a shit.
JAKOB
I give a shit. Do you know what happens
if somebody sees me -- us -- like that?
Mary sits on the far side of the sofa, knees primly clasped
together, exaggerating the role of good girl.
MARY
Beg your pardon, Mr. Elinsky.
JAKOB
Are you drunk?
MARY · '·'mm
Uh huh. And I had some E before.
JAKOB
Jesus.
: He tries to rub the sleep out of his eyes.
JAKOB (CONT'D)
We call it X in this country.
MARY
Naturelle's cool as shit. She knows
everyone who works here. I love that
name, right? Naturelle? One hundred
percent Naturelle! All Naturelle flavors!
Jakob cannot help stealing a peek at Mary's chest. Tweety
Bird stares back, alarmed.
MARY (CONT'D)
So what's up with her boyfriend? Monty?
It's like he owns this place.
(CONTINUED)
' ·
''
"" '
· 82
CONTINUED : (2)
JAKOB
Listen, Mary, do you think it would be
possible to avoid talking about this at
school? This whole night?
MARY
You think it would be possible to give me
an A for the term?
Jakob's mouth falls open.
JAKOB
Tell me you're joking.
MARY
I'm joking. That's what I love about you,
Elinsky.
Jakob says nothing for a moment, but he can't resist.
JAKOB
What?
MARY
Huh?
Mary is watching three women dancing in the middle of the
room, their purses flung down on the floor between them.
JAKOB
What's what you love about me ?
Mary turns to look at him again, but it's clear she's not
really following the conversation.
JAKOB (CONT'D)
Never mind.
MARY
Hello? Elinsky? Do you think I'm weird?
JAKOB
No. I don't think you're weird.
MARY
You're coming to see Hamlet next week,
right?
JAKOB
Of course. You're Ophelia?
MARY
Fuck Ophelia. Laertes.
(CONTINUED)
83
CONTINUED : (3)
(·
JAKOB ·
Laertes?
MARY
You want to see my death scene?
She springs up from the sofa and takes three steps back, then
begins staggering toward Jakob, hands folded over her gut,
covering her invisible sword wound.
MARY (CONT'D)
Exchange forgiveness with me , noble
Hamlet: Min e and my father's death come
not upon thee , nor thine on me !
She collapses onto the red sofa and lies there, quivering for
a moment before going still.
A group of men smoking cigars in the corner claps loudly.
Jakob stares down at the prone Mary. He cannot hel p noticing
the stretch of pale skin between the dark denim of her
waistband and the white cotton of her tank top.
Mary sits up and brushes some stray hairs under the Yankees
cap. '
MARY (CONT'D)
It's bettex with the fake blood . j
\
JAKOB
No , it was very good.
MARY
Ms . Taylor says I'm the best dier she's
ever haoL^ Did you see Romeo and Juliet
last year? I was Mercutio. That was the
greatest death of all time.
JAKOB
I was there .
MARY
You know wha t I really want to be ? A
stuntwoman. Except I'm afraid of heights .
You think they'd hire a stuntwoman who
was afraid of heights?
JAKOB
Ar e you allowed to stay out this late? On
a school night?
(CONTINUED)
CONTINUED : (4)
MARY
You think my mother gives a shit? Anyway/
did you see all the snow outside? It's a
snow day for sure.
JAKOB
I need to go to sleep.
Mary lies back on the sofa and kicks her feet in the air. She
begins a bicycling motion, her hands behind her head.
MARY
Can't sleep yet. He's turning it on .
Jakob looks at her slender pale ankles. He covers his eyes .
Mary rolls off the sofa.
MARY (CONT'D)
Is there a bathroom in here?
Jakob points .
JAKOB
Over there, I think.
Mary winks at him and makes her way across the room. En route
she grabs a champagne flute off Daphne's platter and chugs
it. She replaces the glass and slips into the bathroom.
Jakob watches her go. He watches the bathroom door close
behind her. He stands, a bit unsteadily. He's been drinking
all night . He weaves his way to the bathroom door .
He waits . Eventually Mary opens the door. She looks up at
Jakob, he r "eyes as wide as Tweety Bird's .
MARY
You need to pee?
JAKOB
No .
He presses forward, backing her up , and closes the door
behind him.
INT. VI P BATHROOM -- CONTINUOUS
The bathroom is blue-walled and lit by a single blue bulb .
MARY ;
Hi?
(CONTINUED)
85
CONTINUED :
He r teeth glow in the blu e light. Jakob grabs he r by the
shoulder s and kisses her hard on the mouth . His hand s begi n
t o mov e down from her shoulders --
--an d then, abruptly, Jakob pulls back . H e stares a t Mary ,
wh o stares at the floor. She looks stunned, the Yankees cap
sitting crookedly on her head.
Jakob stumbles backward. He tries to say something bu t can't
get the words out .
He turns and rams through the bathroom door .
INT . VELVE T VI P ROOM -- CONTINUOUS
He shoves past cigar smokers and dancing women . He runs from
the VI P room.
The partiers watch him go and then turn to look at the
bathroom, a drop of blue in the overwhelming redness of the
VIP room.
Mar y stands in the blue light, still looking at the floor .
INT. WHITE ROOM -- LATER
The Whit e Room got its name for obvious reasons . Everythin g
is white : the shag carpet, the walls , the overstuffed
furniture.
Monty sits on a large whit e bea n bag in a corner of the room.
He holds a champagne bottle in one hand, and takes occasional
sips .
MARGUERITE, a beautiful prostitute in her early twenties ,
kneels in front of. Monfcy,.__he_r...bands, .on ...his_Jfchighs... _...
; _
Monty passes her the bottle and she takes a long draught ,
never taking her eyes of f him. She hands back th e bottl e and
unzips his fly, taking he r time wit h everything.
Monty leans back and closes his eyes . We watch hi m like this
for a few seconds, and then we
CU T TO :
EXT . CARL SCHURZ PARK PLAYGROUND -- AFTERNOON
Springtime. Monty sits on a park bench. This is several years
ago , and he looks younger, less exhausted.
