Blow
INT. VENETIAN KING APTS. – CONTINUOUS
George is pinned against the wall and the Colombian men all start screaming at him in Spanish. There seems to be a problem. A man, ALESSANDRO, steps forward. He is the one who speaks English.
ALESSANDRO QUIET! Callate! Where’s Diego?
GEORGE I don’t know. He sent me. I’m George.
ALESSANDRO Oh, I see. George. Well, that explains everything. Open your mouth, George.
George’s puzzled look is replaced by a gun barrel in his face. Alessandro presses it against George’s front teeth.
ALESSANDRO (CONT’D) Now, you listen to me. Are you hearing me?
George nods.
ALESSANDRO (CONT’D) You see this?
He indicates two duffel bags stuffed with fifty kilos of cocaine.
ALESSANDRO (CONT’D) I’ve been holding this shit for him for three weeks. You tell Diego I don’t appreciate it. You tell him I want my money by Friday. Can you do that?
GEORGE Um-hmm.
INT. JUNG HOUSE – GEORGE’S ROOM – DAY
George sits on his bed, reading. Two duffel bags are tucked away in the closet. Ermine pokes her head in.
ERMINE You have a phone call.
George picks up the phone.
DIEGO (O.S.) George.
GEORGE
Jesus Christ, Diego, where are you? It’s been eleven days and these guys want their fucking money.
DIEGO (O.S.) Bad news, George. I’m in Colombia.
GEORGE Well, you better get here fast. I’m sitting on…
George notices Ermine is loitering in the hallway, eavesdropping.
GEORGE (CONT’D) Hi, Mom.
George acknowledges her before shutting the door in her face.
GEORGE (CONT’D) I’m sitting on fifty fucking keys. Get your ass up here.
INT. CARCEL DE VARONES – MEDELLIN, COLOMBIA – CONTINUOUS
It’s a South American prison. Diego is on the pay phone.
DIEGO It’s a little hard to get away right now. I’m afraid you’re on your own.
INT. FOREAL’S HOUSE – MANHATTAN BEACH – 1977 – NIGHT
George and Derek sit in the living room with MR. T, a hippie ish looking professor. On the table sits various paraphernalia. Scales, beakers, test tubes, and a hot box. George and Derek watch as Mr. T scoops some of George’s cocaine and sets it onto the two-inch metal plate.
MR. T What we’re doing is measuring the purity. Pure coke melts out a hundred and eighty-five, a hundred and ninety degrees. Cutting agents melt much lower. About a hundred degrees. Quality product starts melting at a hundred and forty degrees. That’s what I’m hoping for.
Mr. T turns the dial. 120. 130. 140.
MR. T (CONT’D) Good.
150. 160.
MR. T (CONT’D) Jesus Christ.
170. 180.
MR. T (CONT’D) Holy fucking Mary! Jesus, fuck me running! Where did you get this shit!
At one-hundred and eighty-seven degrees, the white powder dribbles off the hotplate and melts away.
MR. T (CONT’D) Damn! Can I do a fucking line?!
Mr. T puts his nose in the powder. George pulls Foreal aside.
GEORGE What did I tell you?
DEREK It’s great and everything, but what am I going to do with all this?
GEORGE Sell it?
DIEGO Jesus Christ, George, I don’t see you in two years, and you show up at my door with a hundred and ten pounds of cocaine?
GEORGE Just sell it, Derek.
DEREK Alright, but it’s gonna take me a year.
INT. THE WHIPPING POST – MANHATTAN BEACH – 1977 – NIGHT
Money everywhere. All over the floor, the counters, the chairs, and even in the sinks. George and Derek count the money patiently, writing the dollar amount in yellow high lighter on the top of each stack, before wrapping it with a rubber band.
DIEGO Thirty-six hours. I can’t believe it. Everything is gone in thirty-six hours.
GEORGE I think it’s fair to say you underestimated the market there, Derek.
DIEGO Touche.
GEORGE But to the victor belong the spoils.
George divides the money. There’s a hell of a lot.
GEORGE (CONT’D) Half a million for you. Half a million for me. One-point-three five for the Colombians.
DEREK Nice doing business with you, George.
GEORGE Not bad for a weekend’s work, huh?
