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written by Michael A. Weintraub and Glen Eric Reed
FADE IN:
TITLE CARD: "Somewhere in Miami"
TITLE CARD: "Somewhere in Miami - Sometime in the 1980s"
EXT. MORTON'S - DAY
Miami, summer, glaringly sunny weekday afternoon. We are
outside of Morton's, a greasy spoon diner. We follow a MAN as
he pushes open the door and walks inside.
INT. MORTON'S - DAY
Almost immediately after entering, the man nearly collides
with a waitress, CAROLINE CALLAHAN. She is an attractive woman
in her early twenties. As she runs by laden with near-empty
plates, we follow. In the background, an elderly BLUE-HAIRED
WOMAN gestures to Caroline.
BLUE-HAIRED WOMAN
Excuse me, miss? Please. I'd like
to get my check sometime before I
die.
Caroline stops short, fumbles for the check in her apron
pocket, and slaps it down on the table.
CAROLINE
There. Still alive?
Before the woman can answer, Caroline is on her way back to
the diner's counter, behind which she fills two cups of
coffee. In the kitchen, which we can see through a pick-up
window, is WALTER BAXTER, Caroline's boss. He is a sloppy
-looking fat man dressed head-to-toe in white.
CAROLINE
Hey Walter! I've gotta get back to
campus for an exam at four, so I'm
leaving soon, okay?
WALTER
What time does your shift end?
CAROLINE
Three-thirty.
WALTER
You got tables left?
CAROLINE
Yeah. Two.
WALTER
Yeah, well you finish up those two
and then you can go home. You know
the drill.
CAROLINE
(sarcastically)
Thanks.
Returning to the dining area, carrying the two cups of coffee,
Caroline passes a clock that reads 3:25.
Sitting alone at a booth beneath the clock is a well-dressed
corpulent BUSINESSMAN, reading a newspaper. He lifts his head
and looks around the room. After a moment, Caroline, now
holding just one cup of coffee, stops at the table.
BUSINESSMAN
It's about damn time.
CAROLINE
I'm sorry. What did you want again?
The businessman rolls his eyes and points at the cup of coffee
in Caroline's hand.
CAROLINE (cont.)
Oh. Right.
Caroline puts the cup down on the table too quickly. Coffee
splashes everywhere, soaking the newspaper and sending a few
drops onto the businessman's impeccably white sleeve.
CAROLINE (cont.)
Oh my God, I'm so sorry!
She tries to clean up the mess, but only ends up pushing the
spilled coffee around on the table and further staining the
businessman's shirt.
BUSINESSMAN
Christ! Just forget it, girl. Just
gimme the damn check before you
drown me.
Caroline pulls a check out of her apron, looks at it, and
hands it to him.
CAROLINE
That'll be ... four ninety-eight,
sir. Sorry about the spill. And
have a nice day.
BUSINESSMAN
Yeah, right.
The businessman stands, pulls a $5 bill from his wallet,
stuffs that and the check into Caroline's apron pocket, and
walks to the door.
BUSINESSMAN (Cont.)
You be sure and have a nice day
too.
CAROLINE
Hey, thanks a lot for the tip.
The businessman pauses at the door, turns, and faces Caroline.
BUSINESSMAN
Oh, you want a tip? Go to
Gulfstream. Bet the number six in
the fifth. Mother's Biscuits.
There's your tip.
The businessman exits.
Caroline finishes up her shift. DELLA, a middle-aged waitress,
eventually enters, and Caroline hands her a check.
CAROLINE
Hi Della. How's it going?
DELLA
Okay, I suppose. What's this?
CAROLINE
Table six. Can you take it for me?
I gotta run; I have a final in
thirty minutes.
DELLA
Sure hon. Good luck.
Caroline exits.
INT. CAROLINE'S CAR - DAY
Caroline is driving an old, flaming-red Mazda RX-7 through
hellish Miami rush hour traffic. She is in the center lane.
Stuck at a red light, she flips through several radio stations
before deciding on a Duran Duran SONG. She starts to SING
along.
The light changes to green; Caroline stops singing and drives
off. She then gets stuck at the next light, a block away.
Reaching into her bookbag on the passenger seat, she finds her
notes for the exam and starts reading them.
The light turns green. Caroline leans the notes against the
steering wheel so she can see both them and the road.
EXT. ROAD - DAY
The car behind Caroline's is a blue Buick Skylark with a young
Cuban-American hotshot, JUAN AQUINO, driving. He looks
frustrated and impatient and is muttering obscenities at the
traffic as he drives.
INT. JUAN'S CAR - DAY
Juan looks down at a sheet of paper on his lap. On it is
scrawled:
Harvey
Franco's - A1A & 163rd.
3:30 p.m. (patio)
INT. CAROLINE'S CAR - DAY
Caroline looks over and sees the right lane is clear. She
signals to move over into it.
INT. JUAN'S CAR - DAY
Juan also sees the vacant lane and tries to pass Caroline by
moving into it, but she pulls in before he can get around her.
Juan slams on his brakes, but it's too late.
EXT. ROAD - DAY
The two cars COLLIDE. Traffic in their lane stops, and
Caroline rushes out of her car to inspect the damage. Juan's
front bumper is completely on top of Caroline's rear bumper,
and the back of Caroline's car is severely damaged. Juan's car
looks barely touched.
INT. JUAN'S CAR - DAY
Juan is still in his car, muttering curses and attempting in
vain to put the car into reverse. Caroline hears the attempts,
and we see her through Juan's windshield, approaching the car.
EXT. ROAD - DAY
Caroline walks up to Juan's open driver's-side window.
CAROLINE
Hey, where the hell do you think
you're going?
JUAN
I've got an appointment.
CAROLINE
Yeah, we've all got places to be.
You got insurance?
No answer.
CAROLINE (Cont.)
You don't? Great. Well, I need your
name and address, mister.
JUAN
"Juan."
Juan finally gets his car into reverse, revs the engine, and
successfully removes his car from Caroline's rear bumper. He
almost runs over her foot, but she dodges out of the way, then
runs back up to his window before he can merge back into
traffic.
CAROLINE
Hey! Where the fuck are you going?
This is going to cost a damn
fortune.
JUAN
Oh, really?
CAROLINE
Yeah, really. And it's your fault,
too. I signaled for this lane.
A few SHOPPERS in a nearby parking lot stop to watch them
talk. Juan notices them and starts to panic mildly.
JUAN
Well, I got no insurance, lady.
CAROLINE
No insurance? Do you have anything
other than a name, "Juan"?
He reaches into his pocket, and pulls out a crisp $100 bill,
which he hands to Caroline. As she gapes at it in shock, he
manages to slide back into the middle lane and drive away.
CAROLINE
Wait a minute, you asshole!
Motherfucker!
Caroline sighs, and looks at her watch. Realizing that she
doesn't have time to call a tow truck, she walks up to her car
and tries to push it off the road. A kind-hearted OBSERVER
assists her.
EXT. UNIVERSITY OF MIAMI - DAY
A taxicab arrives in front of a building on campus and
Caroline gets out. A CAB DRIVER leans out the window.
CAB DRIVER
That'll be six dollars and eighty
-five cents.
CAROLINE
Can you break a hundred?
INT. FRANCO'S BAR - DAY
Franco's is a strip bar with a heart of gold that sits on the
Intracoastal Waterway. Though it is happy hour, the bar is
generally deserted. There are two or three half-asleep
PATRONS. A DANCER picks her clothes up from the stage and
walks back to the dressing room.
Juan enters, letting daylight into the dimly-lit club. We
follow as he weaves through the various tables and finds his
way outside to the patio.
EXT. FRANCO'S (PATIO) - DAY
Outside, the bright sun and difference in decor make Franco's
look almost classy. Sitting at his favorite table, with a beer
in one hand and the other one dangling over the rail, is
HARVEY JOHNSON, a muscular, rapidly aging man covered in
tattoos and filled with stories to match them. He is wearing
white pants and a teal blue tank top, and a white blazer is on
the back of his chair. When he speaks, it's in a rhythmic
manner, but when he gets excited or is telling a story, he
launches into a mile-a-minute breakneck speed. Harvey doesn't
acknowledge Juan's arrival; he just continues to stare out at
the boats on the water.
JUAN
You Harvey?
Harvey nods and points to a chair opposite his own. Juan sits
down as Harvey continues staring out at the water.
JUAN (Cont.)
Hi. I'm -
HARVEY
- Late.
JUAN
Sorry, I got into an accident.
HARVEY
Really.
JUAN
Yeah. Took me forever to ditch the
bitch, too. Wanted my address and
shit, for insurance. I just gave
her a hundred bucks and drove off.
HARVEY
Uh huh.
JUAN
What, don't you believe me?
HARVEY
Sure I believe you and all. It's
just that others might not believe
you.
JUAN
Why would you believe me but say
that others won't?
HARVEY
'Cause I know men. I know when
they're lying, when they're telling
the truth, and when they're wishing
they were lying.
JUAN
Heh.
HARVEY
It's not that funny. People have
died from telling the truth. You
ever hear about the Mendoza deal?
JUAN
Nope. Look, I'm sure it's really
fucking interesting, but I don't
have much time here. Gotta get to
business, you know? I've got an
eight o'clock flight to -
HARVEY
You're lying now. But, anyway, I'll
skip it. Just don't forget to read
about it in my memoirs, that's all.
Okay, getting to the task at hand.
I've been told that you're
interested in the transportation of
several large birds?
JUAN
Ostriches, yeah.
HARVEY
Actually, I think the plural is
ostri. (a beat) Ostri? No, that
doesn't sound right either.
Correction: actually, I don't have
a fucking clue what the plural of
ostrich is. But anyway, do you have
a source for them?
JUAN
Yeah, my brother's wife's cousin -
HARVEY
A simple yes or no will suffice.
JUAN
Well, "yes" then.
HARVEY
Okay, very good. You have a
destination?
JUAN
Actually, I was told that you'd be
able to help me out on that end.
HARVEY
Well, you're in luck. You were told
truthfully. Turns out that a very
dear friend of my son-in-law in
Nassau is interested in acquiring
three ostriches. Ostri. Whatever.
But we don't need to dwell on the
details, so ignore that I just told
you that.
JUAN
Told me what?
HARVEY
Exactly. You're pretty bright, kid.
JUAN
Thanks.
HARVEY
So, why're you moving to live
smuggling? Seen one too many kid
die in a drug transaction and feel
guilty 'bout it? This shit ain't
that easy, you know.
JUAN
Yeah, I know. It's a lot more
profitable than coke, ain't it?
HARVEY
It can be, yeah, but it ain't that
easy. You have to work for it. It's
a good thing though that you've
come to the right man.
JUAN
Oh? How's that?
HARVEY
I'm clear at Port Everglades. Just
as long as I sail between midnight
and six a.m. on any Monday,
Thursday, or Saturday morning I'm
clear.
JUAN
How the fuck did you manage that?
HARVEY
Keep it down. Let's just say my man
Jerry's all taken care of. Well, at
least his medicine cabinet is. And
that's all you need to know.
Actually, that's more than you need
to know.
JUAN
Sounds cool to me.
FRANCO, the owner of the club, a jovial-looking bearded man,
comes outside. He starts to fill an empty tray with glasses
and bottles from the tables. As he clears Juan and Harvey's
table, he nods at Harvey. Harvey nods back and holds his hand
up to Juan.
HARVEY
Hold on a sec. What'cha drinking?
JUAN
Coors.
HARVEY
Hey Franco, two Coors here for me
and my nephew.
Franco leaves.
HARVEY (Cont.)
He knows I'm lying. Anyway kid,
live transports is a dangerous
fucking business. If you'd told me
it was fish, I would've told you to
fuck off and find yourself another
boat.
JUAN
Fish, eh? What's so dangerous about
them? It's not like they try to get
away or anything.
HARVEY
True, but the fish people generally
only like one type of fish:
piranhas. Well, some like
barracudas, but that's the same
fucking fish to me. Anyway, let's
just say they all like the
carnivore fish.
JUAN
Why the fuck would someone want
them?
HARVEY
I have no fucking clue, but they
do. I got out of the fish business
oh, about fifteen years ago, and
there's a hell of a story behind
that.
JUAN
Ahh. Another one for the memoirs?
Harvey CHUCKLES.
HARVEY
Yeah, definitely. But this one I'm
going to tell you now, just so you
don't ever fucking think of
handling piranhas. And fuck your
"eight o'clock flight," too. Okay?
JUAN
Yeah, go ahead.
HARVEY
Okay, picture this. One day I get a
call from this one very rich SOB,
Javier Espinoza. You know him?
JUAN
I've heard the name. Used to be a
partner of my father's, I think.
Before I was born though. Never met
him myself.
HARVEY
Okay. Try to keep it that way, kid.