(CONTINUED)
86,
CONTINUED :
He is watching two high school girls on the swings. One
blonde -- LINDSAY JAMISON -- and one brunette -- a younger
Naturelle .
Both girls wear the uniform of their private school: white
blouses embroidered with the school's initials and green
plaid skirts over black tights.
Both girls are smoking. But while Lindsay keeps the cigarette
clenched in one hand as she swings higher, Naturelle
continues taking reckless drags., the crook of her elbow
holding the chain lightly as she soars skyward.
Monty stands and approaches the swings. The girls pretend not
to notice him.
MONTY
Hey!
The girls keep swinging.
MONTY (CONT'D)
Could I bum a smoke?
NATURELLE
What?
MONTY
A smoke.
NATURELLE
This is my last one .
Lindsay brakes with her feet and stares at Monty .
LINDSAY
I've met you before, haven't I?
Monty nods slowly. It's obvious he doesn't recognize her , but
he doesn't want to be rude.
MONTY
Yeah, you look familiar.
Naturelle has stopped swinging now. Lindsay jumps off he r
swing.
LINDSAY
I know wh o you are . Come on , Nat , we've
got practice.
MONTY
You know wh o I am? Who am I?
(CONTINUED)
87
CONTINUED: (2)
Lindsay picks up her bookbag and strides quickly away,
looking back once or twice to see if Naturelle is following.
Naturelle is not following.
MONTY (CONT'D)
So you're Natalie?
NATURELLE
Naturelle.
MONTY
Really? Naturelle. I like that.
Naturelle. So what's your friend's
problem?
NATURELLE
You're the one that got thrown out of
Campbell-Sawyer, right?
MONTY
Yeah, well, lots of people got thrown out
of Campbell-Sawyer. How come you didn't
follow Blondie to practice?
NATURELLE
I want to finish my cigarette.
He smiles and sits on the swing next to her. He tries
swinging a little.
MONTY
I never really got the hang of these
things.
- ·-- " " NATURELLE - -- --
It's all in the legs.
She starts swinging again and he watches her, her long black
hair falling beneath her, her legs straight and then bent,
straight and then bent.
CUT TO:
INT. WHITE ROOM
Monty's eyes are still closed. Now he opens them. His hands
are in Marguerite's hair, but now they drop by his side.
Finally he taps Marguerite on the shoulders. She backs away
from him, looking up at his face for a moment before blinking
and licking her lips.
(CONTINUED)
88 .
CONTINUED:
MONTY
It's my fault. You're very beautiful.
He hands her the bottle again and she takes a long sip.
MARGUERITE
(Colombian accent)
You are very handsome. Are you an actor ?
Monty zips his fly.
MONTY
Yeah. I'm a star.
INT. CLUB ROOM -- LATER
The club room is decorated to look like the library of an
English country manor : dark wood paneling, bookshelves
stacked with leather-bound books, flickering sconce lights.
Slattery sits on a stool at the bar, rolling a glass of
whiskey between his palms. His eyes are red, from crying or
exhaustion or both.
Naturelle walks into the room and spots Slattery. She goes
over to him and squeezes the back of his neck before sitting
on the neighboring stool. He sits up straight and smiles.
NATURELLE
Why are you all alone?
SLATTERY
I couldn't sit in that goddamn red room
anymore. I don't know anyone in there .
These are Monty's friends?--
NATURELLE
I guess so . They're around a lot, anywayv
Slattery drains his whiskey. He signals for another and the
bartender pours it . He's clearly getting drunk, though
Slattery is a man who can handle his liquor. He checks his
watch.
SLATTERY
I'm supposed to be at work in a couple
hours. Christ, I can't even imagine
working today. You just gave me the flu,
okay? I'm calling in sick.
NATURELLE
I wish Monty could call in sick. Have you
seen him around?
(CONTINUED)
89
CONTINUED:
SLATTERY
He's probably saying goodbye to everyone.
NATURELLE
Can you do me a favor?
SLATTERY
What's that?
Slattery catches himself looking at Naturelle's cleavage and
looks away.
NATURELLE
Keep an eye on Monty tonight, would you?
Try to stick with him.
SLATTERY
What's wrong?
NATURELLE
He's just acting really strange. You
don't think he's acting strange?
SLATTERY
He's going to prison in a few hours, Nat.
How do you want him to act?
NATURELLE
I want him to act like he's scared.
SLATTERY
He is scared.
NATURELLE
I don't want him to hurt himself. Will
you watch him for me? ..-TO«.,,,,,..«--.
Slattery nods. For a while they are quiet.
NATURELLE (CONT'D)
I don't think he wants me here.
SLATTERY
That's not true. He's just --
NATURELLE
You see the way he looks at me these
days. It's like he doesn't trust me .
SLATTERY
Why wouldn't he trust you?
Naturelle is quiet for a moment.
(CONTINUED)
- - -- -90
CONTINUED: (2)
NATURELLE
I'm going uptown. When you see him, tell
him I'm waiting for him back home, okay?
She stands and smooths out the wrinkles in her silver dress .
Again, Slattery has to turn away from the sight of her .
SLATTERY
This is all so stupid. It's so stupid.
He's got so much going on, he's so smart,
and what does he do? He throws it al l
away. An d here I am, his friend -- I mean ,
right? I'm his oldest friend?
NATURELLE
He loves you, Frank. You know that.
SLATTERY
His oldest friend, and what do I do to
stop it? Nothing, never a word. When he
started selling pot to kids in Campbell -
Sawyer, did I say anything? When
everyone's talking about buying from
Monty, the whole school, and I knew they
were going to nail him, knew it, did I
say a word? The last ten years I watc h
him get deeper and deeper, and these
friends of his, these fucks you wouldn't
want petting your dog, did I say,
"Careful now, Monty, better get out of
this. " No . Nothing, not a word. His bes t
friend. Goddamn, Naturelle, I'm his bes t
friend and I just sat there and watched
him ruin his life. And you did, too . Both
of-us.,., all -of us , we just sat there and
let him .
