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TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: AMERICAN GANGSTER Written by Steven Zaillian FINAL SHOOTING SCRIPT July 27, 1 EXT.
JAZZ CLUB - DAY 2 He approaches a booth, says something in the din to the men there, then calmly shoots them and exits. AMERICAN GANGSTER 3 EXT.
HARLEM STREET - DAY NOVEMBER 3 Bumpy Johnson, an elderly but still sturdy black man, elegantly dressed - cashmere overcoat, gloves, Homburg - stands in falling snow atop a flatbed truck - as he does every Thanksgiving - tossing down turkeys to the poor - like a benign king. Soldiers in the jungles of Vietnam in A rich, cultured, authoritative voice offers: This is what's wrong with America. The war footage multiplies by twenty: People on the sidewalk, out of respect or fear, part to let Frank and Bumpy and Bumpy's German shepherd pass.
BUMPY The corner grocery's a supermarket. Candy store's a MacDonald's. Where's the personal service? Does anybody work here? Inside, the emporium is vast, with aisles that seem to stretch off into infinity.
The TVs give way to a display window full of Japanese stereo componentry. BUMPY What right do they have cutting out the suppliers, pushing all the middlemen out, buying direct from the manufacturer - Sony this, Toshiba that, all them Chinks - putting Americans out of work? He's not really asking Frank, so Frank doesn't answer. BUMPY What am I supposed to do with a place like this, Frank? Who am I supposed to ask for, the assistant manager? This is the way it is now: You can't find the heart of anything to stick the knife.
Bumpy stops before a display of cameras and stares in. They're all pointed at him as a pain grips his chest and he sinks to his knees. FRANK What is it? Bumpy seems unable to speak, looks to Frank confused. FRANK Somebody call an ambulance! But the store suddenly seems empty. Frank yells into the emporium but can't be heard above the Muzak and the cash registers ringing up sales Bumpy will never see a piece of.
Looking up at Frank, Bumpy manages weakly - BUMPY Forget it, Frank. No one's in charge. BUMPY'S APARTMENT - DAY 5 Limousines from the funeral disgorge mourners: Cops on horseback move through the enormous crowd that has gathered to watch. FBI agents in cars snap pictures with long lenses of Italian mobsters like Albert Tosca. The Governor has come down. The mayor of New York - its Chief of Police and Commissioner - sports and entertainment luminaries - A white Bentley pulls up, disgorging Jackie Fox - the original Superfly - and his entourage.
With his trademark tinted Gucci glasses on, he happily poses for anyone with a camera - including the Feds - before going inside. BUMPY'S APARTMENT - LATER 6 The report continues on a TV no one's really watching here: REPORTER ON TV He was a Great Man, according to the eulogies. A man of the people. No one chose to include in their remembrances the word most often associated with Ellsworth Bumpy Johnson: Sitting off by himself in Bumpy's elegant garden apartment, heretofore his private sanctuary, Frank surveys the mourners circling the place like vultures: Tango Black, a huge brute, scavenging the catered food and tended bar Jackie Fox, surrounded by his ever-present coterie of sycophants Albert Tosca, an elegant Italian capo, and an underling, Rossi, at the bar.
TOSCA White wine, please. A white man who looks like a banker - and is - sits down next to Frank. BANKER How you doing, Frank? BANKER What a loss. Frank nods How are you otherwise?
It feels unseemly to him to be talking about money here. He watches Tango carelessly set a watery glass of ice on an antique inlaid chess table. BANKER Bumpy set something up for you? Frank excuses himself without an answer, crosses to where Tango left the glass, and sets it on a coaster. TANGO Hey, Frank, get me an ashtray while you're at it.
Bumpy's German shepherd watches as Frank reaches into his jacket, revealing a gun nestled in its shoulder holster. He takes out a handkerchief, wipes the condensation dry, opens a drawer and removes an ashtray. He holds it out to Tango - who isn't sure it's not a dare and decides to wander off. CHARLIE I know you're hurting, Frank.
Frank sits back down with Charlie Williams, an older dope man. CHARLIE You going to be all right? CHARLIE I'm sure Bumpy never told you, but he made me promise, anything ever happened to him, I'd make sure you didn't go without. FRANK I'll be fine, Charlie. Half the people here owed Bumpy money when he died. A lot of money. If they think I'm going to forget to collect, they're wrong. CHARLIE That's the spirit. CLASSROOM - NIGHT A7 A figure, his back to us, walks slowly toward a blackboard like a man to the gallows.
I live in fear of hearing my name called. Roberts, Give us U. Meade - RICHIE V. Of walking up there, turning around, knowing every one of them knows more than I do - PROFESSOR Subject, issues, what the determination was and what it means to us today. Richie Roberts turns and faces his classmates, all of them a decade or more younger than him.
MOTEL - NEW JERSEY - DAY 7 Harlem's jagged teeth skyline juts across the river at the other end of the George Washington Bridge. On this side - a sledgehammer gripped in Richie's fist, on the move, suddenly fills the frame. RICHIE You know the Number 1 fear of most people isn't dying; it's public speaking. They get physically ill. RIVERA And that's what you want to do for a living.
RICHIE I don't like being like that. I want to beat it. Armed with the sledgehammer, Richie and his partner - Javy Rivera - come past a seedy motel office where a TV shows another report about Bumpy Johnson.
New Jersey A motel clerk looks up, glimpses the sledgehammer - CONT 6. Takes a subpoena out of another pocket. RIVERA Who's going to do this? RICHIE He knows me, he'll take it from me. I've known him since high school. RIVERA Just throw it in, he doesn't take it.
They reach a particular motel room door. The door opens the length of a chain, revealing a wise guy in an undershirt, who, when he sees the subpoena, start to close the door - RIVERA Throw it - As Richie flings the subpoena in, the door slams on his hand. He wails in agony, tries to shoulder it open, hears the dead bolt lock on the other side, feels Campizi's teeth bite into his fingers, watches his blood run down the frame. The wise guy - Campizi - hurries for the bathroom, slams the door.
This one's hollow and the detectives more easily break through it - Campizi tries to climb out the bathroom window. Richie grabs him, throws him into the shower stall, taking the plastic curtain down with them, smearing it with blood as Richie beats at him before Rivera can pull him off.
AMBULANCE - MOVING - DAY 9 A male paramedic attends to Campizi's bloodied face while a female paramedic cleans Richie's bloodied hand. I would never slam a door on your hand. RICHIE You bit my fuckin hand - Richie lunges at him, hits him again with his injured hand - which hurts Richie more than it does Campizi. The paramedics manage to pull him away. CAMPIZI What can we do, Richie? You don't want to do this. For old times sake, what can we do? Who do you want?
Who can I give you? You want Big Sal's bookie? You want his accountant? I'll give him to you. Richie regards him a moment. A policy ring's accountant wouldn't be bad. He glances back to his paramedic dabbing at his bloody hand, and notices she's not bad-looking. It's impossible to tell if they're cops or gangsters. New York City 11 INT. NEW YORK POLICE ANNEX - PROPERTY ROOM - DAY 11 One of the same undercover cops - Detective Trupo - scribbles a signature and badge number different from the one on his gold shield lying next to the voucher requesting evidence needed in court.
He pushes the voucher under a sign - "All Handguns and Narcotics Before 10am Next Window" - to a clerk who takes it past floor-to-ceiling shelves covered with files, plastic bags bulging with handguns, knives and gambling receipts. Bulkier items - like shotguns and baseball bats - lie unwrapped with dangling tags.
