WE OWN THE NIGHT
Written by
James Gray
FADE IN:
A PAIR OF SMOKESTACKS AGAINST AN ORANGE AUTUMN SUN SKY...
THE CAMERA ZOOMS OUT to REVEAL: A CEMETERY in the
foreground. TOMBSTONES blend into a NEVER-ENDING SEA OF
MIDDLE-CLASS ROW HOUSES in the distance, and nothing seems
to separate the two. A NEWLY DUG GRAVE is in the LOWER
LEFT-HAND CORNER of our FRAME.
MILITARY DRUMS. HUNDREDS of POLICEMEN, in their DRESS
BLUES, ENTER from FRAME RIGHT. A FEW COPS CARRY a COFFIN.
SUPERIMPOSE ON THE SCREEN'S LEFT SIDE: THE FOLLOWING WORDS
FADE IN--PARAGRAPH BY PARAGRAPH:
New York, New York. 1988.
A new breed of narcotics has swept the great city, bringing
with it a ferocious crime wave more terrifying than any in
recent memory.
The old criminal order is gone. In its place, new ethnic
groups rise up to seize control without respect for
traditional rules of engagement.
Outmanned and outgunned, demoralized by cutbacks and
scandal, the Police find themselves burying one of their
own at the rate of twice a month...
The WORDS TURN BLOOD RED, then DISAPPEAR. The POLICE LOWER
THE COFFIN when they arrive at the SITE. As we begin to
ZOOM INTO a CLOSE ANGLE ON THEM, we HEAR MUSIC. A THUMPING
POP BEAT. THE CLASH'S "ROCK THE CASBAH"...
SMASH CUT TO:
CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital
and handsome, a real physical presence. His CLOTHES are
stylish, expensive. A sly SMILE. He steps forward, into:
INT. STOREROOM
The camera MOVES with him to SEE: ROSARIO DIAZ, twenties,
dark-skinned, impossibly gorgeous. Leaning up against the
wall, biting her lower lip, eyeing Bobby with true desire.
BOBBY GREEN
...you're so fuckin' beautiful, you
know that...?
(CONTINUED)
2.
CONTINUED:
She beams. They kiss, PASSIONATELY. SUPERIMPOSE:
"BROOKLYN". They really GO AT IT. They are ferocious; as
they DEVOUR each other:
ROSARIO DIAZ
I love you, baby...
Then we HEAR a fist BANGING ON A DOOR, a MUFFLED VOICE:
MUFFLED VOICE
Bobby! You in there?
No ANSWER--they're too busy making out. Then, MORE
BANGING. They both START LAUGHING. The voice continues:
MUFFLED VOICE (CONT'D)
Bobby! [If] you two could just
keep your hands off each other for
a second--I, I think we got a
situation brewin' out front!
ROSARIO DIAZ
It's Jumbo... We gotta go anyway...
BOBBY GREEN
(beat; to the door)
I'll be out in a second, Louis!
She grabs him; he moves back in, starts MAULING her again.
She SLIDES DOWN his body, perhaps to perform fellatio...
CUT TO:
INT. EL CARIBE NIGHTCLUB - MAIN ROOM
A huge, bustling, vibrant nightclub, very `80's. Decadent,
pure New York. BOBBY emerges from the back room area,
straightening out his outfit. ROSARIO is behind him,
fixing herself and walking toward the front of the club.
Bobby enters the PULSING, VITAL HEART of the place. As he
appears, everyone approaches, happily shouting out his
name. He is having a blast.
Bobby is the master of this domain. An `80's version of
Tony Manero from SATURDAY NIGHT FEVER, but without kitsch.
He is genuine cool. MUSIC: BLONDIE'S "HEART OF GLASS."
Bobby waves hello to people, greets them ("Hey, baby!"), a
pretty girl kisses him (the women love him). Moves with a
swagger, a DANCE. As he sways, he re-buttons his shirt,
claps his hands. He is the CLUB MANAGER, and HE LOVES
every minute of it. He's GIDDY, ALIVE, a PERMANENT GRIN.
WE WANT HIS LIFE. SENSUOUS, SEDUCTIVE, INCREDIBLE FUN.
(CONTINUED)
3.
CONTINUED:
A MAN waves to BOBBY. Bobby SEES: seated at a table,
surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne-
scarred, huge black pompadour, big gut. One of his men,
PAVEL LUBYARSKY, is next to him. Bobby nods back to them.
NEAR THE COAT CHECK
Rosario meets up with several of her girlfriends, and we
SEE an OPERATION at work: people come get their coats,
slide the coat check girls a HUNDRED BUCKS, and with their
coats the patrons get JUNK put in their jacket pockets.
Rosario looks to one of her girls--ALINA, a young Russian
with too much makeup--and counts the cash. Pockets some of
it. From Rosario's BEHAVIOR, we SEE she's INVOLVED in the
DRUG TRADE.
INT. THE FRONT OF THE ESTABLISHMENT - LOBBY
A HUGE FIGHT that's breaking out. Violent. Club patrons
and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO
moves past all this, to the front door. LOUIS FALSETTI,
forty, backs off from the multiple struggles all around
him. Louis is wearing a jacket that says "SECURITY" on it.
He is the jocular type, very overweight, redfaced. Bobby
arrives at the fight scene. With cheery braggadocio:
BOBBY GREEN
What the fuck's goin' on in here?
Bobby moves RIGHT IN. Grabs a struggling and drunk PATRON,
puts him in a headlock. He gives the Patron a SHOT TO THE
TEMPLE, just to keep him docile. Lou, Bobby's best friend,
watches the imbroglio with an amused and cowardly
detachment, CHORTLING with every punch and scream. He
balances a drink in his hand with marvelous care, avoiding
spillage. But the BATTLE GETS CLOSER AND CLOSER. Seeing
his friend Bobby, who's hardly got everything in control:
LOUIS FALSETTI
Okay, Bobkes! Looks like you got
everything under control here--so
uh, so I'm gonna go outside, take
my break!
BOBBY GREEN
Yeah--just keep that wide load of
yours outta trouble, arright?
LOUIS FALSETTI
Yes, your fuckin' majesty!
The Patron is acting up again, trying to free himself from
Bobby's grip. Bobby looks down at him. With humor:
(CONTINUED)
4.
CONTINUED:
BOBBY GREEN
What're you doing?!? You gotta
behave yourself here!
Gives the guy a shot in the head. Meanwhile: LOUIS
saunters past the melee, jumping gracefully over a fallen
drunk. He BOWS in triumph when others applaud his leap.
Everyone laughs as he goes out the door. Bouncer FREDDIE
helps clean up the mess. A GIRL SCREAMS as a GUY is
flipped on his back by bouncers. A PATRON with BLOOD ON
HIS FACE, acting like an eight year-old, to Bobby (who
hurls his guy out of frame):
BLOODIED PATRON
C'mon, Mr. Green! I didn't do
nothing!
BOBBY GREEN
Well now you're gonna do nothing
someplace else!
(louder, to all
fighters; pointing:)
Now listen--one of these days I'm
gonna run this whole block, and I
see any you in here again--any you--
I'll bust your fuckin' hole!
(to Freddie)
Throw `em out on their ass. I
gotta go upstairs, drop off my keys
with the old man.
INT. STAIRWELL
Wood-panelled walls. Bobby walks upstairs, fixing his hair.
INT. MARAT BUZHAYEV'S APARTMENT - FOYER/LIVING ROOM
An ornate, gaudy place. The walls are covered by mirrors
with that cheesy brown marble pattern print all over them.
Plush couches, clutter. Bobby walks in.
We HEAR RADIO MUSIC up here, nothing like the stuff played
downstairs. A RUSSIAN CROONER. In an EASY CHAIR sits
MARAT BUZHAYEV (pronounced BOO-SHY'-EV). He is old,
kindly, weakened by age; sits next to his babushka wife,
KALINA. Buzhayev watches a Russian musical program with
the sound off, listening to his small transistor radio.
MARAT BUZHAYEV
Bobby! Come here!
BOBBY GREEN
Mr. Buzhayev, how are you!
(CONTINUED)
5.
CONTINUED:
Bobby leans over, hugs the seated old man. The two EMBRACE
WARMLY--they are close. Before separating, Buzhayev
touches his face. KALINA yells happily in RUSSIAN, grabs
BOBBY, embraces him too. She couldn't be more motherly,
amd Bobby BEAMS at the treatment.
KALINA BUZHAYEV (SUBTITLE)
So beautiful! Beautiful!
Bobby is moved, almost embarrassed by the loving attention.
Then, gently dropping a set of KEYS on a side table:
BOBBY GREEN
Listen, Mr. Buzhayev--I gotta go do
something right now. But don't
worry--everything's in good shape
downstairs.
MARAT BUZHAYEV
(warm, gentle)
Yes, good. You take care of things
good for us...
Marat smiles. Then, as Bobby stands:
MARAT BUZHAYEV (CONT'D)
Next week, you come by--we talk.
Okay? We talk about plans for you.
Bobby lights up, nods. Marat pats his cheek. Kalina tries
to give him a small care package of food. He politely
refuses, and a minor and friendly AD-LIBBED argument in
Russian ("He said he didn't want any food, and you keep
trying to give it to him!") breaks out between the old
husband and his wife. As Bobby exits:
KALINA BUZHAYEV
(broken English)
Bobby! Where you run off to?!?
EXT. QUEENS CATHEDRAL - SUMMER EVENING
A modern church. A big crowd in front, made up of POLICE.
We HEAR MUSIC. CLOSE SHOT of a black outdoor sign, behind
glass. "OUR LADY, QUEEN OF MARTYRS CHURCH, QUEENS, NY".
TILT DOWN: WHITE PRESS-ON letters CROOKEDLY spelling out
"NYPD PULASKI SOCIETY MTG. - 7 PM". SUPERIMPOSE: "QUEENS".
INT. QUEENS CATHEDRAL - BASEMENT
The MUSIC explodes down here. A large room with columns.
Streamers, balloons everywhere. Old cops, young cops, men,
women, are here. Skinny, portly, giddy, drunk.
(CONTINUED)
6.
CONTINUED:
Many are IN UNIFORM, loosened up a bit, like they've just
gotten off work and it's time to relax. Children run
about. American, New York State flags. Pictures on the
walls: people with plaques, portraits. ARCHIE BUNKER'S NEW
YORK. A SIGN READS: "CONGRATULATIONS! TO `CAPTAIN JOSEPH
GRUSINSKY'". Cases filled with trophies. Food tables,
piled high. And beer. Lots and lots of beer.
Many COPS are drinking, cavorting, smoking CIGARS, making
sandwiches. And DANCING UP A STORM. Men and women FLIRT,
GAB, MAKE OUT. FLASH! Pictures taken constantly. A mass
of people surround TWO PEOPLE as a PHOTO is taken:
ANGLE ON: JOSEPH GRUSINSKY, thirties. Bobby's OLDER
BROTHER. In uniform. Clean-cut, though not neurotically
so. Sharp, tough features--the GLOW of a WINNER. He is
SMILING, receiving many AD-LIBBED CONGRATULATIONS and
holding one of his children in his arms, infant PAUL. Next
to him is his wife, SANDRA, thirties. Next to her, their
older infant, TEDDY.
NEXT TO JOSEPH: BURT GRUSINSKY, sixty. Bobby's father, we
will soon learn. Tough as nails. Unsentimental, ex-
military, rough-edged, vital. In this world, he is a king.
Standing behind Burt are his two closest associates:
MICHAEL SOLO ("G.Q."), fifties, somewhat urbane, and JACK
SHAPIRO ("Pudge"), also fifties. A big, quiet man. Huge
hands. The enforcer. Burt is beaming over his treasured
son. He directs a PHOTOGRAPHER, repositions Joseph:
BURT GRUSINSKY
Here, take another one! Get
another!
JOSEPH GRUSINSKY
Pop, they got enough! What're you
doin'?!?
BURT GRUSINSKY
(in Joseph's ear)
You want your face out there--it's
good exposure. The PC's gonna see
this.
(to the Photographer)
C'mon. With both kids.
FLASH!
PHOTOGRAPHER
Thanks, Chief!
Burt waves to the Photographer, then leans again into
Joseph's ear. Still wearing a smile for the outside world:
(CONTINUED)
7.
CONTINUED: (2)
BURT GRUSINSKY
You see your brother yet?
JOSEPH GRUSINSKY
(shakes head; then)
He ain't gonna come.
BURT GRUSINSKY
(frowns; then:)
He better.
INT. CAR - OUTSIDE THE CHURCH
A CLOSEUP of ROSARIO. Beat. Then:
ROSARIO DIAZ
C'mon. What's the big deal anyway?
We'll go in, you say hello, then
we'll go.
Bobby seems reluctant. Then:
BOBBY GREEN
You remember what I tol' you?
ROSARIO DIAZ
Yeah! Course!
BOBBY GREEN
Nobody knows about my father and my
brother--not even Jumbo. And it's
gotta stay that way, you
understand?
ROSARIO DIAZ
Yeah, you tol' me a thousand times.
But I been with you for two years,
Bobby--I should meet `em by now.
We goin' in or not?
ANGLE ON BOBBY as we go to:
INT. CHURCH STAIRWELL
We MOVE past partygoers. THEN, APPEARING AT THE TOP OF THE
STEPS: Bobby and Rosario--who's being eyed up and down
salaciously by the men in the party. The two start to come
down the narrow stairs leading to the basement. A portly,
ebullient man, RUSSELL DE KEIFER:
RUSSELL DE KEIFER
Bobby? Bobby Grusinsky, that you?
How you doin'?!
(MORE)
(CONTINUED)
8.
CONTINUED:
RUSSELL DE KEIFER (CONT'D)
It's me, Russell De Keifer, from
across Northern Boulevard,
remember? You still bartending
that Russian joint, out there in
Brooklyn?
BOBBY GREEN
Nah. Nah, I'm managing now.
RUSSELL DE KEIFER
Oh, big shot!
BOBBY GREEN
Yeah. I'll see you `round, arright?
Bobby slinks past De Keifer. Rosario touches his arm:
ROSARIO DIAZ
What'd he call you?
BOBBY GREEN
(slightly sheepish)
I changed my name--I use my
mother's name now. It's better for
business. C'mon...
INT. BASEMENT
A wiry YOUNG POLICE REPORTER, in uniform, moves to Joseph.
Burt stands nearby, proud:
YOUNG POLICE REPORTER
Captain Grusinsky, hi! I'm Officer
Timpanaro from SPRING 3100, the
police magazine--
JOSEPH GRUSINSKY
How you doing...
The Reporter reads his question off a small pad. (VERY
important that he come off like an amateur.)
YOUNG POLICE REPORTER
So: um, you are now the third--
Someone hits his arm. He drops his pad, picks it up.
YOUNG POLICE REPORTER (CONT'D)
The third youngest captain on the
Force, and our P.B.A. readers'll
wanna know just how that, um--
(looks at his pad)
--Feels!
(CONTINUED)
9.
CONTINUED:
JOSEPH GRUSINSKY
Feels like nothin'. Nah, it feels
good! I love trying to, you know,
help make the City safer for people
and everything...
ACROSS THE ROOM:
Bobby and Rosario come down the stairs. Bobby immediately
SEES his family, though they don't see him yet. To
Rosario, quiet:
BOBBY GREEN
That's them there. In the corner.
Lookit `em--two peas in a pod.
ROSARIO DIAZ
Yeah--I see `em! They don't look
that bad though, you know? For
cops?
(re: Michael, Jack)
Who're those other guys?
BOBBY GREEN
[My] Father's friends--they were
all in Korea together.
(with a laugh)
Biggest bunch of fuckin' stiffs...
(moves closer)
Look, don't talk to nobody, we'll
get out quicker.
ROSARIO DIAZ
(beat; darkening)
I ain't gonna embarrass you.
BOBBY GREEN
N--I just wanna get out quick,
that's all...
ACROSS THE ROOM
Bobby approaches, looks over to Sandra. The two nod an
AWKWARD HELLO. Then the two brothers meet. We SEE the
relationship between them. Strained, but a warmth deep
UNDERNEATH:
JOSEPH GRUSINSKY
Bobby, hey! You, you got off work
and everything--
BOBBY GREEN
Yeah I did so...congratulations...
(CONTINUED)
10.
CONTINUED:
SIMULTANEOUS: Burt motions to JACK, MICHAEL. The two WALK
UPSTAIRS. Burt steps forward.
BURT GRUSINSKY
Hello.
BOBBY GREEN
Pop.
(Rosario moves near)
Everybody, this is my girlfriend.
Rosario.
ROSARIO DIAZ
Nice to meet you!
BOBBY GREEN
This's my brother. And my father.
Burt and Joseph take one look at her and respond with
subdued "hellos." She is not exactly, well, PROPER-
LOOKING. And she isn't white. She picks up on this, tries
to act as though she doesn't care. Burt turns to Bobby:
BURT GRUSINSKY
We gotta talk to you. Alone.
ANGLE ON BOBBY. This gives him pause, but Rosario gives
him a slight nod of her head, assuring him it's okay. So:
INT. CHURCH - UPSTAIRS
Jack and Michael are walking through the seemingly empty
main hall of the church. Looking for anyone who may be
hanging out, ducking in and around. They spot a COUPLE,
making out in one of the pews. The man is shirtless, the
woman in her bra. Caught, they let out an embarrassed
CHUCKLE. With offense, but also humor:
MICHAEL SOLO
In a house of God, no less? C'mon,
get up...
The couple sheepishly exits the room, pulling on their
clothes. As they do, they pass: Bobby, Burt, and Joseph
coming up the stairs. Joseph pulls up the rear, standing
behind his father. Bobby sees Jack and Michael, now seated
several rows back. BEAT, then:
MICHAEL SOLO (CONT'D)
Hello, Bobby. Nice suit you got on.
Bobby gladly gives a nod of recognition, sits down in an
empty front pew. Burt brushes lint off his son's shoulder:
(CONTINUED)
11.
CONTINUED:
BURT GRUSINSKY
Your hair's long.
BOBBY GREEN
I know. I like it this way.
(no response, so:)
That why you got me up here? [To]
tell me my hair's too long?
Joseph speaks up, diverting Bobby's attention:
JOSEPH GRUSINSKY
Bobby, I asked Pop to bring you
here.
BOBBY GREEN
Whatsamatter?
Joseph eyes his father with trepidation, then begins:
JOSEPH GRUSINSKY
Well... I'm gonna be heading up a
new narcotics team, starting this
week. A Russian unit, outta PSA 2
in Brighton.
BOBBY GREEN
(lights a cigarette)
That's a good hook for you.
JOSEPH GRUSINSKY
Yeah, they need me over there.
There's only eleven guys in the
whole department that even know the
language right now, so...
Bobby looks behind him. He's SURROUNDED. Interrogation-
style, his brother at the fore, Bobby nonetheless remains
calm, almost cheery. To Jack, in the back:
BOBBY GREEN
You ever talk?
JACK SHAPIRO
I'm old-fashioned. I listen first.
JOSEPH GRUSINSKY
Bobby, we need you to do us a
favor.
BOBBY GREEN
(SMIRKING)
A favor? Oh, he needs a favor!
(to Burt, needling)
(MORE)
(CONTINUED)
12.
CONTINUED: (2)
BOBBY GREEN (CONT'D)
You cut me off financially, and now
you need the favor? `S interesting.
JOSEPH GRUSINSKY
PUDGE--
Jack steps forward, a PHOTO in hand.
JOSEPH GRUSINSKY (CONT'D)
We're looking at this guy Vadim
Nezhinski.
Puts the PHOTO in front of Bobby. MUG SHOT of an acne-
scarred, dark-eyed man we've seen before: VADIM NEZHINSKI.
JOSEPH GRUSINSKY (O.C.) (CONT'D)
Served time in the Soviet Union for
black market activity, come over
around 1979.
BOBBY GREEN
`S good lookin' boy!
Not amused, they withdraw the photo from in front of Bobby.
JOSEPH GRUSINSKY
He's dealing H, cocaine, angel
dust... Operates out of that club
you manage. The El Caribe.
Bobby's sense of humor disappears now.
BOBBY GREEN
I don't know nothing about that.
JOSEPH GRUSINSKY
No, we know that. We checked up
and down the rest of management,
too--his uncle, the owner--
BOBBY GREEN
The old man?! What, you been
watching us?!?
JOSEPH GRUSINSKY
Everybody come up clean. It's just
Nezhinski we're lookin' at.
BOBBY GREEN
(back to Burt)
What the fuck is this?
(CONTINUED)
13.
CONTINUED: (3)
JOSEPH GRUSINSKY
We need to track how he's bringin'
in the product and...we were just
hopin' you'd keep your eyes and
ears open a little.
BOBBY GREEN
You kidding me? Inform for you?!?
That's what you wanted me here for?
JOSEPH GRUSINSKY
No, we would never ask you to do
that. Just observe, that's all.
It's a closed community and you're
our only way in right now--
BOBBY GREEN
Yeah well, find another way. I got
a lot invested in that club and I
can't let it get fucked up.
JOSEPH GRUSINSKY
Nothing's gonna get fucked up,
Bobby. All it takes is one thing,
you know that! One guy to flip, we
crack the whole thing!
Michael Solo pipes up from the back:
MICHAEL SOLO
Bobby, it's important. These ain't
dumb guys we're talking about. We
don't stop `em up front, coupla
years from now, it'll be chaos out
there.
(BEAT)
We'd be wishing the Italians'd come
back.
Bobby is still focused on his brother, then to his father:
BOBBY GREEN
[You] Fuckin' broadsided me...
Everything's about the goddamned
job with you.
Burt remains stoic. (Though silent so far, he should be a
HUGE presence in the scene--others look to him for
reaction, approval, etc.) Joseph sharpens:
JOSEPH GRUSINSKY
Whole city's falling apart, Bobby--
don't you got any sense of
responsibility at all?
(CONTINUED)
14.
CONTINUED: (4)
BOBBY GREEN
C'mon... Get off your fuckin' high
horse and bust somebody else's
balls.
BURT GRUSINSKY
(finally, to Joseph)
All right, go downstairs. Lemme
talk to him.
Burt gestures to Mike and Jack, and they exit. Joe doesn't
respond at first. Then, begrudgingly, to Bobby:
JOSEPH GRUSINSKY
Thanks for coming.
BOBBY GREEN
You're welcome.
JOSEPH GRUSINSKY
Just be careful out there next
coupla weeks.
BOBBY GREEN
'S that supposed to mean?!?
BURT GRUSINSKY
Joseph!
Joseph lingers, leaves. Father and son. ALONE. Then,
staring straight ahead as he takes a drag of his cigarette:
BOBBY GREEN
Congratulations. You got me up
here.
BURT GRUSINSKY
I knew you wouldn't help us. I
told your brother, I said, `no
point even bringing him down here.'
BOBBY GREEN
Good. Then now you know.
Bobby starts to leave. Burt grabs his arm:
BURT GRUSINSKY
Hold on a second--lemme ask you a
question. That girl of yours
downstairs--she Puerto Rican?
BOBBY GREEN
Yeah. I like the dark meat.
(CONTINUED)
15.
CONTINUED: (5)
BURT GRUSINSKY
She hooking you up?
BOBBY GREEN
(lets out a chuckle)
Why, you want some?
BURT GRUSINSKY
Yeah, keep laughing--your mother,
rest in peace, I think she was too
easy on you.
BOBBY GREEN
I gotta go, Pop. I'll see you
`round.
Bobby turns his back on Burt, getting up to walk
downstairs. Burt remains emotional, reaching out to his
son when Bobby is not looking, lowering it to no avail.
INT. BASEMENT
The music is off now. Bobby comes down, Burt follows.
Joseph is getting something whispered in his ear by another
cop. A squat man with a bad toupee starts to speak: NYPD
Deputy Commissioner SPIRO GIAVANNIS.
SPIRO GIAVANNIS
Everyone? Everyone!
Rosario is leaning up against a post, drinking, watching
the party. She stares down a GUY who OGLES HER
LASCIVIOUSLY. With a sense of humor, she winks at him:
ROSARIO DIAZ
You take a picture, it'll last
longer.
Bobby approaches Rosario, grabs her hand:
BOBBY GREEN
C'mon, let's get outta here,
[we'll] go party with Jumbo.
He tugs her away. She stops him. With assurance:
ROSARIO DIAZ
We could stay if you want, baby.
They don't like me, I don't care--
you're better than them anyway--
BOBBY GREEN
(waves her off)
We're goin'. C'mon.
(CONTINUED)
16.
CONTINUED:
She hurriedly puts down her drink. Joe stands near Spiro,
but his attention is on his brother:
SPIRO GIAVANNIS
I'm Deputy Commissioner Spiro
GIAVANNIS--
APPLAUSE. Bobby, Rosario move to the exit. SIMULTANEOUS:
SPIRO GIAVANNIS (CONT'D)
You know, we look around in these
troubled times, and in moments like
this we need leaders, men and women
who can bring order back to our
great communities. We're here this
holiday season to give thanks for
one of these men, our Russian
brother, Joseph Grusinsky.
CHEERS. Joseph smiles, waves. Filled with hubris.
SPIRO GIAVANNIS (CONT'D)
...Joseph, many of us've known your
father, Deputy Chief Burt
Grusinsky, for many years, and I
know he wants to say a little
something. Chief?
APPLAUSE for Burt, who waves, steps up:
BURT GRUSINSKY
Thank you. You know, I used to
tell my kids, "work first, play
later," and my son Joseph really
took it to heart. He's been a real
fighter over the years... He
overcome his mother's passing, and
the dyslexia--eventually wound up
graduating John Jay as salutatorian
and distinguished himself many
times.
(turns to Joseph)
Anyway, you've shown yourself to be
very brave and selfless, and I'm
just, I'm very proud here tonight.