INT. AIRPORT – MIAMI – DAY
Immaculate in his white turtleneck and sunglasses, George walks with two aluminum cases. He is greeted by Alessandro and his thugs.
ALESSANDRO Greetings, Mr. George.
GEORGE Where do you guys want to count?
ALESSANDRO On the plane.
GEORGE What plane? We going someplace? Where we headed? You have your money. It’s all there. What the fuck is going on?
They usher him away.
EXT. OLAYA HERRERA AIRPORT – MEDELLIN – DAY
SUPERIMPOSE: MEDELLIN, COLOMBIA
The lear jet lands.
EXT. DESERTED SUGAR FACTORY – LOS RIOS, COLOMBIA – DAY
The blazer pulls into a long driveway. They approach a gate where SHIRTLESS TEENAGERS with MAC-10’s stand guard. The gate opens. YOUNG SOLDIERS open the door for George and roughly usher him over to a Jeep within the confine. They frisk him top to bottom. Diego is leaning against another Jeep and waits for George to be released.
DIEGO George, good to see you, my brother.
GEORGE What the fuck is going on? When did you get out of jail?
DIEGO Pablo used his influence. Now, George, watch what you say. Everybody hears everything. A lot of things get said and done that, well, let’s just say this isn’t America. Life is cheap here, you know? No offense, but you know what I’m saying?
GEORGE Yeah. Keep my mouth shut and let you do the talking.
DIEGO Right. Now who is the person in California? The connection?
GEORGE Just a friend.
DIEGO Who? I need to know. Ah, never mind. We’ll talk about it later.
GEORGE Yeah. You do the talking.
The sound of a young man, a MALETON, struggling can be heard in the distance. From another area, PABLO ESCOBAR emerges. He is singular in purpose. He is handed a pistol and moves quickly over to the man and quietly speaks a few words. And then, without emotion, he shoots the maleton in the head. George and Diego, who is visibly shaken, watch. Escobar is handed a towel, and he wipes the splattered blood off his hands, as he moves back.
LARGE COLOMBIAN MAN He will see you now. (to Diego) Not you.
DIEGO There must be some kind of mistake.
LARGE COLOMBIAN MAN No mistake. Mr. Escobar will see Mr. Jung alone. You are to wait here.
George hesitates.
DIEGO It’s alright, George. You go.
LARGE COLOMBIAN MAN This way, please.
The large Colombian man escorts George towards the area where the maleton was just shot. George looks back at Diego as he is led away.
ESCOBAR So, this is the man who takes fifty kilos and makes them disappear in one day?
GEORGE Actually, it was three.
ESCOBAR The man who gives us the airplanes. The man from America. The mafia. Chicago. Boom boom. Hollywood. You are going to open for us the gates of Hollywood, George?
GEORGE It would be my pleasure.
ESCOBAR Good. Very good. Welcome, my friend. Welcome to my country.
Escobar moves over to embrace George. George returns it, and their hands come together. George can’t help it. He reflexively looks at his hands. Escobar understands.
ESCOBAR (CONT’D) The man in the garden. He was full of courage.
GEORGE Un sapo?
ESCOBAR Un rata – no good. But he could have run, fled the country. Gone to the policia. But then his wife, his children, his parents, his friends, many people would die.
GEORGE Yes.
ESCOBAR But, never mind. I am thinking we can do much together. This problem with Diego, the stolen car, the jail, is very silly business. To release him from the carcel, it causes me much inconvenience. The fifty kilos could have been a big problem. And I don’t like problems.
GEORGE With all respect, Padrino. Diego is my partner. I do not do business without him.
Escobar looks at him with a cold stare. But George doesn’t flinch. His face reveals nothing. Finally, a smile breaks across Pablo’s lips.
ESCOBAR I like you, George. You are loyal. That is good. That is rare. Maybe crazy. Yes. I can tell already. You are like me. I look at you and I see myself. It’s in the eyes, no, George?
GEORGE Yes, it is.
ESCOBAR So, you are wanting to sell the cocaine for me in your country, George?
GEORGE Yes, sir. As much as you can give me.
ESCOBAR As much as I can give you? Ha ha. Very good. I like that. Come, George. Let us drive. We have much to talk about.
Diego watches the two men walk outside. Escobar throws an arm around George’s shoulder. Pablo hops into a Jeep and motions for George. The bodyguards come running. But Pablo waves them away.