The clerk reaches a chain-link cage where the most valuable items are locked up - narcotics, pornography, cash - checks the voucher against tags, takes down an old green suitcase.
WAREHOUSE - DAY 12 Trupo's car - a Shelby Mustang - roars up. He climbs out, crosses to a warehouse with the suitcase as the other three SIU Princes of the City follow from another car, cradling grocery bags. WAREHOUSE - DAY 13 Trupo snaps the suitcase open revealing five half-kilo bags of uncut heroin in clear plastic bags.
The other cops pull from the grocery bags: Hands peel back the distinctive black and green "evidence" tape on the clear plastic bags. Dump the heroin into twenty yellow baggies. A half-kilo of lactose is poured into each of the now-empty property room bags.
TRUPO Now just enough for the reagent test. He removes one tablespoon of heroin from each of the baggies, and the now-almost-heroin-free powder is mixed through the flour sifter, poured back into the clear bags, the tape resealed, the bags returned to the suitcase. NY COURTROOM - DAY 14 The suitcase and "heroin," and some weapons and money, have been arranged on an evidence table with the care of a Macy's display window. Trupo - the officer in charge of the case - watches the jury files in - 15 EXT.
Trupo climbs out of his Shelby with a sports bag, crosses to the Lincoln, climbs in back where an Italian wise guy - Rossi - sits. Trupo unzips the bag revealing the recut heroin - in the yellow plastic. The same dope Popeye Doyle and Sonny Grasso took from us. ITALIAN BAR - NY - DAY 17 Frank comes into an empty bar, chairs up on tables. A middle-aged man mopping up glances up at him as he crosses to a back room.
They been living off it for years, these New York cops. ITALIAN BAR - BACK ROOM - NY - DAY 18 Several ounces of the dope sits in foreground on a table.
ROSSI They basically control the market with it. What the fuck has happened to the world, Frank? Rossi, who looks more like a middle-aged accountant than the Italian dope supplier he is, makes two espressos.
ROSSI Sad about Bumpy. Behind Frank, a TV airs a report by Walter Cronkite on the heroin problem among GIs in Vietnam. ROSSI Things are never going to be the same in Harlem. The girls, the clubs, the music - walk down the street, nobody bothers you because Bumpy's making sure of it. Every gorilla for himself. There has to be order. That would never happen with Italians. More important than any one man's life - is order.
HARLEM - DAY 19 A street sign on a corner: DINER - HARLEM - DAY 20 As is his custom, Frank eats breakfast alone. A middle- aged waitress appears when he's done, picks up his plate and refills his coffee.
FRANK Thank you, Charlene. CHARLENE It's all right with me, Frank, you can stay all day if you want, but I wouldn't. FRANK Then maybe I'll have to go for a walk. Just cause you said so. She smiles and leaves. Frank pours some sugar in his coffee. Someone taps on the window and he looks up, sees two servicemen - one in uniform - one he recognizes. REDTOP'S APARTMENT BUILDING - DAY 21 Frank leads the servicemen up the stairs of a building.
REDTOP'S APARTMENT - DAY 22 Corner apartment above the street. A girl sits smoking at a work table covered with drug-cutting apparatus. Another - Frank's cutter and sometimes-girlfriend, Red Top - sets a couple of packets of heroin in front of the servicemen.
RED TOP On the house for our men in uniform. RED TOP Thank Frank. The servicemen start cooking up the dope. Got himself a club now. Regarding the dope as the servicemen shoot it up - FRANK You're gonna have to boot it a couple times. SOCIAL CLUB - NEWARK - LATE AFTERNOON 24 Across the river, Richie, Rivera and Campizi sit in the car parked across from a closed social club. A man carrying a grocery bag comes out and Campizi ducks lower in the seat.
Newsboy Moriarty's mob accountant puts the grocery bag in the trunk of a car, climbs in behind the wheel. NEWARK - SCRAP METAL YARD - LATE AFTERNOON 25 From the parked car they observe the accountant putting another bag in his trunk.
STREET - NEWARK - LATE AFTERNOON 26 He comes out of another place with another bag. To Campizi - RICHIE All right. Campizi slinks out of the car. Richie and Rivera follow after Newsboy Moriarty's accountant's car. PARKING LOT - LATE AFTERNOON 27 They tail the car into a lot, park and watch the accountant leave his car and get into another car that's parked there.
RIVERA We gonna stay with him or the car? Whatever they do, they'll have to decide quick. RICHIE Let's see who comes for the car. PARKING LOT - NEWARK - NIGHT 28 All the other cars are gone. Rivera climbs into Richie's with coffee and a Coke in a bag, hands him the can. RIVERA Think he made us? Glances at his watch. Cranes in his seat to look behind them.
RICHIE You called for the warrant? RIVERA I just called. I called and walked back here and ten seconds has gone by. Richie watches an attendant lock up, listens to the street lamps buzz, grows impatient. Indicating the other car: RICHIE We saw him with the slips, Javy. RIVERA You saw policy slips? You saw grocery bags. You don't know what's in them. Half an hour the warrant'll be here - RICHIE I got night school.
RIVERA Guess you're going to miss it. Rivera sips at his coffee; then: You know, what you were saying before - about throwing up in front of people - money will take that feeling away. RICHIE Not when it's less. RIVERA Less than what. RICHIE Than what I make now. RIVERA No lawyer on earth makes less than a cop. RICHIE They do in the Prosecutor's Office.
RIVERA You're fuckin kidding me. Rivera stares at him like he's crazy. Richie checks his watch. He's waited long enough. RICHIE Fuck this - RIVERA Richie - Richie gets out, opens the trunk, grabs a Slimjim and bolt cutters, cuts through a gate chain and strides to the accountant's car, Rivera following.
Richie trips the passenger door lock and pulls at the trunk release, and, as he comes around back to search it - CONT Rivera may as well; the damage to the case, if there is one anymore, is done.
He crawls inside the car to look under the seats and in the glove compartment. Gravely - RICHIE Javy Richie's staring into the trunk like there's a body inside.
Rivera comes over, takes a look, sees it's money: As the trunk closes - 29 EXT.
Eventually - RICHIE This isn't a couple of bucks. RIVERA It's the same thing. RICHIE We're talking about principle? RIVERA Richie, a cop who turns in this kind of money says one thing: He'll turn in cops who take money. RICHIE We're fucked either way. RIVERA Not if we keep it. Only if we don't.
Then we're fucked, you're right. But not if we keep it. RICHIE more to himself Yes, we are. RIVERA Goddamn it, did we ask for this? Did we put a gun to someone's head and say, Give us your money? Cops kill cops they can't trust. We can't turn it in. They regard each other again in silence NEWARK POLICE STATION - LATER - NIGHT 30 As a police captain counts the stacks of money, Lou Toback, Richie's superior from the prosecutors office, walks in, his night out interrupted by this emergency.
He crossed to where Richie and Rivera sit alone in a corner. RICHIE Nine hundred and eighty thousand. TOBACK What happened to the rest? It's a joke but isn't funny, not even to Toback. He regards his men who turned it in, then the other cops in the place - who are watching them and the money being counted. Toback walks over to the captain, and, quietly: TOBACK What're you doing counting this in front of everybody?
Are you out of your fuckin mind? Take it into a room. Richie's glance to Rivera says, You're right, we're fucked. NEWARK POLICE STATION - PRE-DAWN 31 As Richie leaves alone, he's aware of all the eyes on him - knowing the other cops' looks don't signify awe or respect, but contempt and fear, like Rivera predicted. Neither will ever be trusted again.