Anyway, the motherfucker wants to
fill in this lagoon by his new
office with piranhas, just to piss
off his visitors. You know, the
intimidation factor? Not like
Espinoza needs any fish for that,
since he's a huge fucking man,
easily six-seven, good two-hundred
seventy, two eighty pounds.
JUAN
Yeah, I think I've seen his
picture. Used to be a friend of my
dad's.
Franco returns with their beers.
HARVEY
Yeah, you just said that, kid. Hey,
Franco. Thanks. Be sure to give my
best to your lovely wife for me,
okay?
Franco nods again and leaves.
EXT. GLORIA - DAY
The Gloria is a nice 40-foot yacht. We can see her name and
registry, Nassau, Bahamas, lettered in black. Random TALKING
in English, Spanish, and Creole is heard below deck, o.s. A
MAN is seen on deck, painting.
HARVEY V.O.
Okay, so anyway, I get myself and
the Gloria down to El Salvador and
fill up a five-hundred gallon tank
with about four dozen of these
angry motherfucking flesh-eating
fish. I've got a crew of about four
or five men, and none of us're all
too pleased with the cargo.
Piranhas are some noisy goddamn
fish, and we can hear them all
night, keeping us up. We also have
to feed them every half-hour, it
seems; they're always hungry. So,
this one guy I hired - he looked a
little like you, actually.
JUAN V.O.
Huh.
INT. GLORIA - DAY
Dominating the inside of Harvey's boat is a huge fish tank,
with about fifty piranhas inside. There are also six men in
the cabin:
PAOLO CRUZ: a hot-tempered Brazilian
CLAUDE JOLET: a middle-aged Haitian with a scraggly beard
DELGADO: a man with no first name who never speaks
RANDY GARCIA: young, Hispanic, and as Harvey says, a
lookalike of Juan. He is a bit hyper and easily excited
Harvey
Juan, not quite sure where he is
There's a card table set up, with Cruz, Jolet, Delgado, and
Harvey around it, playing poker. Garcia and Juan stand around
looking bored. Juan glances at the scraps of meat used for
feeding the fish and looks nauseated.
HARVEY V.O.
Yeah, "huh." Kid's name's Garcia, I
think. It's the third day at sea,
and Garcia's starting to get bored
out of his skull. Now we're all
beginning to feel like Garcia, but
we keep it to ourselves, you know?
We only have another day or two
until we reach port, so I'm cool.
Delgado's cool, Jolet's cool. Fuck,
even Cruz's cool, and Cruz is
hardly ever cool.
Garcia walks to the fish tank and Juan follows him over.
Harvey looks up from the poker game and turns to Juan.
HARVEY (to JUAN)
Garcia ... man, Garcia's not cool.
He's one sadistic bastard. He's got
this game he likes to play with the
fish. He takes their food and
taunts them with it.
Garcia reaches down and grabs a chunk of meat, using it to
taunt the fish. Harvey stands and walks over to Juan.
HARVEY (Cont.)
You know, dips it in the water and
then yanks it back out quickly.
Once or twice he snags a fish with
it and then teases it out of the
water before letting it back in.
He's obviously starting to piss off
the fish, who don't like to play
with their food, especially when
they're serving someone else's
amusement. I don't know how many
times he does it, but when he dips
that meat in for the last time, a
whole shitload of them take hold of
him and drag him back down into the
tank with them, like it's their
turn to play with him.
Garcia is pulled into the tank, and the other smugglers rush
over to help Harvey grab him. Juan jumps out of the way, his
eyes wide open with shock. Garcia is SCREAMING for his life.
Finally, the group pulls him free and throw the piranhas off
his arm.
P.O.V. GARCIA (FALLING to THE FLOOR):
A piranha flops on the floor, suffocating in the air.
FADE TO BLACK.
JUAN V.O.
Is he alive?
HARVEY V.O.
Yeah, I think so. He's got about
two-dozen bite marks on his arm and
lost three fingers though. Everyone
just called him "Seven" after that.
FADE BACK TO:
EXT. FRANCO'S (PATIO) - DAY
Juan is pale and reacting as if Harvey is telling him his own
fate, not Garcia's.
JUAN
Damn. He survived though?
HARVEY
Yeah. The shock knocked him out
cold, and that's when I got scared
shitless. Last thing I needed was
to pull into Everglades with a tank
full of piranhas and a corpse. I
could've talked my way out with the
fish, but not with a dead man, no
way, no how. And I'm way too
ethical to just throw a body
overboard. Garcia deserved a proper
burial and all that shit.
JUAN
Whew.
HARVEY
Yeah, you said it, kid. Pulling
Garcia out of the tank got me a
bite mark, too. Here, on my
shoulder. The scar's never gone
away.
JUAN
I should write that down.
HARVEY
What? My story? Don't you even
think it, man. It's one for my
memoirs, not yours.
JUAN
No, "Don't fuck with fish."
HARVEY
Ahh, go for it. Tell the whole
world. "Don't fuck with fish."
Both Juan and Harvey LAUGH at this one. Juan has recovered
from the shock of Harvey's story and takes a sip of his beer.
JUAN
Okay, getting back to business.
HARVEY
I think we can get this whole
ostrich deal organized, arranged,
and completed in a matter of three
weeks tops. Maybe two weeks,
depending on how fast you can whip
your cousin, uncle, daughter,
whatever, into shape. We're going
to need a van, which I don't got.
JUAN
No problem.
HARVEY
Until then, you look like you need
to learn the ropes.
JUAN
That was actually the second thing
I wanted to talk to you about.
You've got one hell of a
reputation. What can you teach me?
HARVEY
Now we're talking business. You
said you were in an accident. Is
your car okay?
JUAN
Yeah, it's fine; I didn't even get
a scratch. It's just the girl's car
that's fucked up.
HARVEY
Okay, good. I need a chauffeur.
JUAN
You don't drive?
HARVEY
Nah, I haven't driven since you
were a baby. That's what I've got
the Gloria for; she's my
transportation. A lot of the prep
work for this needs to be done on
dry land though, so you can drive
me around and maybe even learn a
thing or two while we're at it,
okay?
JUAN
Sounds good to me.
EXT. UNIVERSITY OF MIAMI - EVENING
The sun is still glaring as squinting STUDENTS spill out of
the building which Caroline entered earlier. JOEY MANNING, a
young police officer/student and former (and he hopes, future)
boyfriend of Caroline's stands to the side of the crowd,
searching for her. After a moment, Caroline exits the
building, and he waves to get her attention.
JOEY
Hey, Caroline, over here!
Caroline sees him and walks over. They head to the parking lot
together, Caroline looking at the ground more than at Joey.
JOEY
So, how'd you do?
CAROLINE
Huh?
JOEY
The exam. How do you think you did
on the exam?
CAROLINE
Oh. I really don't know.
JOEY
What did you put for that second
essay question? I took a wild
guess. Hope I got it, but I'm not
sure. Was it about Hegel? Or was it
Descartes? Damn! I needed that
question, too. I think that could
really tip the scale -
Caroline stops walking, and Joey halts a moment after.
CAROLINE
Look, I answer the questions, then
I forget them! Just drop the stupid
exam already; it's done.
JOEY
Jeez, excuse the hell out of me.
What's eating you?
CAROLINE
Some asshole smashed into my car on
my way over from work. I think it's
totaled.
JOEY
Oh, man that sucks. Did you get the
guy's name and stuff? The guy that
hit you?
CAROLINE
Not exactly.
JOEY
Not exactly?
CAROLINE
Okay, so not at all. The son of a
bitch just gave me a hundred dollar
bill and took off. God knows how
many drug deals it's been through.
JOEY
Drug money? Do you still have the
bill?
CAROLINE
Dammit, Joey! Do you always think
about work?
JOEY
Sorry....
CAROLINE
It's okay.... Anyway, I had to
break the bill to pay for the cab
ride over here.
JOEY
You didn't have any smaller bills?
I didn't think a cabbie could even
accept bills that large.
CAROLINE
No, my tips sucked today. Now all
I've got is about ninety-some
dollars cash and a busted car.
JOEY
Did you at least get his license
plate number?
CAROLINE
Look, I was a little too concerned
with my own license plate getting
shoved halfway up the ass end of my
car to worry about his.
JOEY
I'll file a report, of course, but
we probably won't find the guy. (a
beat) This was rush hour, right? I
mean, someone else must have seen
this guy hit you. Why don't you run
an ad in the Herald or something?
CAROLINE
Yeah, like I can afford that.
Joey frowns, and they both start walking toward the parking
lot again.
JOEY
Oh yeah, good point. By the way,
did you get my message? I called
this afternoon.
CAROLINE
No, I didn't. I was at work all
afternoon.
JOEY
Well, I called to see if you needed
a ride over or something.
CAROLINE
Wish I had.
JOEY
Huh? Wish you had what?
CAROLINE
Gotten a ride from you. I wouldn't
be in this mess now if I had.
JOEY
Wow, I feel really bad about this.
Anything I can do to help you out,
you know I'm here for you.
Caroline smiles.
CAROLINE
Actually, you can give me a ride
back to what's left of my car. Why
did you think I was following you
out to the parking lot? I wanted to
get back together with you or
something?
INT. JOEY'S CAR - NIGHT
While driving, Joey continues to question Caroline about her
accident.
JOEY
So did you get a chance to look at
this guy?
CAROLINE
What are you gonna do, put me in
front of a lineup?
JOEY
Hey, if we could collar the perps,
there wouldn't be hit and runs
anymore, now, would there?
CAROLINE
Ooh, I love it when you use jargon.
Joey LAUGHS.
JOEY
Sorry. Hey, is it much further? I
thought Morton's was only a block
or two from here.
Caroline begins looking out the window frantically, eventually
rolling it down and sticking half her body outside of the car
and pivoting around, searching.
CAROLINE
It was right here, by the shopping
center! Where the hell is my car?
Joey, eyes still on the road, reaches his right hand over to
Caroline and pulls her back into the car by her shirt.
JOEY
Hold on, hold on. You're gonna fall
out of the car or something. We'll
find it.
EXT. JOEY'S CAR - NIGHT
At the curb outside of the shopping center, around where
Caroline had her accident with Juan earlier, a street sign
clearly reads: NO PARKING 5PM-9AM M-F ALL DAY SAT & SUN. After
a moment, Joey's car pulls up and parks at the curb. The
passenger's door opens, and Caroline jumps out and starts
kicking at the sign.
CAROLINE
What kind of goddamned half-assed
town only lets you park during rush
hour?
As Caroline continues kicking at the sign and MUTTERING
various obscenities, Joey gets out of the car and walks
around, pivoting his head trying to see if anyone's watching.
JOEY
Caroline! Caroline, cut that out,
it's not going to do any good.
CAROLINE
Not to the sign, it's not.
JOEY
C'mon, Caroline, stop it.
Caroline gives the sign one last hard, swift kick, then looks
at Joey like she's about to cry.
JOEY (Cont.)
Don't worry about it, Caroline,
you'll get your car back.
Joey makes a move toward Caroline like he's going to pull her
into a sympathetic embrace, but before he can reach her, she
gets back into the car. Joey pauses, then walks back around to
the driver's side.
INT. JOEY'S CAR - NIGHT
Caroline is sitting in the passenger's seat with her arms
folded as Joey gets into the car and puts the key into the
ignition.
CAROLINE
So what now?
JOEY
Impound lot. It's closed, but I
should still be able to get us in.
CAROLINE
My hero.
EXT. IMPOUND LOT - NIGHT
Joey's car pulls up to an impound lot. A SECURITY
GUARD/MECHANIC approaches with a flashlight, and shines it
into the driver's window. Joey squints.
GUARD/MECHANIC
Oh, hi Joey.
JOEY
Dave? Is that you? Get that
flashlight out of my face.
The guard steps back and turns off the flashlight. Joey and
Caroline step out of the car.
JOEY (Cont.)
Hey Dave.
DAVE
What's up?
JOEY
We're here about her car. Red
Mazda, picked up this afternoon. Is
it here?
The guard starts to walk around the lot. As Joey and Caroline
follow, Caroline recognizes her car.
CAROLINE
There it is.
She starts to approach the car, and Joey and the guard follow.
DAVE
This is yours? Looks pretty bad.
CAROLINE
Yeah, no shit.
JOEY
How bad?
DAVE
I can write an estimate up for you
if you want. Looks like about a
grand, which is probably about what
the car's worth, so it's your call.
Joey turns to Caroline and she nods.
INT. CAROLINE'S APARTMENT - NIGHT
Caroline's apartment is a moderately neat, haphazardly
-decorated one-bedroom apartment. The furnishings consist of a
hand-me-down couch, a coffee table, and an end table. An empty
pizza box and a blinking answering machine are on the end
table. Caroline enters, steps over her mail, and throws her
bag and herself on the couch. After a few moments of
motionlessness, her arm reaches out onto the table and hits a
button on the answering machine.