Naturelle runs a fingernail down her forearm an d inspects the
faint white trail .
NATURELLE
Keep an eye on him, okay?
Slattery watches her walk away. A moment later Jakob hurries
in, sweating and frantic.
JAKOB
I've been looking all over for you. Can
we get out of here?
SLATTERY
We've got to wait for Monty. What's the
matter?
(CONTINUED)
91 .
CONTINUED : (3)
JAKOB
I kissed her.
SLATTERY
Who?
JAKOB
Mary D'Annunzio. I kissed her .
Slattery grins .
SLATTERY
Yeah?
JAKOB
I kissed my student. My seventeen year
old high school student.
(beat)
They'll fire me .
SLATTERY
Jake.
JAKOB
Yeah?
Slattery hands him the glass of whiskey.
SLATTERY
Have a drink.
INT. BASEMENT HALLWAY -- LATER
Monty and Kostya walk slowly down the corridor that leads to
the manager's office.
- -·· KOSTYA
So? You like her?
MONTY
She's very nice.
KOSTYA
Does she have three teeth? Eh ? No , I
think she has many teeth. I think you
like her.
MONTY
I said so, didn't I?
KOSTYA
o
Very nice .
(CONTINUED)
· '" 92 ,
CONTINUED:
0·^ They stop outside the office and knock on the steel-plated
door. MUSTAFAYEV, a balding man smoking a cigarette, opens
the door and closes it behind him. He nods.
Monty and Kostya pull out their guns and hand them to him.
Checking the safeties, he shoves the guns under his belt and,
cigarette clenched between his teeth, carefully pats both men
down.
When Mustafayev finishes searching them he raps on the door
and it opens again. He gestures, and Monty and Kostya enter.
INT. VELVET MANAGER'S OFFICE -- CONTINUOUS
Mustafayev follows them inside, hands their guns to one of
the ZAKHAROV twins, and goes back outside, closing the door.
The twins are Russian redheads who speak very little English.
Their faces are blunted and pitiless.
Uncle Blue sits behind Volandes' desk, reading the paper.
Valghobek sits on a corner of the desk.
The twin with the guns places them carefully in front of
" Uncle Blue, then returns to stand by his brother, both of
them standing behind Monty and Kostya.
DJ Dusk's music can barely be heard down here, the thump of
bass and drum sounding like distant bombshells.
Uncle Blue folds his paper neatly and sets it aside.
UNCLE BLUE
Montgomery. How is the party?
MONTY
It's all right. Thanks for setting it up.
UNCLE BLUE
The first time I went to prison I was
fourteen years old, a skinny little boy.
Very afraid. By the time I came out I had
my beard. I was a grown man. I went back
to my hometown, I found my mother, I
kissed her. And she screamed.
(smiling)
She did not recognize me . I have been in
three different prisons, Montgomery, in
three different countries. You know what
I learned?
Monty shakes his head and waits.
(CONTINUED)
93.
CONTINUED:
o UNCLE BLUE (COM" D)
I learned that prison is not a good place
to be .
KOSTYA
(laughing)
I knew that before I went.
VALGHOBEK
Nobody's talking to you. Keep your mouth
shut.
UNCLE BLUE
Seven years is a long time. Some men
would do anything to avoid seven years in
prison.
Monty waits.
VALGHOBEK
Your father's a hardworking man . Where's
his bar? In Bay Ridge? 86th Street and
6th Avenue, am I right?
MONTY
Yes .
VALGHOBEK
At least he has a short commute. He can
practically walk to work. Where does he
live, 17th Avenue? And what was the cross-
street? 81st? 8002 17th Avenue. Is that
right? The first floor. That must be
noisy, living on the first floor. But he
doesn't walk to work, does he? He drives.
-A 1987 Honda. Should-I tell you how many
miles he has on the car?
Monty stares at the floor.
UNCLE BLUE
Your father, I like your father. A hard-
working man. He has had bad luck, some
very bad luck. Everyone in the
neighborhood loved your mother. You
remember her, Senka?
VALGHOBEK
Sure. She was a beautiful woman. A real
sweetheart.
Q
(CONTINUED)
· · " · · ·
"··- ·
-·'· 94.
·
· ·
'
CONTINUED: (2)
UNCLE BLUE
I want to help your father. I could use a
man like that, a hard-working man, a man
I could trust. I could take care of your
father. Do you understand what I mean,
Montgomery?
MONTY
You don't need to do this. I never said a
word to anyone. You don't need to bring
him into it.
i
UNCLE BLUE
I asked you a question, Montgomery.
MONTY
I understand exactly what you mean.
UNCLE BLUE
I have a good job for your father. We'll
help him with the money he owes.
Uncle Blue turns Monty's gun in his hands. He checks the
slide's action. He ejects the magazine, peers at the top
cartridge, slaps the magazine back into the pistol's butt,
UNCLE BLUE (CONT'D)
Good weapon. Accurate?
Monty nods.
UNCLE BLUE (CONT'D)
Polymer frame, very good, easy to clean.
And reliable? No jams?
Monty shakes his head. He turns around for a moment. The
Zakharov twins are staring at him. Monty turns back. Uncle
Blue smiles.
UNCLE BLUE (CONT'D)
Have you ever fired it? At someone, I
mean.
MONTY
No.
UNCLE BLUE
No. Good. It is a toy for you. Not toy,
prop. A prop for you. Like an actor. Am I
wrong? With the gun you feel more...
(CONTINUED)
95.
CONTINUED: (3) " "~"~
Monty turns again. The Zakharov twins have their automatics
out. Monty, getting desperate, turns back to Uncle Blue.
MONTY
I never said a word to anyone. They came
after me to get to you. I know it, you
know it. They don't care about me . But I
never said a word.