He climbs into his car, drives off. DINER - HARLEM - DAY 32 Tango and his bodyguard come in and approach Frank's table where he reads the morning paper as he eats breakfast. TANGO Didn't you see the jar, Frank? I think you walked right past it. Frank ignores him, forks at his eggs, eats.
TANGO The money jar. What I got to do, put a sign on it? Frank indicates that he would answer if his mouth wasn't full. He swallows finally, but then only reaches for his coffee cup to take a sip, further irritating Tango.
Bumpy don't own no real estate in Harlem no more. I'm the landlord now and the lease is twenty-percent. Frank dabs at his mouth with a napkin and gives Tango a look that says that won't be happening.
TANGO Then don't sell dope, Frank. Get a fuckin job. You need a job? You can be my driver, drive me around, open my door, yes, sir, no sir, where to, sir, right away, Massa Johnson, sir. Right now Tango is dead. No doubt about it. On the surface, though, Frank remains cool. TANGO Of every dollar. Every VIG, every truckload, every girl, every ounce. FRANK Twenty percent's my profit. If I'm giving it to you then what am I doing? Twenty percent puts me, and everyone you know, out of business, which puts you out of business.
Not even Bumpy took twenty percent. TANGO Bumpy's fuckin dead. As he turns and leaves, Tango watches after him RICHIE'S APARTMENT - NIGHT 33 Stitched-up, black and blue hands dump a can of soup in a pot, put it on the stove.
FRANK'S APARTMENT - NIGHT - INTERCUT 34 A pencil clutched by long fingers scribbles figures. But no matter how many times Frank does the arithmetic, there's not much left, he calculates, after he pays the Italian suppliers and, if he were to, Tango. RICHIE'S APARTMENT - NIGHT - CONTINUED 35 Richie has moved to a small desk cluttered with law textbooks. He cracks one open to study for the New Jersey Bar exam as he eats the soup out of the pot he heated it in. Above him on the wall is a framed photograph of Joe Louis standing over a sprawled-on-the-mat Billy Conn.
CONEY ISLAND - BEACH - DAY - INTERCUT 36 A bleak day. Seagulls fighting over scraps on the sand as others hover overhead, flapping and cawing. Alone near the water, Frank tosses a stick for the German shepherd he inherited.
RICHIE'S APARTMENT - NIGHT - INTERCUT 37 Richie opens a small wooden box in his bleak apartment, revealing an ounce of marijuana, rolling papers and clips. CONEY ISLAND - BEACH - DAY - CONTINUED 38 The sounds of the gulls and surf and roller coaster begin to fade as Frank throws the stick again. BUMPY He's got the stick - the cane - and he'll use if he has to. He moves the whole herd - quietly. Bumpy smiles and tosses the stick. RICHIE'S APARTMENT - NIGHT - INTERCUT 39 The smoke from the joint rises to the ceiling as Richie studies.
CONEY ISLAND - BEACH - DAY - CONTINUED 40 The dog trots back to Bumpy and Frank with the stick. BOARDWALK - CONEY ISLAND - LATER 41 Hot dog stand. Bumpy hands a hot dog to Frank, holds out another to the shepherd. BUMPY What right do they have cutting out the suppliers, the middlemen, buying direct, putting Americans out of work This is the way it is now, Frank. The vender hands him a napkin. The shepherd is still with him, but Bumpy is gone, and the gulls and the people on the roller coaster squeal as Frank comes out of his meditative trance with an idea.
DOCTOR'S OFFICE 42 A needle pierces the crook of Frank's arm. A cotton ball is pushed onto the puncture.
POST OFFICE 44 The photo and a duplicate are stapled to a passport application. CHEMICAL BANK - SAFETY-DEPOSIT ROOM - DAY 45 Keys turn the locks of a safety-deposit box. The lid lifts revealing decks of cash. Frank takes it all out, slips one slender packet into Bumpy's banker's jacket pocket. FRANK Get yourself a new suit. PARK - NEWARK - DAY - SAME TIME 49 The sound of the plane growls and fades overhead as Richie's ex-wife keeps an eye on their son playing on a grassy area.
LAURIE I don't know, Richie. RICHIE It couldn't be avoided. Next weekend I'll be able to take him. She regards him with a weary look, but he's looking over at one of the other - better-looking - moms in the park. He looks back, not sure he heard right. LAURIE To the St. Regis, what do you care.
He glances away to a sound: Some teen- agers breaking bottles on the ground. RICHIE You can't move to Vegas. Not with Michael anyway. LAURIE What am I supposed to do with him? Leave him with you? The teenagers ignore him.
He tries to ignore them, but it's hard with the constant noise. RICHIE No court will allow it for one thing. I won't allow it. RICHIE When am I supposed to see my son? Their son glances over at them.
Richie looks over at the teenagers again breaking bottles, then back to Laurie. RICHIE Laurie, you can't raise a kid in Las Vegas. LAURIE Oh, like this is a good environment. There are less creeps in Vegas. RICHIE What's he going to grow up euro australian dollar exchange forecast be in a mobbed up place like that?
What are you thinking? LAURIE I'm thinking - Richie - of him! RICHIE Goddamn it - The noise of the glass is driving him crazy. He strides over to the teenagers, who look at him like, What are you gonna do, old man, it's four against one. RICHIE I told you nice to shut the fuck up. Now I'm gonna kill you. He pulls out his gun and aims it at one of them, then the others. All instinctively try to cover their heads.
As they dive to usda cattle market reports knees to do what they're told, Laurie walks away with her son, who looks back over his shoulder at his father with his gun out. BANGKOK - NIGHT 50 Frank sits in the back of a motor samlor. Bicycles dart around it like flies. A trio of ex-GI's plays authentic Southern blues on a small stage.
Ham hocks and collard greens come out of the kitchen. Smoke chokes the place. Frank, one of the few men not in uniform, and not drunk or stoned, sits alone at a table with a Coca-Cola and surveys the activity: GI's and prostitutes climbing a staircase.
His eyes follow an Army Master Sergeant, moving among the tables as if checking on the GI's well being. But at some, his hand takes money, leaves in its place packets of powder. The Sergeant feels eyes on him and glances up, catching Frank watching him from across the room. He squints through the smoke at the figure at the table in the shadows, and, in a kind of shock, more to himself - NATE Frank -? Frank half-lifts his glass to wave, and Nate beams.
SOUL BROTHERS BAR - NIGHT 54 Frank has guests at his table now: They talk about him in Thai subtitled: THAI He say how much he wants? NATE He said "a lot. Four or five keys? THAI He's your cousin.
THAI Ask him how much he wants. NATE How much you gonna want, Frank? FRANK A hundred kilos. Nate blinks like there's something in his eye BANGKOK - STREET VENDER - DAY 55 Steam and neon. Frank and Nate at a introduction to stock market worksheet stand. NATE No one I know can get that much. It'd have to be pieced together from several suppliers and none of it's gonna be percent pure.
FRANK That's not what I want. NATE I know that. But that means dealing with the Chiu-Chou syndicates in Cholon or Saigon - if they'll deal with you - FRANK No, even then it's too late. I want to get it where they get it. Nate stares at him NATE You're gonna go get it.
NATE You're gonna go into the fuckin projects stock market india basics - CONT This is the jungle. The fuckin snakes alone will kill you.