LANDLADY (on machine)
Hello Caroline. This is Mrs.
O'Connell, reminding you that it's
now the fifth of the month and your
rent is officially late. Please pay
it now, and also don't forget to
add the twenty-dollar late fee.
Thank you.
Caroline GROANS and sits up. The machine BEEPS.
JOEY (on machine)
Hi Car. It's around 2:30, and I
hope you're ready for the test. I
was just wondering if you wanted to
ride on over there together. -
Caroline talks over the message as it continues.
CAROLINE
A bit late for that now, isn't it?
JOEY (on machine, Cont.)
- I'll be at the station until 3:30
or so; if you need me give me a
call there. If not ... Umm, I'll
see you at the test, I guess. (a
beat) Bye-bye.
Another BEEP sounds from the machine, indicating no more
messages. Caroline starts to rummage through her bag to find
her checkbook. As she does so, she accidentally spills nearly
half of the bag's contents on the floor.
CAROLINE
Shit.
She bends over to start cleaning up the mess and finally sees
the mail pile that she walked over when she entered. She picks
it up and starts sorting through it:
Cosmopolitan magazine
random junk mail
tuition bill (from University of Miami Registrar's Office)
Caroline rips open the envelope from the university and isn't
happy when she sees the bill.
CAROLINE
Shit.
She folds the bill back up, places it and the Cosmo magazine
on the table, and then gets back to cleaning up the mess.
Finally, she finds her checkbook, scans the balance, and then
writes the rent check to "Matilda O'Connell." She rummages in
a desk for an envelope to put it in. Finding one, she scrawls
"Mrs. O'Connell" on it, sticks the check in, and then seals
it.
Carrying the check, Caroline opens her door and exits, leaving
the door open. A moment later, she returns and closes the door
behind her.
INT. CAROLINE'S APARTMENT (BEDROOM) - MORNING
Caroline is sound asleep. Miami sun leaks through the curtains
into her bedroom. Beside her bed, the digital alarm clock
changes from 10:07 to 10:08 a.m. A telephone next to the clock
begins to RING. As it continues to ring, Caroline slowly
raises her head and lifts the receiver.
CAROLINE (into phone)
Hello?
INT. MORTON'S - MORNING
The diner is packed with CUSTOMERS, and the EMPLOYEES look
frazzled. Caroline's boss, Walter, is on the phone, and he
doesn't look too happy.
WALTER
Good morning, Caroline.
INTERCUT BETWEEN CAROLINE AND WALTER.
CAROLINE
Uhh, hello.
WALTER
It's ten after ten, Caroline. Where
the hell are you?
CAROLINE
What?
WALTER
You were due at 9:30. You're late.
And, you're fired.
INT. CAROLINE'S BEDROOM - MORNING
Caroline rushes up from her bed and finds her waitressing
apron.
CAROLINE
What? Oh my God, I'm so sorry! I'll
be there in ten minutes.
WALTER O.S.
Just forget about coming in. I'm
sick of your act.
CAROLINE
What?
WALTER O.S.
Can't you take a hint? I said
You're fired, kid.
CAROLINE
Walter, please!
WALTER O.S.
Forget about it. Have a nice day.
We hear a CLICK, followed by a DIAL TONE, as Walter hangs up.
A moment later, Caroline SLAMS her phone down on the floor.
The dial tone continues to drone in the b.g.
CAROLINE
God damnit!
Caroline crawls back into bed. After a few seconds, the
recorded voice of the OPERATOR comes onto the phone.
OPERATOR O.S.
If you'd like to make a call,
please hang up and try it again. If
you need help, hang up, and then
dial your operator.
Caroline gets up to correct the phone.
CAROLINE
Shit.
OPERATOR O.S.
This is a recording.
INT. JUAN'S CAR - DAY
Juan is driving, Harvey is in the passenger seat.
JUAN
So where're we goin'?
HARVEY
An art dealer down on Collins.
JUAN
Okay. (a beat) What kind of art?
Modern shit?
HARVEY
Yeah, modern shit. Sculptures,
abstracts, crap like that.
JUAN
Man, I hate that stuff. Goes way
the fuck over my head.
HARVEY
Yeah. (a beat) You know, I used to
work with an artist.
JUAN
You used to be an artist?
HARVEY
No, back when I was with a team,
one of the guys was an artist.
Larry Molta was his real name, but
everyone just called him The Saint.
He was, without a doubt, the
holiest guy I ever met. Before
Franco's, I just worked out of a
warehouse like every other smuggler
in Miami. The Saint had this little
side room, where he'd sit and paint
for hours at a time. Never let us
see what he painted, though.
Harvey gestures for Juan to turn the car.
HARVEY (Cont.)
Turn left there. Anyway, you hear
me refer to The Saint in the past
tense, as if he ain't with us no
more. And that's true, he ain't.
JUAN
He's dead?
HARVEY
Yes, of course he's dead. You ever
hear of a living saint?
JUAN
Mother Teresa.
HARVEY
Excluding her. Anyway, the point
is, he didn't have to die. He
wasn't just a holy man, he was also
a damn good shot. If you flipped a
coin in the air he could hit it
from twenty yards, no problem.
JUAN
Damn! Like in one of those old west
movies?
HARVEY
Exactly. So, anyway, one day The
Saint and I went down to Little
Havana to do a simple cash-coke
transaction, and there was a little
disagreement between ourselves and
the other party as to the precise
finances of the deal. I thought
we'd resolved it, but apparently we
hadn't.
EXT. HIGHWAY - DAY
Exiting Juan's car, we see a dark van behind it on the
highway.
HARVEY V.O.
So there's this van following us
back to the warehouse.
INT. THE SAINT'S CAR - DAY
Back to a car, except it's not Juan's car. THE SAINT is now
driving, and Harvey sits shotgun. The Saint is a tall, thin
middle-aged white male with a somber expression on his face -
the man who was painting on the deck of the Gloria earlier.
The car pulls into a lot by a warehouse and parks.
HARVEY V.O.
We get back to the warehouse, and
Seven, Cruz, and Jolet are there.
INT. WAREHOUSE - DAY
Harvey and The Saint enter the warehouse and see Cruz, Jolet,
and Garcia. Jolet and Cruz are playing poker, as Juan
observes from over Cruz's shoulder. Harvey goes over to the
card table, and The Saint enters his side room.
JOLET
How'd it go?
Harvey waves a totebag and smiles.
HARVEY
Pretty much according to plan.
GARCIA
Excellent!
Cruz puts his cards down and gets up from his chair; Juan is
forced to move.
CRUZ
I'll be right back; gotta take a
piss. (to Harvey) Don't let him see
my hand.
Cruz exits down a hallway. Jolet moves to look at Cruz's
cards, and Harvey pulls out a gun and points it at him. Jolet
smiles and sits back down. Harvey puts his gun on the table.
EXT. WAREHOUSE - DAY
The dark van seen following Harvey and The Saint pulls into
the parking lot, and FOUR GUYS exit, wearing dark sunglasses
and bright, colorful shirts.
INT. WAREHOUSE - DAY
The four guys, carrying shotguns, burst into the warehouse.
They point the guns at Garcia, Jolet (who pulls a gun of his
own), and Harvey, but don't notice Juan there. Guy #1, who is
armed but not pointing his gun at anyone, speaks.
GUY #1
We changed our minds. We want a
refund.
HARVEY
Where's the powder?
GUY #1
We've decided to hold on to that.
Where's the cash?
INT. WAREHOUSE HALLWAY - DAY
Cruz exits the bathroom and walks down the hallway. Finding
the four guys, he instantly draws his gun and SHOOTS Guy #1
and Guy #2. Harvey and Juan are both out of view.
HARVEY O.S.
When Cruz comes out of the can,
it's like John Wayne riding into
town. He comes out firing, knocking
down two bad guys before a third
gets him.
Cruz is SHOT by Guy #3, and he dies. Guy #4 and Jolet stare
each other down.
INT. THE SAINT'S SIDE ROOM - DAY
The Saint has been painting. He has classical music BLARING on
his boombox, and doesn't notice the scene outside until the
GUNSHOTS ring. Not missing a beat, he drops his brush, exits,
and draws his gun, in one fluid motion.
HARVEY V.O.
So when Cruz fires, The Saint hears
- hell, half of Miami did - and
exits his little chapel.
INT. WAREHOUSE - DAY
The Saint enters the room, and now it's two armed men on each
side. Harvey has a gun in his face but remains detached and
calm.
HARVEY (to Juan)
The Saint's presence evens things
up a bit. Then Jolet fucks up,
takes one of their guys out, and
gets himself shot.
As Harvey said, Jolet shoots Guy #4 and gets shot by Guy #3.
The Saint takes a shot at Guy #3, misses, and Guy #3 shoots
him.
HARVEY (Cont.)
I can't believe it. The Saint never
misses. I was serious about that
coin-flipping thing, too. (a beat)
Having shot The Saint, the final
bad guy just runs. There must be a
fifth guy out in the van, because
the engine starts pretty much as
soon as the door opens.
Guy #3 runs out, and we hear an ENGINE start up and tires
SQUEALING outside. Harvey and Garcia run past Juan to The
Saint, who's half inside his office and drenched in his own
blood. Juan follows.
HARVEY (to Juan)
The Saint's too weak to get back
into his office.
The Saint grasps desperately upward and the easel crashes
down, with his painting landing face-down on top of him. The
Saint looks up and smiles.
THE SAINT
I'm ready.
INT. JUAN'S CAR - DAY
Juan is driving, listening to Harvey.
HARVEY
Some famous last words, huh?
Spooked the hell out of me. I was
just waiting for the white light to
come and all that. We then laid his
body down flat on the floor, and I
corrected the easel and the
painting.
INT. WAREHOUSE - DAY
Harvey and Garcia, with Juan standing just out of their way,
fix The Saint's painting. It is a portrait of the Virgin Mary,
virtually complete. Harvey looks at it and shakes his head.
HARVEY (to Juan)
The painting's perfect - not a drop
of blood on it. Belongs in a
museum.
Harvey turns the easel so the painting faces the main
warehouse room.
CLOSE-UP - PAINTING
As the painting is turned to face the scene of carnage, a
small drop of blood rolls down the Virgin Mary's cheek on the
portrait. We follow the drop as it falls from the canvas and
lands on The Saint's body below.
HARVEY V.O.
That's when the miracle happens.
I'm not too up on Catholic
symbolism, but that's gotta mean
something. It was without a doubt
the freakiest thing I've ever seen
in my life.
INT. JUAN'S CAR - DAY
Harvey looks over at Juan and then back out at the road.
HARVEY
So that's the story of The Saint.
Hey, today's Friday, right? Happen
to know if Miami Vice is a new one
or not tonight? I'm sick of those
damn reruns.
JUAN
Miami Vice? You actually watch that
shit?
HARVEY
Yeah, man, it's the best. Don
Johnson is the shit. Last week he
threatened to quit the force
because some IA guys climbed a bit
too high up his ass. Now that's
real drama for you.
JUAN
Jeez, I can't believe you actually
watch that.
HARVEY
It's quality programming. Whoa!
That's Collins there, turn right.
INT. CAROLINE'S APARTMENT - MORNING
Caroline, barely awake, opens her front door and retrieves her
morning newspaper. She takes it inside and opens it on her
kitchen table. After thumbing through the Help Wanted section
for a minute, she sees something. As she gets up to find a pen
to circle the ad, we lean in to read it:
POSH SOUTH BEACH GALLERY SEEKS CURATOR TO HELP ORGANIZE
STOCK. PRIMARILY CONTEMPORARY, SOME ANTIQUES. ROBYN, 555-
3958. CALL MF 9-5.
Caroline returns and circles the ad. She then turns on the
television and starts to watch the news. A well-coifed smiling
NEWSCASTER is on the screen.
NEWSCASTER (on TV)
We'll be right back with John
Newbraker and the sports.
The news goes to a commercial, and Caroline loses interest.
She walks back to her bedroom, without turning off the
television.
INT. CAROLINE'S APARTMENT (SHOWER) - MORNING
Caroline is humming a tune as she shampoos her hair, but it's
obvious her mind is elsewhere.
INT. CAROLINE'S APARTMENT - MORNING
The commercial on the television ends and the sports report
begins, with a handsome, middle-aged sportscaster, JOHN
NEWBRAKER.
NEWBRAKER (on TV)
A few familiar faces showed up as
the Dolphins started training camp
yesterday.
INT. CAROLINE'S APARTMENT (BEDROOM) - MORNING
Caroline, out of the shower, starts getting dressed.
INT. CAROLINE'S APARTMENT - MORNING
The sports report continues.