BIG APPLAUSE as JOSEPH STEPS FORWARD. BOBBY AND ROSARIO
squeeze through the crowd, to the stairs.
JOSEPH GRUSINSKY
Thank you everybody for coming--
happy Thanksgiving. Before I say
anything else... We got some bad
news this morning.
(MORE)
(CONTINUED)
17.
CONTINUED: (2)
JOSEPH GRUSINSKY (CONT'D)
One of our Irish brothers was
killed in the line of duty last
night--detective Edward Conlon was
gunned down serving a warrant on
Northern Boulevard. The clock's
about to strike ten, so I thought
we might give a moment of silence
to remember.
BOBBY STOPS. Instinctively, he turns back to the room,
motions to Rosario to stop. Out of respect. She does.
Then: the CHURCH BELL rings. TEN TIMES. Silence. The
BELL GONGS. The CAMERA DOLLIES PAST: JOSEPH and his
family, and JACK, and MICHAEL, then past ROSARIO, and BURT,
and BOBBY. The bell stops. The SEA of BLUE, the POLICE,
genuflect. Our characters do not. Instead, BOBBY STARES
at JOSEPH AND BURT across the crowded room. They return
the glare, and Bobby exits...
EXT. QUEENS STREET - FRONT OF AN APARTMENT BUILDING - DAY
The camera TILTS UP to an apartment window. We CUT INSIDE:
INT. BOBBY'S APARTMENT - LIVING ROOM
MUSIC UP: PRINCE'S "HOUSEQUAKE." Hot girls and flashy-
looking guys. The men are drinking. The women make
themselves up en masse in front of a large mirror over the
sofa. A couple KISSES in the corner. Everyone's getting
ready for a night of revelry on the town. They are
SINGING, having a GREAT TIME. The decor is late `70's,
though not exaggeratedly so. DRUGS are EVERYWHERE. We
MOVE PAST THIS TO:
INT. BOBBY'S BEDROOM
PAN around the ROOM: a set of weights on the carpeted
floor, with clothes scattered everywhere; on the wall, a
Jets football schedule, a Led Zeppelin poster. Bobby is
PRIMPING in the mirror. Rosario stands on Bobby's king
bed, DANCING SENSUALLY to the music in a state of partial
undress. She MOVES with great FREEDOM, puffing on a JOINT.
ROSARIO DIAZ
I'm gonna be like Madonna. You
think I'm like Madonna...?
Bobby sees Rosario in the reflection; his face lights up.
ROSARIO DIAZ (CONT'D)
We're both Leos, you know.
BOBBY GREEN
You're just like her, baby...
(CONTINUED)
18.
CONTINUED:
Bobby opens his top drawer to get a watch. REVEALS
THOUSANDS OF DOLLARS in CASH, hidden underneath a fake
drawer bottom. Traces his fingers across the money with
private pride, then puts on the watch. Rosario bounces
down on the bed. Reaching under the bed sneakily, she
pulls out a small box. She hides it. Then:
ROSARIO DIAZ
I talked to my mother yesterday.
She said she'd be okay by herself,
so I could move in if I want...
BOBBY GREEN
That's cool.
ROSARIO DIAZ
(without self-pity)
Your family ain't gonna be too
happy, though. I saw how they
looked at me.
BOBBY GREEN
It's all right--they don't like
nobody outside their own little
world.
ROSARIO DIAZ
Yeah...you know, cops're fucked up.
In my neighborhood, if they ain't
taking money, they're beating on
you for no reason...
BOBBY GREEN
My brother and my father ain't like
that. It's just--the whole thing
ain't for me, that's all.
Bobby approaches her. Takes a puff of HER JOINT. Then,
INTIMATELY:
BOBBY GREEN (CONT'D)
You know how gorgeous you are?
Bobby pushes her down on the bed. Starts kissing her on
the neck, lips, then breasts. Caressing her hips, he leans
back and looks at her, observing the brightness and
kindness of her face. Her eyes--mild, calm, and truthful--
and her smile carry him into a wave of tenderness. He
moves in to kiss her again, and under his breath:
ROSARIO DIAZ
WAIT--
She takes out a little JEWELRY BOX.
(CONTINUED)
19.
CONTINUED: (2)
ROSARIO DIAZ (CONT'D)
I got you something.
BOBBY GREEN
What is it?
ROSARIO DIAZ
Open it up!
He opens it. A CHAIN. A SIMPLE GOLD CHAIN.
BOBBY GREEN
...it's beautiful...
She takes it out, puts it around his neck. She has a HUGE
SMILE, EAR TO EAR. He looks at her, moved. A FLOOD OF
EMOTION. Sotto:
BOBBY GREEN (CONT'D)
...you're so good to me...
ROSARIO DIAZ
I love you... And someday we're
gonna get a big house together, in
New Jersey, with a lotta kids...
BOBBY GREEN
Only if you behave yourself...
Bobby gently spreads her legs, starts to rub the inside of
her thighs. Then moves to her breast. Kisses her with
love. Rosario clutches him, secure. The DOORBELL RINGS.
INT. BOBBY'S APARTMENT - LIVING ROOM
A mussed Bobby ENTERS from the bedroom, passing the party.
Bobby opens the FRONT DOOR: Louis, Hazel. Thrilled, he
waves them in. When the rest of the room sees Louis, THEY
SCREAM "JUMBO!" He holds his arms aloft, as if greeting an
adoring crowd.
BOBBY GREEN
Uh oh--[The] party's really gonna
get started now!
LOUIS FALSETTI
Yeah--let's all play Spin my
Pickle!
As EVERYONE GUFFAWS, Freddie the bouncer yells out:
FREDDIE
Hey Falsetti! You get what we
wanted?
(CONTINUED)
20.
CONTINUED:
LOUIS FALSETTI
(GRINNING)
Indeed I did, my friend!
(quieter, to Bobby)
See, I woulda been here sooner,
`cept I hadda go across town, lose
all the cops--
HAZEL
There weren't no cops following us!
LOUIS FALSETTI
Shut your mouth! You wouldn't
recognize `em--they were, they were
all undercover.
Bobby laughs happily, knowing this is bullshit. Hazel
shakes her head, joins the gals. Louis starts emptying his
pockets. Out comes a pharmacy. DRUGS SPILL all over a
formica endtable. Louder:
LOUIS FALSETTI (CONT'D)
Anyway, I got a little of what
everybody asked for here. I got
uppers, downers, hash, mescaline,
some blow-
BOBBY GREEN
Any Spanish Fly in there for you?
LOUIS FALSETTI
Yeah, you need that, not me!
Bobby laughs again, PINGS Louis on the ear. Lou grabs his
head, but ignores the needling. Louis looks up, observes
Bobby's clothes:
LOUIS FALSETTI (CONT'D)
And what's with the suit anyway?
You look like a monkey in the
circus!
BOBBY GREEN
I'm goin' up to see Buzhayev
tonight. I think he's gonna ask me
to buy into the club.
LOUIS FALSETTI
Yeah? Well, you know what you
should do, you should turn it into
a fag joint and then maybe they'll
let ya in!
(CONTINUED)
21.
CONTINUED: (2)
BOBBY GREEN
I'll show you a fuckin' faggot!
Bobby starts to punch Louis in the arm, playfully but hard.
Rosario enters the room, singing along with the song that's
playing (YAZ'S "SITUATION"). She moves to Bobby's side,
mock punches Louis' stomach too. To the gang, with CHEER:
BOBBY GREEN (CONT'D)
Everybody, I gotta be at El Caribe
in an hour, so get ready!
INT. POLICE STATION - WEAPONS DEPOT
SILENCE, except for the CLICKING of GUN MECHANISMS.
The troops gird for battle, checking their weapons. JOSEPH
is here, as are Jack and Michael and a whole gang of cops.
Bustling by a set of lockers. Very businesslike. Joseph
cleans his piece. Michael leans over to him:
MICHAEL SOLO
The spot's got one main entrance,
two rear fire exits. All of `em'll
be covered.
JOSEPH GRUSINSKY
Good. I just wanna make sure we
take it easy in there. We don't
want no panic.
JACK SHAPIRO
What if your brother's inside?
JOSEPH GRUSINSKY
It's his day off. He ain't gonna
be there.
Joseph clicks his weapon into place.
MICHAEL SOLO
What if he is? We still go?
Joseph is deeply troubled by the prospect.
MICHAEL SOLO (CONT'D)
What's it gonna be?
ANGLE ON JOSEPH.
EXT. EL CARIBE NIGHTCLUB
Mob scene. Bobby and Rosario and Louis and the gang enter.
22.
INT. EL CARIBE - CLUB ENTRANCE
Bobby gleefully shakes hands upon entering, then splits
from the group. Rosario joins several girls as they fix
themselves up in front of large lobby mirrors...
INT. MARAT'S APARTMENT - FOYER/LIVING ROOM
Opening the door is Kalina, who embraces him. In Russian:
KALINA BUZHAYEV (SUBTITLE)
Bobby! Our daughter and her
husband Eli come by for dinner.
You want something, some tea?
BOBBY GREEN
No no, I'm all right... Hi
everybody...
A grown woman, Marat's daughter MASHA, waves while sifting
through a stack of FURS on the sofa. One of her young
children, a daughter, holds her hand.
INT. DINING ROOM
Marat sits at the head of a table with lots of FOOD
(including a HUGE SMOKED FISH) on it. He waves Bobby over,
ebullient. ELI MIRICHENKO, Masha's husband, is seated
here, too--trying to talk to his young toddler SON. Bobby
sits down, next to Marat.
BOBBY GREEN
Everything's really rockin'
tonight. Line's halfway `round the
block.
MARAT BUZHAYEV
Yes, it's good...
The toddler runs to Bobby. Bobby lifts the youngster onto
his knee; as he bounces the child on his knee, he turns
back to Marat:
BOBBY GREEN
You wanted to talk to me?
Marat nods, waves to Kalina for drinks.
MARAT BUZHAYEV
You know, maybe we open another
spot next year. Across from
Brighton.
(CONTINUED)
23.
CONTINUED:
BOBBY GREEN
'S a good move.
MARAT BUZHAYEV
We need someone in charge here full-
time, then. And we think you do a
great job.
BOBBY GREEN
I appreciate that. You know, I
been thinking `bout it--I'd like to
become a partner here too--buy in
with you.
(BEAT)
I mean, I got a lot of ideas.
KALINA BUZHAYEV (SUBTITLE)
(EXCITED)
Already! He's got so many ideas!
BOBBY GREEN
Well, I just think we could do
more. Maybe expand into Sheepshead
Bay. I know a good spot--we add a
restaurant there, get the spill-
over. Like what your brother did,
in Miami.
Marat nods, considering this. Reaches to the FISH. He
takes the EYE out of the fish and starts to suck on it.
Daughter Masha stands behind her seated husband, holding
and bouncing her little girl. ELI antes up, to Marat:
ELI MIRICHENKO
That's gonna take a lot of money,
Papa. Your fur business can
support that right now?
Marat waves him off. Turns back to Bobby, re Eli:
MARAT BUZHAYEV
My son-in-law, he worries people
take advantage of me.
BOBBY GREEN
I can understand that. But I got
money to invest--we could make it
something real special over there.
Do what I did downstairs--you know,
bring in name DJs on different
nights?
(BEAT)
What do you think?
(CONTINUED)
24.
CONTINUED: (2)
Marat grins from ear to ear. Excitedly, he nods. Then:
MARAT BUZHAYEV
Yes. Together we do it. You come
to our Thanksgiving again, on
Thursday?
BOBBY GREEN
Yeah, sure. I'll come.
MARAT BUZHAYEV
Good--we talk more, at the dinner.
The two hug. Bobby is being shown out by Kalina, and is
about to depart when Buzhayev calls to his wife in Russian:
MARAT BUZHAYEV (CONT'D)
Give him, for tonight!
She reaches for her purse. But Bobby refuses graciously,
waving it off as he exits:
BOBBY GREEN
Nah nah, no thank you...
INT. EL CARIBE NIGHTCLUB - MAIN ROOM
A LARGE NEON SUN is lowered from the top of the theater.
Sitting on it, singing: `80's POP STAR TAYLOR DANE. The
CROWD GOES NUTS. As this happens: BOBBY ENTERS, sits down
at a table against the back wall. Louis is next to him.
LOUIS FALSETTI
My brother! How'd it go?
(Bobby smiles, winks)
Ho, well! I'm guessing it went
pretty good then!
BOBBY GREEN
Listen--I get this done, I want you
to be a host. In one of our spots.
LOUIS FALSETTI
That's my specialty. I'm whaddaya
call, a people person!
BOBBY GREEN
Well, just make sure you get your
old co-workers from the Health
Department to give us a pass on the
kitchen.
(CONTINUED)
25.
CONTINUED:
LOUIS FALSETTI
Yeah, no problem--half of `em got
rats as pets anyway.
BOBBY GREEN
Where's Rosario?
Without a word, Louis motions:
ACROSS THE ROOM
At a large CORNER TABLE: VADIM NEZHINSKI, seated in the
center. Surrounded by two YOUNG GIRLS and Slavic-featured
men and dark-skinned Latinos. A LATINO MAN and one of
Vadim's guys, a YOUNG DARK-SKINNED WHITE MAN, converse at
the table. After a beat, the two men MOVE TO THE COAT
CHECK AREA. CASH stacked on the edge of the table.
ROSARIO appears, coming through the crowd. She goes to
Nezhinski's table, counts out MONEY for him. Nezhinski
appears affectionate with her, sticks some of the BILLS in
her hands. Bobby turns away from Vadim's sight.
BOBBY GREEN (CONT'D)
Goddamnit... [She's] With that
fuckin' animal again.
LOUIS FALSETTI
She's a player, Bob. You know how
it goes.
BOBBY GREEN
Look at him... I'll tell you,
[when] this is my place, we'll kick
his fuckin' ass right outta here--
LOUIS FALSETTI
(FLUSTERED)
Bob! You gotta watch your mouth!
I mean, he don't scare me, but uh,
but trust me, I know.
BOBBY GREEN
Yeah, you know a lot.
LOUIS FALSETTI
I do, I'm serious!
(moves closer)
Last year, one of his guys was
gonna flip? Jesus Christ, what I
saw...
The CAMERA MOVES INTO A CLOSE-UP on LOUIS:
CUT TO:
26.
INT. MEN'S ROOM - FLASHBACK
It's the men's room in the club. Louis is in the stall,
his pants pulled down. He HEARS: Nezhinski's voice and a
muffled struggle. Louis immediately pulls his feet up,
squatting on the toilet seat. Looks into the crack in the
stall door. We STILL HEAR:
LOUIS FALSETTI
Nezhinski dragged him into the
toilet. They stood him up against
the wall and held him--
We SEE exactly this. Nezhinski faces the MAN. Two
associates of Nezhinski's hold him back, covering his mouth
with silver electrical tape.
LOUIS FALSETTI (CONT'D)
They fuckin' pulled down his pants,
and I swear to God, Nezhinski just
cut it off.
Nezhinski's associates pull down his pants, and Louis sees
the man's bare ass. The man is panicking, muffled cries
for help penetrating even the flashback. Nezhinski pulls
out his switchblade, holds it up to his face, then LOWERS
IT. A GLINT of REFLECTION on the KNIFE. HORRIBLE.
INT. CLUB
Back to the present.
LOUIS FALSETTI
Worst thing I ever seen in my life,
Bob.
(BEAT)
Anyway, cops found his head in the
middle of Brighton Avenue the next
day--fuckin' dick was in his mouth.
BOBBY GREEN
You sure it wasn't your dick?
LOUIS FALSETTI
Yeah, that's funny.
(BEAT)
You sure it wasn't your mouth?
Bobby laughs heartily. Just then, Vadim sees him. Pavel
HOLDS UP HIS DRINK in acknowledgement and WAVES HIM OVER.
BOBBY GREEN
Shit... I'll be right back.
(CONTINUED)
27.
CONTINUED:
VADIM'S TABLE
Bobby walks to the table. There's a lot of food around
Vadim--he's eating off six different plates. Bobby is
really only focused on Rosario. When Rosario sees him
(she'd been counting bills) she brightens, virtually
getting out of her seat:
ROSARIO DIAZ
Hi, honey!
VADIM NEZHINSKI
Bobby--c'mon, join us! I wanna
talk to you!
AD-LIB GREETINGS. Bobby sits between Rosario and
Nezhinski. Rosario kisses him, grabs onto his arm; Vadim
puts his arm around Bobby's shoulder. Turns to his people:
VADIM NEZHINSKI (CONT'D)
This is the fuckin' guy right here.
Practically owns the place.
MUMBLED AGREEMENT. The men surrounding Vadim are "yes"
men, and they seem to take their cue from him. To Bobby:
VADIM NEZHINSKI (CONT'D)
Everything all right with you?
BOBBY GREEN
(nods; then, coolly:)
Things're goin' good.
VADIM NEZHINSKI
That's real good... `Cause you
gotta be happy, you know? All my
guys, I tell `em, the mind and the
body, they're connected. That's
how you stay sharp.
PAVEL LUBYARSKY
This's "Kid Quick" you're talking
to, dude. Best fuckin'
middleweight in the Ukraine.
Bobby looks at Vadim's ample waistline.
BOBBY GREEN
He don't look like a middleweight
no more.
Everyone LAUGHS, Vadim most of all. He KISSES Bobby on the
head. Bobby looks at Rosario as Vadim continues:
(CONTINUED)
28.
CONTINUED: (2)
VADIM NEZHINSKI
You know Bobby, my uncle upstairs,
he, he likes you a lot. Practically
thinks you're one of his kids.
BOBBY GREEN
Your uncle's a great man. Smart
man.
VADIM NEZHINSKI
Yeah... Smart smart stupid. Got
his head buried in books all day,
`stead of the real world...
AD-LIB amusement from the "yes" men. Vadim moves closer:
VADIM NEZHINSKI (CONT'D)
Listen uh, I come to you, I tell
you I got some friends bringin' a
load in here, maybe something big--
I'm just talking now--they bring it
in, how do you feel about that?
BOBBY GREEN
Your uncle loses his license, he
ain't gonna be too happy.
VADIM NEZHINSKI
Well, upstairs don't gotta know
everything, am I right? Place gets
packed every night, everybody wins.
Bobby does not respond, instead nodding to some patrons who
shout out hellos. Vadim shakes Bobby's shoulder with
affection. Intimate:
VADIM NEZHINSKI (CONT'D)
You know, you should think about
comin' in with us. You're popular--
you could help us...expand a
little. A lotta money in it.
BOBBY GREEN
Yeah...I'll think about that.
Rosario--I wanna talk to you.
VADIM NEZHINSKI
Go ahead. We'll talk.
Bobby takes Rosario by the arm away from the table.
THE BAR
As Bobby moves with Rosario to the bar:
(CONTINUED)
29.
CONTINUED:
ROSARIO DIAZ
It go good upstairs, baby?
BOBBY GREEN
You gotta stop dealing. You hear
what I'm telling you?
These words hit Rosario, and we SEE that she's troubled by
her own behavior because she stares at her shoes,
momentarily speechless. He grabs her:
BOBBY GREEN (CONT'D)
You hear what I said?
ROSARIO DIAZ
Yeah, I heard. But I need the
money right now, Bobby. And I'm
not gonna rely on you for
EVERYTHING--
Bobby purses his lips, frustrated. Then:
BOBBY GREEN
Just hold off then, for a little
while. Okay? I got my reasons.
Momentarily confused, she mutters a "'kay," then kisses
him. Bobby moves the hair from Rosario's face.
ROSARIO DIAZ
I love you...
BOBBY'S ABOUT TO RESPOND IN KIND WHEN... All of a SUDDEN:
BOOM! PANIC. SCREAMING. LIGHTS.
The DOORS at the club's entrance have burst open. LOUD,
like a gunshot. COPS enter. Plainclothes and uniformed
both. JOSEPH comes in, holds up his badge, which hangs
around his neck. WITH COMMAND:
JOSEPH GRUSINSKY
Everybody! Get your hands on your
head and don't fuckin' move!
(to a woman)
Turn off that music. Right now!
FOUR UNIFORMED COPS BOLT straight to the COAT CHECK AREA.
ALL KINDS OF DRUGS and WEAPONS start falling to the FLOOR.
The patrons are desperate to get rid of any incriminating
evidence, and BOTH MEN AND WOMEN RUN TO THE BATHROOMS.
30.
INT. MEN'S ROOM
Several patrons start DUMPING NARCOTICS INTO THE TOILET
BOWLS when MANY COPS ENTER and, with ferocity, hit them
with batons to corral them. The TOILETS are backing up...
INT. WOMEN'S ROOM
Some girls rush in, others are already inside. Two PRETTY
YOUNG WOMEN are in the corner, FREEBASING, when COPS BURST
IN. One of the Pretty Girls, out of surprise, starts to
shake the small pipe flame to extinguish it. The opposite
occurs, and the flame IGNITES THE ETHER. THE TWO GIRLS
BURST INTO FLAMES.
COPS
Holy shit! Get the extinguishers--
call paramedics!
INT. MAIN ROOM
The cops pin EVERYONE up against the wall or on the ground.
EVERYONE IS LINED UP, SEARCHED. I.D.s are checked. Bobby
turns to Rosario:
BOBBY GREEN
Gimme your shit!
Troubled, she nonetheless puts a handful of pills in his
palm. Bobby quickly SWALLOWS them. A UNIFORMED COP
approaches Bobby:
UNIFORMED COP
Hey! I saw that! Get your hands
on your fuckin' head!
Bobby is brutally shoved to the floor and searched; Rosario
is tossed aside. The Uniformed Cop, to someone else:
UNIFORMED COP (CONT'D)
Jessie! This one just ingested!
All patrons in the club, with rare exception, get forcibly
lined up, HANDS CLASPED on the backs of their heads.
PARAMEDICS SPEED to the LADIES' ROOM. JESSIE THE COP takes
out a ketchup squeeze bottle--except it's black--and
forcibly fills Bobby's mouth with charcoal:
PARAMEDIC
Arright, open up--a little
charcoal, to absorb the toxin...
(CONTINUED)
31.
CONTINUED:
As Bobby gags, JOSEPH walks through the club with
confidence. The place, though absolutely packed, is
uncharacteristically SILENT. He turns to UNIFORMED COP #2:
JOSEPH GRUSINSKY
Give everybody a toss. G.Q.--
This gets Mike's attention. Joseph signals something to
him, he nods, moves to the back. Joseph walks over to
LOUIS, pokes his gut:
JOSEPH GRUSINSKY (CONT'D)
Too much pizza, right there.
Several COPS laugh. Then: Joseph SEES Bobby, and vice
versa. CLOSE SHOT on JOSEPH. He sobers, his brashness
muted. Joe walks toward Vadim and his party. Vadim has
his face to the wall. Joseph kicks his legs further apart.
(Joseph takes his frustration about his brother out on
Vadim.) In Russian, SUBTITLED:
JOSEPH GRUSINSKY (CONT'D)
Turn around... Turn around!
Vadim turns around. Joseph starts to search him. He pulls
a WAD OF MONEY from Vadim's pocket:
JOSEPH GRUSINSKY (CONT'D)
What is this?
(BEAT)
Want me to double your money? Huh?
Vadim doesn't answer. Joseph takes out a HUGE SWISS ARMY
KNIFE he's got on his keychain. He cuts the wad in half.
JOSEPH GRUSINSKY (CONT'D)
Okay. It's doubled now, how's
that.
Michael and Jack search the other members of Vadim's party.
They rip out pockets. Michael points to a WOMAN'S FUR:
MICHAEL SOLO
You got anything in there?
He motions for the MINK. She hands it over. HE PATS IT
DOWN CAREFULLY. NOTHING.
ACROSS THE ROOM
The Uniformed Cop puts handcuffs on Bobby and others.
Rosario watches, upset but powerless. Louis is down, next
to Bobby. Unwittingly referring to Bobby's brother:
(CONTINUED)
32.
CONTINUED: (2)
LOUIS FALSETTI
Jesus, that cop's crazy!
UNIFORMED COP
Hey! Fat Albert! Shut your
fuckin' mouth!
SEVERAL OFFICERS charge through now, PULLING THE LATINO MAN
AND THE YOUNG DARK-SKINNED WHITE MAN (in cuffs) from behind
the coat check. Bobby is pulled up, on his feet.
BACK TO
Joseph interrogating Vadim. As he looks through I.D.:
JOSEPH GRUSINSKY (SUBTITLE)
You got a cross AND a Jewish star
on you?
VADIM NEZHINSKI (SUBTITLE)
The cross is for good luck.
JOSEPH GRUSINSKY
What's the star for?
VADIM NEZHINSKI
That one's for God.
Just then, MICHAEL SOLO interjects. In Joseph's ear:
MICHAEL SOLO
Coupla dimes on `em--cocaine, a
little PCP.
Joseph nods, acknowledging this news. He EYES Vadim, then
turns to the TWO MEN:
JOSEPH GRUSINSKY
Okay, let's go. You. And you--
(to the Young Man)
You're under arrest, possession and
sale of narcotics--
Michael reads two other men, one of whom is a TALL MAN from
near the table (a lookout, perhaps), their Miranda rights
in a totally perfunctory manner. Almost mumbles them.
PARAMEDICS exit the WOMEN'S ROOM. Girls are on STRETCHERS.
MARAT BUZHAYEV enters the main room of the club. He is
ESCORTED by TWO UNIFORMED OFFICERS, who are very obviously
NOT ARRESTING HIM. They are asking him questions and
writing down his comments. He TURNS TO SEE:
(CONTINUED)
33.