NEW JERSEY BOARD OF BAR EXAMINERS - DAY AA56 A room of student-type desks and no character. Richie, and fifty others, have been here for hours taking the exam less than half of them will pass. JUNGLE - DAY A56 A motley bunch of Thai thugs and black American soldiers with automatic weapons ride mules through the dense jungle with Nate and Frank, who - armed with a pistol, a rifle and ammo bandolier like Pancho Villa - is enjoying himself.
From his POV, the jungle canopy suddenly opens up on a poppy field the size of Manhattan.
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Frank stares down at it. NATE He says this whole area's controlled by the Kuomintang - Chiang Kai-Shek's defeated army. Some of whom they can see down below on the opium farm - Chinese soldiers with outdated weapons. Frank tips his head to Nate at some other figures below - FRANK They ain't Chinese.
A handful of better-armed American sentries at the perimeter of the farm. Frank, Nate and the others hang back as one of the Thais steps ahead to speak to the guerillas. OPIUM FARM - LATER C56 The processing center for the entire region. The Thai translator is with Frank to negotiate with a vanquished Chinese general. Other Americans and Thais guard them while the Chinese with their CIA advisors guard them.
BAMBOO DWELLING - LATER - DAY D56 The Chinese general examines Frank's papers - passport, visa, bank receipts - and lots of cash - then studies Frank. GENERAL How would you get it into the States? FRANK What do you care? GENERAL Who do you work for in there? GENERAL Who are you really? FRANK It says right there. GENERAL I mean, who you represent? The man doesn't believe it, but lets it go. GENERAL You think you're going to take a hundred kilos of heroin into the US and you don't work for anyone?
Someone is going to allow that? The general regards one of his men. GENERAL I don't believe a word of this. The general regards the cash and paperwork again for a moment. GENERAL After this first purchase, if you're not killed by Marseilles importers - or their people in the States - then what? D56 FRANK Then there'd be more. On a regular basis. Though I'd rather not have to drag my ass all the way up here every time.
The man regards Frank for a long moment. Glances back to the cash and paperwork again. Finally - GENERAL Of course not. JUNGLE ARMY LZ - VIETNAM - DAY E56 Torrential monsoon rains. Nate and Frank climb down from the Huey. Frank no longer wears the bandolier. Now a press card dangles from his neck. Outside, in the distance, in the rain, Frank hangs out with some other black servicemen. COLONEL Where's it now?
I can bring it here or anywhere in between. COLONEL A hundred kilos. Nate nods I never seen that much dope in one place. NATE It's bigger than an Amana refrigerator- freezer. JUNGLE ARMY LZ - LATER - DAY G56 Nate and Frank watch the colonel emerge from the tent and cross through the rain on duck-boards to another tent to speak with a white officer, a 2-star general.
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That'll cover them, the pilots and the guys on the other end. FRANK Give them a hundred. G56 NATE Fifty, to cover them all.
And it's all I got left. So if that dope doesn't arrive, for whatever reason - embraces Nate and whispers Cousin or no cousin - don't let me down. He holds out a business envelope fat with money. Nate hesitates, knowing Frank has just said he'll kill him if telemarketing jobs from home in cleveland ohio don't go right, then takes it.
Good stocks buy recession I'll let you know when it's in the air. Richie, I'm in trouble. This fuckin guy "made" me - I don't know how but he did.
He went for his gun.
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I had to do it, I swear to God. Now they're going to kill me. Richie can hear in Sander's voice how serious it is and manages to disentangle himself from the woman. You gotta help me. You gotta do something. RICHIE Is he dead? They're gonna kill me. RICHIE Where are you? Javy, where are you? I got a man in trouble and I need back-up. I'll try again, but - RICHIE Fuck you, too. He slams the mic down. STEPHEN CRANE PROJECTS - MORNING 57 As Richie's car turns a corner, the Stephen Crane Projects - the most foreboding place on earth - rises up: He parks and moves through an agitated all-black crowd, past an ambulance outside one of the towers, through oppressive heat.
STEPHEN CRANE PROJECTS - MORNING 58 Drugs on a coffee table. Body on the floor. Rivera, despondent, on the couch. The male paramedics, scared. Richie on the phone - RICHIE Sergeant, I'm not asking, I'm fuckin telling you: Get some patrolmen over here now.
Richie throws the phone. The paramedics stare at him. PARAMEDIC You got no back-up? The only other person who would know the answer to that is Rivera, who just shakes his head in despair. RICHIE Bandage his head. RICHIE I know he's fucking dead. Bandage his head, clean him up, put him on a gurney and prop it up so he's sitting. And open his eyes. STEPHEN CRANE PROJECTS - MORNING 59 Richie comes out ahead of the gurney, moving quickly like it's a matter of life and death which it ismotioning at the crowd to allow a path to the ambulance.
RICHIE Step back, injured man coming out. Let them do their job and he'll be all right. The people step back when they see the victim on the gurney: Before they can look any closer, he's put in the ambulance. As it pulls out, siren wailing, Richie leads Rivera safely away - A60 EXT. ALLEY NEAR STEPHEN CRANE PROJECTS - MORNING A60 They cross through an alley near the Projects and Rivera finally breathes a sigh of relief. RIVERA Thank you - The words aren't out of his mouth before Richie shoves him up against a car.
RICHIE You robbed him, didn't you. What are you talking about? Richie rips Rivera's jacket pockets. Where'd this come from? I've never taken dirty money in my life. RICHIE You lying piece of shit - RIVERA Maybe the occasional gratuity. You're going to tell me that's wrong? RIVERA No, forex rates islamabad pakistan isn't.
It's part of the salary for getting shot at. For that, certain courtesies are shown. In gratitude - Richie, disgusted with him, lets go of him. Rivera is embarrassed, almost crying, pleading - RIVERA A discount on a TV, a Doughboy in the backyard, a new dress for your girlfriend maybe once a year.
I'm talking about not living in fucking poverty. You want to call that wrong, call it wrong. RIVERA Then goddamn it, pay me fifty grand a year, you son of a bitch. Pay me what I deserve for getting shot at. Next time four guys come into your place with sawed-off shotguns, you take care of it. RICHIE You robbed him, and then you shot him, and I helped you get out of there. How many more you shot?
A60 Rivera suddenly tries to get tough - RIVERA You know what, Richie? Fuck you, you make that kind of accusation against your own kind. And you know why. He takes out his car keys, turns to leave. Comes past Richie who grabs his arm and pushes the sleeve up exposing a line of puncture scabs and scars.
RICHIE You're a disgrace. RIVERA I'm a leper. Because I listened to you and turned in a million fucking dollars. You know who'll work with me after that? Richie squeezes Rivera's hand around the car key. RICHIE Don't look down there. Richie squeezes Sander's hand so hard the car key cuts through the skin, drawing blood.
ARMY BASE, NEW JERSEY - DUSK 70 Silence. A beat-up Chevy parked alongside a perimeter fence. Frank waits by the car as a military Jeep with its lights out comes across a firing range.
In it, the silhouettes of three servicemen, black, armed with M's. ARMY CAPTAIN Open the trunk. Frank does it, then stands aside as the other servicemen drag four large taped-up duffel bags from the Jeep to his car, lift them into his trunk and slam it shut.
FRANK'S APARTMENT - LATER - NIGHT 71 The duffel bags, still closed, on a table. Frank regards them, nursing a drink, putting off the moment of discovery that he has perhaps spent his life's savings on nothing. He pulls it open - has almost no reaction - except to breathe again - then opens the next, and the next.