NEWBRAKER (on TV)
And at Gulfstream last night, the
surprise of the season. In the
fifth race, number six, Mother's
Biscuits, came from behind to win
it all. Wow, he was back six
lengths at the final turn, too. At
80 to 1 odds, if you were one of
the few to put your money on
Mother's Biscuits, you're a whole
lot richer today.
INT. CAROLINE'S APARTMENT (BEDROOM) - MORNING
Caroline is half dressed. Looking down on her bed, she sees
the newspaper, open to the classifieds, lying next to her
clothes. She sighs and reaches for the telephone. She dials
the number for the art gallery, and after a few rings, someone
answers.
CAROLINE (into phone)
Yes, hello. My name is Caroline
Callahan; I'm calling about the ad
in the Herald this morning? (a
beat) Yes, I can come in today. (a
beat) One-fifteen? (a beat) 136
Collins? Great, thank you very
much.
Caroline hangs up and finishes dressing. She then walks by a
mirror and realizes that her beachwear is not exactly
interview clothing; she strips and starts again, finding a
business suit to put on.
EXT. ART GALLERY - DAY
A Metrobus on Collins Avenue stops, and several PASSENGERS
(including Caroline) get off. Caroline checks the addresses on
a few buildings, then finds the gallery. She opens the door
and enters.
INT. ART GALLERY - DAY
Sitting behind a desk by the front door is ROBYN CARTER. She
is a well-dressed woman in her early thirties. Framed modern
art prints and abstract sculptures fill the gallery. Robyn is
leafing through the mail when the door opens and Caroline
enters.
CAROLINE
Hi. I'm Caroline Callahan. I have a
one-fifteen appointment with Robyn.
ROBYN
Yes, that's me. Please, come sit
down.
Caroline sits in a chair across the desk from Robyn. She
reaches into her bag and pulls what appears to be a hastily
-typed resume out, which she places on the desk in front of
Robyn.
ROBYN (Cont.)
Okay, what I'm looking for is a
liaison between myself and the
artists I represent. Do you have
any public relations skills?
CAROLINE
Last summer I interned as a
receptionist with Johnson and
Swales downtown.
Caroline points to her resume on the desk. Robyn begins to
check it over and does not look back up at Caroline.
ROBYN
Yes, I see. Very nice.
As Robyn continues to read, Caroline squirms awkwardly. Behind
Caroline, the door to the gallery opens and Harvey and Juan
enter.
HARVEY
Hello, Ms. Carter. Remember me?
Caroline turns and recognizes Juan. She can't believe her luck
that's he's there, but she's too shocked to say anything.
ROBYN
Yes, Harvey. Come on in.
HARVEY
Yes, I think we will. Thank you.
JUAN (to Caroline)
Remember me, bitch?
ROBYN
Excuse me?
Juan points at Caroline.
JUAN
No, I was talking to her.
Juan LAUGHS at Caroline, and she finally snaps out of her
daze. She stands up to face Juan.
CAROLINE
It's going to cost another $900 to
fix my car. Got any more of those
hundred dollar bills on you? I
could use ... oh, about nine of
them.
JUAN
Shut the fuck up.
Harvey is starting to be amused by the exchange.
HARVEY
You kids know each other?
JUAN
She's the bitch I had the accident
with yesterday.
HARVEY
Oh.
CAROLINE
And I want my nine hundred bucks,
asshole.
Juan draws a gun out from under his coat. Cocking it, he
sticks it in Caroline's face, a few inches from her nose.
JUAN
I thought I told you to shut the
fuck up, bitch.
Harvey sees this and rushes over to Juan, lowering the gun out
of Caroline's face.
HARVEY
Whoa! Calm down, man. We came here
for business, not to settle
personal grudges.
Juan doesn't stop glaring at Caroline. She's a little bit
nervous, but it doesn't show on her face.
HARVEY (to Robyn)
He's the reason why I support gun
control.
ROBYN
Uhh, why don't we go into my
office, Harvey?
Harvey nods, puts his arm on Juan's shoulder, and leads the
way.
HARVEY
Good idea. C'mon, kid.
Juan breaks his glare at Caroline and puts his gun away. Robyn
leads Harvey and Juan into the back room of the gallery.
Before entering, she remembers that Caroline is still there,
and turns around.
ROBYN
I'm sorry, Caroline. This is your
number on your resume, right?
CAROLINE
Right.
ROBYN
Okay, good, then. I'll be in touch.
Robyn closes the door behind her as she enters the back room.
EXT. ART GALLERY - DAY
Caroline closes the gallery door behind her and walks out into
the parking lot. She sees a blue Buick Skylark and gets her
keys out of her bag. Thinking it's Juan's car, she scrapes her
key on the paint of the driver's side door as she walks by.
CAROLINE
Fuck ... you ... ass ... hole.
Caroline continues walking to the curb. As a bus pulls up, she
turns back to the car, smiles triumphantly, and climbs aboard
the bus.
Moments after she leaves, a MAN exits a store next to the art
gallery and goes to his car - the blue Skylark that Caroline
just keyed.
MAN
Shit!
As the man glances around in the vain hope that whoever
vandalized his car will still be standing there, a second blue
Skylark - Juan's - is revealed a few cars down.
INT. BUS - DAY
Caroline walks to the back of the bus, sits, and looks out the
window.
DAVE V.O.
Looks like about a grand, which is
probably about what the car's
worth, so it's your call.
LANDLADY V.O.
Your rent is officially late.
Please pay it now, and also don't
forget to add the twenty-dollar
late fee.
WALTER V.O.
Can't you take a hint? I said
you're fired, kid. Have a nice day.
OPERATOR V.O.
If you'd like to make a call,
please hang up and try it again.
The DIAL TONE again drones in the b.g. as Caroline stares out
at the shops along Collins Avenue. The bus rolls to a gradual
stop at a red light. Finally, the door opens. Everyone but
Caroline gets off, but no one gets on. The scratchy voice of
the BUS DRIVER is heard over the tinny bus speakers.
BUS DRIVER
Please be advised that the next
stop concludes travel for this bus.
This bus will be out of service
after the next stop. Thank you.
Caroline SIGHS, frustrated. The bus rolls on and stops one
block later. As the doors open, Caroline gets out.
EXT. STREET - DAY
Caroline exits the bus and takes a look around. There are a
few seedy-looking bars with hastily scribbled Help Wanted
signs in the windows, but she doesn't like the look of them.
As she moves down the street, she reaches FRANCO'S.
From the outside, Franco's looks nothing like it does inside.
It looks almost elegant, with a bright green awning and gold
-trimmed window panes around black-shaded windows. A clear,
manufactured, block-lettered sign reading "Help Wanted:
Waitress" hangs in a window near the door.
Caroline pauses, decides to go in, and opens the front door.
INT. FRANCO'S - DAY
Several CUSTOMERS are sitting at tables close to the stage,
occasionally HOOTING at ELIZA (a dancer), as she finishes her
set. Speakers on the sides of the stage blare out the Stray
Cats' "Stray Cat Strut," as Eliza struts on stage, clothed in
nothing but cat ears, g-string, and long furry tail.
Caroline walks in, obviously overwhelmed by the whole scene,
and makes her way up to the bar. Franco stands behind the bar,
wiping an empty beer glass with a towel. He looks up as
Caroline approaches.
FRANCO
Hey sweetheart, what can I get you?
CAROLINE
Huh?
Franco points to the glass in his hand.
FRANCO
Drink, girl. You want something to
drink, or did you just uhh, come
here for the show?
Franco points to Eliza on the stage and CHUCKLES at his own
joke. Caroline begins to compose herself.
CAROLINE
Oh, no. I saw your Help Wanted sign
outside. I was wondering if the
waitressing job was still
available?
FRANCO
You bet. You ever do any
waitressing before?
CAROLINE
Yeah. I used to wait tables over at
Morton's.
Franco pauses, expecting further information.
FRANCO
Morton's?
Caroline GIGGLES nervously.
CAROLINE
Oh, right, sorry. It's a diner on
the other side of town.
Franco puts the beer glass in a rack over his head, slings the
towel over his shoulder, and points to a side room.
FRANCO
Well, come on, honey. Let's go
discuss this in my office.
He walks out from behind the bar and to his office. Caroline
follows a few steps behind, looking around the room, trying to
take in the unfamiliar sights. An amused, but nervous, smile
plays across her lips.
INT. FRANCO'S OFFICE - DAY
Franco and Caroline enter, and Franco walks behind an
oversized metal desk. A filing cabinet is against one wall,
overflowing with paper, but there are only two sheets on the
desk. Franco sits, pulls a pad and pen out of a drawer, and
motions to a seat across from the desk.
FRANCO
Have a seat, Miss...?
Caroline sits.
CAROLINE
Oh, Callahan. Caroline Callahan.
Franco writes something on the pad. He continues to write -
practically non-stop - for the remainder of the interview,
though he rarely looks at what he's writing.
FRANCO
So tell me, Caroline. How long have
you been working at ... Marty's,
was it?
CAROLINE
Morton's. About two years.
FRANCO
And how big are your tips?
CAROLINE
Excuse me?
FRANCO
Tips, honey. What's your salary and
tips like at Martin's?
CAROLINE
Oh. Morton's. They're fine, I
guess.
FRANCO
So what makes you want to leave
Horton's? Are you ... interested in
my type of establishment?
Caroline blushes.
CAROLINE
Oh, I'm ... I was just ... I mean,
I just left, quit there. I didn't
really get along with my boss.
FRANCO
Well, I don't want you getting the
wrong idea or anything, Caroline.
You understand what I'm running
here, right? All our waitresses
work topless at least part of their
shift.
CAROLINE
I, umm. Yeah, I understand.
FRANCO
And do you understand about our
clientele?
CAROLINE
How do you mean?
FRANCO
Well, we don't always exactly get
the most desirable type of guy
coming in here, if you know what I
mean.
INSERT (INT. FRANCO'S - DAY): Harvey and Juan walk in,
TALKING, and head toward the patio.
Franco looks at his watch.
CAROLINE
Yeah, I understand.
FRANCO
Well, look. I've got an appointment
in a few minutes. Just got one more
thing to ask you, really.
CAROLINE
What's that?
FRANCO
You know any jokes?
CAROLINE
What?
FRANCO
Jokes. You know any jokes? Tell me
a joke, or a funny story or
something.
CAROLINE
What? I, uhh ... I can't think of
any right now!
FRANCO
Come on, honey. The customers are
gonna want to interact with you,
and if you can't think on your
feet, you can't wait tables for me.
CAROLINE
A priest, a rabbi, and a duck walk
into a bar....
EXT. FRANCO'S (PATIO) - DAY
Harvey and Juan are seated at their usual table. Harvey has a
half-empty bottle of beer in front of him; Juan has an empty
shotglass, an empty beer bottle, and a half-eaten plate of
nachos in front of him and is draining a second bottle of
beer.
HARVEY
And that, kid, is how I got to own
Franco's. Of course, back then it
was just "The Jukebox." I changed
the name to "Franco's" after my
uncle.
There is a long pause as Juan finishes his beer and sets the
empty bottle on the table.
JUAN
Wait a minute. Franco is your
uncle?
HARVEY
Did I say that?
JUAN
I guess not.
Juan stuffs a fistful of nachos into his mouth, dribbling
cheese down his chin and crumbs on his lap.
HARVEY
So, are we set with transportation
yet or what?
Juan chews. Harvey cringes.
HARVEY (Cont.)
Shit. Man, don't you ever close
your mouth when you eat?
Juan finishes chewing and swallows. Harvey reaches over, takes
Juan's plate of nachos, and moves it to a nearby table.
JUAN
Hey, I was eating that!
HARVEY
Yeah, no shit. With your volume,
half the damn block knows you were
eating it, too.
JUAN
Gimme a break; I haven't had
anything to eat all day, Harvey.
HARVEY
I'm sure you'll live, kid. Now I
asked you a fucking question. Do we
have transportation for the
multiplicity of ostrich, or what?
Juan starts blatantly eyeing the nearby nachos. Harvey stands
up, grabs the plate, and flings it off the porch. Seagulls
dive after it. Juan frowns.
JUAN
I called my.... Someone, I called
someone. They'll take care of it,
and it'll be waiting for us in a
few weeks.
HARVEY
There. Now was that so fucking
difficult?
Harvey starts walking inside. Juan stands and looks over the
railing at his seagull-infested nachos.
JUAN
You owe me for those nachos, man.
HARVEY
Shut up. Come on, I'm supposed to
be talking with Franco now.
Harvey exits the porch. Juan lingers for a moment, staring
longingly at his ruined nachos, then follows Harvey inside.
INT. FRANCO'S OFFICE - DAY
Caroline and Franco are obviously hitting it off. Both of them
are LAUGHING hysterically, and Franco has one hand clutching
his chest and the other held out in front of him.
FRANCO
No! Stop it!
The laughter slowly dies down, and Caroline finally appears
calm and confident.