EXT. MOUNTAINSIDE – COLOMBIA – DAY
Escobar pulls the Jeep off the road and parks it. Before them is a stunning panorama.
ESCOBAR I like to come up here. To make the decisions. To be one with nature.
GEORGE It’s beautiful.
ESCOBAR People tell me that I am crazy. That my business will never work in your country. What do you think, George?
Escobar looks out over the vista, allowing George the time to respond in full.
GEORGE What do I think? I don’t want my answer to be influenced by what I want, so I’m going to have to say I don’t know.
ESCOBAR Yes. I do not know, either. What do you want, George?
GEORGE I want money.
ESCOBAR Yes. Money. Which is what, George?
GEORGE Freedom.
ESCOBAR Power?
GEORGE Yeah, maybe.
ESCOBAR Family.
GEORGE Sure.
ESCOBAR Beautiful girls?
GEORGE Keep them coming.
ESCOBAR Keep them coming? Ah, yes. Ha ha. You are right. But money.
GEORGE Money.
ESCOBAR And Diego?
GEORGE Diego is my brother.
Escobar looks at George a long time. He’s inscrutable.
ESCOBAR Good. Take care of him, George. I’m fond of him, but he is sometimes like a baby. Keep an eye on him, okay?
EXT. DESERTED SUGAR FACTORY – ENTRANCE – DAY
Diego is a little pissed off for being left for so long. He taps his foot and picks at his fingernails. Escobar and George pull up in the Jeep. Diego leaps to his feet.
DIEGO Padrino.
Escobar wraps his arms around Diego in an embrace.
ESCOBAR Diego, mijo. I’ve made a decision. We are going into business and I would like to start right away.
MONTAGE – GEORGE AND DIEGO TAKING OVER THE WORLD
The following images are overlaid with snow falling and money dropping through frame. CLOSE SHOTS of George and Diego on the phone, wheeling and dealing, hands counting cash, and lines being drawn off mirrors. The effect is surreal and dreamy.
INT. WAREHOUSE – DAY
A duffel bag is unzipped, revealing bricks and bricks of cocaine. Each marked with a “P.” A knife punctures one of the bricks. A mound of white powder is brought up to a man’s nose. It’s George who samples, and then it is sampled by the man he is doing business with. The shot widens TO REVEAL all the participants and dozens and dozens of duffel bags. A handshake seals the deal.
STILL PHOTOS
Handshake after handshake after handshake.
INT. MIAMI HOUSE – NIGHT
George and Diego counting cash. It’s everywhere. All over the floor, in two-foot stacks.
MORE STILL PHOTOS
Various transactions completed.
INT. MIAMI HOUSE – NIGHT
George and Diego count. It’s ridiculous how much money there is. The stacks are now waist high and spill into other rooms. Inez is there, pacing the floor and rapid-fire talking on the phone.
MORE STILL PHOTOS
George and Diego, the Banditos. Cigars. Champagne. Arms around each other in camaraderie. In Diego’s yellow Ferrari. With Inez, sunning on a yacht. More coke and more transactions. When the deals are with Derek Foreal, Diego is always notably absent.
INT. MIAMI HOUSE – NIGHT
The money is so high, it almost reaches the ceiling. There is nowhere to put it. George and Diego sit at the coffee table, dwarfed by the stacks of bills. There is a discrepancy in the count.
GEORGE Three million. I counted it twice.
DIEGO It’s two-point-five, George. I am sure.
George starts to pick up the money.
GEORGE I’m calling it three.
DIEGO We’re half a million off.
GEORGE Fuck it. I’m not counting it again.
DIEGO Weight it. If it’s sixty pounds, it’s three. If it’s fifty, it’s two-point five.
GEORGE I don’t give a shit. Close enough.
George moves down the hall looking for a place to stack the money, but there is no more room.
GEORGE (CONT’D) Where do I put this!?
DIEGO Try the back bedroom.
George opens the back bedroom door to find wall-to-wall money. It’s packed.
GEORGE There’s no room.
DIEGO Try the closet.
No luck there, either. George drops the money on the floor and moves back into the living room.
GEORGE We’ve got to do something about this.