Uncle Blue makes a gesture and the Zakharovs, frighteningly
fast, spring forward, slamming Kostya to the floor and
holding their pistols to his skull.
UNCLE BLUE
I believe you, Montgomery. When you get
there, figure out who is who. Find a man
nobody is protecting, a man without
people. And beat him until his eyes
bleed.
Monty stares at Kostya, who whimpers on the ground, blood
dripping from his nose.
UNCLE BLUE (CONT'D)
Let them think you are a little bit
crazy, but respectful, too, respectful of
the right men.
KOSTYA
Monty --
One of the Zakharovs kicks Kostya in the ribs.
UNCLE BLUE
You're a good-looking boy, it won't be
easy for--you. But remember, I was=- - ----
fourteen when I first went. And I
survived.
(beat)
We do what we have to do to survive.
KOSTYA
Monty... please, Monty...
UNCLE BLUE
So now we have this other problem.
VALGHOBEK
How many people knew you kept the stuff
inside your sofa cushion? Eh? Your
girlfriend, Kostya, who else? ^i
(CONTINUED)
96
CONTINUED : (4 )
MONTY
I--
UNCLE BLUE
Kostya dimed you outr little brother. He
made a call and stole seven years from
your life.
VALGHOBEK
They put the clamps on him, and instead
of being a man about it, taking the time
himself, he sold you out.
Uncle Blue hands Valghobek Monty's pistol. Valghobek walks
over to Monty and offers it to him.
MONTY
I don't want it.
UNCLE BLUE
It's yours. You know how to use it?
Valghobek holds the pistol by the barrel, a small smile on
his face, until Monty grabs it from him.
MONTY
I know how to use it.
UNCLE BLUE
Good. This man does not deserve to live.
He betrayed you, he betrayed me. He stole
from you. He stole seven years from you.
End him.
"One of the ZakTiaTo^^'Ewins!rag'rins at Monty and taps" "theback of
Kostya's skull with his pistol's muzzle.
ZAKHAROV
Right here. Boom!
The Zakharovs back away and Monty crouches down beside his
former friend. Kostya struggles to turn his head, to make eye
contact with Monty. !
KOSTY A j
Monty-- |
i
MONTY |
Don't talk. !
KOSTYA |
No, no, wait, Monty, wait, please listen.
I had no choice. I--
I
(CONTINUED ) f
97.
CONTINUED: (5)
Monty flicks off the safety and presses the muzzle against
Kostya's skull.
Everyone in the room is quiet, watching.
The only sound is DJ Dusk's mix, an accelerating industrial
heartbeat.
VALGHOBEK
Do it.
Kostya weeps, softly, his big body shuddering.
Uncle Blue, face impassive behind his heavy beard, watches
carefully.
ZAKHAROV
He is cockroach. Kill him.
Monty's face is very close to Kostya's.
MONTY
(quietly)
You were my friend.
f=*5 KOSTYA
^ Monty --
Monty closes his eyes.
When he opens his eyes, he flicks the safety back on. He
stands.
He tosses the gun to Uncle Blue, who catches it and frowns.
_ MONTY,
It doesn't matter to me . Not a goddamn
thing matters to me , except this: if you
hurt my father, I'll kill you both.
The Zakharov twins grab Monty and hold him. Monty doesn't
struggle; he and Uncle Blue stare at each other.
Uncle Blue drums the desktop with his fingers. Everyone
waits. A glass of water on the table trembles from the
distant bass.
Finally Uncle Blue nods at Valghobek, who opens the office
door. The twins release Monty. Everyone (except for Kostya,
who is face down on the floor) watches him.
o
V' Monty walks out of the room, never looking back.
98
EXT. 14TH STREET -- LATER
Monty trudges down the sidewalk, followed by Slattery and
Jakob. The snow continues to fall, and lies thickly drifted
on the crookedly-parked cars, on the parking meters, on the
spears of the church gate they pass.
They reach the Union Square subway station and walk down the
stairs, disappearing from our view.
CLOSE ON FOOTPRINTS IN THE SNOW
We slowly follow their path backward. In the yellow shine of
the streetlights the footprints fill with snow, until finally
(the camera still moving backward) they disappear.
INT. UNION SQUARE SUBWAY STATION
Monty, Frank, and Jakob sit with their backs against the
""'corrugated shutters of a closed newspaper stand.
An OLD MAN, wearing a garbage bag with a hole cut out for his
head, leans against a blue I-beam that helps support the
ceiling. He holds a small radio to his ear; we can hear
fragments of Puerto Rican Jibaro music.
Jakob chews on his fingernails. He cranes his neck to look
down the subway tunnel -- still no train in sight. He looks at
Monty.
JAKOB
What time is it?
But Monty is jnot present, he is elsewhere, lost in whatever
feveFie occuples""his mind. Slattery's eyes are clo~sed;-he-
seems to be sleeping.
JAKOB {CONT'D)
Monty?
Monty looks up, dazed.
MONTY
What?
JAKOB
Do you know what time it is?
Another long pause.
MONTY
It's getting late.
(CONTINUED)
99
CONTINUED: . - - -*.«.-., ,..-,
-.
The lights of the train come around the bend in the tunnel.
INT. 4 TRAIN -- LATER
The three men sit side by side as the train shudders through
the darkness. Slattery seems to be sleeping again. Jakob
stares at his reflected face in the far window.
Monty pulls out his wallet and finds the photograph that his
father gave him earlier in the night.
INSERT PHOTO
Monty in his fireman's helmet, standing before his parents.
EXT. MONTY'S BUILDING -- NIGHT
Monty, Slattery and Jakob wade through the snow to the stoop
steps.
INT. MONTY'S BUILDING
They climb the narrow staircase, their footfalls echoing off
the tiled walls.
INT. MONTY'S APARTMENT ,-~^
They enter the apartment. Doyle is excited to see them; he -
pants and spins in little circles, sniffing at their boots.