INT. FRANCO'S - DAY
Harvey and Juan approach the door to Franco's office. Franco,
though his laughter has abated, is heard exuberantly YELLING
from within.
FRANCO O.S.
Oh, stop, you're killing me! Ow, my
sides!
Harvey and Juan exchange openmouthed looks. Harvey draws his
gun, motions for Juan to do the same, and nudges Juan slightly
in front of him. Standing off to the side, Harvey throws open
the door to Franco's office. Juan jumps in, pointing his gun
in front of him, and Harvey follows a second later. Through
the open doorway, we can now see that Juan has his gun in
Caroline's face.
CAROLINE
Shit!
HARVEY
This must be fate.
Harvey puts his gun away. Franco LAUGHS.
JUAN
So we meet again.
CAROLINE
Get that out of my face.
Caroline pushes the gun out of her face. Juan stares at her,
thinks better, and puts the gun away.
FRANCO
Yeah, you better put that away. I
just hired her. I don't want you
blowing away my newest waitress.
Caroline and Franco smile.
TITLE CARD: "Two weeks later"
INT. FRANCO'S - NIGHT
Harvey and Juan enter. Harvey heads for the patio, but Juan
drags him to a table in the center of the club, with a good
view of the stage. Eliza, wearing a powdered wig and
eighteenth century garb, comes from behind a curtain on stage
and dances to Falco's Rock Me Amadeus. Caroline, topless,
appears occasionally in the background, waiting tables.
As the dance goes on, and Eliza's clothes (and wig) come off,
a bald BLACK MAN wearing a too-cool mustard-yellow shirt, a
thin purple tie, and black pants and coat, enters. Juan
gestures to him and addresses Harvey.
JUAN
See that? That looks so good. But I
could never look good in that. Only
black guys can wear that sort of
fancy, colorful shit and not look
like an ass.
Harvey looks, but he doesn't seem to care.
HARVEY
Yeah, I suppose so.
JUAN
No man, I'm serious. Black men wear
shit that's so cool, but would make
a white guy - or a spic like me -
look like a freakin' idiot or some
kind of reject from the seventies.
A bald, mustard yellow leisure suit-clad WHITE GUY enters.
Seeing him, Juan gestures.
JUAN (Cont.)
See, case-in-fucking-point! Perfect
example. Tell me that guy there
doesn't look like an idiot.
Harvey looks and LAUGHS.
HARVEY
Yeah. I see your point, kid. He
does look like a complete idiot. I
don't think the baldness is helping
his case any either. If anyone ever
was fucking born for this place,
man, he was.
As Juan and Harvey continue talking, Eliza finishes her dance,
collects stray dollar bills and clothes, and exits backstage.
JUAN
Not only can black men look cool as
shit in anything, they also make
baldness a fucking work of art.
Look how the lights shine off that
guy's head majestically but make
the white guy look like a middle
-aged corpse.
HARVEY
Man, with all the shit blacks have
been through over the years, it's
nice to see something that white
guys can't live up to with them.
They just look cool as hell in
anything.
INT. FRANCO'S (BACKSTAGE) - NIGHT
Eliza, still naked, is haphazardly tossing all of her tips on
a dressing table. As she begins to put her clothes back on,
Caroline enters.
ELIZA
Hey Car, how's it going out there?
CAROLINE
Oh, pretty good, Eliza. They're
keeping it cold as shit on the
floor tonight, though.
ELIZA
Sure. That's just to keep your
nipples hard - keeps the customers
happy.
Eliza starts to count her pile of money as Caroline just
stares.
CAROLINE
I guess. Still, I think I'm gonna
have to put something on now. I
hate to cut my tips down, but I'm
just freezing my ass off out there.
Caroline puts on a shirt from a nearby rack and starts
buttoning it up.
CAROLINE (Cont.)
You look like you did pretty well
tonight.
ELIZA
Not bad.
CAROLINE
Looks better than "not bad" to me.
ELIZA
So how come you never do any
dancing anyway?
CAROLINE
I don't know.... Just not my style,
I guess. Besides, I like the
waitressing, and I'm making good
money at it, especially with all
the tips.
ELIZA
Yeah, but think about it. In one
dance, you could probably take in
as much money as you do after an
entire night of waitressing.
INT. FRANCO'S - NIGHT
The stage is empty, between acts. Juan and Harvey are still
talking, and now have half-empty bottles of beer in front of
them. Franco stands behind the bar, tending to customers.
JUAN
So the ostriches are due in
tomorrow morning.
HARVEY
Ostri, kid. And I already knew
that, so quit fucking telling me.
JUAN
Sorry.
Juan picks up his drink and takes a quick, exuberant swallow,
draining the bottle.
HARVEY
Yeah, "sorry." You've just got to
learn to tone the fuck down a
little, y'know, or you'll end up
getting yourself in a lot of
trouble. Or me.
Juan puts his empty bottle down on the table and looks around
the bar.
JUAN
What, in here?
HARVEY
Yeah, especially in here. Come on.
We're going outside, like we
should've in the first place.
Harvey stands, abandons his half-full bottle of beer, and
heads for the patio. Juan follows a step behind.
HARVEY (Cont.)
How can you still be so fucking
ignorant after all this time with
me?
JUAN
I don't know.
HARVEY
Don't know? You just ain't
listening.
At the door to the patio, Harvey turns back to Franco at the
bar. Franco nods.
HARVEY
Hey Franco, another round out here!
EXT. FRANCO'S (PATIO) - NIGHT
Juan and Harvey enter the patio and sit at Harvey's usual
table by the rail.
HARVEY
You know how fucking costly a big
mouth like yours can be? Guy I
pulled off a few jobs with liked to
talk business out in public all the
time, nearly got us killed once.
JUAN
No shit?
HARVEY
Yeah, no shit. And if you'll shut
the hell up for a while, I'll tell
you about it.
JUAN
Okay. Yeah, go ahead.
Harvey smiles.
HARVEY
Thanks, I'm fucking honored.
Juan LAUGHS.
HARVEY (Cont.)
Okay, so there was this guy I used
to work with. Real young kid,
friend of Seven's I think. Delgado,
he always said his name was, but I
knew he was lying.
JUAN
So what was his real name?
HARVEY
I don't know; it's not fucking
important anyway. This Delgado guy
was a real basket case, man,
totally uncool under pressure. Used
to stutter real bad, too, so he
hardly ever spoke. But when he did
talk, he used to put his foot in
everyone's mouth, like an ass. I
eventually straightened him out
though. Got him to shut the fuck
up, and he turned out to be one
tough motherfucker. But this one
time, like I was saying....
FADE TO:
INT. FRANCO'S (BACKSTAGE) - NIGHT
Both Caroline and Eliza are fully dressed.
CAROLINE
Don't you get kind of sick though,
with everyone leering at you and
shit?
ELIZA
Hey, they can look, but they can't
touch. Besides, as long as they
keep giving me the money, why
should I care? The way I see it,
I'm just providing a service -
CAROLINE
To horny old men.
Eliza LAUGHS.
ELIZA
Yeah, sure, some of them. You'd be
surprised though, there's actually
a lot of good-looking guys out
there!
CAROLINE
Yeah, well ... I've never been much
of a dancer anyway.
ELIZA
Oh please, like it's really
dancing. You just shake your tits
in their faces and they're happy.
Franco enters, with a huge grin on his face and his hands in
front of his eyes.
FRANCO
You girls decent in here?
ELIZA
Oh, real fuckin' funny, Franc.
Eliza smiles and rolls her eyes. Franco uncovers his eyes and
LAUGHS.
FRANCO
Yeah, I'm a regular Eddie fuckin'
Murphy.
He turns to Caroline and sees that she's dressed.
FRANCO
Hey Caroline, if you're leavin'
that shit on, I got customers out
on the patio for you.
CAROLINE
Yeah, okay. At least it's warm out
there.
FRANCO
Sure, sure. Got some big tipper out
there, too, if ya know what I mean.
ELIZA
No, Franc. Please, tell us what you
mean.
FRANCO
I mean he leaves big tips. At least
considering you're ... uhh, what's
the opposite of topless? Topful?
CAROLINE
I think you're looking for
"clothed."
FRANCO
Whatever. Anyway, only way you'd
get bigger tips'd be if you danced.
ELIZA
See, Car? I told you.
FRANCO
Told her what?
ELIZA
Caroline's thinking about dancing.
CAROLINE
I was?
FRANCO
Sounds good, kid; we'll set it up
later. For now, get your pretty
little ass out to the patio.
EXT. FRANCO'S (PATIO) - NIGHT
Harvey is finishing up his story for Juan as Caroline comes
out, carrying a tray with two beers.
HARVEY
Okay, so there he was, arm drenched
in blood, stammering "fu-fu-fu
-fuck" like he's finally realizing
what he's been doing all this time.
I take out the guy that tagged his
ass, but he never bothers to
actually say "thanks" or shit.
JUAN
Man, what an asshole.
Caroline places the bottles on their table and shoots Juan a
dirty look.
CAROLINE
Here you go, guys.
HARVEY
Thanks a lot, sweetheart. (to Juan)
Actually, far from asshole. After
that, you never heard a peep out of
Delgado. His way of thanking me was
just keeping his trap shut.
JUAN (to Caroline)
Yeah, thanks.
Caroline starts to walk away, but Harvey grabs her arm. He
pulls her down toward him.
P.O.V. HARVEY:
Caroline leans over, and we look down her shirt. After a
moment, Harvey's hand stuffs a twenty dollar bill down her
shirt. He releases her, and she stands up straight.
HARVEY O.S.
Here ya are, kid.
END P.O.V.
Caroline blushes, smiles, and walks back inside. Juan
WHISTLES.
HARVEY
Her tips sure are looking good
tonight.
JUAN
Ha! (a beat) Hey, how come you hang
outside here, and don't go inside?
HARVEY
No ears out here, like I was
fuckin' telling you. Besides, it's
quieter. All that rock and roll
noise gets to me.
JUAN
Oh. You can't tune it out? The
sights are worth it.
HARVEY
Nah. I can see it all from out
here, anyway.
Caroline is seen walking around the club through the window.
Harvey's eyes follow her.
INSERT (INT. FRANCO'S - NIGHT): Caroline sees Harvey looking
at her. She walks back outside.
Caroline walks up to the table.
CAROLINE
You guys need something else? Can't
be done with those drinks just yet.
Juan takes a long swill of his beer, nearly draining the
bottle. He speaks between swallows.
JUAN
Don't be so damn cocksure.
Harvey shakes his head in disgust at Juan, then turns to
Caroline and smiles.
HARVEY
We're just enjoying the view.
Caroline looks at Harvey, and their eyes meet for a minute
until Juan interrupts them.
JUAN
So how come you don't dance,
sister? Don't you need the money
for that car of yours?
Caroline's face burns. Juan gives the most obvious slow look
up a woman's body in history to Caroline, obviously undressing
her in his mind. Caroline's burn turns even redder with
embarrassment.
CAROLINE
Because I don't want to give sick
fucks like you the pleasure.
Caroline exits.
HARVEY
Wow. She really doesn't like you.
JUAN
Yeah, I know. I just love being
hated though.
INT. FRANCO'S - NIGHT
Caroline comes storming back inside. On stage, Eliza is
starting her second set, dressed in top hat, tails, and white
gloves, as Taco's Putting on the Ritz plays. She sees that
Caroline is upset and runs off the stage to her, much to the
dismay of the patrons.
ELIZA
Caroline? What's the matter?
CAROLINE
Nothing. I just hate that bastard.
ELIZA
Who? Harvey?
CAROLINE
No, that young spic with him. He's
the fucker that caused me to be
here in the first place.
Eliza glances outside at the patio. Franco, seeing that Eliza
has left the stage to talk to Caroline, comes out from behind
the bar and approaches them.
ELIZA
He's the guy you got into that
accident with?
CAROLINE
Yeah.
FRANCO
Hey ladies. What's going on here?
CAROLINE
It's nothing, Franco.
FRANCO
You sure? You want to come into my
office and talk? You know I'm
always here for my girls.
ELIZA
Yeah. Maybe you should, Car.
Franco gestures to the stage.
FRANCO
Hey, Eliza. I see you down here and
not up there. Go and dance for us,
will ya?
With a pat on her ass from Franco as encouragement, Eliza
returns to the stage to complete her set. Franco leads
Caroline to his office.
INT. FRANCO'S OFFICE - NIGHT
Franco sits down behind his desk and motions to an empty chair
across from him. The same two sheets of paper from two weeks
ago remain on the desk, apparently untouched.
FRANCO
Okay, what's up?
Caroline sits and starts absentmindedly fumbling with the
buttons on her shirt. Franco starts running his hands through
his hair, as if he's trying to make sure it's all still there.
CAROLINE
Remember after you hired me, you
said I could start dancing when and
if I wanted to?