CONTINUED: (3)
A HUMILIATED BOBBY, who eyes him back. Bobby is then
quickly ushered out along with tens of others. Marat
watches, as does Rosario. Louis and Rosario are left
behind, not having been arrested. Neither has VADIM.
Joseph moves close to Vadim. With arrogant brio, re: the
Dark-Skinned White Man, in Russian, subtitled:
JOSEPH GRUSINSKY (CONT'D)
Your boy's gonna turn. And then
we'll come back for you.
JOSEPH EYES VADIM, virtually mocking him. VADIM EYES JOE
BACK with SILENT RAGE on his face. Then the cops push THE
YOUNG DARK-SKINNED MAN out, and as they do, he turns back
to Vadim. The Young Man is TERRIFIED. Bobby, too, is
hauled out like a common criminal. Cuffed...
INT. POLICE SERVICE AREA NUMBER TWO - HOLDING CELLS
The station: 1980's-era, very unlike ones seen on T.V. The
walls are tan brick, peppered with fallout shelter signs.
Archaic, Robert Moses era-like. Lit entirely by large
fluorescents overhead, noticeably free of those desks and
typewriters that are familiar to us from other cop movies.
A big sign above a bulletin board reads, "WE OWN THE
NIGHT." Bobby is led in by a PORTLY COP. A madhouse.
There is BLOOD all over the floor, forming a LAKE.
PORTLY COP
Jesus Christ, what the hell's goin'
on in here?
The Young Dark-Skinned Man is right outside the cell, his
body in spasm, covered with blood coursing from his neck.
Cops huddle around him as he kicks and screams.
UNIFORMED COP
Russian guy fuckin' slashed
himself!
After seeing this, Bobby is shoved in his cell, his nose
still leaking the charcoal, blood all over his shoes.
After a beat, he lies down on the cot...
EXT. STATION - DAWN
Bobby exits, walks toward the nearby SUBWAY STATION. SPOTS
BURT, who's waiting for him. Bobby ignores him:
BURT GRUSINSKY
Where you going? I was the one who
got you outta there!
(CONTINUED)
34.
CONTINUED:
BOBBY GREEN
Thanks a lot. I appreciate it.
BURT GRUSINSKY
You're a real big shot, aren't you!
You see what happened in there last
night? Hey--I'm talking to you!
Burt grabs his son's arm. Moves closer:
BURT GRUSINSKY (CONT'D)
You know, you and your
girlfriend're only getting off
`cause of your brother. Up to me,
you'd sit in there another couple
days.
Bobby looks around. Nobody's listening. He opens up.
With quiet but real fury, and total sarcasm:
BOBBY GREEN
Okay, I'll go thank him too then.
He comes in, raids the fuckin'
place--now I gotta go beg `em not
to fire me--
BURT GRUSINSKY
Fire you?! From what? Probably
the best thing that ever happened
to you!
BOBBY GREEN
Fuck you, Pop. Fuck the both of
you's.
Enraged, Burt SLAPS his SON on the side of the head:
BURT GRUSINSKY
Don't EVER speak to me like that
again. You hear me? I'll rap you
right in the mouth!
BOBBY GREEN
You fuckin' touch me!? You gonna
fuckin' touch me?!?
Bobby COCKS HIS FIST. BUT BURT IS READY. A STANDOFF.
Then Bobby decides against it, bolts. On BURT as we GO TO:
INT. MARAT'S APARTMENT - DAY
BOBBY ENTERS. Packed with people. A family get-together
for Thanksgiving. Children abound, a PARTY atmosphere.
BOBBY is in the FOYER, holding a cake he's brought.
(CONTINUED)
35.
CONTINUED:
Several FURS laid out on a felt-covered bench. Into the
LIVING ROOM, he sees Masha and ELI seated on the couch,
holding the hand of their son, who is dressed in a striped
suit. Upon seeing Bobby, ELI NODS TO HIM and Masha enters
the foyer, greeting Bobby with a kiss on both cheeks and
taking the wrapped present from him.
INT. DINING ROOM
Bobby enters. Sitting at the large table is MARAT, playing
with one of his grandchildren. Bobby knocks on the
doorframe to announce his entrance. When Buzhayev spots
him, the child hides behind Marat's leg. Marat lets out a
laugh at this; to the child:
MARAT BUZHAYEV
No no--it's okay. Say hello...
The boy waves perfunctorily.
MARAT BUZHAYEV (CONT'D)
Now--we go this week to the field,
okay? To ride the horses? Go to
Mama.
Marat addresses the boy clutching his leg (AD-LIB a Russian
"go"), kisses him, and the child runs off. Bobby steps
closer to Marat:
BOBBY GREEN
Mr. Buzhayev... I'm real sorry
about what happened the other
night.
(BEAT)
[If] I was working, maybe I
would've been able to do something,
but... Anyway, I'm sorry.
MARAT BUZHAYEV
It's not your fault...
Marat darkens considerably. More interior tone, almost as
much for himself as for Bobby:
MARAT BUZHAYEV (CONT'D)
You can't always control everyone
in your family...
(BEAT)
My nephew, he don't come back to
the club anymore.
Marat brings his hand to his head, looks pained.
(CONTINUED)
36.
CONTINUED:
BOBBY GREEN
You don't mind my saying, I think
that's probably the right thing to
do.
(BEAT)
Things get back to normal, I'm
hoping we could get started on what
we talked about.
MARAT BUZHAYEV
(shakes his head)
We need time for the bad publicity
to go away.
BOBBY GREEN
Mr. Buzhayev, my getting arrested
ain't gonna be a problem. I don't
got a record--
With great effort, Marat stands.
MARAT BUZHAYEV
I know. I don't worry about any of
that.
He puts his arm around Bobby's shoulder.
MARAT BUZHAYEV (CONT'D)
I used to teach chemistry before I
come over here, and now I have the
fur store, and this. One thing I
learned here, you can always start
over. So don't worry--someday, we
do it. Okay? Someday.
BOBBY GREEN
Yeah... All right...
KALINA BUZHAYEV (O.C.; SUBTITLE)
Food is ready!
Marat looks at Bobby with great sympathy as they walk
toward the LIVING ROOM.
MARAT BUZHAYEV
You take some time off, everything
will be fixed in a little bit.
Then you come back. I pay you for
the time. Come on...
Bobby mutters a "THANK YOU." Buzhayev touches his cheek.
Marat then turns back into THE DINING ROOM, spreading his
arms affectionately and wide, yelling "OHHH" to the
children as they cheer. ANGLE ON BOBBY as we GO TO:
37.
INT. POLICE SERVICE AREA NUMBER TWO - UPSTAIRS OFFICE
Present: Joseph, Michael, Jack. Joe's seated at the head
of a long table, which is covered with coffee, deli
sandwich remnants, and police reports, etc. They are
working; we greet them in media res.
JOSEPH GRUSINSKY
He stabbed himself, he was a bundle
guy. Mighta known how they're
movin' it. See, that's the key--
ALL OF A SUDDEN, IN COMES BOBBY. Intense beat. Finally:
JOSEPH GRUSINSKY (CONT'D)
We waited `til it was your day off.
(BEAT)
We had to go--I'm sorry.
Beat. Bobby takes a step toward him:
BOBBY GREEN
You had to hit that spot.
JOSEPH GRUSINSKY
Nezhinski was seen there, Bobby!
What am I supposed to do--announce
it in advance, compromise the whole
thing?
(BEAT)
C'mon.
BOBBY GREEN
I had plans down there.
JOSEPH GRUSINSKY
Yeah, well, I tried. What do you
want from me, anyway? You know,
you're standing there feeling sorry
for yourself, but you wouldn't be
in this shit if you didn't fuck
around in the first place.
BOBBY GREEN
You got real balls saying that to
me. I made something for myself,
and you come in and fuck it up?
Just `cause I'm not trying to be
like you? And Pop--
JOSEPH GRUSINSKY
Bobby, you're the one acting like
you're above it all all the time!
(MORE)
(CONTINUED)
38.
CONTINUED:
JOSEPH GRUSINSKY (CONT'D)
Fuckin' around with your little
Puerto Rican all day--
BOBBY GREEN
What did you call her?
JOSEPH GRUSINSKY
You heard me. Have some fucking
class for once.
Bobby takes another confrontational step forward. Raging:
BOBBY GREEN
You piece of shit...
JOSEPH GRUSINSKY
(ignoring him)
[You] go around like you're a big
shot... You're a joke! Grow up
already! Fuckin' loser...
Bobby LUNGES forward, grabbing his brother. Joseph leaps
up out of the chair. A FIGHT. Awkward punches are thrown.
Messy. Jack and Mike leap in, trying to pull the two
apart, hollering "BREAK IT UP" AD-LIBS. The two are split
up, panting...
JOSEPH GRUSINSKY (CONT'D)
You come at me like that...?
(BEAT)
Don't come around me no more--I
don't wanna have to look at your
fuckin' face ever again.
BOBBY GREEN
Fine with me, you motherfucker!
Bobby exits, slamming the door. ANGLE ON JOSEPH,
distressed. Silence, then:
MICHAEL SOLO
I don't know, Joe--forgive me, but
uh, your brother... Ever since
your mother got sick--
JOSEPH GRUSINSKY
(INTERRUPTING)
Do me a favor, don't get involved.
(BEAT)
We'll pick this up tomorrow. I'm
gonna go home.
Michael is quieted as Joseph packs his briefcase...
39.
EXT. JOSEPH'S HOUSE - NIGHT
Joseph drives up to the house, a working-class part of
Queens. He parks the car.
INT. CAR
Joseph looks at his knuckles. They are bruised and
bleeding. Emotional about the fight, he looks toward his
lit house, then opens the car door.
EXT. CAR
Joseph drops his keys as he exits. Reaching down for them
on the asphalt, he HEARS a SOUND and LOOKS up and to his
left. A MAN WITH A HOOD OVER HIS HEAD. Looks almost like
an old-time Klansman, with two holes cut into the hood for
his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's
eyes pop, and he lets out a quick gasp--but he has no real
time to react. The man pulls the trigger.
A THUNDERCLAP slaps the silence in the neighborhood: THE
GUN HAS FIRED. A FLASH OF LIGHT.
A MIST OF BLOOD plumes around Joseph's head. The bullet
hits Joseph in the face, through the CHEEK. HE snaps back
spasmodically.
AN AUTOMOBILE, a MONTE CARLO, pulls up to the scene of the
crime. Another HOODED MAN in the back seat throws what
looks like a MOLOTOV COCKTAIL into Joseph's CAR. The AUTO
starts to BURN. Joseph lies on the sidewalk, bullet in the
head, his blood everywhere. He seems pretty dead to us.
The Monte Carlo SPEEDS OFF.
INT. MONTE CARLO
The Shooter slumps into his seat, ducking out of sight of
the street. He pulls the hood off, over his head. It is
VADIM NEZHINSKI. In Russian:
VADIM NEZHINSKI (SUBTITLE)
Get us onto the expressway... Move!
EXT. STREET
Joseph, on the ground. The car burns in relative silence.
Dogs barking in the neighborhood. A beat.
INT. POLICE ATHLETIC LEAGUE BOXING GYM - NIGHT
The PAL gym, filled with off-duty cops boxing, jumping
rope. BURT hits a large bag that swings from the ceiling.
He is dressed in sweatpants and a V-neck undershirt.
(CONTINUED)
40.
CONTINUED:
As he hammers away, he is involved in some CHEERFUL BANTER
with fellow cops:
BURT GRUSINSKY
You gotta keep your hands up! Keep
your hands up!
Then he SEES, in a LARGE MIRROR: TWO UNIFORMED COPS and the
POLICE CHAPLAIN EDWIN O'CONNOR, standing near the doorway.
He stops his exercise. They approach him.
UNIFORMED COP
Chief...?
After a long beat, Burt's expression changes, and he senses
something bad. A long look at the men. Then:
BURT GRUSINSKY
Which kid is it?
The cops turn to each other. Burt tries to prep himself,
but it's impossible; we SEE the cracks in his sangfroid:
POLICE CHAPLAIN
It's Joseph. He's at St. John's
Hospital.
(BEAT)
It don't look good right now.
Burt does his best to stay stoic.
UNIFORMED COP
You want us to contact your other
son--?
BURT GRUSINSKY
No. Go on, I'll be right out...
Hesitantly, they leave. He crouches near his gymbag.
Closes his eyes. The color drains from his face. Then,
seeing other cops eyeing him:
BURT GRUSINSKY (CONT'D)
What're you lookin' at?!?
(SOFTER)
It's got nothing to do with you...
ALL OF A SUDDEN, as if he's been SHOT, he COLLAPSES.
RANDOM BOXING OFFICERS
Chief! Chief, you all right?
41.
INT. BOBBY'S APARTMENT - LIVING ROOM - NIGHT
SMOKE AND DRINK everywhere. MADONNA'S "DRESS YOU UP" plays
in the background. CROWDED. Bobby, Rosario, and Louis are
at the center of a poker game. Lou sits next to Bobby,
partnering with him in the game and whispering into his ear
from time to time. Rosario sits next to Bobby and watches
the game intently.
The poker pot seems exceptionally large. A STOCKY LATINO
MAN is the main one competing with Bobby. Bobby's a mess,
maybe worse than we've yet seen him. But he is HAPPILY
DRUNK, his eyes BLOODSHOT. He and Louis look at their
cards. Rosario turns, looks at Bobby for a BEAT. She sees
a small bruise he's got on his forehead, kisses it.
ROSARIO DIAZ
Baby, you got a little bruise here--
BOBBY GREEN
That ain't nothing.
He starts rubbing her between the legs, under the table.
She kisses his bruise again. Louis pokes her. Smiling and
pointing to his crotch:
LOUIS FALSETTI
I got a bruise too, you know--right
here!
Rosario lets out a loud laugh. Louis whispers pearls of
wisdom to Bobby:
LOUIS FALSETTI (CONT'D)
So Bob, I think we fold.
(BEAT)
We fold, right?
Bobby ignores him. Instead, aloud, to the Latino man:
BOBBY GREEN
We'll see you and bump you two C's.
LOUIS FALSETTI
(whispered too loud)
We will?
Bobby turns to him, winks. The PHONE IS RINGING. A LOT.
ROSARIO gets up, walks over to the phone near the sofa and
picks up with a soft "hello". Meanwhile, Bobby puts a
whole lot of cash in the middle. The Latino Man looks at
him like he's crazy. Finally:
(CONTINUED)
42.
CONTINUED:
STOCKY LATINO MAN
Call.
Bobby takes a SHOT OF LIQUOR. Turns over his cards. He
has a pair of QUEENS:
BOBBY GREEN
Siegfried and Roy, baby! Two
fucking queens!
STOCKY LATINO MAN
Goddamnit!
A pair of tens. Bobby stands, CLAPS ONCE. Lou, thrilled,
jumps up and HUGS Bobby.
LOUIS FALSETTI
Bobkes, I love you!
Rosario has a slightly serious look on her face as she
calls out to Bobby:
ROSARIO DIAZ
Bobby--it's for you!
BOBBY GREEN
Who is it?
She shakes her head as if to say, "I don't know." Slightly
peeved that he needs to attend to the call, he leaves the
table. As he does so, Louis, to some girl, proudly:
LOUIS FALSETTI
I was the one told him to keep
goin'!
Then Louis grabs the pot for himself as Bobby picks up the
phone, several feet away from the ruckus. He covers his
free ear with his hand to hear better:
BOBBY GREEN
Hello?
MICHAEL SOLO (PHONE FILTER)
Bobby, it's Michael Solo--I got
some bad news.
(BEAT)
Your brother's been shot. He's at
St. John's--they're workin' on him
now. I just thought you should
know.
(CONTINUED)
43.
CONTINUED: (2)
Bobby, of course, is stunned. The poker table in the
background is a riot, a contrast to the sober message
Bobby's getting. He turns his back to the crowd; sotto:
BOBBY GREEN
Is--is he gonna be all right?
MICHAEL SOLO
Listen, your father's coming--I
gotta go. But he's at St. John's.
HANG UP. Bobby waits a beat, frozen, then does the same.
Rosario knows something is wrong, approaches him.
ROSARIO DIAZ
Bobby?
BOBBY GREEN
My brother was shot...they're
operating on him now.
Rosario sees how remote he is, what a blow it is. She
pulls him to her:
ROSARIO DIAZ
You gotta go see him--be there for
him and your father.
Bobby eyes her, walks to the table. A CLOSE SHOT on him.
BOBBY GREEN
Game's over, everybody.
STOCKY LATINO MAN
What, you shuttin' it down?!?
BOBBY GREEN
That's right. I gotta go.
LOUIS FALSETTI
Bobkes--? What's wrong?
STOCKY LATINO MAN
Fuck you, man! We're in deep here!
Bobby grabs his coat. Rosario responds in kind, moves to
Bobby. He spins to her. In hushed tones:
BOBBY GREEN
What're you doing?
ROSARIO DIAZ
I wanna come too. For you--
(CONTINUED)
44.
CONTINUED: (3)
BOBBY GREEN
No--it's gonna be a fuckin' scene.
I'll call you later.
ROSARIO DIAZ
BOBBY--
BOBBY GREEN
Don't argue.
Bobby moves to Louis:
BOBBY GREEN (CONT'D)
Louis, lock up and take her home.
LOUIS FALSETTI
(confused, he nods)
Sure, Bob. Everything cool?
Hurt, Rosario spins around and enters Bobby's room, closing
the door behind her.
BOBBY GREEN
Yeah, no--I just remembered I gotta
do something, that's all--
Pats Louis' arm as if to reassure him. Then the Latino Man
tries to grab some of the pot. OTHER PLAYERS REVOLT:
OTHER PLAYERS
Hey--HEY! What the fuck?!?
A FIGHT BREAKS OUT. Louis moves over to the WOMEN, holding
them back (odd--they weren't going anywhere to begin with):
LOUIS FALSETTI
Take it easy, TAKE IT EASY! Calm
down and everything'll be, uh, non
compos mentis!
PUSHING, SHOVING. PUNCHING. Bobby exits his place,
leaving behind Rosario and Louis and chaos...
EXT. HOSPITAL - NIGHT
Bobby walks briskly to the entrance. MEDIA are all around,
but they aren't paying attention to him. They are
elsewhere, with members of the police, each other, etc....
INT. E.R. WAITING ROOM
He enters. The room is jammed with officers and friends,
including many faces from the opening party.
(CONTINUED)
45.
CONTINUED:
Most of the cops don't seem to recognize Bobby at all. All
the NEWS MEDIA are outside, banned from the hospital's
interior.
BURT emerges from the hallway. He sees Bobby, at first
comforted by the sight of his son. But quickly he darkens,
and starts to walk right past him. Sotto:
BOBBY GREEN
Pop?
Burt keeps walking. Bobby follows:
BOBBY GREEN (CONT'D)
Pop, he all right?
Bobby touches his father's arm, and Burt spins around:
BURT GRUSINSKY
What do you want? You stayed out
of it--you got what you wanted.
Why don't you go somewhere and pick
a fight--you're good at that!
Bobby is speechless for a moment. Burt pulls his arm away
and walks on. A MUSTACHIOED COP approaches Burt:
MUSTACHIOED COP
Chief, the union sent a shrink over
for you--
BURT GRUSINSKY
Nah, I don't want that crap.
ENTER: someone we recognize as the MAYOR storms in with his
ENTOURAGE. The COMMISSIONER (WILLIAM RUDDY--we'll see him
later) and Deputy Commissioner Spiro Giavannis are with him
too. They approach Burt. Bobby moves aside.
BURT GRUSINSKY (CONT'D)
Hello, your honor. Commissioner.
Thank you for coming.
MAYOR
Chief Grusinsky, an attack on an
officer is an attack on society.
Whoever did this, in a clean
neighborhood like that--they gotta
be hunted down like animals.
BURT GRUSINSKY
We'll get `em, your honor. I'm
gonna come back in and run it
myself--we'll get `em.
(CONTINUED)
46.
CONTINUED: (2)
Meanwhile: MICHAEL takes Bobby's arm, walks him into:
INT. SMALL PHONE ROOM
A small room with payphones. There's a window through
which we can SEE the WAITING ROOM.
MICHAEL SOLO
The shot went in his cheek and come
out through the jaw. It missed his
brain, thank God.
CLOSE SHOT on BOBBY.
MICHAEL SOLO (CONT'D)
He was real lucky--considering.
BOBBY GREEN
(almost to himself)
I need to see him...
Bobby starts to exit. Michael stops him:
MICHAEL SOLO
Bobby--that ain't a good idea.
(BEAT)
I probably should've told you not
to come down here--there're a lotta
things going on right now.
A beat, then:
BOBBY GREEN
You guys blaming me for this? Is
that it?
MICHAEL SOLO
Listen, I ain't judging you--I
called you `cause I thought you had
a right to know. But we're gonna
be going hard after Nezhinski--and
maybe some other people you're
close to. Like that girl you know--
BOBBY GREEN
That's bullshit--she's clean. You
fuckin' keep away from her.
Bobby realizes that NO ONE WANTS HIM HERE. He looks
through the glass to SEE Burt, still speaking to the Mayor.
Bobby storms out of the room to:
47.
INT. HALLWAY
He turns toward Intensive Care. SEES a CROWD DOWN THE
HALL. Two GUARDS block the doors to the ward. Determined,
Bobby decides to walk over.
GUARD
Sorry. Nobody's allowed in except
immediate family.
BOBBY GREEN
Yeah. That's me.
GUARD
You got some I.D.?
Bobby hurriedly takes out his wallet. As he does, we HEAR
a SOFT CHIME. A WOMAN'S VOICE SOUNDS on the P.A.:
WOMAN'S VOICE
Good evening. As a friendly
reminder, visiting hours will be
over in five minutes. Thank you.
GUARD
Says here your name is "Green."
BOBBY GREEN
Look--I'm his brother, you fuckin'
hard-on!
GUARD
I'm sorry.
Bobby stares at the men for a beat, then makes his move.
Charges past the Guard.
GUARD (CONT'D)
Hey!
The Guards stop him, and a messy struggle ensues.
All of a sudden, Joseph's wife SANDRA emerges from the
ward. She looks devastated. The struggle stops. All fall
silent, out of respect. Bobby steps back. Sandra turns to
look at Bobby. To the Guards:
SANDRA GRUSINSKY
It's okay.
Bobby walks toward the entrance. Stops. Sandra seems to
read his mind, speaks:
(CONTINUED)
48.
CONTINUED:
SANDRA GRUSINSKY (CONT'D)
He's alone. Your father just left
for the precinct.
Bobby nods subtly, mouths a "THANK YOU." The Guards step
aside. He walks to the doors. Pauses. ENTERS:
INT. WARD
Joseph's bed is in the back of the large space. His face
is blocked by hospital curtains. Bobby steps forward.
Slowly, he walks to his brother's bed. He peels away the
CURTAIN. Looks at JOSEPH'S FACE. Joseph's visage is
completely RAVAGED on the left side, covered with bandages
that are soaked with blood. A TERRIBLE IMAGE. The emotion
surges within him; he's HEARTBROKEN.
It is a surprisingly painful moment. We can TELL he didn't
expect this level of destruction. His mouth drops open
slightly. Joseph's eyes open just a bit but don't look at
Bobby. Bobby slowly lifts his fingers, touches Joe's arm
gently. His fingers move down to his brother's hand.
Joseph is unresponsive but conscious. All of a sudden:
NURSE
Sir...?
Joseph's hand closes around Bobby's fingers. The
connection is huge. Bobby's eyes well up, and he rubs
them, almost ashamed of the emotion. It is a shocking
OUTPOURING of FEELING from him.
He leans over haltingly, kisses his brother's forehead:
NURSE (CONT'D)
Sir, I'm sorry--I.C.U. visiting
hours are over.
He waits a beat. The Nurse gently pulls his shoulder. He
backs away, his eyes reddened. The camera MOVES INTO a
CLOSE SHOT on BOBBY as we GO TO:
INT. TENEMENT - HALLWAY
A loud, active hallway of a housing project. Graffiti on
the walls, trash on the floor, but FULL OF LIFE.
Bobby emerges from the elevator, emotionally distraught.
He SEES, in one far corner of the hall, two young Latino
teens smoking CRACK.
He goes to one of the apartment doors, KNOCKS. Opening the
door is a LATE MIDDLE-AGED LATINO WOMAN.
(CONTINUED)
49.
CONTINUED:
Behind her, is ROSARIO. (The woman who answers the door is
clearly Rosario's mother.)
INT. ROSARIO'S APARTMENT - FOYER
Rosario's mother discreetly backs away from the door. He
and Rosario stare at each other for a moment. Bobby gropes
for words. His emotions bubble up inside of him; then,
barely audible, his voice cracking:
BOBBY GREEN
...Feels like it was my fault...
He sinks down, holding her tight, his head at her stomach.
She gently strokes his hair, kissing the top of his head.
She shakes her head to reassure him, whispering
"no...no...". In this moment, he needs her. In this
moment, he is like a twelve year-old boy...
DISSOLVE TO:
INT. CAFE CAPPUCCINO - BRIGHTON AVENUE - NIGHT
Across from the El Caribe. It's like a scene out of Balm
in Gilead here--raucous clubgoers are eating burgers and
drinking coffee after their nights on the town. Bobby and
Rosario and Louis sit at one of the tables. Bobby kisses
Rosario on her forehead as she reaches into her purse. She
looks through a small ziplock bag with a vial of cocaine.
Louis, meanwhile, is unaware of Bobby's state of mind, and
is busy putting on a show--as usual:
LOUIS FALSETTI
Where'd you run off to, like a Jew?