Jakob and Slattery fall onto the sofa and lie there like
corpses.
Monty opens the bedroom door, steps inside, and closes it
behind him.
INT- MONTY'S BEDROOM
Naturelle sleeps on her side, facing the window. Monty kneels
beside her and takes her hand. Her eyes open. She smiles for
a second and then quickly sits up.
NATURELLE
What time is it?
Both of them turn to look at the digital clock on the
nightstand.
MONTY
I've got an hour left. Listen --
Naturelle waits as Monty stares down at the bed. ^J
(CONTINUED)
IOO,
CONTINUED: ,
MONTY (CONT'D)
I was wrong. About you, about --
She runs her hand through his hair.
NATURELLE
It doesn't matter right now.
MONTY
It matters to me.
(beat)
I don't want you to hate me.
NATURELLE
How could I ever hate you?
MONTY
Jesus, Nat, I blew it. I really blew it.
He stands.
NATURELLE
Stay with me, baby. We have another hour.
MONTY
There's one last thing I gotta do.
Naturelle doesn't like the sound of this remark. She leans
forward and takes his wrist.
NATURELLE
Hey. Don't go anywhere. Stay here with
me.
- -·······
- - ·--MONTY- ·· ' ~ -· ·· -
Just one last thing.
He kisses her again, a last fierce kiss, and heads for the
door.
INT. MONTY'S LIVING ROOM
Monty grabs the leash off the back of the apartment door and
clips it to Doyle's collar.
MONTY
Let me take one more walk with Doyle.
Slattery and Jakob nod. Both are exhausted.
EXT. EAST END AVENUE ~ LATER
The snow has finally stopped falling.
(CONTINUED)
101
CONTINUED:
The parked cars lining the avenue look like scoops of vanilla
ice cream, glistening below the streetlights. The awnings of
the buildings, fringed with icicles, creak beneath the weight
of the snow.
Doyle, off his leash, charges down the middle of the avenue,
carving a trail through the foot-deep powder, a drop of ink
rolling down a blank page.
Monty follows behind, twirling circles with the leash.
Slattery and Jakob bring up the rear, slogging through the
snow like weary soldiers.
The only vehicle on the road is a snow plow half a mile
south, its yellow lights flashing.
EXT. CARL SCHURZ PARK
They cross into the park, past the fenced-in gingko trees,
climbing the stairs that lead to the esplanade.
Doyle spies a squirrel and chases after it, but the squirrel
is quicker, makes it to a red maple and scrambles up the
trunk to safety.
Doyle squats at the foot of the tree, staring sadly up ^\
through the branches. 11W7
EXT. EAST RIVER ESPLANADE
Across the river is Queens, and Queens before sunrise is
beautiful: red antennae lights winking to warn pilots; the
Pepsi sign glowing in neon script over the bottling plant;
white clouds rising from the smokestacks like genies.
Behind Queens the sky is beginning to brighten. - --
Jakob brushes snow off the iron balustrade, leans against it
and stares into the river. A string of yellow lights quivers
beneath the waters, reflections from the Queensboro Bridge.
A red tugboat chugs south.
MONTY
It would be good to work a tugboat. Be
out on the river all day.
He turns to face Jakob.
MONTY (CONT'D)
So what do you think? You ready for Mr.
Doyle?
(CONTINUED)
;
· ·'· · · ' -- ··
- 102,
··
CONTINUED:
Jakob looks at Doyle, who is rolling on his back in the snow,
kicking his feet in the air like a puppy.
JAKOB
He likes the snow.
Monty whistles for Doyle and the dog jumps to his feet and
runs over, wagging the stump of his tail, his muzzle dusted
with snow.
MONTY
I need a favor, Frank.
SLATTERY
Anything.
Monty refastens the leash onto the dog's collar and ties the
cord around a baluster, knotting it twice, checking to make
sure it's secure.
MONTY
I'm not going in there like this. The
minute they get a look at me, I'm gone.
Monty straightens up and looks directly into Slattery's eyes.
-
MONTY (CONT'D)
Make me ugly.
Slattery looks dumbfounded. He turns to glance at Jakob, who
is equally confused.
Monty clears the snow off the nearest bench, unbuttons his
camel's hair coat, and lays it down.
MONTY (CONT'D)
You just said you'd do anything. So this
is what I need.
SLATTERY
I can't do that. What are you thinking, I
give you a black eye and people won't
fuck with you? It won't change anything.
Monty steps closer.
MONTY
You think I deserve it, don't you?
Slattery holds his hands up and backs away.
SLATTERY
I can't hit you.
(CONTINUED)
103,
CONTINUED : (2)
MONTY
I think you can. I think you want to, a
little bit. I think you've wanted to for
years.
SLATTERY
I'm not doing it.
Monty steps closer again.
MONTY
You want to. Come on, Frank, you're
afraid?
SLATTERY
Listen --
MONTY
What are you afraid of, Frank? That I'll
hit back? You're afraid I'll hit back?
That would be embarrassing, huh, big
tough guy like you getting his ass
kicked?
JAKOB
Come on, this is crazy.
on, t
i.JSh Come
Monty points at Jakob.
MONTY
Who the fuck is talking to you?
SLATTERY
Forget it. Come on, forget all this.
Let's get some breakfast.
MONTY
This works out pretty well for you,
doesn't it? You're gonna take good care
of Naturelle while I'm gone?
SLATTERY
What?
MONTY
You think I don't see you staring at her
all the time? You've wanted to fuck her
for years.
He shoves Slattery hard. Slattery's eyes narrow for a moment,
but he shakes his head.
(CONTINUED)
-·-- 104
CONTINUED : (3)
SLATTERY
All right. Al l right.
He turns stiffly and walks away.
' JAKOB
Come on. Come on , Monty, what are you
doing? Tell him you're kidding.
Monty pivots and punches Jakob hard on the cheek, the crack
of gloved knuckle on bone echoing on the empty esplanade.