FRANCO
Yeah, it was just two weeks ago. I
may be getting old, but I ain't
ancient yet.
CAROLINE
Well, I think I want to start.
Franco looks down at one of the papers on his desk, running a
finger across it.
FRANCO
Okay. How's ... tomorrow night?
Ten-thirty?
CAROLINE
Uhh ... yeah ... sure, okay.
Franco scribbles something on the paper, then looks up at
Caroline and smiles.
FRANCO
Okay then, anything else?
CAROLINE
No. I guess that's all.
Caroline gets up and exits.
INT. FRANCO'S - NIGHT
Harvey and Eliza are TALKING by the bar. As Caroline
approaches them, they stop. Harvey smiles.
CAROLINE
Well, I'm on.
ELIZA
Great! When?
CAROLINE
Tomorrow night. Ten-thirty.
ELIZA
Just one dance?
CAROLINE
Should I have asked for more?
ELIZA
Oh, no. One's good for starters.
Harvey, you gonna come in from the
patio to spread your good cheer and
wealth for my friend here? It's
going to be her first night, after
all.
HARVEY
I wouldn't miss it for the world.
CAROLINE
Thanks, guys. (a beat) Okay, my
shift was over ten minutes ago. I'm
gonna pick my stuff up and head
out. I guess I'll see you tomorrow.
HARVEY
I look forward to it.
Caroline walks backstage.
HARVEY (Cont.)
She's got some good talent.
ELIZA
You think so?
HARVEY
Yeah, I haven't seen a girl as
good-looking as her around here
since....
Harvey gets a faraway look in his eyes.
ELIZA
You'd better be trying to remember
my name, Harv.
Harvey LAUGHS.
HARVEY
Yeah, yeah. Really though, I'm
thinking of that Michelle chick.
What the fuck was her last name
again?
ELIZA
Michelle Medora? The blonde girl?
Franco fired her six months ago.
HARVEY
No, not her. This was before you
came here. She was a redhead -
natural one. She and I used to do
some business together.
ELIZA
What kind of business?
HARVEY
What other kind is there?
ELIZA
Oh.
HARVEY
Yeah, there was this one time ...
nice summer night like tonight,
too. We were coming in from Grand
Cayman on the Gloria.... Have I
ever taken you on my boat?
Eliza winks.
ELIZA
Not yet.
Harvey CHUCKLES.
HARVEY
"Not yet." I like that answer.
Anyway, it's just after sunset, and
just her and me are on the boat,
you see. So we're coming into
Everglades, when out of nowhere....
FADE TO:
INT. UNIVERSITY OF MIAMI REGISTRAR'S OFFICE - DAY
Caroline is on line, holding registration forms and looking
impatient. As she slowly creeps up to the front, Joey
approaches.
JOEY
Hey Car, how's life? Is the car
okay?
CAROLINE
I'm getting it back tomorrow.
JOEY
What's the total cost going to be?
CAROLINE
Twelve hundred, they said.
Joey WHISTLES.
JOEY
Ouch.
CAROLINE
It's okay. I can afford it now. I
got an advance on my first
paycheck.
JOEY
First? You're not at Morton's
anymore? What happened? Did you
quit?
CAROLINE
Uhh, yes.
JOEY
Why? I thought you needed the
money.
CAROLINE
I don't anymore. New job. Hence,
"first" paycheck.
JOEY
So where's this new job?
Caroline pretends to check that her registration form is
filled out correctly while trying to decide what to tell Joey.
CAROLINE
An art gallery. I'm the
receptionist.
JOEY
Really? Cool. Which gallery?
Caroline marks something on her form with a pencil, to give
her a moment to remember the gallery where she interviewed.
CAROLINE
Carter's. Down on Collins.
JOEY
Yeah, I think I've been by it
before. Nice looking place. Pay
good?
CAROLINE
Oh yes, definitely the best I've
ever made.
Joey smiles.
JOEY
Great, you can treat me to dinner
sometime then.
A long pause. Caroline moves up another spot.
CAROLINE
Is that your subtle way of asking
me out?
JOEY
I think it would be nice getting
together again.
CAROLINE
What do you mean, "getting
together" again?
Caroline reaches the front of the line.
JOEY
You know, like how it used to be. I
think we should start dating again.
CAROLINE
I don't think that's a good idea.
Caroline places her forms on the registrar's desk in front of
the STUDENT who is sitting there.
INT. JUAN'S CAR - DAY
Juan pulls up to the docks by Harvey's boat and finds Harvey
standing by a pay telephone. Harvey walks over with a
disgusted look on his face. He gets in, and Juan starts
driving.
HARVEY
You're late.
JUAN
Sorry. I -
HARVEY
What? Let me guess, you got into an
accident?
Juan LAUGHS.
JUAN
No, not this time. I had to get
some gas.
HARVEY
Oh. I thought you were doing
something productive, like calling
about the van.
Juan gestures to a car phone between the driver and passenger
seats.
JUAN
Sorry, I've been busy. But if you
want, call them now. Here's the
number.
Juan reaches into his pocket and takes out a scrap of paper
with a phone number on it. Harvey doesn't acknowledge it; he
only stares down at the phone.
HARVEY
What the fuck is this? You Dick
Tracy or something? Is this the
Batmobile?
JUAN
It's a car phone. My new toy.
HARVEY
How secure is it? I mean, I
wouldn't talk business on no CB
radio.
JUAN
This ain't a CB. It's fine.
Juan thrusts the scrap of paper at Harvey.
JUAN (Cont.)
Just give 'em a call, okay? Don't
be afraid of new technology.
HARVEY
Whatever.
Harvey grabs the phone number and reaches down for the
telephone. He holds it to his ear, but doesn't hear a dial
tone.
HARVEY
What the fuck? How do you use this
damned thing?
Juan LAUGHS.
JUAN
You gotta turn it on, first.
HARVEY
You gotta turn the damn phone on
first? What the fuck?
JUAN
Just because it's new doesn't mean
that it's bad.
HARVEY
Yeah, that's what you say. You
weren't around when Mendoza tried
introducing a new batch of smack in
'79.
JUAN
That the infamous Mendoza deal?
HARVEY
Yeah, my memoirs. I'll give you the
TV Guide version.
JUAN
Okay, we've got time.
HARVEY
Yeah, I know, but I got a call to
make.
Harvey looks down at the phone in his hand.
HARVEY (Cont.)
So, how the fuck do you turn this
thing on, anyway?
INT. CAROLINE'S APARTMENT - DAY
Caroline exits her bedroom, wearing a bikini, and heads over
to her stereo. She flips through her record collection and
decides on a dance music 45 rpm single. She lifts up the lid
of the turntable and puts it on.
INT. ART GALLERY - DAY
Robyn Carter is behind her desk at the art gallery that
Caroline interviewed at. She is reading an art magazine. Joey
enters, carrying a nice bouquet of flowers. Robyn doesn't
notice him; finally, he CLEARS HIS THROAT to get her
attention.
INT. CAROLINE'S APARTMENT - DAY
Caroline is dancing to the MUSIC. She starts off awkwardly,
but slowly gets into it. She bounds around the apartment,
stopping in front of a mirror. Arching her back, she reaches
behind to unsnap the top of her bikini.
INT. ART GALLERY - DAY
Robyn closes the magazine, looks up at Joey, and smiles.
ROBYN
Those for me?
JOEY
They're for Caroline. Is she here?
ROBYN
Caroline?
JOEY
Caroline Callahan. Doesn't she work
here?
INT. CAROLINE'S APARTMENT - DAY
Caroline continues to dance around the apartment, wearing only
the bikini bottom.
INT. ART GALLERY - DAY
Robyn looks confused.
ROBYN
No, there's no Caroline here. Are
you sure you're in the right place?
Joey opens his wallet and shows Robyn a photograph of Caroline
and him taken in better times.
ROBYN
That your girlfriend?
JOEY
Hopefully.
ROBYN
She looks a little familiar. You
said her name was Caroline?
Robyn wheels around on her chair and opens a file labeled
"Resumes" on the table behind her desk. She turns back around
with Caroline's resume in hand.
JOEY
Yeah. She doesn't work here?
ROBYN
No, but she interviewed for a
position about two weeks ago.
JOEY
She just interviewed? You didn't
hire her or anything?
ROBYN
No.... I did call her for a second
interview, but she never called me
back. The more I think about it,
the weirder it seems. There were
these two guys with her.
JOEY
Two guys?
ROBYN
Yeah. A young Cuban and an older,
white guy. His name's Harvey. He
does some business with me.
Joey takes out a notebook and starts jotting down notes.
ROBYN (Cont.)
What are you, a cop?
Joey doesn't look up before answering.
JOEY
Yes.
ROBYN
No shit.
JOEY
Yes shit.
ROBYN
"Yes".... Shit. (a beat) Look,
mister - what did you say your name
was, again?
JOEY
I didn't.
Joey walks over to the desk and hands the flowers to Robyn.
JOEY (Cont.)
I was wrong, these flowers are for
you.
Joey winks at her and exits.
INT. CAROLINE'S APARTMENT - DAY
The dance song is in its final fade out as Caroline finishes
her practice routine. She's so caught up in the dance that she
hardly notices the song ending. When she does finally stop
dancing, she lifts the stylus off the record and then hunts
down her clothing.
EXT. FRANCO'S - NIGHT
Juan and Harvey are sitting at their table, drinking beers.
HARVEY
Hey, what time you got?
Juan looks at his watch.
JUAN
Just about ten-thirty.
HARVEY
Shit. I gotta go inside.
JUAN
What the hell for?
HARVEY
A dance I gotta see.
JUAN
Well, if you're goin' in, then I'm
goin' in.
HARVEY
No you're not. I'll send another
beer out for you.
Juan starts to protest as Harvey exits.
JUAN
Why can't I come in with you?
HARVEY
Because I need you out here. Just
stay out here, okay?
Harvey walks back inside.
INT. FRANCO'S - NIGHT
Caroline is up on stage, dancing to Robert Palmer's Simply
Irresistible. She is wearing a tight black sleeveless mini
-dress. Her hair is slicked back, and her face is heavily made
up, accentuated by bright red lipstick. Eliza, wearing ancient
Egyptian clothing, CHEERS her on as Harvey walks in and sits
next to her.
When the song ends, they both APPLAUD enthusiastically while
Caroline picks up her clothes. Blushing, Caroline bows and
exits backstage.
ELIZA
I'm on next.
HARVEY
Okay, I'm going to go back and talk
to her.
Eliza gets up and heads to the stage as the Bangles' Walk Like
an Egyptian STARTS.
INT. FRANCO'S (BACKSTAGE) - NIGHT
Caroline now has her hair down and is changing into street
clothes. Harvey enters with a shit-eating grin on his face.
HARVEY
Hey, you did great!
CAROLINE
Really? You think? Thanks.
They stare at each other uncomfortably for a minute.
CAROLINE
So, where's that asshole Juan
that's always hanging off you?
HARVEY
I didn't think you'd want him here.
CAROLINE
Oh, thanks. That's sweet.
HARVEY
Yeah, thanks. That means I gotta
take a cab back to my boat.
CAROLINE
You live on a boat? Cool.
HARVEY
You wanna see her? I could use a
ride home.
Caroline smiles.
CAROLINE
You bet. Gimme a minute here and
I'll meet you by the door.
Harvey nods and walks out.
INT. GLORIA - NIGHT
Harvey, holding Caroline's hand, helps her onto the deck of
the Gloria, then begins to prepare to set sail.
HARVEY
Welcome to my boat.
CAROLINE
Nice. Have you had it for long?
HARVEY
"Her." You always name a boat after
a woman.
CAROLINE
Oh, I see. And do you have a name
for her?
HARVEY
Yeah. Gloria.
CAROLINE
She an ex-girlfriend or something?
HARVEY
Or something. Kind of a long story,
actually. It involves this crazy
guy I used to work with, "Crazy
Ivan." None of us ever really
trusted him, especially Garcia.
Ivan may have been crazy, but
Garcia ... man, Garcia just went
over the top one time too many. The
longer I knew him, the cockier he
got, and the cockier he got, the
stupider he got. He just started
getting paranoid in the end, and
paranoid is one thing that'll get
you into trouble every time.
EXT. FRANCO'S (PATIO) - NIGHT
Juan is still sitting at the table, nursing a beer. Franco
enters the patio with an empty tray and seems surprised to see
Juan there. He looks at his watch and shakes his head.
FRANCO
Closing time, Juan.
JUAN
I'm waiting for Harvey.
FRANCO
He left a few hours ago with
Caroline, I think. You waiting for
him all this time?
JUAN
No. Of course not. I'll see ya
later.
Juan gets up and leaves.
INT. GLORIA - NIGHT
Harvey gets up to adjust the sail. Caroline has now made
herself comfortable; she sits in one chair with her feet up on
another.