INT. BANCO DE FEDERALE – PANAMA CITY – DAY
SUPERIMPOSE: PANAMA CITY, PANAMA
George and Diego watch as their money is hauled into a huge wall safe. Armed Panamanian soldiers stand guard. The Panamanian officials and the BANK PRESIDENT oversee the proceedings.
GEORGE Are you comfortable with this?
DIEGO George, we’ve got sixty-one million dollars. It’s either here or someplace else. We’ve got to put it somewhere. Unless you want to launder it.
GEORGE And keep only forty-percent? No thanks.
DIEGO Then relax. It’s a federal bank. Guaranteed by the government. And Senor Noriega has very lenient banking principles. No questions. No problems. All the pesados keep their money here. Even El Padrino. What do you worry? Everyone knows we are with Escobar. Who is going to fuck with us?
INT. BANCO DE FEDERALE – PRESIDENT’S OFFICE – DAY
George and Diego sign papers. The bank president congratulates them and hands them documentation.
GEORGE I love it.
BANK PRESIDENT I’m sorry.
GEORGE I give you thirty-million dollars and you give me this little book.
MORE STILL PHOTOS
Diego and Inez’s wedding. The ceremony. The ring. The kiss. The lineup with all of the bridesmaids. George is the best man, and the only American.
INT. BILTMORE HOTEL – BALLROOM – NIGHT
A huge reception. All the pomp and circumstance Colombian money can buy. Politicians. Policemen. And every smuggler north of Colombia. George sits with Diego and Inez at the table of honor. Inez is opening presents. Diego’s tipsiness is a little out of character, but hey, it’s his wedding day and a little champagne never hurt anyone. He drunkenly throws his arm around George’s shoulder.
DIEGO I’m married, George. Me. I can’t believe it. Can you believe I’m married, George?
GEORGE You’re a lucky man, Diego.
DIEGO I love you, my brother, do you know that?
GEORGE I love you too, man.
George notices MIRTHA showing teeth across the room.
GEORGE (CONT’D) I’ll be right back, Diego.
INEZ Look, honey, a power boat.
DIEGO Great, baby, great!
They kiss. George walks across the dance floor directly towards Mirtha.
GEORGE Hello.
MIRTHA Hello.
GEORGE Do I know you?
MIRTHA I don’t think so.
GEORGE Why are you smiling?
MIRTHA Why are you smiling?
GEORGE I don’t know. My name is George.
MIRTHA I know who you are, El Americano. Mister George.
GEORGE What is your name?
Cesar arrives.
CESAR Mr. Jung, I see you’ve met my fiancee, Mirtha.
He kisses her.
GEORGE Mirtha.
CESAR Diego needs to see you right away, please. Excuse us, Amorcito.
They leave. George looks back, Mirtha is giving him more teeth. George arrives at the table. Various greetings.
AUGUSTO Pleased to meet you finally, George. I am Augusto Oliveras.
GEORGE My pleasure, Augusto. Diego has told me much about you.
RAMON OCHOA Congratulations on your conquest of the West Coast. How much bigger can we get?
GEORGE Sky’s the limit. We’re just beginning to tap the market. If it’s accepted by actors and musicians, the rest will follow.
They all agree. Mirtha still gives George the teeth from across the room. Diego returns to the table.
AUGUSTO We are talking about George’s West Coast operation.
DIEGO Ah, George’s mystery man.
RAFAEL OJEDA Yes, where is this man? When do we meet him?
DIEGO You don’t meet him. George keeps this a secret. He’s here meeting everyone, goes to Colombia and meets Pablo, but still keeps his secrets. Even from his brother.
JUAN CARLOS “THE GUAPO” Come on, George, we’re all in this together.
EMILIO OCHOA Yes, George, there’s enough for everybody.
GEORGE I think Padroni is happy with the current situation. Will you please excuse me?
George exits after Mirtha.
INT. BILTMORE HOTEL – BALLROOM – CONTINUOUS
George steps into the empty lobby looking for Mirtha. He can’t find her. She appears from the shadows and startles him. George embraces her and plants one on her.
MIRTHA You better know what you’re doing, George. You’re playing with fire.
GEORGE I like fire.
MONTAGE – MUSIC CUE – LIVING THE GOOD LIFE
CLOSE UP – George does a huge line, left to right.
CLOSE UP – Mirtha does a huge line, right to left.
EXT. MIAMI DRAG – DAY
A stretch limo flies by, left to right. The windows are open and Mirtha and George whoop it up as they go by.