Jakob falls back against the balustrade, clutching his face.
JAKOB (CONT'D)
Monty I
Monty steps closer and punches Jakob again, this time in the
gut, and Jakob sinks to his knees, gasping. He covers his
face with his hands, to protect himself.
Slattery tackles Monty, pinning him to the ground.
For a moment everything is still. Doyle, leashed to the
baluster, whines, unsure if his master is playing or
fighting.
Jakob, stunned by the violence, watches. Slattery stares at
Monty and Monty stares back . All :of them in the snow, their
breath coiling and rising into the sky.
Finally Slattery looks away, looks past the East River , past
Queens. He clenches his eyes shut. When he opens them, we see
the first tears forming.
Slattery grabs Monty's throat with his left hand and punches
him in the face with his right, again and again and again.
Doyle howls. He tries to jump on Slattery bu t the leash keeps
yanking him back. He strains forward, fangs bared , bu t his
master is three feet too far.
Jakob touches his cheek and examines his fingers: no blood.
Doyle, barking madly, keeps jumping for Slattery, keeps being
yanked back by the leash.
Jakob grabs hold of the balustrade and pulls himsel f to his
feet.
JAKOB (CONT'D)
Frank... Frank!
(CONTINUED)
105,
CONTINUED : (4)
The bloo d puddles by Monty's head, melting through the snow
and steaming in the air. Slattery, lost in hi s anger , his
frustration, continues swinging.
Jakob stumbles over to Slattery and pushes him.
JAKOB (CONT'D)
Stop!
Slattery looks up , his face wet with tears , a webbin g of
saliva between his lips .
JAKOB (CONT'D)
Okay. Enough.
Jakob grabs the bi g man under the armpits and help s hi m rise .
Slattery looks down at Monty, who is not moving .
SLATTERY
Oh Jesus .
Jakob crouches and turns Monty onto his stomach . Monty
coughs, a thick ribbon of blood falling from hi s mouth .
Jakob scoops up a handful of snow and begins gentl y pressing
it to Monty's brutalized face.
Doyle continues to bark, the collar digging into his throat
as he struggles to reach his master.
Slattery watches , speechless, his bloodied hand s by his side.
Finally Monty shakes his head clear of the snow and begins
crawling forward.
Hold still for a minute. Hold still .
When Monty tries to stand his legs collapse beneat h him.
Jakob wraps his arms around him before he falls an d lowers
him to the snow.
JAKOB (CONT'D)
Don't try to move yet.
Monty pushes himsel f off the ground again and thi s time
manages to keep hi s balance, though he sways lik e a drunk.
MONTY
(slurring)
It's okay .
106,
CONTINUED : <5)
Blood leaks from his nose, from his mouth, from a deep gash
bisecting one eyebrow. The entire left side of his face is
bright red, already swelling.
Slattery looks at him and moans , sits down heavily in the
snow, his chin tucked against his chest, his right hand,
slick with blood, covering his face.
SLATTERY
Oh Jesus.
JAKOB
Hospital.. We need to take you to the
hospital.
MONTY
No .
He staggers toward them. Doyle is mewling now, stomping his
paws, confused. Monty bends down unsteadily and scratches
behind the dog's ear.
MONTY (CONT'D)
(to Doyle)
Be a good boy.
He walks over to Slattery, wh o sits in the snow, sobbing.
Monty leans over and kisses his forehead.
MONTY (CONT'D)
I'm sorry.
Slattery rocks back and forth, hands over his face, his
forehead marked with blood.
Monty turns to Jakob and touches his shoulder.
MONTY (CONT'D)
I'm sorry, Jake.
Jakob is stunned by what's happened in the last few minutes .
He has no idea what to say.
JAKOB
Okay.
MONTY
Take care of my dog.
He grabs his coat from the park bench and walks away from
them.
107
EXT. MONTY' S BUILDING -- DAWN (
Naturelle, in her down parka, sits on the stoop steps. She
sees him when he's a block away, and we see him from that
distance, limping through the snow.
Naturelle stands and breathes in deeply. She starts walking
toward him but stops after a few steps. She can see his face
now.
His eyes are so badly swollen that he doesn't notice her
until he's almost upon her. When he does see her he smiles,
and Naturelle has to look away for a moment.
He tries to say something but chokes, leans over, hands on
his knees, and spits up blood.
Naturelle takes him by the hand and leads him up the steps.
INT. MONTY'S LIVING ROOM
He sits on the sofa while Naturelle dabs at his face with a
wet washcloth. A bowl of soapy water sits beside her on the
coffee table.
When she wrings the washcloth above the bowl, drops of blood ,"***S
/ >
fall into the water and bloom. W-- /
MONTY
I don't want you to visit.
His voice is rough and slurred, his split lip impeding his
diction.
She opens a bottle of rubbing alcohol, wets a cotton ball,
presses the cottpn lightly against the gash in his forehead. --
He shudders, his fingers gripping the edges of the sofa
cushions.
MONTY (CONT'D)
I don't want you to see me up there.
Naturelle struggles mightily to keep herself together. She
continues cleaning his wounds.
MONTY (CONT'D)
Why'd you stay with me?
(beat)
You should have left a long time ago.
(CONTINUED)
108.
CONTINUED:
NATURELLE
(shaking her head)
You idiot.
A knock on the door. Naturelle goes to answer it. We hear
voices that sound very distant. Monty peers through his
swollen eyelids at the man walking toward him.
CUT TO:
MONTY'S POV
The blurred figure of a man stands before him. The room is
sunlight and shadows, all edges washed away;
The man's face is a pale oval that bends and splits when he
speaks.
MR. BROGAN
Who did this to you?
CUT TO:
Monty sitting on the sofa, staring up at his father.
MR. BROGAN (CONT'D)
Who did this to you, Monty?
MONTY
What time is it?
MR. BROGAN
I'm bringing you to the hospital. We can
tell--
MONTY
No. I need to go.