HARVEY
Okay, so this one winter morning we
were sailing into Everglades on my
first boat, the Embarcadero, just
transporting assorted shit - mostly
dope, cocaine, heroin. We're
sailing under the guise of an all
-night fishing trip, buddies
hanging out, you know? Crazy Ivan
was pacing around on deck
somewhere, like he always did. Ivan
was this nervous Russian guy; I
think his real name was Ivan
Dimitrocivski or something. The guy
used to refer to himself in the
third person all the time, with
that accent of his. He was always
nervous, no matter how smoothly
things were going, so everyone
called him Crazy Ivan.
CAROLINE
And that guy Garcia didn't trust
him?
HARVEY
Nah, Garcia and Crazy Ivan just
rubbed each other the wrong way.
Garcia always called him a "dumb
Polack," and the guy wasn't even
Polish.
CAROLINE
Okay, go on.
HARVEY
Right. So Garcia and I were up
front, talking to the guy on watch
at customs, who's asking us all
sorts of questions about our
"fishing trip."
EXT. PORT EVERGLADES - EARLY MORNING
We are at the customs station, looking down at the Embarcadero
as it pulls into port. The Embarcadero is a slightly smaller
boat than the Gloria and in much worse shape, looking like it
hasn't been painted in years.
Harvey and Garcia are on deck TALKING quietly to each other.
CRAZY IVAN, a dark bearded man, is pacing around the deck. The
CUSTOMS OFFICER, also a dark bearded man, watches the boat
pull in and starts filling out a form that he's carrying on a
clipboard.
HARVEY V.O.
Real gruesome-looking bastard, too.
Not really the kind of guy you'd
want to fuck with, but we don't
really have much of a choice at
this point.
INT. EMBARCADERO - MORNING
Crazy Ivan's pacing takes him up to where Garcia and Harvey
are standing. Harvey walks to the rail of the Embarcadero and
TALKS to the customs officer.
IVAN
Why are we not going?
GARCIA (to Ivan)
Just go the fuck to sleep, you dumb
Polack, we'll wake you when we're
back.
IVAN
Ivan is not Polack; Ivan is from
Shoviet Union!
Ivan and Garcia continue to ARGUE in the b.g. Harvey steps
aside, revealing Caroline on deck, sitting in the same chair
as on the Gloria.
HARVEY (to Caroline)
So they start arguing, and I know
we're in trouble. I just hope
they'll stop the shit before the
officer starts getting too
suspicious.
As Ivan and Garcia keep YELLING at each other, Delgado comes
up on deck to watch the argument develop. The customs officer
continues QUESTIONING Harvey, though Harvey seems to be paying
no attention to him.
HARVEY (to Caroline, Cont.)
Okay, eventually I convince the
customs guy to let us through. And
as we move into dock, Crazy Ivan
shuts up all of a sudden, and he
and the customs guy just start
staring at each other.
Ivan and the officer do as Harvey describes. Caroline turns
from Ivan to the officer, as if to confirm what Harvey has
said, then turns to Harvey.
CAROLINE
Just ... staring?
HARVEY
Yeah, like they're teenagers in
love or some shit.
GARCIA (to Ivan)
Hey, what the fuck you staring at,
you dumb Polack?
HARVEY (to Garcia)
Just leave him the fuck alone
already. (to Caroline) After a
couple of minutes of this, Garcia
looks like he's figured something
out, and just goes ballistic on
Ivan.
Garcia, still standing directly in front of Ivan, glances at
the customs officer for a moment, then turns back to Ivan.
GARCIA
Oh shit! You son of a bitch!
Garcia gives Ivan an uppercut, sending him to the deck. Ivan
sits up, but only so he can turn back and continue staring at
the customs officer. The officer reacts to the punch
immediately and starts running to meet the Embarcadero as she
docks. Garcia jumps on top of Ivan and continues punching, but
Ivan does not retaliate.
HARVEY (to Caroline)
I can't really imagine what he's
thinking. It makes no sense - we're
already through until Garcia flips
out on Ivan. But now, the customs
guy is on our boat before I can
even get her tied down.
Harvey begins to tie up the Embarcadero as the customs officer
boards, reaches the fight, and pulls Garcia off Ivan's back.
He then shoves him in Caroline's direction. Caroline stands
and steps aside as Garcia crashes into the rail next to her;
she starts walking away from the fight. Ivan then stands, and
the customs officer approaches Garcia.
HARVEY (Cont.)
Once he gets there, he breaks up
the fight between Garcia and Ivan,
which just pushes Garcia over the
edge. Not in the mood to take any
shit, he just pulls his gun out and
shoots the bastard.
Garcia pulls a pistol out of a shoulder holster and SHOOTS the
customs officer at point-blank range. Caroline SCREAMS. The
officer GROANS and falls to the deck, bleeding profusely.
CAROLINE
Shit!
HARVEY
Yeah. Anyway, right after the
customs guy gets shot, Ivan yells
something out in a panic and starts
running. Ivan used to just ... run,
when things got a little too tough
for him.
EXT. EMBARCADERO - MORNING
We are at Port Everglades, with a view of the Embarcadero in
dock. Ivan's voice can be heard o.s. YELLING some
unintelligible two-syllable word. He then exits the
Embarcadero and starts running along the docks, eventually
disappearing from view.
HARVEY V.O.
I can't be sure what he yelled, but
I'd swear it was either "comrade"
or "brother."
Garcia exits the Embarcadero, with his gun drawn, and runs
down the same route that Ivan took, SCREAMING various curses
at him. He also disappears from view.
HARVEY V.O. (Cont.)
So he starts running, and Garcia
just takes off after him, with his
gun drawn. Me and Delgado take off
after 'em, figuring we're screwed
if these jackasses start running
all over Everglades.
Harvey and Delgado run off the Embarcadero, taking the same
route that Ivan and Garcia followed a moment before.
Shortly after, the bloodied customs officer drags himself off
the boat.
EXT. PORT EVERGLADES - MORNING
We follow Harvey and Delgado as they run down the docks. Ivan
and Garcia quickly come into view. Garcia is now wildly FIRING
his pistol.
HARVEY V.O.
Now about a hundred yards from the
boat, Garcia starts firing that
pistol in front of him, holding it
in both hands - only way he could
do it, really. The guy only had
seven fingers.
CAROLINE V.O.
Seven fingers? Ewww...
HARVEY V.O.
Heh. Yeah. I should tell ya that
story too. Anyway, people start
poking their heads outta their
houseboats and shit, to see what
the hell is causing some lunatic to
go running down the street
screaming -
GARCIA
Stop running, you stupid fucking
Polack!
HARVEY V.O. (Cont.)
- while firing a pistol.
CAROLINE V.O.
Heh. Sounds like quite a sight,
really.
HARVEY V.O.
Yeah, ain't that the truth.
Actually would've been kinda funny,
only someone poked their head out a
little too far. Some woman starts
walking out onto the docks as Ivan
runs past her, like she's trying to
see what he's running from.
EXT. HOUSEBOAT - MORNING
A young beautiful woman, GLORIA, exits her houseboat and walks
onto the dock as Ivan runs by. Caroline emerges from the same
boat, looking confused as to how she got there, and stands
next to Gloria. Harvey and Delgado run into view a moment
later.
From inside the houseboat, a FRIEND of Gloria's does her best
to warn her of Garcia's wild GUNSHOTS.
FRIEND O.S.
Gloria!
HARVEY V.O.
So someone screams, trying to warn
this chick, but by the time she
turns to see who yelled to her,
Garcia's gone and tagged her, and
she drops in a heap.
Both Gloria and Caroline turn back to the houseboat to try and
find the source of the earlier shout. Gloria is immediately
SHOT and falls dead, next to Caroline. Caroline is startled
and SCREAMS in fright, just as Harvey and Delgado reach the
body.
HARVEY
Right in the head - she never had a
chance.
Garcia starts walking up to Gloria's dead body, while Caroline
stands over it, horrified. Garcia reaches the body and bends
down to get a closer look.
HARVEY (to Caroline)
About the only good part of this is
the arguing stops. Ivan stays maybe
twenty yards away, and Garcia leans
over this woman, like he's just
suddenly realizing he's killed her.
GARCIA
Shit....
Garcia stands up straight and looks to Harvey and Delgado. The
sound of the customs officer LIMPING heavily down the docks is
heard o.s., but no one seems to notice.
HARVEY (to Caroline)
It hit Garcia hard. (a beat) Then
Ivan suddenly gets this weird look
on his face, like panic or some
shit, and he slowly points his gun
out in front of him.
Ivan lifts his gun. The customs officer finally limps into
view, pointing his gun in front of him. The only one who sees
him is Ivan, whose gun is leveled right at him.
HARVEY (Cont.)
Then suddenly shots start firing,
and I have no idea what the fuck's
going on anymore.
The customs officer FIRES at Garcia while Ivan simultaneously
FIRES at the officer. Garcia drops in a heap next to Gloria,
and the customs officer falls off the dock into the water with
a SPLASH. Caroline SCREAMS again. As everyone turns to try and
determine the source of the splash, Ivan runs off.
INT. GLORIA - NIGHT
Caroline is now on the edge of her seat.
HARVEY
All I know is I never saw Crazy
Ivan again; I guess he just ran off
after Garcia dropped. Delgado and I
went back to the Embarcadero to get
rid of the body of that customs
guy, but it was just ... gone, and
a trail of blood was leading down
the dock. Figured it was best to
just abandon the damn thing after
that. About a month later I
replaced the Embarcadero. I named
my new boat the Gloria, figuring in
a way, she saved our asses that day
and deserved to be remembered.
CAROLINE
Yeah, no kidding. That's quite a
story - better than naming it, her,
after a girlfriend, that's for
sure.
HARVEY
If you say so.
CAROLINE
So that seven-fingered guy died,
eh? Wow. (a beat) What happened to
his other three fingers anyway?
HARVEY
You really wanna know? It's another
long story.
CAROLINE
Sure. If it's as good as the first
one, it'll be well worth it.
HARVEY
Okay then. The upshot of the whole
thing is "Don't fuck with fish."
FADE TO:
INT. GLORIA - NIGHT
Caroline is sitting, rapt, at the edge of her chair, as Harvey
paces about the boat.
HARVEY
After I pulled him out of the tank,
the shock knocked him on his ass,
and that's when I got scared. I
knew I could talk my way out with
the fish, but not a dead man. So
you can imagine my relief when
Garcia came to two hours later.
CAROLINE
Those piranhas must bite pretty
hard to sever a guy's fingers.
HARVEY
Yeah, no shit. Rescuing Garcia got
me a nice scar on my shoulder to
boot.
Caroline gets up and walks over to Harvey.
CAROLINE
Scar? Can I see?
Facing him, she places her hands on his shoulders to try to
feel it.
HARVEY
No, no. It's more on my back. You
can't see it.
CAROLINE
Why not?
HARVEY
Okay.
Harvey steps back and removes his shirt. Caroline steps
forward, places her hands on his shoulders, and pulls him
toward her.
She pulls his head down and kisses him. From behind Harvey, we
see Caroline's hands running over his shoulders, but we can't
see the scar.
It isn't long before they're making out zealously and he is
removing her shirt.
CAROLINE
I'm glad you came to see me
tonight.
HARVEY
My pleasure. Now I'd like a private
performance.
INT. GLORIA (CABIN) - MORNING
The next morning. Caroline is still sleeping in Harvey's cabin
as he returns from above with two mugs of coffee. He takes a
sip from one, then places it down on a bedside nightstand. He
holds the other as he sits down on the bed beside Caroline and
kisses her forehead to wake her up.
CAROLINE
Mmmmmm.
HARVEY
Rise and shine, porcupine.
CAROLINE
Mmmm, what time is it?
Harvey looks at a clock.
HARVEY
About seven thirty.
Caroline sits and takes the coffee. She then kisses him.
CAROLINE
Why are we up so early?
HARVEY
I gotta go make some calls. I just
didn't want you to think I set you
adrift.
Harvey kisses her again, gets up and walks to the door. He
takes a robe from a hook on the back of the door, and tosses
it to her.
HARVEY
Hey, tomorrow I'm pulling a minor
deal, nothing too exciting. Wanna
come along and see how it's done?
CAROLINE
Sure, you can pick me up at my
place.
Harvey exits. Caroline takes a few sips of the coffee. She
looks around the cabin while drinking and eventually places
the mug down on the nightstand. Curious, she opens the drawer
to the nightstand and leafs through its contents. Finding
nothing interesting, she closes it back up. She then rises and
puts on the robe.
INT. GLORIA CABIN (BATHROOM) - MORNING
Caroline enters, ostensibly to do what people do in the
bathroom, but gets distracted. She sees herself in the mirror
on the medicine cabinet's door and decides to open it.