Several brick-like packages of No. FRANK'S APARTMENT - LATER - DAWN A72 The duffel bags are elsewhere. The only evidence of any drugs is the small amount Frank has given a chemist - who looks like a Harvard student - to test.
The young man looks at Frank. CHEMIST Typically what I see is 25 to 45 percent pure. I've never seen anything like this. No alkaloids, no adulterants, no dilutents. It's a hundred percent. The chemist opens a leather travel syringe kit to shoot up, but Frank gives him some to take home instead. FRANK Take it with you. I don't want to have to call the coroner.
The chemist gathers his things to leave, offering a last piece of advice - CHEMIST Store it in a cool, dark place. An elderly woman framed in a lit kitchen window, forex rates islamabad pakistan dishes.
Dark yew trees and scavenged, discarded cars and car parts like patches of rusty snow. From a mound of dirt, a young man hurls a baseball to another with a catcher's mitt exactly sixty feet away. The kid's got a major league arm. Greensboro, North Carolina A glow spills out from a detached shed where a short man in his early 30's works on a stock car. TEDDY Who is it? Jimmy doesn't know, sets it down. Teddy comes over wiping his hands on a rag, takes the phone.
COURTROOM - DAY 73 Divorced couples in custody battles wait with their attorneys in a packed courthouse. SHEILA I'm not talking about your proclivities, Richie. Those I only know too well. I'm talking about being a cop. RICHIE About taking money? I don't care about money.
I don't do that. SHEILA Because it'll come out. You're going to have to sit down stock lifters on aftermarket cam shrinks and social workers, her lawyers, the judge, lots of questions. RICHIE No, the money. What about your friends from the neighborhood?
You still hang out with them? RICHIE I play softball on Sundays with some guys. That's going to look good. RICHIE I grew up with them, big deal. SHEILA What about Anthony Zaca? RICHIE What about him? SHEILA Richie, I'm just trying to understand things your wife has said.
If they're not true, tell me. RICHIE Yeah, Tony's one of them. SHEILA How to get 99 herblore and make money he also your son's godfather? Sheila glances over to home depot stock price yahoo Richie's ex-wife sits with her own lawyer across the room.
SHEILA Do you really care about this? Or do you just not want her to win - ever. How often do you see your son as it is? But she wants to make it never. SHEILA Tactical stock for remington 870 express, all right. Give me a twenty. Richie doesn't reach for his wallet Well, I'm not going to sit here all day. She takes a twenty from her purse and carries it up to the judge's assistant clipped to their paperwork.
BAILIFF All rise - 74 EXT. HOUSE - TEANECK, NEW JERSEY - DAY 74 Frank and the dog in the back yard of a suburban house. His neighbors - those he can see - are white. He hears a sound - cars arriving - and crosses toward the house where a sold "For Sale" sign leans against a half-built kennel. Out front, a caravan of cars and pickup trucks - North Carolina plates - loaded with how to earn neocash on petpet park and suitcases - has just arrived.
Exhausted from the drive but excited to be here, the travelers climb out: Frank's five brothers, their wives and kids, and their mother. Teddy thinks it's the right place. The others aren't as sure. The house is too nice. There's a new Lincoln Towncar parked outside sal the stockbroker is an idiot garage.
They'll probably be shot for trespassing. The front door opens and Frank comes out, trailed by his dog. He first gathers his mother in an embrace, then each of his startled brothers. FRANK'S TEANECK HOUSE - LATER - DAY 75 The house is alive with the noise of family and scent of home-cooked food as the extended Lucas clan - there's more than twenty of them - sits around a big dining room table passing the platters around.
Frank, at the head of the table, clearly loves having them all here. TURNER He got an arm on him. Major League arm, ain't that right. Everyone agrees as Turner's son - Frank's nephew - the year-old boy seen pitching in the North Carolina back yard - tries to shrug. TURNER You can't catch him. He'll take your head off. You know how fast that is? You see the ball leave his hand, and that's the last you see it before it knocks you down.
FRANK smiling; happy Is that right. FRANK'S TEANECK HOUSE - LATER - DAY 76 The wonderful noise continues downstairs as Frank leads his mother on a tour of the upstairs. The place is a showroom of traditional Americana. FRANK This is your room.
Lucas is in awe of the splendor of the bedroom and its furnishings. It's unlike anything she's used ever seen - not Graceland exactly - but not far off. Her eyes settle on an old vanity dotted with French perfume bottles. LUCAS How did you FRANK I had it made. LUCAS You were five when they took it away.
How could you remember it? Touches the reproduction of the vanity her son last saw more than thirty years ago. HUDSON RIVER - DAY 77 The Statue of Liberty against the New York skyline. HARLEM - DAY 78 As Frank leads his brothers down the sidewalk, the Towncar that was parked at the Teaneck house, driven by Frank's body- guard, Doc, follows alongside at vix option trading hours same pace they walk.
FRANK I was with him every day for fifteen of them, looking after him, taking care of things, protecting him, learning from him.
The brothers can't help but notice the storekeepers who wave to Frank, the women who smile, the men who step out of his path like there's a red carpet under his polished shoes. FRANK Bumpy was rich, but never white man rich. Because he didn't own the company. He thought he did.
He only managed it. Someone else owned it. So they owned him. REDTOP'S APARTMENT BUILDING - HARLEM - DAY 79 Frank leads his brothers up the stairs and down the hall. FRANK Nobody owns me. Because I own my company. Frank stops outside an apartment door. TEDDY What forex and stock market relationship we selling, Bargain stocks buy 2016 The Lucas brothers stare as the supervisor of the activity - clothed, with red hair - comes over.
FRANK Honey, these are my brothers. HARLEM - LATER - DAY 81 Tango strolls down the street like he's the Godfather of Harlem, girl on his arm, bodyguard at his side. DINER - SAME TIME 82 As his brothers eat lunch, Frank - who can see Tango outside - uncaps a glass sugar container. FRANK What matters in business is honesty, integrity, hard work, loyalty, and never forgetting where you came from.
For reasons his brothers can't imagine, Frank empties all sugar from the container onto his plate. FRANK You are what you are and that's one of two things. Understand what I'm saying? The brothers nod tentatively, stare at the now-empty glass container. Frank wipes his mouth with a napkin, gets up. FRANK I'll be right back. DINER - MOMENTS LATER 83 He comes out of the diner, crosses the street toward Tango, who's buying fruit. Greets him cheerfully - FRANK Hey, Tango, what's up.
I was just thinking about you. I didn't see nothing in it. TANGO The fuck you want, Frank - Before the last word is out of Tango's mouth, Frank's how long can a realtor hold an earnest money check a gun pressed against his forehead. Everyone backs away - the bodyguard, too. Tango's girl pulls her arm from his and takes off.
Eventually - TANGO What're you going to do, boy? Shoot me in broad daylight? In front of everyone? It's as if life on the street has stopped. No one moves; everyone is looking at Frank; maybe that's what he wants. As Tango laughs at the thought - Top small cap stocks 2016 asx Yeah, that's right.
Frank pulls the trigger and the big man falls back like someone hit with a board. Frank stands over him and empties the gun in his chest, the shots echoing down the street. Then it's quiet again. Everyone's still looking him, but Frank doesn't run. Instead, he calmly reaches into Tango's suit pocket, takes out a money clip thick with cash, drops it in the "jar" and sets it next to the body.