He pushes himself upright. Naturelle comes in from the
kitchen and hands him a glass of water. He takes it and
drinks.
NATURELLE
You have to go to the hospital, baby.
MONTY
No.
Monty goes to his bedroom.
INT. MONTY'S BEDROOM -- CONTINUOUS
\v_y He pulls an already packed suitcase from beneath the bed. He
~" grabs the string of silver rosary beads from the bedside
table.
He stares at the unmade bed for a few seconds before leaving.
INT. MONTY'S LIVING ROOM -- CONTINUOUS
He sets his suitcase by the front door.
MONTY
I'll say goodbye here.
He approaches his father but Mr. Brogan shakes his head.
MR. BROGAN
How you planning on getting to the Port
Authority?
MONTY
Subway.
MR. BROGAN
You won't make it. Trains are barely
running right now. I'll drive you to
Otisville.
(beat)
Jesus, look what they did to you.
MONTY
I'll take a taxi.
NATURELLE
You won't be able to get one. Let him
take you to the hospital.
MR. BROGAN
You don't trust my driving? I got chains
on the tires and everything.
MONTY
I don't want it like this. Let me walk
away, Dad. It's easier that way.
MR. BROGAN
What's easy about it? Easier? My God, you
don't understand, do you? You don't have
any idea.
He touches Monty's shoulder.
(CONTINUED)
110,
CONTINUED :
MR. BROGAN (CONT'D)
Let me drive you there. I need to see
where it is anyway, for visits. Okay,
buddy? Help me out .
Monty blinks and then nods .
MONTY
No hospitals.
Mr . Brogan kisses Naturelle on the cheek and she embraces the
older man . When she lets go he walks to the front door, pick s
up the suitcase, and leaves the apartment.
Monty stands still, looking at Naturelle.
NATURELLE
Wait a second.
She goes to the kitchen and Monty rocks back and forth on his
bootheels. When she returns she holds a plastic ba g filled
with ice cubes.
She makes him hold the bag against the side of his face. They
don't move for a moment, her hand on top of his hand, the ba g
of ice pressed to his jaw.
MONTY
I want you to be happy.
She nods but says nothing, biting her lip, tears beginning to
roll down her face.
MONTY (CONT'D)
Will you d© that for me ?
She nods again.
MONTY (CONT'D)
Okay?
She grabs him and holds him very hard, clutching him, sobbing
into his neck.
MONTY (CONT'D)
I'm sorry for everything.
NATURELLE
No . . .
MONTY
Fo r everything .
(CONTINUED)
CONTINUED: (2)
He kisses her again and releases her, walks out the apartment
door and closes it behind him.
INT. HALLWAY
Monty unknots the plastic bag and dumps the ice down the
stairwell. The cubes glitter and disappear before clattering
on the linoleum three floors below.
EXT. MONTY'S BUILDING
Mr. Brogan's car is double-parked. The roof of the old Honda
is crowned with snow but the windshield and rear window have
been swept clean.
INT. MR. BROGAN'S HONDA
Mr. Brogan opens the passenger door and Monty eases carefully
into the seat, then leans over to unlock the driver's door.
After Mr. Brogan starts the engine, they wait for a moment
for the windows to defrost.
MR. BROGAN
FDR is closed. I figured we'd go up
First, take the Triborough, catch 87 up
to Route 17, and then 211 takes us right
into Otisville. Easy drive, except for
the snow.
Monty says nothing, and Mr. Brogan studies his savaged face.
MR. BROGAN (CONT'D)
Jesus, look what they did to you. I'll
tell you what, Monty, you're gonna be
okay. It looks bad now, I know it, but
when all the swelling goes down it's
- · - gonna be okayr ~ ~" ··-·-· ······-·
- -- . -·--··
(beat)
They sure gave you a licking, though. How
many were there?
MONTY
I don't know, Dad. A bunch of them.
MR. BROGAN
Well, give it a month and you'll be
better looking than ever.
A fire truck rolls slowly past, chains on its massive tires.
Monty and his father sit in silence, letting the engine warm.
(CONTINUED)
112.
CONTINUED:
MONTY
You were right, Dad. It wasn't Naturelle.
Mr. Brogan shifts into drive.
MR. BROGAN
Of course it wasn't Naturelle.
EXT. EAST RIVER ESPLANADE -- DAWN
Slattery sits on a park bench overlooking the river. It's the
same bench Monty sat on the day before. Slattery is alone on
the snow-covered esplanade.
His knuckles are covered with dried blood. His forehead is
marked with blood.
He watches the sun rise over Queens.
EXT. EAST END AVENUE -- DAWN
Jakob and Doyle walk south along the western edge of Carl
Schurz Park. A SKIER, an attractive young woman in her mid-
twenties, schusses toward them on cross-country skis.
She smiles at Jakob as she passes.
SKIER
Cool dog.
JAKOB
Thanks.
He turns and watches her glide down the hill toward 86th
Street. He looks down: at Doyle. Doyle looks-iap- at ~hifff. TM -
JAKOB (CONT'D)
Cool dog.
Jakob shakes his head and smiles, and they continue walking
south.
INT. MR. BROGAN'S HONDA -- MORNING
They drive up First Avenue. Monty looks out the window and
watches the city roll by. It's his last look for a long time,
and he wants to remember everything.
A WOMAN wearing a man's overcoat sprinkles salt in front of a
shuttered butcher shop. Two YOUNG BOYS drag their sleds
behind them, huffing and puffing with exaggerated fatigue.
(CONTINUED)
113.
CONTINUED:
A NEWSPAPER VENDOR sits on a blue milk crate, sipping coffee
from a paper cup, while his CURLY-HAIRED SON snaps icicles
from the kiosk's eaves.
A POLICE OFFICER, hands on his hips, stares under the opened
hood of his cruiser, while his PARTNER leans against the
driver's-side door and laughs into his walkie-talkie.