You got outta there, it became like
a real zoo. The spics--
(looks to Rosario)
`Scuse me--the P.R.s, they're goin'
nuts for the money--picka picka
picka picka--and the girls, they're
screamin', and I'm keepin'
everybody in line. I'm fuckin'
bustin' heads, like Bruce Lee--I'm
fuckin' bustin' heads--
He gets up and starts kicking and chopping in the air in
the clumsiest manner possible. Accidentally kicks the
waitress, who's bringing the check.
LOUIS FALSETTI (CONT'D)
Oh, `scuse me, sorry about that.
Bobby picks up the check, hands Louis some cash.
(CONTINUED)
50.
CONTINUED:
BOBBY GREEN
Hercules, do me a favor--before you
kill a waitress, go pay the check.
LOUIS FALSETTI
Arright. But I'll tell you Bobkes,
nobody else could ever do for you
what I did.
Louis smiles, walks off. Scoops up the tip from a nearby
table.
BOBBY GREEN
Don't tell Louis nothing about what
happened. Far as he knows, my
family moved away, [a] long time
ago.
ROSARIO DIAZ
I ain't ever gonna say nothing! I
just thought...maybe he could cheer
you up a little.
Bobby kisses her atop her head. JUST THEN: VADIM AND HIS
GANG enter the establishment. They create a ruckus.
Spotting Bobby and Rosario, Vadim ambles toward them:
VADIM NEZHINSKI
Hey, look who's here!
ROSARIO DIAZ
Hey Vadim...
(as Vadim approaches)
We were just gettin' something to
eat.
VADIM NEZHINSKI
(nods; to Bobby:)
You make it through that bust okay?
Bobby gives a simple nod as well. Inside, Bobby is
extremely uneasy, though outwardly he is quietly confident:
BOBBY GREEN
I didn't have nothing on me.
VADIM NEZHINSKI
Glad to hear it.
Without making eye contact, Bobby shrugs; then:
BOBBY GREEN
Your uncle's got some problems now,
though.
(CONTINUED)
51.
CONTINUED: (2)
VADIM NEZHINSKI
(SHRUGS)
He does what he gotta do, I do what
I gotta do. He don't own me.
BOBBY GREEN
(to Rosario)
Baby--why don't you go keep Jumbo
company, make sure he leaves a tip.
ROSARIO DIAZ
`Kay...
Rosario leaves the table. Two GIRLS walk by:
GIRL
Hi, Bobby!
Bobby nods to them. Vadim watches them walk away. Then:
VADIM NEZHINSKI
You know--
(moves closer;
WHISPERED:)
I still got my shit coming in.
Some of us think you could help get
it out there.
BOBBY GREEN
It's a little dangerous right now,
don't you think?
VADIM NEZHINSKI
We got a lot of muscle behind us.
Lotta muscle.
The brazenness of the comment shocks Bobby. He looks up,
begins to focus. Incredulous. Softly, as the camera ZOOMS
INTO a CLOSE ANGLE on BOBBY:
BOBBY GREEN
Muscle--?
VADIM NEZHINSKI
That's right.
BOBBY GREEN
A cop got hit today. They ain't
never gonna sit still for that.
Another member of the gang speaks up: Pavel:
(CONTINUED)
52.
CONTINUED: (3)
PAVEL LUBYARSKY
Police are a fuckin' joke, dude--
the Mickey Mouse ain't gonna do
nothing.
Pavel LAUGHS, and Bobby looks at him with real resentment.
Vadim pushes Pavel aside, motions for him to sit down
elsewhere. Vadim pulls up a chair. Sits down. Intimate:
VADIM NEZHINSKI
Bobby, those cops--they, they ain't
no problem.
Vadim turns over his hand. A SPIDER WEB TATTOO graces the
palm of his right hand:
VADIM NEZHINSKI (CONT'D)
You see this? I got this on the
inside, at Tchita. You earn these.
(QUIET)
So don't worry--we'll get `em all.
Cut off the head, the body'll fall,
right? You keep on doin' it `til
they get the message.
(even quieter)
We got all their names. On a list.
Vadim leans back in his chair. Bobby's eyes widen. Vadim
makes a "POP" sound. Bobby tries to hide his shock. Vadim
grabs Bobby's arm, squeezes it.
VADIM NEZHINSKI CONT'D)
Just think about it. You change
your mind, you call Pavel.
BOBBY GREEN
(nods; then)
I'll see you around...
And the men move to another table. Bobby looks at Rosario
and Louis, who're standing by the register. They turn back
to Bobby and SMILE, totally unaware of the conversation
that's just taken place. CLOSE SHOT ON BOBBY as we GO TO:
EXT. POLICE SERVICE AREA NUMBER TWO
It's a huge municipal structure. Bobby bolts inside.
INT. POLICE SERVICE AREA TWO - ENTRANCE
The place is hopping, with police everywhere. Almost like
a fraternity house. BOBBY CHARGES IN, looks around.
Pushes his way through the crowd toward the main desk.
(CONTINUED)
53.
CONTINUED:
SERGEANT PROVENZANO, forties, rings a SILVER BELL, which is
engraved with the words, "Homicide Bell." The room quiets
down. Provenzano holds up his hands. Grinning:
SERGEANT PROVENZANO
Everybody! Our little "A" House
got another coupla stiffs today, so
it's time for another poem!
(catcalls; reads from
a pad)
"The people of Brooklyn have been
volleyed and thundered; at last the
number slaughtered has reached one
hundred!"
APPLAUSE. Provenzano bows. BOBBY shoves his way through
the crowd. Urgently:
BOBBY GREEN
I need to find Deputy Chief
Grusinsky.
SERGEANT PROVENZANO
Oh, uh, he's on the second floor, I
think. In the muster room.
EXT. POLICE SERVICE AREA NUMBER TWO - HALLWAY
Bobby looks down the hall. He SEES his father, talking to
a CROWD of UNIFORMED COPS. Burt sees him, keeps talking.
Bobby touches his arm.
BOBBY GREEN
Pop, I gotta talk to you.
BURT GRUSINSKY
I'm working.
BOBBY GREEN
It's important--I got information.
Bobby pulls his father aside, looks around to be sure the
two of them are out of earshot of others. Forcefully:
BOBBY GREEN (CONT'D)
It's about you.
Burt is surprised. His attention sharpens:
BOBBY GREEN (CONT'D)
It's bad.
Burt realizes the severity. Then we HEAR:
(CONTINUED)
54.
CONTINUED:
MICHAEL SOLO (O.S.)
Jesus Christ, you gotta be kidding
me!
INT. POLICE SERVICE AREA NUMBER TWO - MUSTER ROOM
A large room, lit by fluorescents. Mostly empty of
furniture in the center, with vending machines against the
wall and a sole IBM PC in a corner. A huge GUN RACK is on
the wall, conspicuous, a hint perhaps of the violence to
come. It is Bobby and Burt, Jack and Michael. Bobby's
been telling his story. He and Burt are seated--Jack looks
out the small window in the door, then turns the LOCK for
privacy; and a nervous Michael is pacing:
MICHAEL SOLO
Nezhinski got a hit list? On us?!?
Bobby looks at his father, then nods. Mouths an almost
INAUDIBLE:
BOBBY GREEN
Yeah...
Michael purses his lips, then spins around to Burt.
MICHAEL SOLO
We gotta go bust `em, Burt--right
now.
ANGLE ON BURT. He betrays no hint of concern:
BURT GRUSINSKY
No. They'll be back on the street
in a day. We gotta try and catch
`em with their hands full--find out
where they got the real weight.
Then we can move.
MICHAEL SOLO
That could take us forever!
BURT GRUSINSKY
Doesn't matter. It's our only play.
Uncustomarily, Jack speaks:
JACK SHAPIRO
I say we go hit `em all. Wipe `em
out, suicide-by-cop--
BURT GRUSINSKY
What're you talkin' about?! C'mon,
don't be a first-class schmuck!
(CONTINUED)
55.
CONTINUED:
JACK SHAPIRO
But we don't got the time to
infiltrate `em--
Burt lets his temper flare; briefly, we SEE a more mature
version of Bobby:
BURT GRUSINSKY
Then we make the time!
(to Mike, Bobby)
Look, I want you all to understand
something--we don't ever play in
the dirt here, okay? Not ever, no
matter what!
(BEAT)
You piss in your pants, you only
stay warm for so long.
MICHAEL SOLO
What about callin' in the Feds?
They got a lot more juice than we
DO--
BURT GRUSINSKY
Bunch of college boys from Kansas.
We protect our own here.
Bobby sees an opening:
BOBBY GREEN
Pop, Nezhinski's been talkin' about
a shipment he's got comin'. Maybe
that's how you get to him.
MICHAEL SOLO
How you know about that, Bobby?
BOBBY GREEN
(somewhat sheepish)
They been wanting me to buy in for
a while.
Michael turns to the others. Brightening:
MICHAEL SOLO
Well, maybe that's it, then. If we
can get him--
(re: Bobby)
To set something up, maybe one of
our uncles could move in--
(CONTINUED)
56.
CONTINUED: (2)
JACK SHAPIRO
(pointing to Bobby;
with some ridicule)
It'd have to be him--
BURT GRUSINSKY
Forget it, both of you.
BOBBY GREEN
What do you mean, set something up?
BURT GRUSINSKY
BOBBY--
MICHAEL SOLO
You'd go set up a buy with `em,
just like they've been asking you
to. We follow you to the spot,
bust `em a week later. That way,
your name's clean, nobody knows
you're involved--
BURT GRUSINSKY
That's too dangerous for him! We
don't know how solid his cover is
out there!
(to Bobby)
That girlfriend of yours, she knows
about you, right? So can we just
get back to the discussion please?
A beat. Bobby is dead serious:
BOBBY GREEN
Pop?
BURT GRUSINSKY
What?
BOBBY GREEN
You could trust her.
BURT GRUSINSKY
Good. I'm glad. But it's not
happening. So forget it.
BOBBY GREEN
But...but you could get killed--
BURT GRUSINSKY
Don't worry about me, just worry
about yourself, arright? Anything
happens with your brother I'll call
you. Goodbye.
(CONTINUED)
57.
CONTINUED: (3)
A beat. Bobby is still there, fixated.
BURT GRUSINSKY (CONT'D)
Goodbye!
Finally, Bobby exits. We GO TO:
INT. BOBBY'S APARTMENT - BEDROOM - NIGHT
Bobby enters his room, which is dark. Rosario is here,
asleep. Her back to Bobby. Upon hearing him enter, she
turns and looks at him (and US) in SLOW MOTION...
Bobby sits on the edge of the bed, touches her back. She
senses something wrong and speaks, voice ravaged by sleep:
ROSARIO DIAZ
Everything okay?
(BEAT)
They said on the television your
brother was doing better.
Bobby nods.
ROSARIO DIAZ (CONT'D)
Me and my mother, we said a prayer
for him.
Something seems to dawn on Bobby:
BOBBY GREEN
Your mother's real important to
you, ain't she. You'd do anything
for her.
ROSARIO DIAZ
Yeah, I guess...
She looks at Bobby, who appears deep in thought:
ROSARIO DIAZ (CONT'D)
You thinking about your brother?
About your family?
(BEAT)
There was nothing you could do...
Bobby leans over, kisses her:
BOBBY GREEN
Go back to sleep...
He lies down next to her, still fully clothed. Stares up
at the ceiling. She whispers to him:
(CONTINUED)
58.
CONTINUED:
ROSARIO DIAZ
Bobby? It's all gonna work out...
You'll see...
EXT. HOSPITAL - RAINY DAY
Burt and Jack and Michael. Burt is talking to the others
in front of the hospital, but we are in WIDE SHOT, and we
can't HEAR them. Burt shakes their hands, then walks
inside. Mike and Jack walk in the opposite direction...
EXT. PARKING LOT
BOBBY stands inside an abandoned parking kiosk. (He's been
watching from afar.) Jack and Mike approach their parked
car. He tries to obscure himself partially inside the
kiosk. They see him.
BOBBY GREEN
You been up to see my brother...?
MICHAEL SOLO
Yeah. Your father's still with him-
-we were just gonna go back to the
PSA. Try and figure out a tac plan
on Nezhinski.
BOBBY GREEN
...How's that been goin'...?
MICHAEL SOLO
We don't got much yet, but we'll do
our best.
(BEAT)
You all right?
Bobby hesitates, then reveals himself completely:
BOBBY GREEN
Well I... I been thinking...if you
could keep it confidential...?
(BEAT)
I'd make the connection for you.
MICHAEL SOLO
C'MON--BOBBY--
BOBBY GREEN
They trust me--we could go in
large, use my money for the buy,
they won't suspect anything--
(CONTINUED)
59.
CONTINUED:
MICHAEL SOLO
It's too dangerous--you heard your
father.
BOBBY GREEN
(EMOTIONAL)
He don't gotta know anything about
it. Does he?
MICHAEL SOLO
If anything went wrong, he'd never
forgive us.
BOBBY GREEN
I know.
(BEAT)
It's just--I realized...
(strains to utter)
....my father dies `cause of all
this, I couldn't live my life
knowing I coulda done something.
(looks at both men)
I know the same is true for you. I
know it is.
ANGLE ON MICHAEL, JACK.
BOBBY GREEN (CONT'D)
So please--can we do this...?
Jack, Michael turn to each other. Then: ANGLE ON BOBBY.
PRELAP a PHONE RINGING:
INT. "HELLO" PHONE OFFICE
A small office equipped with telephones, headsets, and fold
out chairs. Lockers line the walls. Bobby's on the phone,
waiting for someone to answer. REVEAL: Jack and Michael are
here too, with HEADPHONES ON, LISTENING IN. Finally:
ACCENTED VOICE (PHONE FILTER)
Hello?
BOBBY GREEN
Hey. It's Bobby Green.
(BEAT)
I decided--I wanna buy in.
PAVEL LUBYARSKY (PHONE FILTER)
How much we talkin' `bout here,
dude?
Bobby looks to the cops. They start mouthing something,
but he ignores them:
(CONTINUED)
60.
CONTINUED:
BOBBY GREEN
Fifty k, to start.
Mike and Jack's hairs stand on end upon hearing this.
PAVEL LUBYARSKY
Oh, [the] man's gonna be good with
that. How `bout tomorrow night?
BOBBY GREEN
Sounds good.
PAVEL LUBYARSKY
Arright. We'll meet at El Caribe,
`round midnight?
(with a sly laugh)
That way, you could dance a little,
say hi to your girlfriend...
BOBBY GREEN
Okay. I'll see you tomorrow.
Bobby hangs up.
BOBBY GREEN (CONT'D)
Most expensive phone call I ever
made.
MICHAEL SOLO
We'll get it back for you.
Jack reaches into a nearby LOCKER for something, then
approaches Bobby and hands him a small BLACK BEEPER.
MICHAEL SOLO (CONT'D)
Now listen: from now on, you'll get
all your information through this,
at an undisclosed location. Your
contact with us is over after you
leave here.
Bobby takes the BEEPER. Michael touches his shoulder:
MICHAEL SOLO (CONT'D)
Just be smart about things. Okay?
You get burnt and we gotta put you
in protection, it's still better
than winding up dead. An informant
dies, they talk about you for a
day. A week later, ain't no one
remembers your name.
(BEAT)
Moral of the story is, don't die.
You understand?
(CONTINUED)
61.
CONTINUED: (2)
ANGLE ON BOBBY as he sobers. Nods. Then:
BOBBY GREEN
You need to promise me something,
though. You won't investigate my
girlfriend--she's, she don't know
any better.
MICHAEL SOLO
She won't be a target. Just make
sure she don't open her mouth.
BOBBY GREEN
I'll take care of it.
Michael grabs Bobby's shoulder, a gesture of affection.
MICHAEL SOLO
You know we known you your whole
life, kid? Good luck.
INT. BOBBY'S APARTMENT - LATER
Bobby enters the bedroom. Presses his answering machine
button, and a message begins to play. It is Rosario.
ROSARIO DIAZ'S VOICE
Hi, Bobby. It's me. Just wanted
to see how you were doing--I guess
you're at the hospital now... I
hope your family's doing good...
Okay, I love you... Jumbo says
hello too...
As her voice plays on the machine: he moves to the dresser,
where he opens the top drawer. INSIDE: THOUSANDS OF
DOLLARS--his SAVINGS. He begins to take the money out of
the drawer and count it when: we HEAR a SOFT BUZZ. He
quickly looks over, CHECKS THE BEEPER. He stares at the
paged number...
EXT. FLUSHING MEADOW PARK - FOGGY DUSK
A MAN #1 stands by a bench, almost floating in the fog. He
is stocky, dressed in a down vest. Bobby enters the frame,
trepidatious; he and the man eye each other for a moment,
then Bobby holds out the beeper. The man takes it.
MAN #1 takes out A KEL DEVICE LISTENING UNIT and its
accessories. Among them, a CIGARETTE LIGHTER. He UNSCREWS
THE LIGHTER. Complex electronic innards.
(CONTINUED)
62.
CONTINUED:
MAN #1
Your wire's in here--we're gonna
follow the signal. Find the stash
house and make the deal, you leave
the rest to us.
BOBBY GREEN
You gonna leave me all alone out
there?
MAN #1
(shrugs; then)
I ain't gonna lie to you. There's
always a risk.
Man #1 hands Bobby the LIGHTER. He FIRES it. It works.
MAN #1 (CONT'D)
Your cover's blown, call for help--
don't try and be a hero. Just get
outta the way--place could turn
into a butcher shop. Talk about
pussy--that'll be our signal to
come in early.
BOBBY GREEN
You come up with that one all by
yourself?
MAN #1
(ignores the joke)
Just do the deal and get out. Bear
in mind, your life is in that
lighter. Anything goes wrong, the
department'll get word to your
father.
The Man unceremoniously turns to leave. Then, suddenly:
MAN #1 (CONT'D)
And oh--G.Q. told me to tell you--
your brother's coming along real
good. They reset his jaw and
sometimes he's awake.
Bobby acknowledges that with a single nod of his head. The
man departs. Bobby grasps the lighter tight, looks at the
man as he virtually disappears back into the fog...
INT. CHURCH - EARLY EVENING
It is an older Catholic church, a beautiful interior. A
line of young Latino women hold candles, singing as they
walk toward the altars. A HEALING MASS. Rosario is here.
(CONTINUED)
63.
CONTINUED:
She lights a candle at the altar, then walking back to the
pew, she SEES BOBBY and approaches. Bobby looks around,
seeming harried and paranoid...
ROSARIO DIAZ
Bobby--what're you doing here?
Bobby looks at her, his eyes filled with emotion.
BOBBY GREEN
I--I need to talk to you.
ROSARIO DIAZ
I'm coming home in a little bit.
He doesn't respond at all.
ROSARIO DIAZ (CONT'D)
Bobby?
He appears almost in tears... Finally, sotto:
BOBBY GREEN
I--I'm gonna inform. For the
police.
(BEAT)
I'm gonna help `em set up
Nezhinski.
Rosario is shocked. Almost inaudible:
ROSARIO DIAZ
What...?
As she steps back, he moves forward:
BOBBY GREEN
I had to do it, Rosario. These
motherfuckers--they were gonna come
after my father.
Rosario tries to recover. Can barely speak. Sotto:
ROSARIO DIAZ
But Nezhinski finds out, he'd kill
YOU--
BOBBY GREEN
He ain't ever gonna find out. He
ain't ever gonna know.
ROSARIO DIAZ
But what if something goes wrong?
What's gonna happen to you?!?
(CONTINUED)
64.
CONTINUED: (2)
BOBBY GREEN
I don't know... I'd, I'd probably
have to go into protection.
ROSARIO DIAZ
Oh my God...
Rosario breaks down, tears flowing. Her hand to her mouth:
BOBBY GREEN
But that's never gonna happen!
ROSARIO DIAZ
How could you not even talk to me
about it...?
Bobby spins around to see if anyone's listening. He pulls
her into a dark corner of the church:
BOBBY GREEN
Rosario, listen--I had to do it.
Bobby pulls her to him, holds her tight. In her ear:
BOBBY GREEN (CONT'D)
I had to do it...
Rosario is emotional. Then:
BOBBY GREEN (CONT'D)
Everything's gonna be all right...
Don't worry, it'll be all right...
Still fervid, she is silent. CLUB MUSIC up...
INT. EL CARIBE NIGHTCLUB - MAIN ROOM
Bobby enters the place, determined. He has A BAG tucked
under his arm. Many CLUBGOERS say hearty HELLOS to him.
People are dancing, having a glorious time. LOUIS IS HERE,
THRILLED to see Bobby. He HUGS him, effusive, heartfelt:
LOUIS FALSETTI
Bobkes! My brother! I been
calling you all week! Where you
been?!? We missed you!!!
BOBBY GREEN
Yeah... Sorry, buddy--I got some
legal shit to deal with, from the
raid... But I ain't forgot about
you--I'll be back soon.
(CONTINUED)
65.
CONTINUED:
LOUIS FALSETTI
Yeah well, without you around I
hadda lower myself here by hangin'
out with Freddie!
Bobby gently pats his old friend's shoulder. Interrupting
this, Freddie steps in:
FREDDIE
Bobby, hey! Mr. Buzhayev'd love to
see you, I'm sure--want me to tell
him you're here?
BOBBY GREEN
No, it's okay--I'll talk to him
later...
He then walks by the COAT CHECK. He and ROSARIO see each
other. He turns, SEES Pavel, in back. Pavel waves to
Bobby, and Bobby starts walking to him.
INT. BACK OF THE CLUB
Bobby approaches a table, reserved for Pavel and the rest
of the gang. Bobby joins them, with his bag.
BOBBY GREEN
Where's Vadim.
PAVEL LUBYARSKY
Oh, he don't come in here no more--
BOBBY GREEN
(INTERRUPTING)
Well, I got fifty grand in here.
And it don't move `less I deal with
the man himself.
(BEAT)
So [if] you're interested, I wanna
see your stash, right now. No
bullshit.
Pavel thinks a moment, eyes his cohorts. Back to Bobby:
PAVEL LUBYARSKY
Be on the boardwalk in a hour...
Bobby turns to leave. Pavel calls after him:
PAVEL LUBYARSKY (CONT'D)
And dude--this don't shake out...
(CONTINUED)
66.
CONTINUED:
Pavel quickly draws his hand across his Adam's apple.
Bobby exits, passing by ROSARIO as he does. She gives him
a fearful look...
EXT. BOARDWALK - NIGHT
The famous Brighton Beach boardwalk. Bobby stands in the
cold, waiting, holding his bag of money. Alone. Takes out
the LIGHTER, the LISTENING DEVICE. He fires it--it works.
Looks at his watch. In rummaging through his pockets for a
smoke, he finds a little slip of paper with a phone number
on it. He APPROACHES a nearby PHONE BOOTH. Bobby holds
the paper in his hand, dials the number. A voice answers:
MAN'S VOICE (PHONE FILTER)
Hello?
INT. ST. JOHN'S HOSPITAL - INTERCUT
JOSEPH on the phone, in bed. Nearby, Sandra is folding his
blanket around him.
JOSEPH GRUSINSKY
Hello?
EXT. BOARDWALK - INTERCUT
Bobby says nothing.
JOSEPH GRUSINSKY (PHONE FILTER)
Hello...?
Bobby SEES Pavel's CAR DRIVE UP. Bobby hangs up the phone.
Takes a deep breath. We HEAR:
PAVEL LUBYARSKY'S VOICE (O.S.)
Dude! Hey, dude!
EXT. BOARDWALK STREET
Bobby approaches the car. Pavel is in the back seat,
calling to him with the window open.
PAVEL LUBYARSKY
Get in!
Bobby approaches the automobile. Pavel is in the back
seat, calling to him with the window open. Another
American sedan behind them. Bobby enters Pavel's.
INT. LIVERY CAR
Bobby takes the front passenger seat. Pavel is behind him.
Someone we DON'T KNOW is driving.
(CONTINUED)
67.
CONTINUED:
Bobby is somewhat edgy, with Pavel behind him. The car
pulls away from the curb. Then: Pavel throws a small towel
over Bobby's head. POINTS A REVOLVER AT BOBBY'S TEMPLE.
Bobby is startled by the action, blinded. Trying to stay
calm...
PAVEL LUBYARSKY
Put your hands out, where I could
see `em.
BOBBY GREEN
You know me.
PAVEL LUBYARSKY
Shut your fuckin' mouth and do it!
Bobby obliges. The driver, looking anxiously in his rear
view mirror, makes a SHARP LEFT, and the car VEERS. Pavel
then PATS BOBBY DOWN, searching for a wire, anything
incriminating. To the driver:
PAVEL LUBYARSKY (CONT'D)
Turn at the light...
The CAR makes A SHARP LEFT. In Russian, subtitled:
PAVEL LUBYARSKY (CONT'D)
Go left. Again.
EXT. STREET
The Livery Car makes another brutal SHARP LEFT, tires
screeching just slightly.
INT. LIVERY CAR
Pavel again:
PAVEL LUBYARSKY'S VOICE
Let's go. No one's on us.
The camera MOVES INTO a SHOT OF THE HOODED BOBBY...
EXT. STREET
The Livery Car pulls up to the curb. We are on: a strange
residential street with tenements and graffiti everywhere.
Dark, deserted. Many silhouetted figures stand in doorways
up and down the block. They are all armed, with shotguns
and machine guns slung over their shoulders. A GARBAGE CAN
IS ON FIRE a few yards away. The men get out of the car.
They pull Bobby out:
68.
INT. TENEMENT HALLWAY
They walk up the stairs, PULLING Bobby up over the steps.
He stumbles. They pick him up, lead him to a door.
INT. TENEMENT - APARTMENT - FRONT ROOM
Someone pulls the hood off him. Bobby looks around. The
room is ABSOLUTELY BARE. The driver puts Bobby's bag of
money down on the floor. A TEENAGED BOY wearing a SURGICAL
MASK comes and puts one on Bobby's face as well. Bobby
surveys the place. Where the hell is he? With that mask
on his face, we HEAR his BREATHING, loud and present,
through the sequence.