INT. MIAMI NIGHTCLUB – NIGHT
George and Mirtha out on the crowded dance floor, grooving to the Salsa rhythms.
STILL PHOTOS
Champagne bottles in hand, George and Mirtha on the tarmac running from the limo to the waiting private plane.
EXT. FIVE STAR HOTEL – LOS ANGELES – DAY
George and Mirtha poolside, wearing shades, getting some sun. She blows him a kiss from the adjoining lounge chair. He blows one back. She licks her lips and it’s on. He’s out of the chair, pouring champagne over her tan body, and licking it off. She squeals with delight. A table gets knocked over as they cause a commotion. A hotel manager comes over, but George hands him a wad of cash and he quickly fucks off.
INT. MIAMI NIGHTCLUB – NIGHT – MAGICAL REALITY
The dancing is in SUPER SLOW MOTION now. Passionate, carnal, intimate.
STILL PHOTOS
George buys gifts for Mirtha and she shows them off for the camera. A fur. A ring. A house.
INT. EASTHAM HOUSE – DAY
Overhead shot of George and Mirtha’s bedroom. It’s completely covered with money. Completely covered. George and Mirtha make love on the sea of cash. As CAMERA PULLS UP we see money slowly falling from the ceiling.
INT. SILVER STAR WEDDING CHAPEL – LAS VEGAS – 1978 – DAY
There is no white dress. There is no tuxedo. George and Mirtha haven’t even taken off their sunglasses.
MIRTHA I do.
They kiss. Mirtha wipes her red nose.
MIRTHA (CONT’D) I need a fucking drink.
INT. EASTHAM HOUSE – CONTINUOUS
George moves to the bedroom. Mirtha is pregnant and she’s showing. She’s also bent over a mirror with a straw in her hand. George opens the door and takes her by surprise.
GEORGE Jesus Christ.
MIRTHA Oh, don’t be such a fucking hypocrite. I quit smoking, didn’t I?
GEORGE Put that shit away, they’re here.
INT. EASTHAM HOUSE – DOWNSTAIRS – LATER
Mirtha and George lead Fred and Ermine from room to room, showing off the house. The decor is, well, eclectic. It doesn’t match the architecture.
ERMINE It’s all so beautiful.
MIRTHA What do you think, Dad?
FRED Yeah. Nice.
ERMINE Look at this credenza. If you don’t mind me asking, how much is something like that? It’s got to cost a fortune.
GEORGE (quickly) It’s a family heirloom.
ERMINE I’ve seen those in magazines. They’re not cheap.
GEORGE Mirtha comes from a very wealthy family.
ERMINE Oh, I see.
MIRTHA Come on. I’ll show you the rest of the house.
George and his father move outside.
EXT. GROUNDS – CONTINUOUS
George and his father walk.
GEORGE So, business is going good. I’ve got this import/export thing going on in Miami that’s been very profitable. With my investments…
FRED Don’t bullshit me, George. I don’t see you very much, I don’t want to waste the time.
They move along the rear of the house. Classic cars line the driveway.
FRED (CONT’D) You come from my body, remember? You’re my baby boy. The same kid who would jump off a mountain if someone told him he couldn’t do it. You haven’t changed much. I know the things you do. Not everything. But I get the picture and I don’t care. I don’t like it. It’s not what I would have chosen for you, but it’s your life. It doesn’t have anything to do with me.
He turns and looks at his boy.
FRED (CONT’D) You’re like your mother. You love money.
GEORGE Dad.
FRED No, it’s good. You have a family. It’s good if it makes you happy. It’s nice to have nice things. Are you happy, son?
GEORGE Yeah, Dad. I’m happy right now.
INT. HOLIDAY MOTEL – LITTLE HAVANA – 1978 – DAY
Diego puts a straw in his nose and snorts a big gakker. His eyes are wide, his pupils dilated, and a weapon sticks out of the back of his pants. He knocks the dust off his nose before moving outside. George is on the porch, smoking a cigarette.
DIEGO Three years. How long have we been in business? Three years. Does she get to meet your connection? Was she good enough?
GEORGE Shut up, Diego. They’re going to be here any minute. I’m trying to concentrate.