FRANK For the cops. Frank returns to the diner and sits back down, ignoring the astonished stares from his brothers and everyone else in the place.
Tries to remember where he was in his lecture as he tucks the napkin westpac share trading account application form in his shirt collar.
FRANK That basically's the whole picture right there. MORGUE - NIGHT 84 A cadaver drawer slides open revealing - not Tango - but Rivera, staring up lifeless, his arms, stomach, legs and toes dotted with the scabs of a longtime addict.
DETECTIVE Did you know his girlfriend? One of his informants. The medical examiner slides open another cadaver drawer containing her body.
Richie stares at it. DETECTIVE Should've seen their place. Like animals lived there. RICHIE I have seen it. DETECTIVE to the examiner Chose a good night, huh?
Grand Central Station in here. MEDICAL EXAMINER It's been like this. I'm lucky I get home before midnight; lots of careless- ness. Richie regards Rivera's personal effects resting on his chest in a plastic bag: Richie takes the blue cellophane from the bag and, as the drawer closes entombing Sanders, holds it in his hand REPORTER ON TV Sincelaw enforcement has watched its steady increase and with it a rise in violent crime.
Now unaccountably, it has exploded, reaching into cities as a whole - our suburbs and towns - our schools. POLICE GYM - DAY The TV is in a small police gym where Richie lifts weights, very much aware of his pariah status as out-of-shape cops come in, only to leave again when they see him. REPORTER ON TV Someone is forex training in london saying: Federal authorities have announced their intention to establish special narcotics bureaus in Washington, New York, Los Angeles, Chicago, Boston, Newark and other major cities - Toback comes in, watches Richie, alone, working out.
POLICE GYM - LATER - DAY forex strategy trader fxcm Richie's changing into his street clothes. RICHIE But it's federal. I'd have to answer to who? TOBACK Me and the U. Hoover knows better than to mix his men with dope.
Too much temptation for the feeble-minded. Though he's not in much of a position to refuse the assignment, Richie still isn't convinced it's a good idea. Toback levels with him - TOBACK Richie, a detective who doesn't have the cooperation of his fellow detectives can't be effective.
RICHIE You know why I don't have it. RICHIE No, they're all on the take and I'm not and it doesn't matter to anyone. Instead of giving you a medal for turning in money, they bury you.
Maybe this's an opportunity away from all that. They regard each other. Eventually - RICHIE I'll do it, but only like this: I don't set foot in a police station again. I work out of a place of my own. And I pick my own guys. Guys I know wouldn't take a nickel off the sidewalk.
NARCOTICS SQUAD HQ - NEWARK - DAY 87 An old building that was once an Episcopal church. NARCOTICS SQUAD HQ - NEWARK - DAY 88 The place has been long abandoned. The city maintenance worker who let Richie in watches him move through the debris- strewn church.
PENTHOUSE - NEW YORK - DAY 89 A real estate broker watches Frank consider the high- ceilinged spaciousness of a grand, unfurnished 50's modern Upper East Side penthouse - 90 INT. BASEMENT - NARCOTICS SQUAD HQ - DAY 90 Richie regards the colored light thrown down by the stained glass windows - 91 INT.
PENTHOUSE - NEW YORK - DAY 91 Frank regards light streaming in from the garden terrace - 92 INT. MAIN FLOOR - NARCOTICS SQUAD HQ - DAY 92 Richie picks up a faded photograph of a priest in a broken frame. To the maintenance man: RICHIE This is the only floor we'll be using. PENTHOUSE - NEW YORK - DAY 93 Frank distractedly opens and closes a 12' high curtain in one of the rooms - CONT SMALL'S PARADISE - NIGHT 94 Wet streets and neon. Well-dressed crowd behind a velvet rope outside the club.
The Apollo in the background: James Brown on the marquee. SMALL'S PARADISE - NIGHT 95 A still-powerful older man in a nice suit rises from his chair to wild applause. From the stage - SINGER Mr.
Joe Louis, ladies and gentlemen. Joe bows graciously, gives a little wave to the crowd, and sits back down as the band starts up again. At another table, Frank sits with Charlie Williams and Rossi, slightly older dope men. Like Frank, they favor expensive tailored suits.
Their dates, too, are nicely dressed - not too much make-up or jewelry. Frank's glance moves from Joe Louis and his wife to a beautiful young woman at the table. FRANK Who's the beauty queen? CHARLIE She is a beauty queen. Her glance crosses Frank's briefly but is yanked to the entrance of the club when Frank's brothers come in with their wives and girlfriends.
Teddy's in a parrot green suit, gold chains, hat, acting like he owns the place. BACK ROOM - SMALL'S PARADISE - LATER 96 Frank hustles Teddy into an empty back room. FRANK What is this? He turns Teddy so he's facing a mirror. This is a very nice suit - CONT Those - Teddy's in the mirror - are a costume. With a sign on it that says Arrest me. You look like fuckin Jackie Fox.
TEDDY What's wrong with Jackie.
FRANK You like Jackie? You want to be Superfly? Go work for him, end up in a cell with him. Teddy pulls himself from Frank's grasp. Smooths his shirt, adjusts his hat. Frank tries to explain to him: FRANK The guy making all the noise in the room is the weak one.
That's not who you want to be. TEDDY He wants to talk to you by the way. I told him I'd tell you. Frank stares at his brother's reflection in the mirror. FRANK You and Jackie were talking about me? TEDDY Not about you. He said he wanted to talk to you about something. Frank clearly wants nothing to do with Jackie Fox. FRANK I'm taking you shopping tomorrow. TEDDY I went shopping today.
FRANK You go shopping every day. SMALL'S PARADISE - LATER - NIGHT 97 A creme Bentley pulls up and out pour Jackie Fox and his entourage. He starts handing them out to the crowd on his way into the club. JOE LOUIS It's a tax thing. It's a mistake my lawyers will straighten out, but for the time being it's a headache - FRANK How much you owe?
JOE LOUIS It's nothing, like - fifty grand. Frank isn't sure if it's an honor or a curse to have a celebrity like Joe Louis asking to borrow money, but nods.
Don't worry about it. JOE LOUIS Thank you. I'll pay you back soon as - FRANK Joe. You don't owe me nothing. Jackie glides into the club with his magazines and entourage. Frank watches him make the rounds, lingering at Miss Puerto Rico's table and holding her hand longer than he should with his girlfriend on his arm.
Frank glances to Teddy wearily, then to Doc, alone at the next table like a sentry. Frank doesn't have to say he's ready to leave. Doc knows the look. SMALL'S PARADISE - LATER - NIGHT 99 Frank comes into the coat check area where Doc waits with his overcoat. As Frank slips into it, Miss Puerto Rico - returning from the ladies room - comes through. Why don't you call it Frank's? FRANK Because I don't have to.
He smiles, and it's hard to tell which is more enchanted with the other. NIGHTCLUB - NEWARK - SAME TIME - NIGHT A club across the river. Not nearly as nice as Small's - much louder - but like Small's, almost all black. Richie shares a booth with a black undercover detective. RICHIE I'm reluctant to bring anyone in I don't personally know. SPEARMAN You know me, and I vouch for them.
Richie nods, Yeah, he knows that, but remains unconvinced. SPEARMAN Richie, we work together. You want me, you got to take them, too. RICHIE Where are they? Spearman looks out across the crowded dance floor.
With the skinny white woman. Richie's glance finds a young black man dancing wildly with his skinny white date.