It could be night or day, we wouldn't know. The windows
are blocked with duct tape to obscure all light. There is
VISQUINE hanging from seemingly everywhere. Parts of rooms
are cordoned off with the material. SILHOUETTED FIGURES
ROAM through the space like apparitions. A SLAVIC-LOOKING
MAN takes Bobby's bag of money, leaves the room.
IN THE HALLWAY
Stands Pavel, masked as well, armed now with a Kalashnikov
rifle. Without a word, he motions with a move of his head
to Bobby. "FOLLOW ME," he seems to be saying.
INT. BEDROOM
Bobby enters the room, right behind Pavel. He SEES: a
dresser with a clock on it and a small mirror. Tables set
up in the middle of the room with brown jars on them.
There is a television on in the corner, a Russian ethnic
musical program silently unfolding.
There are other people in the room: a BROWN-HAIRED MAN; and
two dark-haired SLAVIC-LOOKING WOMEN. It's an assembly
line for the preparation of narcotics.
The SLAVIC MAN takes out the STACKS OF BILLS. Starts
counting them methodically. Pavel motions to the Brown-
Haired Man, puts up two fingers.
On cue, the Brown-Haired Man rubs his hands together, then
takes two large JARS from his desk. Beneath the desk,
Bobby spots what looks like an ENORMOUS NUMBER of packages
of NARCOTICS, stacked against the wall.
This is clearly THEIR STASH HOUSE. The Brown-Haired Man
pours powdery contents from a jar out onto his desk
blotter. He sits down, takes off his jacket, REVEALING:
TATTOOS, UP AND DOWN BOTH OF HIS ARMS.
(CONTINUED)
69.
CONTINUED:
The designs combine several images--skulls, snakes, and the
SPIDER WEB element that marked Vadim's own tattoo.
He takes a RUSTY LETTER OPENER--it had been sitting atop
the desk--and pierces a GREEN PACKAGE. White powder seeps
from the package.
Bobby watches from behind the mask as the man pushes and
pulls what looks like pure cocaine in powder form. He uses
two PLAYING CARDS to move the drug. Bobby eyes that RUSTY
LETTER OPENER...
The Brown-Haired Man dips a measuring spoon in another
powder to add to the mix. He is cutting the drug. He
continues to manipulate the substance, and his hands move
with a kind of grace that one expects from a seasoned chef
on a cooking show.
CLOSE SHOT on some lines of COCAINE. Pavel takes a toot.
He OFFERS it to Bobby as a taste. Bobby accepts. He pulls
down his mask momentarily, RUBBING a RATHER LARGE QUANTITY
OF THE DRUG ON HIS GUMS, HIS LIP. We HEAR:
VADIM NEZHINSKI'S VOICE
You needed to come here tonight...?
Bobby looks over to see: EMERGING FROM THE BLACK, FROM DOWN
A DARKENED HALLWAY: VADIM NEZHINSKI. Everyone is wearing a
surgical mask--except, of course, for him. Bobby eyes him
with eyes that seem to become more BLOODSHOT by the second.
VADIM NEZHINSKI
What's the matter, ain't Pavel good
enough for you?
BOBBY GREEN
That's all the money I got. And I
ain't gonna leave it alone.
The Slavic Youth finishes counting Bobby's cash:
SLAVIC YOUTH
It's all there. Fifty grand.
Vadim points to the MONEY:
VADIM NEZHINSKI
Where'd you get this?
BOBBY GREEN
From my savings. From El Caribe
and Rasputin.
(CONTINUED)
70.
CONTINUED: (2)
VADIM NEZHINSKI
(nods; then:)
That buys you three keys in here.
(BEAT)
With the crack on the street, it's
worth two hundred k. Maybe more.
Vadim walks over to a stack of green packages:
VADIM NEZHINSKI (CONT'D)
All the shit I get here is at least
eighty-six percent pure. And we
got a lot more comin' in--a LOT
more. In a way nobody could ever
trace.
Vadim steps away from the narcotics and towards Bobby:
VADIM NEZHINSKI (CONT'D)
The whole city'll be sucking our
glass soon--you'll see. We push
the Guineas out, the Domos'll work
for us.
BOBBY GREEN
Sounds good.
Vadim looks at that money again, takes a step forward.
Bobby's forehead has beads of sweat. Vadim walks up close.
Looks Bobby in the eye for a BEAT.
VADIM NEZHINSKI
You're breathing heavy.
BOBBY GREEN
I took a little taste.
Vadim puts his hand on Bobby's chest, checking his
heartbeat.
VADIM NEZHINSKI
You know, I seen fighters--they
breathe like that, means they get
nervous.
(BEAT)
You nervous?
Bobby shakes his head. He is wired, out of it, but he
pulls himself together. His jaw clenches. With fire, an
edge of defiance:
BOBBY GREEN
I'm clean.
(BEAT)
(MORE)
(CONTINUED)
71.
CONTINUED: (3)
BOBBY GREEN (CONT'D)
You wanna search me again, you go
`head. I just wanna make this deal
and go home.
Vadim violently pulls out Bobby's pockets. Out falls: a
WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES.
He sifts through the items, lighting the lighter. It
fires. Bobby gets slightly edgy. Notices that the others
congregate around the objects from his pocket--all except
for Pavel, who holds an AK-47 trained on Bobby.
Bobby inches ever closer to the rusted LETTER OPENER that
the Brown-Haired Man had used to open a package of cocaine.
Vadim puts down the lighter. And it occurs to him:
VADIM NEZHINSKI
You got both matches and a lighter.
Bobby realizes instantly that Vadim is right. Bobby
shrugs, feigning innocence. He braces himself and decides
to give the signal:
BOBBY GREEN
I'm gonna get pussy from this...
PAVEL LUBYARSKY
(BEFUDDLED)
What you say...?
Bobby looks around. There's NO CAVALRY TO THE RESCUE. He
tries again:
BOBBY GREEN
[When] this deal goes down, I'm,
I'm gonna get a lotta pussy...
Still NOTHING. PAVEL'S attention turns to VADIM. He moves
toward NEZHINSKI, who:
Starts FRANTICALLY POUNDING THE LIGHTER against the DESK.
Trying break it open. Bobby scans the joint... The MEN
are trained on that lighter, and this is his chance. He
slips the LETTER OPENER into his hand.
SEEMS LIKE WE CAN LITERALLY HEAR THE BLOOD RUSHING THROUGH
BOBBY'S HEAD NOW. Setting himself, Bobby looks around the
room--where's that backup???--and: the camera SPEEDS PAST
Pavel's and Vadim's faces, to the other side of the room.
It MOVES toward the WINDOW:
VADIM HITS THE LIGHTER AGAIN. This time, it BREAKS OPEN.
REVEALING A BEVY OF WIRES. It is CLEARLY NOT JUST A
LIGHTER. The camera TILTS UP. VADIM IS ENRAGED:
(CONTINUED)
72.
CONTINUED: (4)
VADIM NEZHINSKI
He got a wire!
(BEAT)
Kill this motherfucker, right now!
IT LOOKS LIKE HE'S A GONER. PAVEL RAISES HIS GUN and
CHARGES TOWARD BOBBY--ABOUT TO FIRE, when--
THE DOOR BURSTS OPEN. COPS EVERYWHERE. Mike and Jack lead
the way, but there are what seems like tens of EMERGENCY
SERVICES UNIT OFFICERS with them:
MICHAEL SOLO
Hands on your heads! On the floor!
NO ONE FREEZES. CHAOS. GUNFIRE. PAVEL SWINGS BACK TO
BOBBY, a TERRIFYING LOOK ON HIS FACE. But Bobby is ready,
and SHOVES THE LETTER OPENER INTO PAVEL'S NECK. BLOOD
CASCADES DOWN THE MAN'S CHEST. Pavel collapses on Bobby,
still very much alive. His eyes are popping, and he throws
his hands around Bobby's THROAT. VADIM CHARGES INTO:
INT. BACK ROOM
Where he pulls up a SECTION OF LINOLEUM, REVEALING a TRAP
DOOR that leads down to the apartment BELOW...
INT. HALLWAY - SIMULTANEOUS
HORRIFYINGLY--DRUG PEDDLERS, ARMED with all kinds of GUNS,
POUR OUT from rooms everywhere--on the FIRST LEVEL of the
building as well as the THIRD.
AND EVERYONE COMES OUT FIRING.
THE COPS ARE FORCED TO ENGAGE IN A FURIOUS GUN BATTLE, THE
BULLETS COMING FROM EVERYWHERE. ABOVE AND BELOW.
SEVERAL PUSHERS ARE HIT. THE POLICE have their gear and
are reasonably protected, though TWO OF THEM ARE WOUNDED.
Bullets SPLINTER the floor beneath their feet and the wall
right above their heads. They have their backs to the wall
as their only cover... PERCUSSION GRENADES THUNDER through
the STRUCTURE...
INT. BEDROOM
A FUSILLADE OF BULLETS. CONFUSION.
BOBBY IS CAUGHT IN THE MIDDLE. STILL STRUGGLING WITH
PAVEL, this has become the madness of war. Pavel bleeds
profusely all over Bobby's chest, and this is a fight to
the death.
(CONTINUED)
73.
CONTINUED:
Bobby wrenches the LETTER OPENER out of Pavel's collarbone
and desperately--and repeatedly--stabs Pavel in the base of
the neck. Pavel's screams mix with gunfire to make a
hell...
AT THAT MOMENT: A SHOTGUN BLAST blows the top of Pavel's
head clean off, spattering Bobby's face with brain
particulate. Bobby is forced to get out from under... We
HEAR POLICE SIRENS. RADIOS ON--
RADIOS
1 0 - 1 3 ! 10-13! 10-13!
INT. TENEMENT - SECOND FLOOR APARTMENT - BACK ROOM
VADIM slides down to the BACK ROOM in the APARTMENT BELOW.
Panicked, he cocks his gun, searches for an escape route.
INT. BEDROOM
Bobby gets up, into a crouch, amidst the gunfire. Dodging
the bullets.
An ESU Police Officer does not recognize Bobby as an ally,
and he trains his assault rifle on Bobby. Bobby screams,
his hands raised:
BOBBY GREEN
I'm with you! I'm with YOU!
This is INAUDIBLE, with all the ammo being dispensed, and
Bobby knows it; so he dodges the Officer; the Officer
begins to unload his weapon, getting CLOSER to BOBBY.
AND CLOSER.
AND CLOSER. Bobby is about to be killed when:
HE SEES HIS CHANCE. HE CHARGES BACKWARD. WITH FEROCIOUS
DETERMINATION, HE THROWS HIMSELF OUT A NEARBY WINDOW.
THE PANE SHATTERS. BOBBY TUMBLES THROUGH, HIS FACE AND
BODY RIDDLED WITH SHARDS OF GLASS.
EXT. TENEMENT
Bobby FALLS roughly twenty feet through the air. His body
tumbles upside-down, toward a wrought-iron FENCE that
surrounds the base of the apartment building's side.
Bobby HITS the FENCE. His LEG GETS CAUGHT on one of the
small spikes. He SCREAMS as we GO BACK TO:
74.
EXT. APARTMENT BUILDING
Cop cars pull up by the dozen, from EVERYWHERE. Out of one
comes BURT GRUSINSKY, carrying a shotgun. He charges right
into the structure...
INT. DOWNSTAIRS BEDROOM
Nezhinski opens the window, about to go out onto the fire
escape. A WARRANT UNIT OFFICER is below. Looks up:
WARRANT UNIT OFFICER
Halt! Police!
BEHIND HIM:
JACK SHAPIRO
Hold it right there! Hands on your
head!
VADIM SPINS AROUND. FREEZES. His hands are in the air.
VADIM NEZHINSKI
Don't shoot!
Officers pour in, among them BURT. Cops forcefully push
Vadim to the ground. Start to cuff him. Burt pulls Jack
ASIDE:
BURT GRUSINSKY
Where's my goddamned kid?!?
Jack is speechless--he doesn't know. (We SEE that Burt's
question--revealing Bobby's identity--REGISTERS on VADIM'S
FACE.) Vadim mutters, aloud but sotto, in Russian:
VADIM NEZHINSKI (SUBTITLE)
He is a dead man...
OFFICERS
(not comprehending)
Shut up! Get down!
Burt frantically PUSHES THROUGH THE CROWD OF COPS...
EXT. TENEMENT - APARTMENT - ALLEYWAY
Bobby is upside-down, hanging from the fence, but he is
alert. Two members of the EMERGENCY SERVICES UNIT approach
him.
On sheer instinct alone, he starts to PULL his LEG off the
small SPIKE, his teeth clenched. An ARMY of ESU TROOPS and
PARAMEDICS come to BOBBY'S AID...
(CONTINUED)
75.
CONTINUED:
BOBBY is being lowered from the fence. An AMBULANCE ZOOMS
UP the STREET, to the alley. Burt rushes to his son.
Jack and Mike come right behind him. Bobby looks at his
father, his face nicked by many small cuts from the glass.
Sheepish, he cannot say a word and averts his father's
gaze.
BURT GRUSINSKY
Jesus.
EMERGENCY SERVICES GUY
He's gonna be okay, Chief.
(to others)
Clear out!
Burt eases when he hears this. They move Bobby toward the
ambulance. Burt turns to Michael. Sotto:
BURT GRUSINSKY
You guys go on a bust like this and
you don't tell me about it? You
think I'm born yesterday?
MICHAEL SOLO
I guess we do.
BURT GRUSINSKY
You're a real comedian! He's gonna
need to be in protection now!
INT. AMBULANCE
Bobby sits up on the stretcher as a MEDIC treats his leg.
Burt approaches, watches for a moment. The Medic leaves
the post for a moment, and the two are ALONE. Burt stares
at his son, who finally speaks:
BOBBY GREEN
I'll be all right, Pop.
BURT GRUSINSKY
(shakes head; then:)
Well, I guess I don't have a say in
anything anymore. Anyway... You
did it. You did it and it took
real balls.
(BEAT)
But now you're burnt--and we gotta
get you someplace safe, keep you
under wraps for awhile.
BOBBY GREEN
I need you to get my girlfriend,
Pop. I need her to come with me.
(CONTINUED)
76.
CONTINUED:
Burt is getting emotional, aware of how close his son came
to death. Trying not to show it--and failing.
BURT GRUSINSKY
I'll get them to take care of that.
Just go get yourself fixed up--
that's the most important thing.
With that, the Medic returns, and with a heavy heart, Burt
closes the ambulance door. Bobby is alone with the Medic
for a moment in the back of the vehicle; he watches through
the window as his father walks to his car. Bobby sinks to
the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in
HANDCUFFS...
BLACKNESS.
FADE IN:
A LOCAL NEWS CHANNEL: the STORY is about the BUST: MAJOR
NARCOTICS SEIZURE, 40 KILOS OF COCAINE. An OFFICER is
KILLED; Two PERPETRATORS (among them: PAVEL and the SLAVIC
MAN) KILLED. Four others wounded.
MORE THAN A DOZEN ARRESTS. We SEE the PERPS, lined up
against the walls. VADIM NEZHINSKI'S MUG SHOT. We're told
he's AWAITING TRIAL. In a RELATED STORY--
CHANNEL TWO NEWS ANCHORWOMAN MICHELLE MARSH:
A news report on Joseph Grusinsky's release from the
hospital. He is a hero, she says, and she tells us it's
been five months since his shooting. He is GOING HOME...
EXT. JOSEPH'S BLOCK - SUNNY DAY
Several POLICE CARS line the block. There are ARMED
OFFICERS perched on rooftops. As PROTECTION. Many of the
houses have "WELCOME HOME" banners hanging from them. The
media are here. NEIGHBORS are on their porches.
INT. JOSEPH'S HOUSE - DINING ROOM
Packed with people and playing CHILDREN. Lively. Food
everywhere. TWO ARMED GUARDS stand against the wall. A
CROWD surrounds someone. Then, as the CAMERA DOLLIES
CLOSER, people move away to reveal: BOBBY, seated in a
chair against the wall. His leg is bandaged. AD-LIB
friendly HELLOS from partygoers, who surround him and treat
him respectfully. PAN OVER TO REVEAL: ROSARIO, seated next
to him. She sits quietly; his arm is around her shoulder.
People are STARING AT HER.
(CONTINUED)
77.
CONTINUED:
SPIRO GIAVANNIS (we saw him at our film's beginning--he's
the Deputy Commissioner and he's in uniform) shakes Bobby's
hand enthusiastically. He uses his hands to cup Bobby's:
SPIRO GIAVANNIS
Bobby, hi! Spiro Giavannis, Deputy
Commissioner. Glad to see you made
it out here today!
BOBBY GREEN
Yeah. They let me come--long as I
brought these guys with me.
Bobby points to the ARMED GUARDS next to him.
SPIRO GIAVANNIS
How's the leg treating you?
BOBBY GREEN
Good... It's rehabbing good, for
only nine weeks.
(SHRUGS)
Don't matter, I wasn't no Fred
Astaire before.
LAUGHTER from others. Bobby's expression changes, sobers.
BOBBY GREEN (CONT'D)
Anyway, it ain't nothing compared
to my brother, so...
AD-LIBBED AGREEMENT from others. A FAT LADY peeks her head
in, calls out:
FAT LADY
Everybody, they'll be here any
minute!
A RUSH toward the door. Rosario leans in to Bobby:
ROSARIO DIAZ
Bobby, I'm gonna go outside for a
minute, have a smoke--
BOBBY GREEN
Just hold on, `til he gets here.
SPIRO GIAVANNIS
You got any idea what you're gonna
be doing after the trial?
(CONTINUED)
78.
CONTINUED: (2)
BOBBY GREEN
I'm not sure yet... We been
thinking about moving down to
Miami. Guy I used to work for, his
brother's got a place down there.
SPIRO GIAVANNIS
Gee, that's great. Well listen,
you need any help, you give us a
call. `Cause we can be part of
your family too.
He gives Bobby his BUSINESS CARD. Bobby takes it, mutters
a "thank you." Spiro pats him on the shoulder, leaves.
Bobby turns to Rosario, knowing she's somewhat out of place
here. Children run by, having fun. Bobby eyes them, then
he leans closer. Sotto, tender:
BOBBY GREEN
A lotta kids here, lotta family...
It's nice, ain't it...?
She nods. Whispered:
BOBBY GREEN (CONT'D)
You know how happy I am you're with
me?
ROSARIO DIAZ
Yes...
He leans over, kisses her.
INT. FOYER
A RANDOM WOMAN, who'd been looking out the window, turns
back toward the house. With a huge smile on her face:
RANDOM WOMAN
Here they are!
INT. DINING ROOM
Bobby brightens, begins to stand with only a little
difficulty as he anticipates Joseph's entrance. As this
happens, Rosario slips out from under his grasp:
ROSARIO DIAZ
`Be right back...
And she walks off. Bobby watches as she enters:
79.
INT. BATHROOM
Rosario closes the door on Bobby, turns on the running
water. Then begins to rummage through her purse. Finds a
small vial of cocaine inside. Takes it out, opens it, but
DROPS IT IN THE SINK. The drug spills into the water,
washing it down the drain. Frantically, she tries to
finger whatever residue is left on the porcelain...
INT. FOYER
ENTERING THE HOUSE: JOSEPH and Sandra, his wife. Joe holds
two bags--one filled with cards and memorabilia, the other
with clothes. What seems like a ZILLION PEOPLE are here
when he walks in. Everyone CHEERS. BURT moves right
behind him, all smiles. Joseph is thrilled--but somehow
not the same. His face doesn't look bad, but one eye is a
different color from the other, and he's had reconstructive
surgery on his jaw. There is, of course, a scar, and he's
lost a lot of weight.
Behind him, Burt waves everyone closer. Jack and Mike and
other faces we can recognize from around the precinct stand
back, all smiles. AD-LIB HELLOS. An elderly NEIGHBOR
comes forward, giddy:
NEIGHBOR
Wow, fella! You look great!
(pointing to his own
EYE)
Your eye--does it hurt?
JOSEPH GRUSINSKY
Only when I look at you!
LAUGHTER. Then Joseph FREEZES. He NOTICES: BOBBY, next to
the ARMED MEN who haven't left his side.
The two brothers make eye contact. The crowd quiets a bit.
Bobby smiles at the sight of his brother. Joseph gets
emotional, too:
JOSEPH GRUSINSKY (CONT'D)
Hey, Bobby...
Without a word, Bobby nods, moves to his brother. As Burt
looks on, pleased, Bobby takes his hand and grips the back
of Joseph's neck. Joseph pulls his brother to him by his
neck. A real embrace. Joseph pats Bobby's back.
BOBBY GREEN
I'm real glad you're home...
The two separate, both smiling gently. Breaking the moment:
(CONTINUED)
80.
CONTINUED:
SANDRA GRUSINSKY
Everyone, let's, let's move inside--
there's plenty to eat!
Soft laughter. Small talk begins. The group dissipates,
moves to eat, etc. Burt moves to Joseph:
BURT GRUSINSKY
Joseph--we got some things we need
to discuss, when you get the
chance.
JOSEPH GRUSINSKY
We could do it now if you want,
Pop. In the den.
Burt nods, reluctantly. All our men walk to the den--
except for Bobby, who hears: ROSARIO, down the hall. She
approaches him.
ROSARIO DIAZ
Bobby, I'm gonna go back to the
motel.
BOBBY GREEN
What're you talking about? They
got a lot of food over there--why
don't you go eat something?
ROSARIO DIAZ
(shakes her head)
N--I'm gonna go back.
A beat. Bobby senses she's not completely right. Looks
into her eyes, then, more an accusation than a question:
BOBBY GREEN
(WHISPERED)
You fucked up?
A muttered "no" from Rosario, hardly a committed denial.
Before he can say anything, from the DEN, Burt peeks his
head out:
BURT GRUSINSKY
Bobby--you should hear this too,
for the trial.
Burt motions for Bobby to enter the den. Back to Rosario:
BOBBY GREEN
We gotta straighten this out later.
Bobby then moves to the den.
81.
INT. JOSEPH'S HOUSE - DEN
Burt and Joseph and Jack and Mike. Bobby enters the room.
As he does, we HEAR:
MICHAEL SOLO
Nezhinski's cache was huge, about
40 keys--yayo, some angel dust too.
BURT GRUSINSKY
We're gonna try and turn him, get
him to tell us how they're bringing
it in. But don't worry--we'll make
sure he does plenty of time.
JOSEPH GRUSINSKY
He ain't gonna be reliable, Pop.
Bobby closes the door behind him softly. Joseph sees
Bobby, is surprised he's here...
BURT GRUSINSKY
Well, you marry an ape, you don't
complain about the stench of
bananas.
JOSEPH GRUSINSKY
Where is he?
JACK SHAPIRO
He's at Rikers. Tucked in, nice
and comfy. We're taking him to the
A.D.A. next week, for a meeting.
JOSEPH GRUSINSKY
I wanna go with you on that. See
his fuckin' face.
Jack nods.
MICHAEL SOLO
I'll tell you, though--streets're
dead. Junkies're waitin' out there
for something big, no question.
JOSEPH GRUSINSKY
That's `cause we got their number
one. Dried it up at the source.
All of a sudden, a VOICE from behind:
BOBBY GREEN
That don't mean nothing.
(CONTINUED)
82.
CONTINUED:
Everyone turns around, slightly surprised Bobby's opened
his mouth here:
BURT GRUSINSKY
What's that, Bobby?
BOBBY GREEN
There's a whole network full of
suppliers. The organization goes
deep.
JOSEPH GRUSINSKY
Bobby--you done a lot for us
already. You don't gotta get
involved in this anymore. Okay?
BURT GRUSINSKY
I asked him to come in, Joe. If
he's gonna have to testify, he
should know all this.
JOSEPH GRUSINSKY
This's police business, Pop--you
gonna make him an honorary member
of the Force now?
An ugly beat. Then:
BOBBY GREEN
I'll be outside if you need me.
Bobby exits, and Burt watches him depart.
INT. LIVING ROOM
The unaware crowd is having a great time. Children run
around the rooms. Bobby SEES GUARD #2, approaches. Burt
comes up next to him, takes him into a corner:
BURT GRUSINSKY
BOBBY--
(SOTTO)
What was said in there, he--he
didn't mean it.
Bobby contemplates this; we SEE that he tacitly accepts his
father's words. Then:
BOBBY GREEN
Well, why's he goin' back to work
so soon, anyway? He ain't ready.
(CONTINUED)
83.
CONTINUED:
BURT GRUSINSKY
No--it's better this way. I don't
want him sitting around with
nothing to do, feeling useless--
Bobby is about to leave. Burt stops him:
BURT GRUSINSKY (CONT'D)
Hey, c'mere.
(Bobby returns)
A lotta people been talking. About
how good you did.
(BEAT)
And I think maybe...considering the
alternatives...
(BEAT)
...maybe you might wanna think
about joining the Department.
BOBBY GREEN
POP--
BURT GRUSINSKY
I could pull some strings, get you
through the academy with an early
LEAVE--
BOBBY GREEN
No, come on! I don't want that!
(BEAT)
What I did, I did for you guys,
this once. I got my own plans.
Bobby motions to his bodyguard. Burt senses he's said the
wrong thing. Gently tries to stop him:
BURT GRUSINSKY
Wait--Don't go yet--
BOBBY GREEN
(to the Guard)
Take me back to the motel.
With that, Bobby leaves with his bodyguard. Burt stands
there for a moment, frustrated. TEDDY, his grandson, runs
past him. Naked. Sandra follows the boy. Burt turns to
see the naked youngster, then to Sandra:
BURT GRUSINSKY
Can't you put some clothes on him?