DIEGO I’m very angry with you, George. Very angry. You don’t take me to California, but you take your bitch wife? A woman? I understand you love her, but it was you and me who started this. You and me.
GEORGE What do you need my connection for, Diego? What are you going to do with it?
DIEGO What do I do with it? Nothing. It’s for peace of mind. It’s for the principle.
George doesn’t have time for this. He checks the cylinders on his weapon and runs over possible scenarios in his mind. But Diego won’t get off the soap box.
GEORGE Jesus fucking Christ, Diego. I ain’t telling you. It’s just business. Now, shut up. You’re driving me crazy.
DIEGO I’m driving you crazy? No. You’re driving me crazy. We had a dream. What happened to our dream?
A black sedan pulls up and FIVE PUERTO RICAN MEN approach the room. George and Diego greet them and lead them inside. It’s game time. The atmosphere is charged with danger and everyone is acutely aware of everything. The guys sit down, their guns bulging through the inside of their suits. The suitcases are opened. The rules are the same. No English. No raising voices. No sudden movements. George offers their leader, TONY, beers for his men, and is politely declined. The count starts. George and Diego riff through ten thousand dollar bundles. Diego is still acting pissy. He’s mumbling to himself, making faces, slamming the money all around. The guys keep a close eye on him. Diego finishes a stack, throws one of the bags on the ground. The conversation is in Spanish unless otherwise indicated.
TONY Algun problema?
GEORGE No no no… no problema, amigo. El dinero esta todo aqui. Lleves las “llaves” y mas tarde lo contaremos. Okay? No problem.
TONY Que problema? Nosotros esperamos.
The pressure is getting to one of the hoods. His name is BENNY. He’s got a crazy eye and he seems ready to snap. George resumes the count, but Diego won’t get off it.
DIEGO (English) You embarrassed me, George. You make me look very bad.
BENNY Que esta diciendo?
GEORGE Nothing. Todo esta bien.
DIEGO (English) Everything is not alright. I bring you in, and you slap my fucking face!
GEORGE This is not the time, Diego.
The men all reach for their pieces and all hell starts to break loose.
TONY Hay algun problema? Hablame!
DIEGO (English) You fucked me in front of my whole family!
GEORGE Fuck you…I didn’t fuck you.
BENNY Maldita sea, que diablos esta diciendo?
GEORGE Esta todo aqui, amigo…take the keys. Take ’em and go.
TONY Que esta pasando aqui, jefe?
DIEGO Sientese ye no se meta en lo que no le importa.
The guns are out and pointed. It’s out of control now.
GEORGE Take it easy! Everything’s okay!
DIEGO Que es lo que quieren de me, hijueputas campesinos?
George steps forward with the keys.
GEORGE Take the fucking keys!
BLAM! Courtesy of Benny, George is hit. The shoulder, the collarbone. It’s hard to tell.
GEORGE (CONT’D) Estoy bien, okay? Everything is alright. There’s no problem. Okay? This never happened. No one has to know anything about this. Diego, I want you to calmly tell them where the fucking coke is. Do it now.
DIEGO Es un Ford blanco junto a una pick-up.
Tony very carefully takes the car keys.
GEORGE No problem, gentlemen. Goodbye.
The men slowly back out the door. George looks at Diego.
GEORGE (CONT’D) Derek Foreal.
DIEGO What?
GEORGE Derek Foreal. Derek Foreal. Derek fucking Foreal. Alright? The answer to all your dreams. Are you happy now?
EXT. LOS ANGELES INTERNATIONAL AIRPORT – DAY
George and Diego exit the terminal. George’s arm is in a sling. The familiar sight of Derek Foreal is Lincoln Continental.
The three men come together, and Diego and Derek are introduced. The men’s hands come together and the FRAME FREEZES on their handshake.
EXT. EASTHAM HOUSE – UPSTAIRS – DAY
Fred pulls into the driveway in his new car and honks the horn. Fred and Ermine get out of the car.
FRED Hello, hello.
INT. OLIVEROS MANSION – MIAMI – NIGHT
It’s a New Year’s Eve party. A lavish Colombian celebration. George and a very pregnant Mirtha move through the crowd to find Augusto.
AUGUSTO I’m so glad you two could make it. Mirtha, look at you. So beautiful. You look like you’re about to burst.
MIRTHA Thanks. I am. Where’s Martha?