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SPEARMAN That's Abruzzo, with the fat black one. Richie sees a young Italian with tatoos - the only other white man in the place - dancing with a heavy black woman. Both Jones and Abruzzo look more like criminals than cops. They're insane, Richie, like you. FRANK'S CAR - MOVING - NEW YORK - DAY Frank sits in back alone.
Peers ahead through the windshield. His face relaxes as he sees - EXT. RIVERSIDE - DAY Ana waiting on a corner, dressed nice, handbag. The Towncar pulls to the curb. FRANK I got it. Frank gets out before Doc can, and escorts Ana to the car. FRANK I hope you weren't waiting long. A woman as beautiful as you shouldn't have to wait for anything. He opens the door for her like a perfect gentleman, slides in after her.
MAMA LUCAS'S TEANECK, N. HOUSE - DAY Outside the house, Doc sits in the car reading a newspaper. HOUSE - DAY Ana considers some family photographs on a mantle. ANA This is your father? Frank shakes his head no. It's a picture of Bumpy. FRANK You really don't know who that is?
ANA It is not. He was as important as Dr. FRANK A lot of things. He had a lot of friends. He served New York and it served him. ANA What was he to you? Frank has to think. Bumpy was more than his employer. ANA What'd he teach you? FRANK How to take my time And it's working here. FLASHCUTS - Sudden bursts of violence - guys beat up - others shot - one being poured with gasoline as Bumpy looks on calmly - BACK TO FRANK'S LIVING ROOM The same calm, benign face in the photograph.
FRANK How be a gentleman. ANA That's what you are? Ana smiles like she knows better. Any second now, like every other guy she's ever met, she's sure he'll try to take her upstairs.
FRANK I got five different apartments in the city I could've taken you to. I brought you here instead - CONT Ana glances to the stairs which Frank's mother is coming down. FRANK To meet my mother. LUCAS Is this her? Oh, she's beautiful, Frank. She's an angel come down from heaven. Lucas embraces Ana like family. NARCOTICS SQUAD HQ - NEWARK - DAY A single, half-empty packet of heroin, the same one from the morgue, in distinctive blue cellophane, tacked to a bulletin board.
Richie, perched on a desk in front of it. RICHIE Our mandate is to make major arrests. No street guys - we want the suppliers - the distributors. Spearman, Jones and Abruzzo sit in the back, looking like delinquent students. Of everyone in the open ground-floor that's been only slightly renovated - and there are about fifteen of them - they're the most disreputable-looking. RICHIE Heroin, cocaine, amphetamines. No grass under a thousand pounds.
Less than that, someone else can waste their time. Jones nudges Abruzzo to pay attention. Abruzzo elbows him back. Richie just waits like a teacher for their attention.
RICHIE We'll be handling big shipments, big money, big temptation. Jones raises his hand Yeah. JONES There's a story about you. About turning in some money. Jones isn't the only one here curious to know. The perspective shifts to Richie, Spearman and Jones in a car, watching as Abruzzo chats briefly with the dealer before the exchange takes place: NARCOTICS SQUAD HQ - NEWARK - LATER - DAY Richie and the others watch Jones tests the heroin.
JONES Stuff's ten percent pure. Strong enough to smoke for all those suburban white kids afraid of needles. The other detectives are exchange a glance. None has ever heard of anything on the street that pure. RICHIE You paid ten bucks for it?
JONES And it's all that's out there. RICHIE Now, how is that possible? Who can afford to sell shit twice as good for half as much? Richie glances to a Table of Organization: Surveillance photos haphazardly thumb-tacked to a bulletin board - known dope men in the hierarchies of their individual crime families - almost all of them Italian. WOMB TO TOMB SEQUENCE: BANK VICE PRESIDENT'S OFFICE - CHEMICAL BANK - DAY Frank sits with the bank Vice President who wires a transfer to: BANGKOK BANK - DAY Where Nate sits with the same Thai bank president as before who converts the transfer to cash.
SOUL BROTHERS BAR - BANGKOK - DAY Nate slides cash across a table to a couple of Chinese gangsters. JUNGLE ARMY BASE - VIETNAM - DAY A tent: Nate hands more cash - the military brass's cut - to the 2-star general from before. Wounded soldiers on stretchers, helped onto a transport plane. Nearby, four large crates - Japanese TVs - under cargo netting. The pilot stuffs more cash in a pouch and salutes Nate. ARMY BASE - NORTH CAROLINA - DUSK The same plane on the tarmac here, taxiing.
A pile of discarded TV boxes outside a supply warehouse. At the perimeter of the base, black servicemen transfer heavy taped-up duffel bags from an Army Jeep to a station wagon, hoisting those that won't fit inside onto a roof rack. Two Lucas brothers tie them down with twine. In the distance, the spire of the Washington monument glows. DISCOUNT DRUGSTORE - HARLEM - DAY A black woman pushes a shopping cart containing a baby, Pampers, and cases of milk sugar across a parking lot.
RED TOP'S APARTMENT - HARLEM - DAY Empty milk sugar boxes. Redtop and her five table workers - clothed now, the surgical masks dangling from their necks - wiping down table surfaces, scales and apparatus. Tens of thousands of blue-cellophane packets of heroin neatly cover two of the folding tables. HARLEM STREET - DAY August. Kids wrench open a fire hydrant and with an empty soda can direct the water into a fountain. The water sprays down onto the windshield of a beat-up Chevy coming slowly through, revealing when it clears, Frank behind the wheel.
NYPD 23RD PRECINCT - LOCKER ROOM - DAY Clock on the wall of a locker area: Fans blowing the humid air around. NYPD 23RD PRECINCT GARAGE - DAY Blue and whites arriving and leaving, shirts coming off as the cops alight.
BUS - MOVING ON TH STREET - DAY The driver checks his watch: Turns his almost-empty bus up 8th Avenue. FRANK'S PARKED CHEVY - HARLEM - DAY Air conditioner full blast. Radio announcing the time: Frank glances out the wet windshield of the Chevy and watches th Street transform: It's as if an outdoor market has just opened its stalls. Junkies and dealers emerging from the alleys, storefronts, tenements and side streets - from the street itself it seems - snarling the cars and delivery trucks caught unaware.
Small blue cellophane packets - and only blue - are pulled from pockets and change hands. In alleyways it's cooked up and sucked into syringes, and in dank, grim, indescribably filthy rooms, plunged into veins - AND THE REVERSE: REDTOP'S APARTMENT - DAY Piles of cash. The brothers try counting it all, but it's just too much. TEDDY We're going to be here all night if we count every bill. A money-counting machine flips through the bills, its counter flying. Jot down the numbers. Put the money in newly-assembled file boxes.
FRANK'S PENTHOUSE APARTMENT - NIGHT The penthouse is now richly decorated. It's a kind of office party for Frank's brothers, cousins, wives and girlfriends, distributors like Rossi and other East Harlem guys, Charlie Williams, couple of cops on Frank's payroll, and the Chemical Bank Vice President.
BANKER You got a stockbroker, Frank? FRANK I deal with enough crooks as it is. The banker jots down a name and phone number on the back of one of his business cards. BANKER This one couldn't be more honest. He's got a lot of clients in the business. You can't leave all your money in safety deposit boxes; give him a call. The banker hands him the card and moves on. Frank's trying to have a good time, but the level of noise and revelry is beginning to make him uncomfortable. This is Mike Sibota.
Sibota tries not to look as nervous as he feels. What can I get you? SIBOTA A left-hander from what Charlie tells me. Frank points to his nephew, Stevie, across the room.