84.
EXT. METS MOTEL - EARLY EVENING
It's a cheesy hotel on Queens Boulevard. TWO UNMARKED CARS
pull up. Armed Guards exit the autos first, casing the
area. They're followed by Bobby.
INT. MOTEL - HALLWAY
Bobby approaches his room. A Guard, we'll call him VITT,
is outside the room holding his shotgun. Nods a "hello".
Bobby moves past him, opens the door. The ROOM is EMPTY.
BOBBY GREEN
Rosario? Rosario!
A beat. Then Bobby spins around, furious:
BOBBY GREEN (CONT'D)
WHERE THE FUCK IS SHE?!?
INT. EL CARIBE NIGHTCLUB - NIGHT
A number of PEOPLE are HERE. It's PACKED. We are on the
DANCE FLOOR. MUSIC: GRANDMASTER FLASH'S "WHITE LINES".
ROSARIO DIAZ is in the center of the crowded floor, dancing
up a storm. She is having a GREAT TIME, surrounded by many
would-be male suitors and Louis. She is laughing and
stoned, and her gyrations are wonderfully erotic and free.
As she moves, she pushes the men away with a smile. All,
of course, except for Louis. Louis dances a CAN CAN with
two amused girls. Though fat, he's surprisingly graceful.
ALL OF A SUDDEN: COMING THROUGH THE CROWD: BOBBY. When
Louis sees his friend, he lights up. Bobby's furious
inside, but strangely calm outside:
LOUIS FALSETTI
Bobkes!!!
Bobby GLARES at Rosario. He takes her arm, starts to walk
her out. She tries to pull Bobby toward the dancing:
ROSARIO DIAZ
C'mon, honey--let's dance!
BOBBY GREEN
The cops're right outside--let's
go.
(beat; louder)
I said, let's go!
(CONTINUED)
85.
CONTINUED:
ROSARIO DIAZ
You don't gotta yell at me, Bobby.
(starts to move to
DOOR)
...[I] was just trying to have a
little fun for once, that's all...
BOBBY GREEN
Lou--no more of this for her. It's
too fuckin' dangerous now.
LOUIS FALSETTI
(SINCERE)
Sure, Bobkes. I mean, she come
here.
Bobby grabs Rosario by the elbow. She yanks it away:
ROSARIO DIAZ
Wait! Lemme get my coat at least!
Rosario moves toward the coat check, and Bobby follows. As
he does, Louis walks with him:
LOUIS FALSETTI
You know Bob, everyone's been
askin' `bout you. We was all real
surprised to hear about your family-
-I mean, your father's like J.
Edgar Hoover--
BOBBY GREEN
Yeah--we'll talk later, buddy--I'll
call you. But right now I need to
get her outta here.
Louis nods, understanding.
EXT. OUTSIDE THE EL CARIBE
Rosario leads Bobby back toward the ESCORT CAR. He leans
forward, grabs her arm. Sotto but intense:
BOBBY GREEN
You gotta put everything in
jeopardy? Huh?
ROSARIO DIAZ
No! I was just dancing! I didn't
say nothing!
BOBBY GREEN
You know, I don't think you realize
how serious this is?
(MORE)
(CONTINUED)
86.
CONTINUED:
BOBBY GREEN (CONT'D)
(BEAT)
We gotta ride this out, `til this
fuckin' thing is over. `Til I can
get things back on track.
Looking down at the ground, she exhales. Hits the side of
a nearby car gently with the palm of her hand, frustrated.
ROSARIO DIAZ
Bobby, what do you want from me? I
can't go out, I can't do nothing--
it's like I'm in a jail--
BOBBY GREEN
I know. But I'm workin' on it, I
am.
(looks around; then)
Soon as the trial's over and I get
my money back outta impound--
everything'll get better, you'll
see.
She gets emotional. Shrugs:
ROSARIO DIAZ
It's just, I feel...I feel like
it's just you and all those cops
all the time. And they look at me
like I'm a piece of shit.
Bobby tries to comfort her, reaches out to her arm. As
tears come out of her eyes:
BOBBY GREEN
Rosario--once this's done, we'll go
down to Miami... [It'll] be a new
thing for us--a lotta
opportunities...
(BEAT)
I'll talk to Mr. Buzhayev about
working for his brother down there.
We'll get your mother to come too--
I'll even talk to Jumbo about it.
Slight comfort. She nods. Bobby leans over, kisses her.
He tenderly puts his hand on her face. She kisses his
hand. Their GUARDS are WATCHING. She smiles, and that
love returns:
BOBBY GREEN (CONT'D)
C'mon... Let's go back--this'll
all be over soon. I promise...
FADE OUT.
(CONTINUED)
87.
CONTINUED: (2)
FADE IN:
EXT. OUTSIDE RIKER'S ISLAND PRISON - EARLY MORNING
Vadim Nezhinski is being led, in handcuffs, into an
unmarked Chevy. Both JOSEPH and Jack are here. Joseph and
Vadim exchange looks as Vadim is placed into the back seat.
Joe's expression is pure suppressed rage...
JOSEPH GRUSINSKY
I'll go in the lead car. You stay
with him `til we get to the
A.D.A.'s.
JACK SHAPIRO
You got it...
Joseph gets in his lead car, also an unmarked Chevy. Both
vehicles pull away from the curb...
INT. STAIRWELL - OUTSIDE MARAT BUZHAYEV'S APARTMENT
We SEE Bobby's ARMED GUARDS waiting on the steps. TILT UP
TO the closed door. Over this, we HEAR:
MARAT BUZHAYEV (O.S.)
We heard all about you in the news.
We were all very sorry about your
brother.
INT. MARAT BUZHAYEV'S APARTMENT - RAINY DAY
Bobby and Marat Buzhayev, inside the living room. Bobby
sits down, on the couch's armrest; Marat is in an easy
chair, his lunch being served on a T.V. tray in front of
him by his wife Kalina. The television plays a Russian
movie, and Marat seasons his food.
BOBBY GREEN
Thank you... You know Mr.
Buzhayev, I come to see you today
`cause...with everything that's
gone on, I don't think it's a good
idea for me to stay in New York
anymore. I was hoping maybe you
could ask your brother if I could
work with him, down in Miami. On
his restaurant.
MARAT BUZHAYEV
I could talk to him. I think he
would like you very much.
(CONTINUED)
88.
CONTINUED:
BOBBY GREEN
I'd appreciate it.
Marat turns to Bobby, puts his hand on his knee. Emotional:
MARAT BUZHAYEV
We're going to be very sad if
you're going. Having you here in
this house meant a lot to us. You
know, my wife and me, we have only
daughters.
BOBBY GREEN
You always been very important to
me too.
(checks his watch)
I should probably go now.
MARAT BUZHAYEV
Bobby--you'll always be welcome
back here.
Bobby is moved. The two embrace.
INT. VADIM'S COP CAR
The car is moving. Jack is driving. Another cop is in the
front passenger seat. Two other cops straddle Vadim.
Silence, then, motioning toward Joseph's car:
VADIM NEZHINSKI
They did good. On his face.
JACK SHAPIRO
Shut your fuckin' mouth.
INT. JOSEPH'S CAR
As Joseph looks back at Vadim's vehicle, behind him:
JOSEPH GRUSINSKY
He makes a deal today, maybe my
brother don't gotta take the
stand... Least that's something...
INT. VADIM'S COP CAR
Jack puts a cigarette in his mouth, turns to the cop next
to him:
JACK SHAPIRO
Give me that lighter.
ALL OF A SUDDEN:
(CONTINUED)
89.
CONTINUED:
A VAN CROSSES THE LINE OF ONCOMING TRAFFIC. COMES RIGHT
TOWARD THEM, SLAMMING INTO PASSENGER'S SIDE. EXPLOSIVE. A
THUNDERING SOUND, GLASS EVERYWHERE. THE COP IN THE
PASSENGER'S SEAT FLIES RIGHT THROUGH THE FRONT WINDSHIELD.
He's probably killed.
INT. JOSEPH'S CAR
The cops see this accident. The DRIVER:
DRIVER
Holy shit!
JOSEPH GRUSINSKY
Stop the fuckin' car!
As Joseph PULLS OUT HIS GUN, READYING HIMSELF TO DO BATTLE,
ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE
immediately pins Joseph and the other two police inside the
vehicle.
INT. VADIM'S COP CAR
THREE MEN IN SKI MASKS emerge from the van, automatic
WEAPONS IN HAND. JACK PULLS OUT HIS PIECE and immediately
begins firing at them, using the wheel and dashboard as
cover. He opens his door to slink out.
VADIM HITS THE FLOOR.
The other two officers are immediately riddled with
GUNFIRE.
Two of the men PULL VADIM toward them. The third man in a
ski mask is hit by Jack's fire, but has just enough
adrenaline to get into the SECOND CAR.
IT SPEEDS AWAY.
INT. JOSEPH'S CAR
JOSEPH, DUCKED BEHIND THE CAR SEAT AND COVERED WITH GLASS,
THRUSTS HIS HEAD UP.
VADIM IS GONE.
INT. BURT'S HOUSE - KITCHEN
Burt, dressed in his v-neck undershirt, is reaching into a
jar of B & G pickled tomatoes. The television plays "THE
PEOPLE'S COURT". THE PHONE RINGS; Burt grabs the receiver:
BURT GRUSINSKY
Hello? What's the matter? Huh?
(CONTINUED)
90.
CONTINUED:
A beat. Burt looks disturbed, then:
BURT GRUSINSKY (CONT'D)
Jesus! Listen to me--you and Jack
get someplace safe. Let ESU take
care of it--I'm gonna go get your
brother.
Burt hangs up, grabs his jacket--which had been draped over
the kitchen chair. Burt bolts out of the house...
INT. MOTEL ROOM
Bobby and Rosario, in media res. Bobby lights a cigarette.
ROSARIO DIAZ
You know, my Aunt's in Miami. We
probably could stay with her for a
little bit `til we get settled.
BOBBY GREEN
Yeah, maybe. Why don't we give `em
all these bags to throw out--it's
becoming a mess.
A KNOCK. BURT BARGES IN. Rosario stands. Other Cops come
through the door as well, beginning a move.
BOBBY GREEN (CONT'D)
What's goin' on?
BURT GRUSINSKY
Nezhinski's out.
BOBBY GREEN
What--?
BURT GRUSINSKY
Your brother was taking him to the
A.D.A. and they got ambushed. They
hit three of our guys.
BOBBY GREEN
Jesus... What about--
BURT GRUSINSKY
Your brother's fine. We gotta get
you moved--you've been here too
long.
Bobby looks to Rosario, who's in shock. Burt looks to her:
BURT GRUSINSKY (CONT'D)
You need to pack up.
(CONTINUED)
91.
CONTINUED:
The two start packing...
EXT. MOTEL FRONT - RAINY DAY
Our characters are leaving the hotel, bags and all. The
RAIN comes down in SHEETS. They pause under the awning,
waiting for the cars to be brought close. Burt stands
under the awning, looking out at houses beyond the parking
lot. Rosario is rummaging through her suitcase as Bobby
stands nearby. Vitt approaches Burt:
VITT THE GUARD
Chief, we got three vehicles coming
around the corner. Backup's on the
way.
Burt nods, Vitt runs off. The sound of RAIN. Bobby is
putting his BULLETPROOF VEST on, SEES Burt STARING OUT.
BOBBY GREEN
You see something out there?
Burt shakes his head, moves to help with the vest:
BURT GRUSINSKY
Nah, we're good. It's just, I just
realized--I know this neighborhood.
I used to come with my father, to
work on the plumbing, for the
houses--brought me along to do the
talking. He only spoke Russian his
whole life...
(BEAT)
Anyway, it's all changed now.
A GUARD approaches:
GUARD
One more minute, Chief.
BURT GRUSINSKY
Arright...
BOBBY GREEN
Pop? Joe come close this morning?
BURT GRUSINSKY
I don't know... I heard he did
good, though. You know, with
everything that's happened--who
knows? Maybe all this'll bring us
closer together someday.
(MORE)
(CONTINUED)
92.
CONTINUED:
BURT GRUSINSKY (CONT'D)
Once this is over, you and your
brother, you'll talk, you'll work
things out.
BOBBY GREEN
Yeah, maybe. But you know the way
he is.
BURT GRUSINSKY
Bobby--your brother, I think he
probably feels a little guilty,
with everything you did, with you
in protection now... But he
appreciates what you've done--I
know he does.
Rosario is right behind them, listening. When Burt stares
at her, she averts his gaze. Burt changes course:
BURT GRUSINSKY (CONT'D)
Look, I'm just trying to keep us
together here, that's all. That's
all I want.
BOBBY GREEN
(relents a bit; nods)
I know, Pop.
Burt warms slightly, too. A beat, then the CARS PULL UP.
Bobby looks at his father with real feeling. Burt eyes
him, then touches Bobby's cheek, a truly loving gesture:
BURT GRUSINSKY
(almost to himself)
Okay...
(to an officer)
We'll move `em to Corona. I'll
lead the line.
Bobby takes Rosario's hand as we GO TO:
EXT. MOTEL PARKING LOT
THREE CARS: Burt in one, heading the route. Behind him is
Bobby and Rosario's car, with guard Vitt behind the wheel
and the two of them in the back seat. A third car has TWO
OFFICERS in it. That vehicle trails the other two. The
CARS DRIVE OFF.
NOTE: THE FOLLOWING SEQUENCE IS TO BE SHOT IN A MOSTLY
SUBJECTIVE WAY, WITH THE EMPHASIS ON WITNESSING THE ACTION
AS OUR CHARACTERS WOULD.
93.
INT. BOBBY'S CAR
Bobby and Rosario are in the back seat. She looks through
her pocketbook for some gum, he remains focused on the view
through the windshield of his father's car.
Bobby's driver, Vitt, follows Burt down the streets. RAIN
is FALLING frighteningly HARD, to the point where the
windshield wipers aren't moving fast enough for the water
on the windshield. Upsetting. Visibility's terrible.
The cars swing onto the Kosciusko Bridge loop. The traffic
is sparse this early morning. We HEAR the THUMPETY-THUMP
of the bridge beams and the windshield wipers. And we HEAR
the steady, haunting HUM of the bridge surface beneath the
wheels of the automobiles. Bobby puts his arm around
Rosario, in the back seat. Re the rain:
BOBBY GREEN
It's really coming down...
ROSARIO DIAZ
Bobby--I think I left my watch at
the hotel--
Bobby does not answer, instead spots an OLDSMOBILE driving
alongside his vehicle. Seems a bit suspicious, the way
it's moving...
BOBBY GREEN
Hey--Vitt--I think somethin's on
our right!
VITT THE GUARD
(TURNING)
Huh--?
A FLASH!
CRACK! A BULLET punctures the windshield, but we don't
HEAR the SHOT. The hole SEEMS TO APPEAR almost out of
nowhere. The windshield cracks down the middle...
VITT IS HIT in the SHOULDER, and he lets out a piercing
cry. Blood hits the seat. Rosario screams. Bobby pushes
her head down, into the back seat.
THE CAR starts to swerve. Bobby climbs awkwardly over to
the front seat. Takes the WHEEL, forcefully pulling Vitt
to the side. To Rosario:
BOBBY GREEN
Get down!
(CONTINUED)
94.
CONTINUED:
Rosario crouches, covers the back of her head with her
hands. THE WATER gets pushed away by the speedy wipers
REVEALING: BURT'S CAR AND THE OLDSMOBILE HITTING EACH
OTHER, SIDE TO SIDE; THEN, A HUBCAP--we don't know from
which car it's been dislodged...
COMES SPINNING AT INCREDIBLE SPEED. AT BOBBY'S WINDSHIELD.
Right at BOBBY, RIGHT AT US. WE BLINK. Bobby swerves.
THE HUBCAP SKIDS OFF the front windshield. Bobby brushes
up against the guardrail. We SEE THAT IT is all that
protects him from spinning off into the river, two hundred
feet below.
Bobby darts from lane to lane, and the THIRD POLICE CAR--
behind the Olds--has SLAMMED on its BRAKES to avoid hitting
Bobby's car...
THE OLDS IS RIGHT NEXT TO BURT'S CAR. BOBBY SEES the
barrel of the gun swing to Burt.
ANOTHER BIG PUDDLE--A MUFFLED THUNDERCLAP sound... The
water slides away, REVEALING that the back window of Burt's
car has shattered.
Bobby is startled at this, his mouth momentarily drooping
open. He CAN SEE:
HIS FATHER, FIRING his WEAPON out the window at the OLDS.
We HEAR BURT through the RADIO, a STATIC-RAVAGED SIGNAL:
BURT'S VOICE (RADIO FILTER)
They got a hit on! Get support,
now!
Bobby pulls up alongside the Olds. Looks inside. He tries
to get a good look but cannot. He SEES TWO people in the
car, one driving and one doing the shooting--
BOOM! And it punctures a hole in the side of Bobby's rear
door. Rosario is JOLTED--screams again...
BOBBY GREEN
Rosario! You hurt?
She shakes her head, her face still buried in the vinyl.
She's hysterical--but physically unharmed.
The traffic gets denser now. The WEATHER is terrible,
blinding. Rushes of WATER COVER the glass around the car,
wrecking visibility. We ARE ON: the B.Q.E., with many
trucks, big and small, on it.
(CONTINUED)
95.
CONTINUED: (2)
The Olds weaves in and out, in front of and behind, many
large semis. BOBBY WATCHES AS: Burt's car is right behind
the Olds. This is unbelievably dangerous.
A TRUCK starts changing lanes. The Olds scoots past it
before it does, but: Burt does not. THE TRUCK CLIPS Burt's
car on the driver's side. He sneaks through, recovering
and keeping up the pursuit.
POLICE CARS, SIRENS BLAZING, JOIN THE PURSUIT...
The truck starts to skid on the drenched roadway. Then: IT
JACKNIFES, spinning out. The Police Car behind Bobby's
slams into the truck, making a MACABRE CRUNCHING SOUND.
BOBBY'S EYES, as he turns around and witnesses the horrific
accident through the RAIN-SOAKED rear window. It is
TERRIBLE:
The truck CRUSHES the Police car, its carriage flipping
over and flattening the vehicle and probably the people
inside.
The Olds skids ferociously, pulling off the expressway
toward city streets. Burt's car follows. Burt's car and
the Olds are neck-and-neck. Bobby pulls up beside Burt.
Into the radio:
BOBBY GREEN (CONT'D)
Pop, lay back!
But Burt does not. Burt has a clear shot at the hooded man
in the back seat. HE FIRES.
A HIT! We can see the BLOOD spatter the perp's automobile.
The man's head jerks back spasmodically. We HEAR:
BURT'S VOICE (RADIO FILTER)
I got him! I got the sonofabitch!
AND THEN, CLOSE SHOT ON BOBBY: THREE QUICK CUTS, CLOSER AND
CLOSER...SILENCE... He sees, through the rain: a LONG
SHOTGUN BARREL come out of the window from the rear
passenger's seat area.
His eyes pop. The OLDS SPEEDS UP. THE BARREL OF THE
SHOTGUN turns:
WATER covers the windshield, BLINDING the driver (and us).
The water slides off the glass.
THEN: A TERRIBLE THUNDERCLAP.
(CONTINUED)
96.
CONTINUED: (3)
BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT.
He loses control of the automobile... Bobby freezes, IN
DISBELIEF. IN HORROR. HIS FATHER HAS BEEN SHOT...
EXT. STREET
Through the RAIN, we SEE: a patch of parochial school
children, ASIAN CHILDREN, on the streetcorner.
Bobby's car peels off, away from danger. Burt's car IS
HEADED RIGHT FOR THEM. In what seems like his dazed last
gasp, he SLAMS on the BRAKES. The car skids out, spins.
The motion is DIZZYING...
THE OLDS is uncontrolled. The vehicle moves through a
traffic light, HITTING another car.
STARTS TUMBLING, NOT ON ITS SIDE, BUT HEAD OVER TAIL.
It is one intense image. The car is upside down now. It
slides for tens of feet before stopping. Smoldering...
The rain falls, making an oddly serene sound. We HEAR
SIRENS. The Police are approaching.
Burt's car stops slowly. He gets out of the car, his face
a mess. He stumbles for a few feet in the rain. BOBBY'S
CAR ARRIVES on the SCENE...
BURT'S EYES ARE RED, filling with blood. His JAW is open.
He gasps for air, a vacant stare on his face. His body
spasms. Then he collapses, on his knees. FALLS. FACE
DOWN. IN A POOL OF BLOOD. The Police are in the
background...
WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS
LYING ON THE STREET. Bobby bends down, turning his father
over. His father's blood is all over his hands now.
Burt is dead.
Other cops surround them. Bobby looks up at all of them,
they at him. Broken, he pushes the others away. As water
drips off his face:
BOBBY GREEN
Don't fuckin' look at him! I said
don't--back up! Don't look at
him...
(CONTINUED)
97.
CONTINUED:
Bobby eyes his father, spent, crestfallen--but not
histrionic. The CAMERA TILTS DOWN. The BLOOD from BURT'S
BODY flows into the street, along the curb,into the gutter.
DISSOLVE TO:
INT. POLICE STATION - HALLWAY - NIGHT
Bobby and Rosario, outside an office. Armed cops are up
and down the hall. We HEAR conversation through the walls.
Bobby is standing, smoking a cigarette, holding back tears.
Rosario is seated on a nearby bench--wet, shivering,
stunned. Rosario looks to Bobby:
ROSARIO DIAZ
Bobby? Could I call my mother...?
Speechless, Bobby nods. Jack emerges from the office,
approaches Michael:
JACK SHAPIRO
No I.D. on the guys in the car.
Probably illegals. But Mike--
(pulls M. closer)
--We had that place locked up
tight. How they knew where they
were, I go no idea.
MICHAEL SOLO
(turns to Bobby)
We gotta get you to a secure
location, Bobby--
Bobby, emotional and glassy-eyed, interrupts:
BOBBY GREEN
Does my brother know yet?
MICHAEL SOLO
(beat; then:)
He's taking it very hard.
(BEAT)
They had to sedate him.
These words hit Bobby. His eyes close, forcing tears down
his cheeks.
BOBBY GREEN
Then you gotta take me to him...
(SOTTO)
I wanna go see him...
Michael turns to an OFFICER, motions. The officer leaves.
The camera DOLLIES INTO a CLOSE SHOT of Bobby and we GO TO:
98.
INT. JOSEPH'S HOUSE - DEN
Sitting on the couch is Joseph. He is trying to be stoic,
but appears wan and tired. Alone. We HEAR the crowd in
the house, but they are in the living room. A KNOCK: Bobby
enters.
BOBBY GREEN
Joseph?
Joseph eyes him, seems heartened by the sight of his
brother. But he is out of it, emotionally bludgeoned:
JOSEPH GRUSINSKY
...I'll catch `em, Bobby. Don't
worry...
Bobby walks over to Joseph, stands close to him. Searches
for words. Before he can speak:
JOSEPH GRUSINSKY (CONT'D)
They're gonna need us to identify
the body...
Then, as emotional as we've yet seen him, Bobby strains to
get the sentences out of his mouth:
BOBBY GREEN
I don't know if I can do that. I
MEAN--
(BEAT)
I saw him die...
Bobby breaks down. Joseph responds by CLUTCHING him
tightly. The brothers rock back and forth gently.
BOBBY GREEN (CONT'D)
I wanna stay close to you from now
on, Joe...
(into J's ear)
I wanna stay with you...
INT. FUNERAL HOME - DAY
The shot is of a small and bare room in a Queens funeral
home. In the center is a COFFIN. The camera DOLLIES
TOWARD IT. Entering the room is an UNDERTAKER, with Bobby
and Joseph right behind.
UNDERTAKER
We know mere words cannot suffice
in this time of tragedy. We're so
very sorry about your loss...
(CONTINUED)
99.
CONTINUED:
The Undertaker unhinges the coffin. Inside is Burt, eyes
closed, clothed in a suit. We don't see the body; what we
DO see are the reactions of his two sons. Bobby's grief is
obvious, but he's already seen him dead. This is new
territory for Joseph, who though he does not break down,
seems overwhelmed. Both young men nod in acknowledgement,
and the Undertaker closes the coffin.
UNDERTAKER (CONT'D)
Now I'm told you're going to be
handling the arrangements for
tomorrow's service--?
JOSEPH GRUSINSKY
(DEVASTATED)
That's right...
UNDERTAKER
Could you come with me please?
(to Bobby)
We'll be right back.
As the Undertaker leads Joseph away, Bobby enters an:
INT. ANTECHAMBER
Where waiting are Jack and Michael. Bobby gives a fiery
stare to the two cops. He approaches them. Sotto but
intense, his teeth clenched in a simmering anger:
BOBBY GREEN
You gonna fuckin' catch these guys?
A nod. Bobby senses uncertainty:
BOBBY GREEN (CONT'D)
You ain't got nothing, do you.
Michael looks to Jack, who steps forward:
JACK SHAPIRO
All our uncles on the street been
hearing about a big deal, goin'
down maybe Monday or Tuesday.
(BEAT)
They don't know where yet, but...we
got a feeling--[now that]
Nezhinski's out, he's gonna be
there.
BOBBY GREEN
(growing emotional)
You gotta find that spot...
(CONTINUED)
100.
CONTINUED:
MICHAEL SOLO
You and your brother don't gotta
worry about any of that. Just take
the time you need--
JOSEPH GRUSINSKY
MIKE--
The men all turn around. Joseph stands there, wounded but
COMMITTED:
JOSEPH GRUSINSKY (CONT'D)
I'll be ready to come back and head
it up. I'll be ready and, and
we'll get `em.
(BEAT)
After the funeral.
