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 
 
 
 � * . �_ 
 
 
 _�T _ __ 
 
 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. 
 
 
 

  
 
 
 
 
 
 

 
 
 
 
  

   
 
    
 
    
25th Hour


 Writers :   David Benioff
 Genres :   Crime  Drama


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