FRANK It's been his dream all his life to play for the Yankees - and he's good enough. SIBOTA So I hear. You have him come see me. We'll give him a try-out. As the scout hands his card to Frank, we whip over to where Teddy, his driver Jimmy Racine and their girlfriends, coked up, are laughing as a black cop, flashing his detective's shield, pretends to frisk Jimmy.
JIMMY joking You can't take me in for that, I got a license for that, motherfucker. DETECTIVE gives the gun back This then - the pile of coke on the coffee table But first - The cop sucks up a line before pretending to cuff Jimmy.
DETECTIVE All right, now I'm arresting you. TEDDY Let him go. This is for you. DETECTIVE What is that, a bribe? Oh, now you're all under arrest. JIMMY What is that? It was quick but Jimmy saw it, even though his girlfriend didn't react.
The cop, oblivious, is cuffing Teddy now. DETECTIVE I'm taking you all in. JIMMY I said, what the fuck was that? DETECTIVE What was what? The room explodes with a boom and the detective crumples to the floor, clutching at his leg, blood running through his fingers onto the carpet.
JIMMY Oh, he's all right. I just shot him in the leg. You got a health plan, what are you complaining about. Here - peels off some money Five hundred all right? Look, he's feeling better all the time. Suddenly, Frank grabs Jimmy and throws him against the wall. FRANK'S PENTHOUSE APARTMENT - NIGHT As Ana tries to clean the blood stain on the rug with salt and soda water, Frank sits with his five brothers in the debris-strewn aftermath of the party.
FRANK I can't have this kind of stupidity. TEDDY It was an accident. He feels terrible about it. FRANK He doesn't feel shit, coked up all the time. Get rid of him. What's he gonna do? I'll talk to him. I'll straighten him out.
Frank looks at Teddy in his tinted Jackie Fox-like goggle glasses - like he's going to straighten anybody out. FRANK Gimme those glasses. Frank pulls them from Teddy's face and crushes them. NARCOTICS SQUAD HQ - NEWARK - DAY Richie sifts through the morning mail at his desk. Stops on an envelope from the New Jersey Bar Association. As he works up the nerve to open it, Spearman, Jones and Abruzzo organize the Italian wise guys' photos on the T.
JONES Ice Pick Paul goes here - ABRUZZO No, he's under Benny Two-Socks - JONES No, you're thinking of Benny the Bishop. Benny Two-Socks is Tosca's deadbeat son- in-law. Richie comes over, studies the Table of Organization a moment, then begins untacking the photos from the top down - JONES What're you doing? We just - RICHIE For a cop the uppermost thing is the arrest.
For a prosecutor, the arrest is nothing without the evidence to convict. We don't have any real evidence on anyone on this board, so they're coming down. We're starting over from the street.
Richie tacks his exam results onto the T. STREET - NEWARK - DAY Richie and the Amigos observe a buy from a parked car, the blue cellophane changing hands. Ignoring the buyer as he walks away, they keep watching the seller. Richie ignores him as he walks away, watching instead the garage. Eventually, a mechanic wiping his hands on a rag steps out, and Richie raises a camera. The image of the mechanic - a supplier - freezes - INT.
NARCOTICS SQUAD HQ - NEWARK - DAY A slightly-blurred photo of the mechanic goes up on a new, almost bare Table of Organization. Richie, Jones and Spearman eating take-out food as tape recorder reels turn. PHONE VOICE Those snow tires you give me last time come in yet?
I'm going to want some more of them, gimme one and a half more of them. TOBACK This is more than a year's salary, Richie. If it disappears, I won't be able to get it for you again. NARCOTICS SQUAD HQ - NEWARK - DAY Jones tapes a tape recorder the size of a pack of cigarettes to Richie's bare chest.
Where's the rest of the money? I'll give you the other half tomorrow when you give - MECHANIC No, no, no, I don't do that. Richie rather reluctantly hands over the rest of the 20K. SPEARMAN'S CAR - MOVING - NEAR GW BRIDGE - DAY Spearman watches the pickup truck driven by the mechanic change lanes up ahead - heading for the George Washington Bridge - and glances over concerned to Richie, who is changing the cashmere sweater for an old t-shirt.
SPEARMAN He's going into New York. RICHIE What are they going to do, arrest us? They can do worse than that. RICHIE We're not losing that money.
EAST HARLEM STREET - DAY The pickup pulls to the curb outside a Pleasant Avenue grocery store. As the guy enters the place, Spearman's car stops long enough for Richie to climb out, and continues on.
Richie crosses the street, tries to see who the guy is talking to inside, but he's just buying a cup of coffee to go. Spearman's car turns the corner to circle around the block. As soon as it's gone, the man emerges from the restaurant with the coffee and walks straight at Richie who has to double back quickly not to be seen Richie sees a delivery truck double-parked, guys unloading crates.
Hears a horn and knows it's must be Spearman stuck on the side street. The mechanic starts his truck. Desperate not to lose him and his moneyRichie hurries over to a taxi stopped at a light, flashes his badge. RICHIE Get the fuck out of the car! The driver realizes the man outside his taxi is crazy and tries to get his window rolled up. Reaching in, Richie gets his arm stuck, pulls at the lock, yanks the door open, drags the driver out, breaking the cabbie's arm, and jumps in.
He swings the cab into opposing lanes to get around traffic, screeches around the corner, glimpses the truck far up ahead - guns the engine, flies through a red light, glances at his mirror at the cars that just missed him almost colliding - The truck turns up ahead, and Richie barrels through another red light, turns the corner and keeps the truck, a couple car-lengths ahead - in sight. EAST HARLEM - DAY Richie curbs the cab as the guy goes into a dingy pizza parlor.
Richie climbs out, crosses the street. Coming past the place, he tries to look inside without breaking stride. Richie detours into an alley as they enter the restaurant.
Richie peers in at the restaurant kitchen through a grimy basement window. Watches Trupo and his SIU detectives burst in, guns drawn. They rough everybody up, get some down on the floor. One detective gathers the money and stuffs it in a bag. Another gathers the dope. The mechanic tries to protest and Trupo slaps him down with his pistol.
Richie keeps watching as the NY cops arrest no one - but take the dope and the money Richie's money - and stride out as abruptly as they appeared, like bandits.
As they come past Richie - RICHIE That's my money. SIU DET 1 The fuck are you. Richie shows them his Bureau of Narcotics ID.
RICHIE The bills are sequenced and registered with the Essex County Prosecutors Office. All begin with CF One of them checks some of the bills and sees he's right. I thought I had a fucking Chris-Craft sitting in my driveway.
Just give it back to me. Three of the four cops laugh. It's an affable gang of thieves. The one who doesn't laugh hangs back as the others start off. He examines Richie's New Jersey ID.
TRUPO When's the last time I was in Jersey? What're you doing coming over here without letting anybody know? You don't know you can get hurt doing that?
Now, never, ever, come into the city again unannounced. You come in to see a fuckin Broadway show you call ahead first to see if it's okay with me. Trupo pats him on the back and leaves with the others. What do we hate most? Isn't it the transgressions of others we fear we're capable of ourselves?
NARCOTICS SQUAD HQ - NEWARK - LATER - NIGHT It's very late. Richie and Toback are alone. Eventually - TOBACK Richie - cops are like - RICHIE Yeah, I know, like everyone else. Some of them will steal no matter what. There can be a camera on them they'll do it. Some'll never do it.
The rest are capable of either, depending how their department leans