Joseph turns and reenters the room with the coffin. Bobby
WATCHES him from behind, as his hand runs along the top of
the casket. We HEAR:
BRRRRRRRUUUMMM...BRRRRRRRUUUUMMM...BRRRRRRRUUUMMM...
EXT. INTERBORO CEMETERY - DAY
A LIMOUSINE pulls up against the backdrop of thousands of
tombstones. Emerging are Bobby and Joseph. They are both
wearing dark sunglasses. Rosario and Sandra and the
children get out behind them and are led away by funeral
coordinators to another place in the coming processional.
In the distance, many many people and a long line of cars
move toward the two brothers.
The Undertaker walks away briefly, to direct some traffic.
Bobby slowly puts his arm around Joseph's waist, prompting:
JOSEPH GRUSINSKY
Bobby... I'm real glad you're with
me now...
BOBBY GREEN
Course...
Joseph grows more emotional, adjusts his sunglasses. Leans
to Bobby, clears his throat. Sotto:
JOSEPH GRUSINSKY
You know, I was...I was jealous of
you, [for a] long time.
Bobby is surprised to hear this admission, and is taken
aback by the honesty of it--especially in this moment.
Joseph grabs his brother's arm, his voice cracking:
(CONTINUED)
101.
CONTINUED:
JOSEPH GRUSINSKY (CONT'D)
...I always did what Pop wanted.
And you were free...
Bobby tears up, his voice breaking too; he shakes his head:
BOBBY GREEN
No.... I did it to hurt him... I
disappointed him...
Interrupting the moment, the Undertaker approaches:
UNDERTAKER
Gentlemen?
The Undertaker guides the two men toward the procession.
Just as the drums reach a THUNDEROUS VOLUME, we GO TO:
MINUTES LATER.
A line of cars files into the cemetery, led by the HEARSE.
The procession is PHENOMENALLY LONG. The New York skyline
is in the distance.
UNIFORMED POLICE LINE the narrow road. The COFFIN is
removed from the HEARSE, put on WHEELS for the move to the
gravesite. Bobby, Joseph approach. The DRUMS CONTINUE:
BRRRRRRRUUUMMM...BRRRRRRRUUUMMM...BRRRRRRRUUUMMM...
People get out of their cars. Many of them we recognize
from elsewhere in the film but don't know by name. One of
the people to emerge from a Town Car is MARAT BUZHAYEV and
his ever-present BABUSHKA WIFE, KALINA.
The walk begins, with everyone saluting Bobby and Joseph.
Behind them, the Mayor, the Commissioner, all the rank and
file of the Force. The turnout is enormous. Rosario is
here too, though several rows back. She is with the women.
Bobby peers at the procession, which is made up of hundreds
of SALUTING COPS, others. AMONG THEM, we SPOT:
LOUIS FALSETTI.
At that moment, BOBBY SEES his old friend, and the two make
EYE CONTACT. Bobby is greatly moved by his appearance, and
nods subtly to Jumbo. Louis salutes gently, a slight and
sympathetic smile coming across his face...
SIMULTANEOUS: Joseph takes a look at the COFFIN, grows more
distraught. He breaks down. Bobby is there to catch him
and does.
(CONTINUED)
102.
CONTINUED: (2)
Several WHITE-GLOVED COPS move to help, and then, trying to
recompose himself, he squeezes his brother's forearm for
support. Tries to straighten:
JOSEPH GRUSINSKY
...It's all right... I'll be all
right...
Bobby is devastated by seeing his brother like this and is
momentarily rendered speechless. He tightens his own grasp
around Joseph, leads him on the walk behind the COFFIN.
FURTHER DOWN THE PROCESSIONAL
Rosario. Walking. Eyeing the Cops, the Cop Wives. She
does not fit in. Cops are staring at her. She SEES COP
WIVES looking at her, leaning over to each other and
TALKING ABOUT HER. Though she can't hear what they're
saying, she is made to feel terribly uneasy...
Rosario quickens her pace away from them, and the MARCH
MOVES ON...
EXT. GRAVESITE
The line of police and relatives now heap dirt onto the
coffin, which is in the ground. BOBBY and JOSEPH silently
lead the line, shoveling dirt and moving on. Rosario moves
behind them. Bobby SEES: BEYOND THE CEMETARY GROUNDS:
TEENAGERS have climbed the trees. And they're LAUGHING at
the spectacle. Michael stands next to Bobby.
A beat, then Bobby speaks in a way that's preoccupied.
Almost as if the words are more for himself than for Mike:
BOBBY GREEN
I can't live like this no more,
Mike... They destroyed my family.
(BEAT)
There's a deal going down, I... I
wanna help...
MICHAEL SOLO
You're a civilian, Bobby. Ain't no
way.
Bobby leans closer, more focused:
BOBBY GREEN
I, I could join you.
Michael turns to him, surprised.
(CONTINUED)
103.
CONTINUED:
BOBBY GREEN (CONT'D)
My Pop tol' me you pull guys outta
the Academy, guys with special
knowledge, [and] make `em cops?
You could do that.
MICHAEL SOLO
Bobby, come on--you got your own
life to live--
BOBBY GREEN
(INTERRUPTING)
No. I can't do nothing else now.
A beat, as Mike ponders. Then:
MICHAEL SOLO
Then you gotta understand--this
ain't something you do just for a
vendetta. You gotta go back to the
Academy when you're done, you gotta
commit yourself.
Bobby looks at his brother, then back to Mike.
BOBBY GREEN
I know.
MICHAEL SOLO
Gimme a couple days--I'll talk to
the P.C.
Bobby again eyes Joseph, who stands over the grave wiping
his eyes with a handkerchief. He WALKS OVER to him, puts
his arm around him. Into his ear:
BOBBY GREEN
Joe, I'm gonna join you. I just
decided...
(BEAT)
Okay?
Joseph looks at him for a moment, nods subtly. Then he
looks back into the grave.
BOBBY GREEN (CONT'D)
This is where I belong...
ANGLE BACK on Bobby, as he spots ROSARIO, who stares right
back at him. He's GOING TO HAVE TO TELL HER HIS DECISION.
A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES
into the AIR. FIVE SHOTS...
104.
EXT. PAN AMERICAN MOTOR INN - DAY
A fairly run-down place, on the way to Kennedy Airport.
INT. PAN AMERICAN MOTOR INN - SUITE - LIVING ROOM - DAY
Bobby is still in his funeral suit, standing near the sofa.
Smoking a cigarette, holding a drink in his hand. An ARMED
GUARD accompanies Rosario into the hotel room--they've
arrived home from the funeral separately. She turns her
back to him, puts her handbag down on a dresser.
Bobby eyes the Guard, who promptly leaves the room. He
places his drink on the coffee table.
BOBBY GREEN
I wanna talk to you about
something.
She turns. He starts to take off his tie.
BOBBY GREEN (CONT'D)
I'm thinking of...maybe joining the
Force.
No response from Rosario yet. Surprised and not surprised.
BOBBY GREEN (CONT'D)
I mean, I help find Nezhinski, we
don't gotta live like this the rest
of our lives--moving every three
fuckin' days...
She looks at him for a moment, then stares at the floor.
Shakes her head. She gets emotional:
ROSARIO DIAZ
Bobby, I don't know if I can be
here no more.
BOBBY GREEN
What're you talking about? I just
got through telling you--
ROSARIO DIAZ
No, I think maybe it's time I leave
then--go down to Miami on my own,
with my mother.
BOBBY GREEN
(struggling to stay
CALM)
I can't let you do that. That
ain't safe for you.
(CONTINUED)
105.
CONTINUED:
ROSARIO DIAZ
You know that's not true, Bobby.
They're not after me.
BOBBY GREEN
Hold on a second--I know what I'm
talking about'd be a change.
(BEAT)
It'd be a big change for us.
She is still shaking her head, still staring at the floor:
ROSARIO DIAZ
BOBBY--
Bobby gets up, walks over to the desk. Rubs his fingers on
its surface, not looking at her but resolutely:
BOBBY GREEN
But we could make a life here.
This'd be something we could build
on. We could raise a family,
and...
This seems to focus Rosario who stares at him. He moves
closer to her:
BOBBY GREEN (CONT'D)
Pretty soon you'd fit in.
ROSARIO DIAZ
No I wouldn't...
(BEAT)
They know what I was--what I was
DOING--
BOBBY GREEN
They'll accept you if we're
TOGETHER--
ROSARIO DIAZ
Bobby!
She halts him, opens up. Tearful:
ROSARIO DIAZ (CONT'D)
I gave it all up for you and you
changed everything!
BOBBY GREEN
Gave it up? Gave up what?
(beat; explodes)
GAVE UP WHAT, ROSARIO?!?
(MORE)
(CONTINUED)
106.
CONTINUED: (2)
BOBBY GREEN (CONT'D)
What fuckin' life did you have?
You're a fuckin' cokehead--look at
you!
ROSARIO DIAZ
(beat; deeply hurt)
And you were clean, Bobby? We were
TOGETHER--
BOBBY GREEN
Well, maybe I was a piece of shit
too! Wasting my goddamned time!
She is momentarily speechless.
ROSARIO DIAZ
How could you say that...? We had
PLANS--
BOBBY GREEN
Wake up! All that was nothing!
ROSARIO DIAZ
No! Now is nothing! Look at
what's happened to your family,
Bobby--your father, he's dead--look
at your brother! It could all
happen to you!
BOBBY GREEN
My brother's gonna be all right--
and nothing's gonna happen to me.
ROSARIO DIAZ
That's what you said before.
A moment, then she turns to walk toward the bedroom.
BOBBY GREEN
Hey--where you goin'--
Bobby grabs her.
ROSARIO DIAZ
Get off me! Let me go!
He holds her by the wrists:
BOBBY GREEN
What the fuck you doin'?
ROSARIO DIAZ
Get off me!
(CONTINUED)
107.
CONTINUED: (3)
A TUSSLE. As he tries to restrain her, a torrent of
emotion explodes from Rosario:
ROSARIO DIAZ (CONT'D)
Get off me--I don't want it! It's
not what I want!
She breaks free. Panting, tears streaming down her cheeks.
After a beat, Bobby seeks to calm her.
BOBBY GREEN
All right. Why don't you just calm
down and think about it a little.
She looks at him, frozen.
BOBBY GREEN (CONT'D)
You think about it, you'll feel
different. You'll understand. And
in time, we'll look back on all
this and you'll see I was right.
Look--I love you.
(BEAT)
Why don't you go get some rest?
Without a word, she turns and walks back into the bedroom.
Closes the door. Bobby sinks to the couch, picks up his
drink. After a beat, we HEAR a:
MAN'S VOICE (O.S.)
We appreciate your patience, Bobby.
THE FACE OF SPIRO GIAVANNIS
As he looks into the CAMERA. We can't yet TELL where we
are. He continues, backing up from us slowly, leading us
somewhere not yet in focus:
SPIRO GIAVANNIS
The Commissioner is here now, and
he's ready to go.
We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward,
in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped
now. He is clean shaven. A REAL PHYSICAL TRANSFORMATION.
INT. COMMISSIONER'S OFFICE - DAY
A lavish room. Filled with photographs of important people
shaking hands, receiving awards, etc. COMMISSIONER WILLIAM
RUDDY, a middle-aged, balding, and yes, ruddy-faced man, is
here.
(CONTINUED)
108.
CONTINUED:
COMMISSIONER RUDDY
We're all very sorry about your
father--he was a great man.
BOBBY GREEN
Thank you, sir. I'm gonna try and
do my part too, now.
COMMISSIONER RUDDY
Good. Raise your right hand.
Ruddy leads him to the corner of the office. Bobby is
guided into position as: the Commissioner picks up a small,
leather-bound black book. With one hand, he holds the
Bible upon which Bobby places his hand. With the other, he
holds a manual, off which he reads an oath:
COMMISSIONER RUDDY (CONT'D)
"I hereby pledge and declare..."
Bobby repeats after him. (This process continues until the
entire PLEDGE IS COMPLETED.)
BOBBY GREEN
"I, Robert Green, hereby pledge and
DECLARE--
SERIES OF SHOTS:
Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and
his BADGE. Over this, we STILL HEAR:
BOBBY GREEN
"--that I will support and defend
the Constitution, both of the
United States government and the
State of New York, to the best of
my ability..."
INT. POLICE STATION HALLWAY
He walks down the hall, with his back to us.
BOBBY GREEN
"...I will faithfully discharge my
duties in the rank of rider in the
New York City Police Department.
So help me God."
BACK TO THE COMMISSIONER'S OFFICE
Ruddy and Giavannis shake Bobby's hand vigorously:
(CONTINUED)
109.
CONTINUED:
COMMISSIONER WILLIAM RUDDY
Congratulations!
BACK TO THE POLICE STATION HALLWAY
CLOSE SHOT on BOBBY, PAUSING right before he enters the
MUSTER ROOM. HE takes a breath and ENTERS:
INT. POLICE STATION - MUSTER ROOM
Many cops, mug shots and files strewn all over. A
discussion, in media res. Many cops approach Bobby, all of
whom shake his hand, AD-LIBBING WHISPERED "HEY, BOBBY" and
"WELCOME TO THE FORCE." Bobby thanks them, then moves to
stand behind his brother. Michael testily grills Jack on
the investigative progress:
MICHAEL SOLO
...But we got our guys out there,
working the street all over? I
mean, they coupeing or they
working?
JACK SHAPIRO
Everybody's out there, bustin'
balls, left and right! What else
you want us to do?
As Michael says the following dialog, a UNIFORMED OFFICER
comes up to Bobby. Sotto, in his ear, he speaks to him:
UNIFORMED OFFICER
Bobby, a Rosario Diaz's been
callin' for you. She says she
needs to talk to you.
BOBBY GREEN
Thanks. I'll call her back.
MICHAEL SOLO (SIMULTANEOUS)
Well, you tell Narcotics Queens we
got an A-1 sale hanging over our
head and either they help us or we
fuckin' take it out on `em later!
The Uniformed Officer leaves, and Bobby stays put to hear
this exchange.
JOSEPH GRUSINSKY
What about Nezhinski's uncle? That
clubowner--Marat Buzhayev?
(CONTINUED)
110.
CONTINUED:
JACK SHAPIRO
Clean. We tailed him for weeks.
Goes out with his grandkids, takes
`em horseriding at Floyd Bennett
Field... Checks on his fur
business from time to time--we even
looked at some of the coats and
tore `em apart. Turned out to be
fake sable, if you could believe
it.
JOSEPH GRUSINSKY
It's comin' up quick, we don't know
anything... We're gonna lose it...
MICHAEL SOLO
Joe--this is still new territory
for all of us. I mean, we hadda
use your brother here to get any
results to begin with.
Michael points to Bobby, who up until now had been focused
on--and concerned by--his brother's behavior.
JOSEPH GRUSINSKY
I know that. And my family takes
the hit--my family...
An awkward silence. Everyone's pained. Bobby stiffens:
BOBBY GREEN
Could you guys go outside for a
minute? I wanna talk to my
brother.
Michael hesitates, then nods. Everyone wheels around and
exits the room. Jack follows Mike out the door. Bobby
turns to his brother:
BOBBY GREEN (CONT'D)
You're trying to do everything--
it's gonna kill you.
JOSEPH GRUSINSKY
(shrugs ruefully)
We don't got much time...we lose
Nezhinski, we're both dead...
[The] streets'll get flooded, the
whole City's gonna be on fire--
BOBBY GREEN
We could handle it. I mean, I come
on to help you--
(CONTINUED)
111.
CONTINUED: (2)
JOSEPH GRUSINSKY
(INTERRUPTING)
Well, I didn't ask you to do that.
I don't need your help--I could
deal with it on my own.
BOBBY GREEN
I know. But you don't gotta do
everything yourself. That's what
I'm trying to tell you.
Bobby eyes Joseph, who looks deeply troubled. Bobby sits.
BOBBY GREEN (CONT'D)
Joe, what's wrong? Come on, you
can tell me.
(BEAT)
A deal this big, something's gonna
come up. You'll see--someone'll
fold.
Joseph ponders for a beat, then comes out with it:
JOSEPH GRUSINSKY
It's not that. It's just... You
give up what you wanted to do to be
here, Bobby. And part of me feels
a little responsible.
BOBBY GREEN
Nah, you didn't do nothing. It's
meant to be. You can't fuckin'
control it...
JOSEPH GRUSINSKY
(slight laugh)
You know, I remember when Pop was
mad at you, he always used to say
you didn't believe in our family.
And Mom, she'd protect you. She'd
give you those little caramels...
Anyway, I knew he was wrong too,
but I didn't say nothing.
Just then: the Uniformed Officer KNOCKS and RE-ENTERS:
UNIFORMED OFFICER
Bobby, Rosario Diaz just called
again.
BOBBY GREEN
Tell her I'm on my way back now.
(to Joseph)
Don't worry.
(MORE)
(CONTINUED)
112.
CONTINUED: (3)
BOBBY GREEN (CONT'D)
That's all in the past.
(kisses him)
I'll see you later.
EXT. PAN AMERICAN MOTOR INN - DAY
An UNMARKED CAR with Bobby inside pulls up to the front. A
GUARD steps forward to greet, protects him.
INT. MOTEL ROOM
Bobby enters. There are several guards in the space.
Bobby scans the room, and quickly notices EVERYTHING OF
ROSARIO'S IS GONE. Bobby wheels around, to a GUARD.
INTENSE EXPRESSION.
BOBBY GREEN
What happened--where'd she go?!?
GUARD
She left about an hour ago. She
said to give you this--
The GUARD hands Bobby a NOTE. BOBBY SEES IT, GRABS IT
WITHOUT READING IT.
BOBBY GREEN
We gotta go find her!
GUARD
She asked us not to, Bobby. She's--
Bobby--we can't do that legally!
Bobby tries to charge past them. The Guards all restrain
him delicately ("C'mon, calm down"), but Bobby is in no
mood and instead starts a melee. He is a tour de force of
energy, and it takes no less than everyone here to subdue
him. The FIGHT is more a WRESTLING MATCH than anything
else, and it is messy, tough:
BOBBY GREEN
DON'T--FUCKIN'--
Bobby's forehead is cut; the struggle is UGLY. The Guards
rouse up enough strength to PUSH HIM into the HOTEL ROOM
for GOOD. THE DOOR SLAMS. A SILENT BEAT. Bobby paces, in
a rage. Then, sarcastic:
BOBBY GREEN (CONT'D)
Go `head! Keep me in here--KEEP ME
HERE!
(CONTINUED)
113.
CONTINUED:
GUARD'S VOICE (MUFFLED)
Bobby, we don't wanna have to put
you in restraints, so just calm
down!
(BEAT)
Calm the fuck down!
Bobby stares at the door.
BOBBY GREEN
You gonna keep me here? HUH?!?
Still in a fury, he takes a lamp and HITS THE DOOR
REPEATEDLY. Then he HURLS the lamp toward a mirror on the
wall, AND IT SHATTERS... Exhausted, he stops. Moves to:
INT. BEDROOM
Where he sits on the edge of the bed, touches his neck.
BLOOD on his hand. He STILL GRIPS THE UNREAD NOTE. He
throws it to the ground; and then, perhaps motivated by the
realization of his situation, a flood of feeling comes over
him. Tears begin to fall down his face, and he succumbs.
It is as though all of the emotions in our story find their
outlet here, in this moment. Bobby lets all the remaining
feeling drain from him until he has nothing left.
After this outburst, he is exhausted. He calms, breathing
heavily. A beat; he puts his bloodied hand to his head...
We PRELAP the SOUND of a PHONE RINGING:
INT. QUEENS BAR - PHONE BOOTH
A noisy Queens place, its blue collar patrons watching
boxing on the television and cheering. PAN OVER TO: one of
those old, in-the-wall phone booths, with a sliding door.
Bobby is on the phone, seated in the dark space. Holds a
GLASS half-full of LIQUOR. Distraught, he listens for an
answer as the PHONE RINGS once more. Then:
A MAN'S VOICE (PHONE FILTER)
Hello?
A BEAT. Bobby collects himself. Then:
BOBBY GREEN
It's me, Lou.
LOUIS FALSETTI (PHONE FILTER)
HEY!!!! Bobkes!!! How you doin'?!
(CONTINUED)
114.
CONTINUED:
BOBBY GREEN
I'm okay. Listen uh, you ain't
spoke to Rosario lately, have you?
LOUIS FALSETTI
No. She's holed up with you, ain't
she?--God knows where.
BOBBY GREEN
Yeah--it's just, she must've gone
out for a little bit and...I wanted
to get in touch with her.
LOUIS FALSETTI
Well, I talk to her, I'll tell her
you called.
BOBBY GREEN
Thanks... You know, things are
really changing on my end. I ain't
gonna be in protection anymore.
LOUIS FALSETTI (PHONE FILTER)
Oh Bob! That's great! Whaddaya
say we knock back a few in your
Dad's memory tonight?
BOBBY GREEN
...I, I don't know...
LOUIS FALSETTI (PHONE FILTER)
Come on! El Caribe's got their
masquerade party--every third
drink's free. Be like old times!
(BEAT)
I'll be there--what more could ask
for! C'mon! You comin'? Huh?
(BEAT)
You gonna be a man or not?
ANGLE on BOBBY as we GO TO:
INT. EL CARIBE NIGHTCLUB - NIGHT
A SHOW is about to go on. The place has a darker quality
to it now, and many patrons are wearing HALLOWEEN MASKS.
BOBBY ENTERS, approaches a table in the back, where seated
are Louis and Louis' girlfriend, HAZEL. Lou is armed with
a huge grin, and he stands and hugs Bobby:
LOUIS FALSETTI
My brother! The Grand Return!
As they sit, Lou notices Bobby is alone:
(CONTINUED)
115.
CONTINUED:
LOUIS FALSETTI (CONT'D)
You ain't heard from Rosario yet?
BOBBY GREEN
No...
LOUIS FALSETTI
(moves closer)
You want Hazel here to fix you up
with a little something? I'm only
kiddin'--let's have a drink--
(to a waitress)
Hey Natasha, over there!
HAZEL
Why don't you slow down a little?
You're already acting stupid!
LOUIS FALSETTI
And you're already acting like a
pain in my ass! I can hold my
liquor and yours!
BOBBY GREEN
Jumbo, I don't want nothing right
now--don't worry about it.
JUST THEN, THE HOUSE LIGHTS DIM. A SPOTLIGHT on the STAGE.
MARAT BUZHAYEV ambles up to the microphone with some
difficulty.
MARAT BUZHAYEV
Good evening. My name is Marat
Buzhayev, and I'm the owner of the
El Caribe. We have a special
night, tonight--the Odessa Dance
Troop is here to perform for us. I
know you'll enjoy it.
APPLAUSE. Marat holds up his hands to quiet the clapping:
MARAT BUZHAYEV (CONT'D)
We also have an old friend who's
come back to us--I want him to
stand--Bobby? Ladies and
gentlemen, Bobby Green, who used to
be our manager here...
MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands
briefly, sheepishly. Marat waves to him, Bobby nods, sits.
The SPOTLIGHT swings back to Marat who finishes up his
introduction ("Enjoy the show!
(CONTINUED)
116.
CONTINUED: (2)
Thank you.") and exits to still more applause. ELI
MIRICHENKO, Marat's son-in-law, approaches Bobby. In his
EAR:
ELI MIRICHENKO
My father-in-law would love it if
you come upstairs later, to say
hello.
BOBBY GREEN
Okay, Eli. Tell him I'll come up.
Eli nods, exits. Beat. Then, sensing Bobby's mood:
LOUIS FALSETTI
Bob, you all right?
BOBBY GREEN
(hesitates; then)
Rosario--Rosario's gone down to
Florida for a little while.
LOUIS FALSETTI
Florida?
(BEAT)
Well, she probably just needed a
little time for herself. She'll be
back.
BOBBY GREEN
Yeah...
(more interior)
You know, I was just thinking `bout
when I first met her here...
Working back there...
LOUIS FALSETTI
Ah, don't worry, Bob. I have no
doubt she'll be back.
Louis turns to watch the show for a beat, takes a huge swig
of his DRINK. Then turns AROUND AGAIN; close to Bobby:
LOUIS FALSETTI (CONT'D)
I mean, between you and me, that
place they had you in was drivin'
her crazy. The Kew Motor Inn--we
used to call that the SCREW Motor
Inn, with all the hookers...
(back to Hazel)
Get that waitress wouldja?
Louis turns back to the show. The camera moves into a
CLOSE SHOT on BOBBY as Louis' words FREEZE him. He seems
ready to EXPLODE. Then, finally:
(CONTINUED)
117.
CONTINUED: (3)
BOBBY GREEN
Louis--?
(Lou turns to him)
How'd you know where I was staying?
LOUIS FALSETTI
Huh?
BOBBY GREEN
How'd you know where I was staying?
LOUIS FALSETTI
(CAUGHT)
It was, it was in the papers...
Bobby gets up with astonishing speed and moves right next
to Louis. He grabs his arm tightly and, in his ear:
BOBBY GREEN
It wasn't in no papers, Louis.
Don't make me embarrass you. Let's
go outside, right now.
The camera MOVES INTO a CLOSE SHOT on LOUIS as he FRETS...
EXT. BACK ALLEY
Still grabbing Louis's arm, Bobby wrenches him loose.
Louis stumbles and falls to the asphalt. Bobby steps
FORWARD. Something is different about him now. He is
colder than ice, his eyes black saucers of rage.
BOBBY GREEN
Where's Nezhinski?
LOUIS FALSETTI
I don't know--
BOBBY GREEN
Don't play games with me, Louis.
LOUIS FALSETTI
But I don't kn--
BOBBY GREEN
I just said, DO NOT PLAY GAMES WITH
ME!
(BEAT)
Rosario tol' you where we were
staying, didn't she?!? She trusted
you...