AUGUSTO I don’t know. Drunk somewhere. Try the bar. And if you find her, tell her to come, it’s almost midnight.
As Mirtha leaves, Augusto throws his arm around George’s shoulder.
AUGUSTO (CONT’D) It’s good you came down, George. We need to discuss a few things.
DIEGO Where’s Diego?
AUGUSTO He’s not here, George.
GEORGE Yeah, well where is he? And who is this Norman K. guy? That’s all anyone is talking about. Norman K. Norman K. Do I know him?
Augusto lets out a big laugh.
AUGUSTO Norman Cay is not a person. He is an island, George. In the Bahamas. From what they say, it is free and it’s Diego’s new home.
GEORGE What?
Augusto throws an arm around George’s shoulder.
AUGUSTO Let us walk. From what I understand, Diego has bought a hundred and sixty acres, a marina, a hotel, and an airstrip.
GEORGE Motherfucker works fast.
AUGUSTO The word is that soon he is to be king of the middle empire. He is doing multiple runs right now and using the island as a jump-off point.
GEORGE He what?
AUGUSTO Yes. Jack Stevens is already a very busy man. Along with many others. You shouldn’t stay away so long.
GEORGE That’s impossible. We can’t be up and running. Who’s distributing?
Augusto says nothing. But the ball is dropping in Times Square. 10, 9, 8, 7…
GEORGE (CONT’D) Oh, no.
Happy New Year. Streamers, confetti, and champagne. George marches through the kissing guests and over to a phone. He’s steaming. The music is up, so he has to scream.
GEORGE (CONT’D) Hello, Derek? This is George. Am I wearing lipstick? I said, am I wearing lipstick? Because when I’m getting fucked, I want to make sure my face is pretty. You’re buying directly from Diego, aren’t you, you son of a bitch?
INTERCUT
Derek Foreal in full New Year’s regalia, complete with party hat.
DEREK I don’t want to get caught in the middle of this. That’s between you and Diego.
George’s face scrinches in pain.
DEREK (CONT’D) It’s nothing personal, George. Just business.
GEORGE Yeah. I understand. Just business. Right. Fuck you.
The song ends, and George is left standing there screaming.
GEORGE (CONT’D) I bring you in, and this is how you repay me? You little homo! Hey, Derek? Derek?
INT. OLIVEROS MANSION – DINING ROOM – 1979 – LATER
It’s late. The family is all there. Fifteen, twenty strong. Cuban coffees all around.
MIRTHA Que va hacer?
AUGUSTO Que queres decir. Que es lo que el va hacer? Pues, no va hacer nada.
MARIA Alguna cosa tiene que hacer.
FAMILY MEMBER #2 De otra manera, es un marica.
FAMILY MEMBER #3 Un hijueputa
FAMILY MEMBER #1 Maricon.
FAMILY MEMBER #2 Mira, vos sos responsable por el exito de Diego.
FAMILY MEMBER #3 El se esta burlando de vos. Debes hacer algo, hombre.
MARIA No Puedes hacer ni un culo.
AUGUSTO El no va hacer nada. Hay un problema. Aqui, hubo un error y nosotros lo vamos ha arreglar.
BLANCA No le escusches a mi yerno. A el solo le importa la plata.
Blanca reaches into her purse, pulls out an ice pick folded in a piece of linen cloth, and puts it down in front of George.
BLANCA (CONT’D) Vos lo tenes que matar, ahorita mismo. De lo contrario vas a quedar como un marica sin horror.
FAMILY MEMBER #3 Mejor dicho vos sos un aculillado.
FAMILY MEMBER #1 Maricon.
BLANCA Sabes que, vos no tenes pantalones. Nadie te va a respetar. Usa esto. Deja solo un huequito tan pequeno, que ni sangre le va a salir a ese malparido del Diego.
AUGUSTO Blanca, por favor.
MIRTHA Mama, vos sos bien antigua. Como lo va a matar con un picahielo. Eso era en su tiempo, estamos casi ya en los ochenta. El lo va a meter un tiro, lo va a volar, le va a hechar un hijueputa carro encima.
AUGUSTO Dejen la maricada pues! No jodan! Nadie va a matar a nadie! George, debemos hablarle al Patron, es la unica manera, mano.
GEORGE No, no, no, no yo puedo arregarlo solo.