At a red light, Monty looks up at the city bus idling noisily
alongside them. A LITTLE BOY in the backseat waves. Monty
waves back.
The boy points at his window: letters have been finger-drawn
on the frosted glass. T-O-M.
Monty smiles as well as he can and draws his own name on his
own frosted window: M-O-N-
Before he can cross the T the bus pulls away.
They drive north.
MONTY
I always thought I'd make you proud of
me .
M r . Brogan turns to look at Monty and then turns back to the
road.
MONTY (CONT'D)
I pictured it, you know? I pictured you
sitting at the bar with all your friends,
poker night, and you'd say, "Did I tell
you what my boy's been up to?" And your
friends would be like, "Goddamnit,
_ Brogan,,_all you ever talk about-is your ,,... _, __,, _
boy."
MR. BROGAN
Give me the word and I'll take a left
turn.
MONTY
Left turn to where?
MR. BROGAN .
Wherever you want. Take the GW Bridge and
go west.
Monty stares at his father.
o
(CONTINUED)
CONTINUED: (2)
MR. BROGAN (CONT'D)
Get you stitched up somewhere and keep
going. Find a nice little town --
MONTY
Dad.
MR. BROGAN
I'm saying if you want. If that's what
you want, I'll do it.
Monty closes his eyes. We hear the tire chains rattling on
the snow. We hear the old engine wheezing.
CLOSE on Monty's ravaged face, on his eyelids.
Mr. Brogan keeps talking and New York City melts away.
MR. BROGAN (COM" D)
We'll drive and keep driving.
CUT TO:
EXT. INTERSTATE HIGHWAY -- DAY
As Mr. Brogan speaks, we watch the car driving west. The
voice-over tracks with the images on the screen.
MR. BROGAN (V.O.)
Head out to the middle of nowhere.
CUT TO:
EXT. DESERT HIGHWAY -- DAY
The car speeds along a desert highway now, past the pitchfork
cacti and towering mesas.
CUT TO:
EXT. MAIN STREET -- DAY
The car drives slowly down the main street of a one stoplight
town.
MR. BROGAN (V.O.)
Find a nice little town.
CUT TO:
(CONTINUED)
115
CONTINUED:
Mr. Brogan parks in front of a small bar with an old-
fashioned BAR sign in front. Mr. Brogan and Monty (his face
unmarred) step out of the car.
CUT TO:
INT. TOWN BAR -- DAY
Mr. Brogan and Monty are sitting at a corner table. Mr .
Brogan raises his glass of whiskey to Monty and both men
drink.
MR. BROGAN (V.O.)
Find a bar, and I'll buy us drinks. I
haven't had a drink in nineteen years,
but I'll have one with you. And then I'll
leave.
CUT TO:
Monty stands at the window of the bar, watching Mr. Brogan
drive away.
MR. BROGAN (V.O.) (CONT'D)
I'll tell you don't ever write me, don't
ever come visit. I'll tell you I believe
in God's Kingdom and I believe I'll be
with you again, and your mother. But not
in this lifetime.
Monty approaches the BARTENDER, a powerfully-built older man
(60). Monty speaks and the bartender listens carefully, but
we don't hear the dialogue.
MR. BROGAN (V.O.) (CONT'D)
You get a job somewhere, a job that pays
cash, a boss who doesn't ask questions,
and you make a new life, and you never
come back.
CUT TO:
INT. TOWN BAR -- NIGHT
Monty works behind the bar on a crowded night. The bar
PATRONS, a blue-collar rural crowd, are rowdy drinkers, but
Monty works efficiently, quickly filling their orders.
CUT TO:
116,
INT. HEAD SHOP -- NIGHT
Monty, in the backroom of a seedy head shop, sits for a
photograph in front of a black drop.
MR. BROGAN (V.O.)
You find the right people and you get
yourself papers, a driver's license.
EXT. TOWN BAR -- DAY
Monty sits on the steps in back of the bar, looking out past
the gravel lot toward the distant mountains.
MR. BROGAN (V.O.)
And then you wait. People get caught when
they come home. But you're never coming
home.
EXT. BUS STATION -- DAY
Monty, a few years older, waits as a Greyhound bus pulls into
the station.
MR. BROGAN (V.O.)
And maybe -- and this is dangerous-- but
maybe after a couple years you send word
to Naturelle.
Naturelle steps off the Greyhound bus. She sees Monty. They
stare at each other, twenty feet apart.
Finally he goes to her, threading through the other
travellers, the other waiting families. He takes her in his
arms.
INT. APARTMENT -- NIGHT
In the cramped apartment above the bar where Monty works,
Monty and Naturelle sit together, on a sofa, watching a small
television. Naturelle is pregnant.
The ball is about to drop in Times Square.
MR. BROGAN (V.O.)
You forget about New York. You can't come
back. You can't call, you can't write.
INT. SMALL HOUSE -- NIGHT
Monty, much older now, stands in front of his family, his
grown CHILDREN and the little GRANDCHILDREN. Naturelle,
equally aged, sits with one of the little girls on her lap.
(CONTINUED)
117
CONTINUED:
MR. BROGAN (V.O.)
And maybe one day, years from now, long
after I'm dead and gone, you gather your
whole family together and you tell them
the truth. Who you are and where you came
from.
As Monty speaks his children exchange glances. They can't
really believe what they're hearing, but they know their
father is telling the truth.
MR. BROGAN (V.O.) (CONT'D)
You tell them the whole thing. And then
you ask them if they know how lucky they
are to be there.
Monty looks at his family. He is awed by their existence, by
the life he has created. He looks at Naturelle, still
beautiful in old age, and she smiles back at him.
OLD MONTY
It all came so close to never happening.
INT. MR. BROGAN'S HONDA -- MORNING
The sun shines through the windshield. Monty sleeps, his
battered head resting against the window below his frost-
spelt name: M-O-N-T-Y.
OLD MONTY (V.O.)
This life came so close to never
happening.
|
|