Louis begins to crack. Tears come to his eyes...
(CONTINUED)
118.
CONTINUED:
LOUIS FALSETTI
Bob, we're, we're buddies--we're
like brothers! C'mon!
BOBBY GREEN
You don't mean nothing to me now--
that part of my life is dead.
(beat; for himself)
Today it ended for good...
LOUIS FALSETTI
Bobby I swear--I don't know
nothing!
BOBBY GREEN
You know my father is dead because
of you?
Louis begins to sob quietly, shivering. He brings his hand
to his mouth. Bobby takes a threatening step forward:
BOBBY GREEN (CONT'D)
You know I'm on the Force now? And
I could do anything to you?
Louis' eyes widen. He holds out his hands defensively.
LOUIS FALSETTI
No, wait! Bob, please!
(beat; weakening)
Don't do this to me...
(even softer)
Don't do this to me Bob, please...
BOBBY GREEN
You tell me what you know right now
or I swear to Christ I will make
you disappear.
Louis is crying loudly, like a ten year-old. He falls to
his knees. Shivering in fear, he moves to Bobby's feet:
LOUIS FALSETTI
Bobby, I... I told `em where you
were--but, but it ain't what you
think! I was makin' a buy and
these guys in hoods, they held a
gun to my head--so I tried to give
`em the wrong information!
Bobby clenches his fist. Louis grabs onto him again:
(CONTINUED)
119.
CONTINUED: (2)
LOUIS FALSETTI (CONT'D)
No, wait, listen! It's true!
Rosario tol' me you moved every
couple days, she said you was gonna
move--I thought you'd be gone by
then! It's the truth, Bobby! I
would never try and hurt you!
Never, swear to God!
Bobby stares at him for a moment, then his teeth grit. He
tries to calm himself but cannot. With a ferocity, he
unleashes a brutal punch across Louis' face with the brunt
of his fist. Louis collapses. In Louis' ear:
BOBBY GREEN
You tell me, right now--
(BEAT)
Where's your fuckin' spot?!?
CUT TO:
THE CAMERA DOLLIES past A SHOOTING GALLERY. ADDICTS, their
inert bodies both crumpled and standing in virtual trances,
wander an ALLEYWAY. They RECOIL from CAR HEADLIGHTS:
EXT. ABANDONED BUILDING
An American sedan, a DARK BLUE car, pulls up to the
building. A man gets out--we can't quite tell who it is
yet...
INT. DARK AND DIRTY HALLWAY - ABANDONED APARTMENT BUILDING
A young AFRICAN-AMERICAN MALE stands in a doorway, dressed
in a green parka. The hall, covered with trash and
graffiti, is illuminated by a solitary light bulb. He
guards ANOTHER SHOOTING GALLERY, which is in the room right
behind him.
FOOTSTEPS. The AFRICAN-AMERICAN MALE is on guard. The MAN
emerges from the darkness, his back STILL TO US. Upon
seeing him, the African-American Man smiles, reaches into
his pocket. Hands the unseen man a small yellow envelope:
AFRICAN-AMERICAN MAN
I got your money man, but my shit's
running low. When you get me more?
MAN'S VOICE (SLIGHT ACCENT)
(as he counts the $)
Just hold on a little while longer--
we get more for you soon.
(CONTINUED)
120.
CONTINUED:
AFRICAN-AMERICAN MAN
Yeah? When's that gonna be?
MAN'S VOICE
Tomorrow.
We CUT TO the over-the-shoulder of the man, and leaning out
of the DARKNESS and into the LIGHT: ELI MIRICHENKO, Marat's
son-in-law. He continues:
ELI MIRICHENKO
After tomorrow, everybody's gonna
get well.
The African-American Man nods. Satisfied with the cash,
Eli turns around, walks back down the hallway. ANGLE BACK
ON AFRICAN-AMERICAN MAN as the camera zooms past him, into:
INT. SHOOTING GALLERY
In the darkness, among the addicts: BOBBY GREEN. His face
illuminated only by the sliver of light from the crack in
the door. He's witnessed the whole thing... We HEAR:
COP'S VOICE (O.S.)
We got your boy Eli completely
covered, Bobby.
INT. JOSEPH'S HOUSE - DINING ROOM - NIGHT
The group is all together. Cops we don't know pack the
room, standing around the table. Seated at the table:
Michael, Jack, Bobby, and at the head, Joseph. A TOUGH-
LOOKING COP we've seen before but not met:
TOUGH-LOOKING COP
He just turned in for the night.
(BEAT)
Can't move an inch without us up
his ass.
BOBBY GREEN
Well, he said tomorrow and that's
what matters.
TOUGH-LOOKING COP
And we'll be right there with him--
you can be sure of that.
MICHAEL SOLO
They're movin' serious weight, we
might be talkin' major league
firepower. Maybe we call in the
Feds.
(CONTINUED)
121.
CONTINUED:
JACK SHAPIRO
The Feds?
MICHAEL SOLO
Each one of `em's got 25 years on
the job with this kinda thing,
Pudge.
BOBBY GREEN
They got one year of experience,
repeated 25 times.
EVERYONE LAUGHS. Bobby turns to Joseph:
BOBBY GREEN (CONT'D)
Pop would never bring `em in, Joe.
We gotta see this through
ourselves...
JACK SHAPIRO
Bobby's right.
Joseph's back stiffens. With resolve:
JOSEPH GRUSINSKY
Yeah, definitely... We'll get the
TAC plan together...
(INTENSE)
And wherever it is, we'll be ready
for `em...
MICHAEL SOLO
Arright, guys. That's it for now.
The troops get up to leave. Jack approaches Joseph.
SOTTO:
JACK SHAPIRO
JOE--
JOSEPH GRUSINSKY
Yeah?
Bobby looks at Jack--who leans in, to Joseph's ear:
JACK SHAPIRO
You know, they're laughin' at us,
out there on the street. Now when
we get there, it'll be up to you
what we do. But I hope you think
about droppin' the hammer on `em.
Joseph contemplates this briefly, then Jack pulls him
CLOSER:
(CONTINUED)
122.
CONTINUED: (2)
JACK SHAPIRO (CONT'D)
I mean--after your father and
everything? These people're like
fuckin' lice.
(BEAT)
Just think about what I'm saying to
you.
Bobby senses the pressure being placed upon his brother,
and he moves Jack away from Joseph:
BOBBY GREEN
All right, c'mon. Enough...
ANGLE ON BOBBY, JOSEPH as we GO TO:
EXT. FLOYD BENNETT FIELD - LATE NIGHT/DAWN
SERIES OF SHOTS of:
1. WIDE SHOT of A MARSH AREA, with tall wheatlike weed
growth that is extremely dense.
2. MEDIUM SHOT of a STRUCTURE, in the middle of this. An
old, small, abandoned stone building, built as a WPA
project in the 1930's. It is a men's/ladies' bathroom,
probably a Robert Moses project, but long since abandoned.
3. WIDE SHOT of the STRUCTURE. The CAMERA BOOMS DOWN, from
high above the STONE BUILDING, and PANS to REVEAL the TALL
WEEDS AROUND IT.
4. MEDIUM SHOT of ELI'S DARK BLUE AUTOMOBILE, arriving.
Eli emerges from the car. A bodyguard behind him, armed
with an AK-47. He prepares to GREET:
AN ARRIVING LIVERY CAR.
Out steps: A HOST of men in suits, grasping suitcases--
presumably filled with money.
THEN ANOTHER TOWN CAR. And yet ANOTHER.
The men all congregate like it's a legal business
transaction. HANDSHAKES, SMILES.
We PAN AROUND, MOVING THROUGH THE WEEDS NOW. And we SEE:
Bobby and Joseph, as they arrive, MOVE INTO POSITION. The
camera MOVES LATERALLY and we SEE: Michael and Jack and
other COPS, doing much the same. All carrying SHOTGUNS.
One COP POINTS A SHOTGUN MICROPHONE at the ACTIVITY, and
our guys can HEAR perp conversations in their EARPIECES...
(CONTINUED)
123.
CONTINUED:
ANOTHER CAR ARRIVES. APPEARING out of it is VADIM
NEZHINSKI. Joseph bristles at the sight of him. Bobby
grabs his brother's arm, squeezes:
BOBBY GREEN
We're gonna get all of `em today.
JUST AT THAT MOMENT, a WHITE VAN PULLS UP: two men get out.
They open the back, FILLED WITH FURS. They take a number
of coats out of the BACK OF THE VAN, bring them to the
shack...
ALL THE COPS appear confused. What the hell is this?
ANOTHER TOWN CAR. A CROWD OF PEOPLE stand around the auto.
Helping someone out of the vehicle. Whoever this is, he's
the EMPEROR...
EMERGING: MARAT BUZHAYEV. Stepping up behind him, Eli,
helping King Marat. MARAT and VADIM greet each other.
They KISS WARMLY. ANGLE ON BOBBY. A beat. We SEE the
devastation. Almost to himself:
BOBBY GREEN (CONT'D)
Lookit the two of them...they're so
fuckin' close...
Then the cops spot: TWO YOUNG GRANDCHILDREN, sitting in the
back of the car. They do not get out. They seem clueless.
STANDING GUARD over all of this is a LOOKOUT, who is armed
with an AK-47. Several other ARMED MEN take positions
closer to the structure as the FURS ARE BROUGHT IN.
BUSINESSMEN make some banter, then enter the shack--led by
NEZHINSKI. MARAT BUZHAYEV and ELI follow him in. Many
other men pour into the structure, BRIEFCASES in hand.
MICHAEL SOLO
Okay--when they complete the sale,
that's when we move. ESU'll grab
the kids.
A TRANSACTION BEGINS inside the shack, and the COPS are
WATCHING. They SEE the action through BROKEN WINDOWS...
INT. SHACK
NEZHINSKI and MARAT, with the Businessmen. He looks behind
him, to MARAT, who steps forward. In Russian:
MARAT BUZHAYEV (SUBTITLE)
This's what we've been planning for
for so long. My nephew has stayed
just to see this through.
(MORE)
(CONTINUED)
124.
CONTINUED:
MARAT BUZHAYEV (SUBTITLE)
When this is done, we'll control
almost the whole market.
(motions to Man)
Each load is completely
untraceable. It's my own method.
The Man places a FUR on a distressed countertop. Rips it
apart. Nezhinski steps forward:
VADIM NEZHINSKI (SUBTITLE)
The rest of the product is in the
van--total weight, 75 kilos.
Places one of the lengths of fur into: A BASIN filled with
fluid... The CAMERA ZOOMS into A CLOSE SHOT on the FUR in
that basin...
The FUR IS POKED a COUPLE OF TIMES. A beat. Then: WHITE
PLUMES RISE from the coat's fabric to the top of the
liquid, and Eli begins to skim the substance off the
surface.
DUMPING OUT some of the substance (now in crystalline form)
onto a pad, MARAT BUZHAYEV hands it to a BUSINESSMAN, who
TASTES it. THE BUSINESSMAN nods, pleased with his
product... He reaches for a SUITCASE. It is OPENED.
Filled with MONEY.
EXT. FIELD
Bobby and Joseph. Joseph has his earpiece, HEARS. Then:
JOSEPH GRUSINSKY
The deal's closing--let's go!
Bobby gets up, out of the weeds, SHOTGUN aimed:
BOBBY GREEN
You're surrounded by the police!
Come out now, with your hands on
your heads!
INT. ABANDONED STRUCTURE
Vadim and Marat SNAP TO ATTENTION. SHOCKED. RUSSIAN WORDS
ARE EXCHANGED, and everyone starts to PANIC...
EXT. FIELD
The COPS begin the assault, EXPLODING FROM EVERYWHERE.
SIRENS, the whole thing. Bobby and Joseph get up, stand
into a crouch and move slowly toward the structure. A GROUP
OF ESU COPS charge MARAT'S CAR, GOING FOR THE CHILDREN--who
watch this with fear and incomprehension...
(CONTINUED)
125.
CONTINUED:
An ARMED GUARD, standing outside the shack, begins to fire
at the cops. EVERYONE OPENS FIRE.
ALL OF A SUDDEN: A COP, that TOUGH-LOOKING COP we saw at
Joseph's house but a few moments earlier, is HIT by the
Armed Guard's fire. HIT IN THE FACE, he falls down near
Joseph and Bobby. DEAD, his visage a bloodied pulp.
CLOSE SHOT ON JOSEPH. HE FREEZES. We momentarily FLASH
CUT back to his OWN SHOOTING... He cannot bear reliving
the terror of his moment...
As the COPS move in: Bobby spins around to look for his
brother. He finds him still on the ground. Joseph seems
unable to move, holding onto his shotgun for dear life:
BOBBY GREEN
Joe?!
Joseph looks at his brother, shakes his head. Completely
shattered in the moment. STILL. SHOTS RING OUT. Bobby
pushes his brother down on the ground. In his ear:
BOBBY GREEN (CONT'D)
Arright, just stay down!
Chaos begins. All of the men inside the small building
have aimed their guns into the WEEDS. But instead of
stopping because of the shooting, Bobby progresses
inexorably toward the structure, his shotgun poised to
fire.
NOW MICHAEL and JACK and OTHER MEMBERS of the NARCOTICS
TEAMS come out of the WEEDS. THEY FIRE their WEAPONS.
MARAT'S GRANDCHILDREN are DRAGGED OUT OF THE CAR, CRYING
LOUDLY...
FIFTY YARDS AWAY
A LINE of UNIFORMED POLICE OFFICERS forms. They move in
unison. Seems like a hundred men. Bobby and Jack and some
of his men are coming from one side, the line from another.
SIRENS. A GUN BATTLE. The LOOKOUT with the AK-47 is hit--
fatally. Bobby SEES several people FLEEING out a back
entrance toward another section of the weeds. Joseph
remains in the grass, his head down, his hands on his head.
We cannot SEE his face...
INT. ABANDONED BATHROOM STRUCTURE
Vadim Nezhinski is frazzled by the approaching FORCE he
sees through the window.
(CONTINUED)
126.
CONTINUED:
Moving with tremendous speed, he begins to light the FURS
on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a
suitcase of money with him. He backs out of the STRUCTURE.
EXT. FLOYD BENNETT FIELD
BILIOUS CLOUDS OF SMOKE. BOBBY is MOVING TOWARD THE
BUILDING.
VADIM SCURRIES INTO THE WEEDS... THE SMALL STRUCTURE
REALLY STARTS TO BURN. It is an odd flame, BLUE and
SILENT.
BOBBY RUNS OFF, into THE WEEDS, following VADIM. ELI
CHARGES TOWARD HIS CAR. JACK is RIGHT BEHIND HIM:
JACK SHAPIRO
Stop! Halt!
Jack ruthlessly pumps Eli full of bullets, and the man
falls down dead. Jack approaches, mercilessly FIRES
ANOTHER SHOT into the corpse...
INT. WEEDS
The WIND HOWLS... Tall, tawny-colored weeds, marsh. BOBBY
moves through the DENSE WEED GROWTH. Pushing his way
through the brown plants.
We HEAR POLICE DOGS. BOBBY starts THRASHING. The CAMERA
is HAND-HELD, MOVING TO AND FRO WITH FEROCIOUS and
VERTIGINOUS SPEED. ANGLE ON BOBBY as we:
FLASH CUT TO:
INT. CAR - IN THE RAIN
It is Bobby, SEEING, through the WET GLASS: BURT, AS HE IS
SHOT. DURING THE CHASE IN THE RAIN. We GO BACK TO:
EXT. WEEDS
Bobby raises his shotgun as he RACES THROUGH THE PHRAGMITES
GRASS. The WEEDS PART. It is TRICKY. HEAVY BREATHING.
BOBBY SEES other MEN running through the weeds, but he
can't tell who's who. CONFUSION...
BOBBY STOPS. FEET CRUSHING THE TWIGS... A GUNSHOT, FROM
WHERE, GOD ONLY KNOWS... A RUSH OF IMAGES--SHADOWED
FIGURES, OBSCURED BY THE WEEDS, APPEAR AND DISAPPEAR LIKE
PHANTOMS...
BOBBY'S HEARTBEAT THUMPS ON THE SOUNDTRACK... A MAN
backing up toward him; each man has his back to the
other...
(CONTINUED)
127.
CONTINUED:
BOBBY DOESN'T SEE HIM YET. BUT WE CAN. THE CAMERA ZOOMS
INTO BOBBY, WITH THE FIGURE BEHIND HIM. BOBBY SEES THE
SHADOW ON THE GROUND. He turns, SLOWLY...raises his
weapon, about to FIRE when he realizes:
It's MICHAEL SOLO, who, in profile to Bobby is unaware he's
almost been killed. He stops when he feels the barrel of
Bobby's shotgun against his ribs. SLOWLY TURNING AROUND,
he sees BOBBY. WHISPERED:
MICHAEL SOLO
This's too dangerous. We'll all
wind up killing each other--
BOBBY GREEN
Vadim is in here with us. Radio
our guys, tell `em to get into the
clearing.
ALL OF A SUDDEN, we HEAR, SHOUTED:
MAN'S VOICE
Bobby! We got the old man!
Bobby looks at Michael, points to his earpiece. Michael
nods, and as we HEAR Mike's words into his radio ("Our
guys, outta the brush!") Bobby starts to back up, toward
the clearing...
EXT. CLEARING
Bobby is greeted by the boys. Other POLICE, including
Michael Solo, emerge from the weeds, quietly. Jack
APPROACHES:
JACK SHAPIRO
We got the old man--Buzhayev. Up
by the cars. His grandkids are
safe--they're in the van.
Bobby acknowledges this, turns to another OFFICER:
BOBBY GREEN
Are all our guys out?
The Officer looks, counts. Then nods. Bobby looks toward
the weeds and says:
BOBBY GREEN (CONT'D)
Burn it.
SEVERAL COPS BREAK FLARES, ROLLING THEM INTO THE WEEDS.
(CONTINUED)
128.
CONTINUED:
All the officers back up--all of them except Bobby. Who
stands, shotgun in hand, waiting for VADIM NEZHINSKI to
emerge from the now-burning brush.
TWO OTHER MEN come out of the fire, coughing. They are
carrying their guns and thus killed by POLICE GUNFIRE. NO
SIGHT OF NEZHINSKI AS BOBBY WAITS. AT LAST, HE DECIDES TO
GO IN.
MICHAEL SOLO
Bobby? What're you doin'--
BOBBY GREEN
I'm not gonna let him get away...
AS the other POLICE panic around him, Bobby ENTERS THE
FIRE...
INT. FIERY WEEDS
Bobby walks through the FLAME. It is OTHERWORLDLY. The
ORANGE-BLUE, the SMOKE, it all seems to blow from left to
right...
CHAOS of HEAT, SMOKE... We HEAR ONLY THE RUSHING WIND...
BOBBY seems INCONCEIVABLY DRIVEN. Methodically stepping
forward, past the FIRES, PEERING THROUGH SMOKE. NOTHING...
JUST TUFTS OF SMOKE...
Then he spots an area in which the SMOKE FLOWS UNNATURALLY,
AGAINST THE BREEZE, as though it SURGES AROUND SOMETHING...
SOMETHING COVERED IN SMOKE, STANDING...
A GUST OF WIND PASSES--REVEALING--A SILHOUETTED FIGURE,
WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY.
VADIM NEZHINSKI, POISED TO SHOOT.
Within what seems like a split second, Bobby raises his
SHOTGUN and FIRES it. VADIM CRUMPLES TO THE GROUND. A
DIRECT HIT to the chest.
Bobby lifts his shotgun and approaches. The weeds
separate, REVEALING NEZHINSKI, with a look on his face that
registers a kind of shock, a shock that he's been hit.
Nezhinski sees Bobby standing over him. With all the
energy he has in the world:
VADIM NEZHINSKI
Don't...don't let me die in here...
Bobby stands over him for a BEAT. Then Bobby turns his
back on Vadim, walks through the fires around him. As
Vadim calls after him ("BOBBY!
(CONTINUED)
129.
CONTINUED:
PLEASE, DON'T LEAVE ME HERE!"), the flames begin to engulf
the area where Nezhinski lies...
EXT. FIELD
BOBBY EMERGES FROM THE FIRE... HE WALKS TOWARD THE POLICE
CARS. THE POLICE ARE ASSEMBLED around: MARAT BUZHAYEV.
BOBBY WATCHES HIM FOR A MOMENT, HIS FACE filled with
CONTROLLED RAGE. BEAT. EACH MAN STARES AT EACH OTHER. THEN:
MARAT BUZHAYEV
Bobby--I, I didn't know it would be
your family--
BOBBY TAKES A THREATENING STEP FORWARD. Bobby's expression
seems unmatched in its ferocity; Marat sees in Bobby's eyes
a horrible determination, begins to cry... Bobby's
emotions are a CAULDRON:
BOBBY GREEN
Get down! On the ground!
Marat gets on his knees. WHIMPERING. Bobby puts Marat's
hands on his head, starts PATTING HIM DOWN. CLEAN.
BOBBY PUTS THE SHOTGUN AT MARAT'S TEMPLE. We HEAR the
DOGS, the FIRE, the WIND, the SIRENS...
The police see the unforgiving expression on Bobby's face
and the reality of the old man in front of them. Bobby
turns to the others, particularly JACK. He looks at him,
dark-eyed. Then he turns away and starts walking, making
eye contact with none of them. He utters a command, to all
of them and none of them in particular:
BOBBY GREEN (CONT'D)
Put him in the fuckin' van...
Don't touch him...
Bobby walks past the small building, which CONTINUES TO
BURN SILENTLY--with that eerie BLUE FLAME... Other cops
watch him with awe and respect. They back away from him.
He proceeds on toward the cars.
HE SEES: Joseph inside one of them, still. Staring at him.
WE DOLLY WITH HIM as he moves to his brother. CROUCHES
DOWN, stays by JOSEPH...
CLOSE SHOT OF AN ANNOUNCEMENT BOARD, SURROUNDED BY FLOWERS:
"ONE P.M.: N.Y.P.D. EVENT - ACADEMY GRADUATION."
130.
INT. ONE POLICE PLAZA - FOYER - OUTSIDE THE AUDITORIUM
HUNDREDS OF POLICE OFFICERS, all dressed up to the nines,
are HERE. White gloves and all. Milling about in a white
plaster walled room. Upbeat chatter. Then: Bobby emerges
through the DOORS in his DRESS BLUES. Upon seeing him, the
others smile, CHEER. People touch him, shake his hand.
Eye him with respect. AD-LIB GREETINGS.
RANDOM OFFICERS
Bobby! Hey! Lookit you--six
months in the Academy and already
you look like a chief!
BOBBY GREEN
Hey everybody...
Bobby moves toward the AUDITORIUM DOORS. Now Michael
approaches. In Bobby's ear:
MICHAEL SOLO
I just saw the commissioner. A
lotta people're gonna wanna talk to
you--important people. About maybe
settin' you up with your own unit.
BOBBY GREEN
All right. We'll talk about that
after.
Bobby sees: JOSEPH, STANDING nearby with his hand on his
child's shoulder, the rest of his FAMILY SURROUNDING HIM.
The brothers embrace. Then:
BOBBY GREEN (CONT'D)
They're getting started--we should
probably go in now.
INT. AUDITORIUM
The ceremony is getting underway. As Bobby and Joseph move
past the seated crowd toward their chairs in front:
JOSEPH GRUSINSKY
You know, I think Pop would be real
happy to see you like this.
BOBBY GREEN
(slight ironic laugh)
I don't think he'd believe it...
But I guess things don't always go
the way you think they will.
(CONTINUED)
131.
CONTINUED:
JOSEPH GRUSINSKY
Ah, the Force'll treat you good.
I'm sure you do very well.
BOBBY GREEN
You definitely gonna leave? Ain't
no way you change your mind?
JOSEPH GRUSINSKY
(shakes head; then:)
It's the right thing. It's over
for me--I'm out.
BOBBY GREEN
Listen, we'll spend some more time
together from now on. Okay? I'll
come over next week.
JOSEPH GRUSINSKY
Arright, yeah. Sounds good.
Bobby approaches the POLICE CHAPLAIN, hands him a note.
BOBBY GREEN
Chaplain? I'd like you to
introduce me this way. If you
don't mind.
The CHAPLAIN looks at the paper, nods. He then walks to
the podium. Bobby sits as the Chaplain begins:
POLICE CHAPLAIN
Ladies and gentlemen: we shall
begin today's ceremony with the
traditional invocation, moving then
to the valedictorian address to be
given by...Robert Grusinsky. Son
of the late Deputy Chief Albert
Grusinsky, brother of Captain
Joseph Grusinsky.
ANGLE ON BOBBY as his REAL NAME is SPOKEN:
POLICE CHAPLAIN (CONT'D)
You know, as I look at this fine
young man seated here, I can't help
but think about all the young
members of our department. I get
filled with such pride.
(BEAT)
Men like him are the great future
of our Force...
(CONTINUED)
132.
CONTINUED: (2)
As the man speaks, Bobby SCANS the room. HE SEES ROSARIO,
standing in the crowd behind the seated audience. Her face
is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF
EMOTION that overwhelms him, the happiness he feels upon
catching a glimpse of her.
But just as quickly as this thrill grabs him, it disappears
when she becomes completely visible; for he realizes that
IT IS NOT HER but rather a young woman who bears merely a
faint resemblance... Joseph interrupts this, leans over:
JOSEPH GRUSINSKY
I love you, Bobby.
BOBBY GREEN
(back to reality)
Love you too, Joe.
Police line up on the stage. Everyone's seated, Bobby and
Joseph in front. The POLICE BAND begins to play the drums.
Bobby straightens up, raises his hand--along with the sea
of blue--in a SALUTE as the flag is carried to the front.
THE END