Included are:
shaving cream and razor
hair styling gel
mouthwash
deodorant
small Tupperware bin full of cocaine with a little mirror
leaning against it
On seeing this last item, Caroline finally finds something of
interest. She pulls the Tupperware out, opens it, and using
her finger, tastes a sample of its contents. She makes a yuck
-face but still is curious. She places the mirror down on the
counter and pours a bit too much of the cocaine on it. Rooting
through the medicine cabinet a bit more, she finds a loose
razor blade and makes a decent line out of the cocaine on the
mirror. She takes a deep preparatory breath, then leans in.
EXT. PORT EVERGLADES - MORNING
Harvey is at a public phone, inserting quarter after quarter.
Finally, he starts dialing.
INT. GLORIA (CABIN) - MORNING
A toilet FLUSHES, then Caroline exits the bathroom and
stumbles onto the bed. Soon, she gets bored again and snoops
around the cabin. She is still snooping when FOOTSTEPS sound
on the deck above. She quickly covers her tracks, lounges on
the bed, and strikes a seductive pose.
Harvey enters to find her high as a kite and horny. He smiles
and moves toward the bed.
HARVEY
Sorry I took so long. Damned
assholes don't have a fucking clue
how to run a business. Reminds me
of this one time -
Caroline shuts him up by grabbing him and pulling him down to
the bed on top of her.
INT. POLICE STATION - DAY
Joey, with a concerned look on his face, enters the office of
the chief, CHUCK COGSWELL. Chief Cogswell is a heavyset,
greying man with too-long sideburns; he's stuck in the
seventies.
JOEY
Hey Chief, what's up?
COGSWELL
Have a seat, Joey.
Joey sits as the chief places a black and white photo of
Harvey down on the desk.
COGSWELL (Cont.)
We've got a new case for you. We
don't know too much about him. Our
source says that there's some
smuggling deal that he's behind
involving ostriches.
JOEY
Isn't the plural of that "ostri"?
COGSWELL
Whatever.
EXT. PORT EVERGLADES - MORNING
Caroline exits the Gloria and starts walking down the dock.
Juan passes her walking in the other direction, stops, and
turns to watch her go by. He has a quizzical look on his face;
she is still too high to even notice him. Shrugging his
shoulders, he continues on to the Gloria.
Harvey bounds up on deck with an oversized grin.
JUAN
You didn't.
HARVEY
You wouldn't?
JUAN
You did.
HARVEY
How could I not? I mean, she was
all over me. It would've been
harder not to, trust me. It
would've been rude.
JUAN
I would've been rude.
Harvey starts to realize that Juan and Caroline aren't fated
for each other.
HARVEY
Yeah, you would've. (a beat) You
know, I really like her.
JUAN
Good for you. Let's go.
EXT. FRANCO'S - MORNING
Joey walks up to Franco's. He checks an address in his police
notebook against the address on the door. He looks surprised
that Franco's is so classy looking, but having confirmed the
address, he walks inside.
INT. FRANCO'S - MORNING
Inside, Franco's is practically deserted. There is one
apparently passed-out CUSTOMER, with one hand on a mimosa and
his head down on the table. Franco is behind the bar,
preparing for a day's worth of business.
Joey walks in, checks out the empty stage, sees the passed-out
customer, and walks over to Franco.
FRANCO
What can I get for you this
morning?
JOEY
I don't need anything, but I think
that guy could use an aspirin.
No answer.
JOEY (Cont.)
Actually, I'm looking for an old
business partner of mine. I kind
of, uhh ... owe him some money, and
I don't like leaving my debts
unpaid.
FRANCO
Okay.... Who?
JOEY
Oh, yeah, sorry.
Joey shows him the black and white photo of Harvey.
JOEY (Cont.)
Him.
Franco recognizes Harvey immediately and smiles, thinking that
Joey is one of Harvey's boys.
FRANCO
Oh, sure - Harvey.
JOEY
Is he here?
Franco looks around the empty bar.
FRANCO
Uhh, no. I think he's out with a
new waitress on his boat. He should
be back this afternoon. Want to
leave a message for him?
JOEY
No, that's all right, I'll try back
later.
Joey leaves.
EXT. CAROLINE'S APARTMENT (PARKING LOT) - MORNING
Joey exits his car and walks toward Caroline's apartment.
After he walks out of our view, Caroline pulls her car up next
to his, opens her door, and bumps it into the side of his car.
She stumbles out of her car with a smile on her face.
EXT. CAROLINE'S APARTMENT - MORNING
Joey is KNOCKING on Caroline's door. He stops, stands
motionless for a moment, and looks at his watch impatiently.
He KNOCKS on the door again.
CAROLINE O.S.
Hi Joey.
Joey looks quizzically at the door. Caroline walks into view
next to him.
JOEY
Oh, hi Car. Up early this morning,
huh?
CAROLINE
Whahuh?
JOEY
What part of "up early this
morning" didn't you understand? Are
you okay?
CAROLINE
Me? No. Yeah, I'm fine. I'm just
getting home now, sorry. What's up?
JOEY
Oh, where've you been?
CAROLINE
On a boat with a ... friend.
JOEY
This friend wouldn't happen to be
named Harvey, would he?
Caroline reacts visibly surprised. She tries to catch herself
but isn't quick enough.
CAROLINE
Harvey. Harvey? No....
A light bulb goes off over Joey's head. He can't believe the
coincidence.
JOEY
Harvey? You? (a beat) You? Harvey?
Oh my God. The art gallery....
Franco's.... Do you know what this
guy's involved in?
Joey continues, more to himself than to Caroline.
JOEY (Cont.)
I can't believe my luck. I'll make
sergeant after this. I gotta wire
ya, I can wire ya. I can solve the
case and get the girl. Chief
Cogswell's gonna kiss my ass after
this. Big time, I'm going big
time....
Caroline doesn't quite seem to care about his ramblings and
starts to unlock her door.
JOEY (to Caroline)
You gotta help me, Car.
Caroline thinks about it.
CAROLINE
No I don't.
Caroline opens her door and takes a step inside.
JOEY
(sarcastically)
Why not? What did you, sleep with
him?
Caroline slams the door on him.
FADE TO BLACK.
JOEY O.S.
(screaming)
I don't fucking believe it.
Caroline? Caroline! Open this door!
Screw him, I need you!
FADE TO:
TITLE CARD: "The Next Day"
INT. JUAN'S CAR - DAY
All the windows of Juan's car are open. Juan has one hand on
his steering wheel and the other one grasping a cup from
McDonald's. Harvey sits in the passenger's seat with his arm
hanging out the window.
HARVEY
Man, what a beautiful fuckin' day!
JUAN
Yeah, really. Not often you get a
summer day this cool in Florida.
Juan takes a sip of his drink through a chewed-up straw.
Harvey glances out the window.
HARVEY
Hey, what time's your cousin
expecting us? Noon?
JUAN
Yeah. Well, twelve o'clock, really.
HARVEY
What the fuck's the difference?
JUAN
Noon is like 12:00 to 4:00 or some
shit, ain't it?
HARVEY
No, man, that's afternoon. Noon is 12:00.
Hence, the few hours following that
are afternoon. Who the fuck taught
you how to tell time?
JUAN
I learned in Spanish.
HARVEY
Well, that fucking explains it.
Anyway, it's not even ten yet, so I
wanna make a stop to pick up
Caroline.
JUAN
Shit, what the fuck we gotta bring
her along for?
HARVEY
Just shut up and make a right at
the next light.
As Juan pulls his car into the right lane, he takes another
long sip at his drink, SLURPING up every last remnant of the
beverage, much to Harvey's dismay.
EXT. JUAN'S CAR - DAY
The car makes a right turn onto a nearly-deserted road. Juan
extends his hand out the window and tosses his cup out of the
car.
JUAN O.S.
Marino ... to Clayton ...
touchdown!
Harvey sticks his head out the window and watches the cup
bounce away behind the car.
INT. JUAN'S CAR - DAY
Harvey pulls his head back into the car.
HARVEY
What the fuck did you do that for!?
Turn this thing around and go pick
that shit up.
JUAN
Huh? You're blowin' me, right?
HARVEY
Fuck that. It's guys like you that
make this city look like shit. Now
go back and pick that shit up.
Juan looks over his left shoulder and signals to prepare for a
U-turn.
JUAN
Excuse the hell out of me. I didn't
realize I was working with Woodsy
the Owl.
INT. POLICE STATION - DAY
Joey enters to find pandemonium and looks a little bewildered
by it all. The station is packed, and COPS and Chief Cogswell
are BARKING to each other, getting ready for something big.
COP #1
Okay, guys listen here.
COP #2
This is it. This is the big time.
COGSWELL
Javier Espinoza is ours now. We
just have to make sure that we do
everything by the book.
COP #3
Did you men hear that? No fucking
up!
Joey walks over and tries to interrupt.
JOEY
Chief?
COP #2
When's this going down?
COP #1
Do we have anyone on him now?
COP #3
Tonight. We get him tonight.
COP #1
So we've got someone on him now?
COGSWELL
Muller's on him.
Joey tries to interrupt again.
JOEY
Excuse me? Chief?
COGSWELL
Muller's been working on this for
six months, and finally, we got
him. We got him right where we want
him.
JOEY
Hey, Chief!
COGSWELL
Yeah, what is it Joey?
JOEY
Got anything new with Harvey?
Cogswell dismissively answers Joey.
COGSWELL
Oh, yeah. The ostriches move
tonight. And there's some new
player in this thing. Minor
-leaguer, name's "Juan Aquino".
JOEY
Ostri? The ostri move tonight? What
do I do?
COGSWELL
Go to the desk, get Aquino's
picture, find where they're going,
and go get 'em.
TITLE CARD: "Ten Years Later"
EXT. FRANCO'S (PATIO) - DAY
It is a nice spring day, and Harvey is sitting at his favorite
table, nursing a beer. After a few moments of gazing at
passing boats on the water, he tilts the bottle back and downs
the last drops of his beer.
Just as he places the empty bottle down on the table, the door
from the inside part of the club opens and NICOLE BECKETT, a
waitress who bears a strong resemblance to Caroline, comes
out. She is carrying a tray with a replacement beer for
Harvey.
HARVEY
And not a moment too soon.
Nicole hands the beer to Harvey. He tips it to her in a toast,
smiles, and takes a small sip.
NICOLE
I get off at eight tonight.
HARVEY
What time is it now?
NICOLE
Five-thirty.
HARVEY
Well, I'll be done with this by
six.
Franco walks by the window and Harvey sees him. Franco nods.
HARVEY
Hey Franco! Come on out here!
Franco joins the two on the patio.
FRANCO
Yeah boss? What's up?
HARVEY
"Yeah boss." I love that shit. Hey,
why's Nicole working 'til eight
tonight? I need her at six.
FRANCO
At six? No problem, boss.
Franco collects a few empty glasses and takes them with him as
he leaves the patio.
HARVEY
We're out of here at six.
NICOLE
How come you own this place if it's
named after him?
HARVEY
Well, there's a story for that, but
I got an even better one to tell
you.
NICOLE
Oh, really?
HARVEY
About a girl named Caroline that
used to work here, oh, ten years
ago or so. Can't believe I remember
her, except she looked like you.
Could've been your older sister. I
was working with a real amateur
then, a Cuban guy named Juan
Aquino. Kinda sounds like a tequila
or something, don't it? Anyway,
Juan got me hooked up in this crazy
deal to move some birds -
NICOLE
Birds?
HARVEY
Yeah, an ostrich deal. Ostri,
ostriches, whatever the fuck the
plural of ostrich is. Okay, picture
this: a beautiful summer day, not
too hot either....
FADE TO:
EXT. COUSIN'S HOUSE - DAY
At the end of a long driveway, hidden from the street, is a
shed. Caroline, Harvey, and Juan are there with his cousin
ENRIQUE and Enrique's wife ELIA. Whenever Juan speaks to
Enrique or Elia, or when they speak to each other, it's in
Spanish with English subtitles.
Three ostriches are already loaded into a dark grey Ford
Econoline van. Everyone is standing around a fourth ostrich,
trying to get it into the van.
HARVEY V.O.
So, we've got three of the birds
already in the van, but there's one
left, looking for some sand to bury
its head in.
ENRIQUE
Come on, fat bird.
JUAN
I thought these birds of yours knew
how to behave.
ELIA
They do. It's just your friends
that's bothering them.
She gestures at Harvey and Caroline dismissively.
CAROLINE (to Harvey)
What did she say?
Harvey turns to her and shrugs.
HARVEY V.O.
They're speaking back and forth in
Spanish, but Juan's not
translating. I've been meaning to
learn some Spanish, being here in
Miami and all, but I've never
gotten around to it.
Finally, Enrique manages to push the ostrich onto the van,
while Juan shuts the van's door.
HARVEY
Great, let's get going.
Harvey and Caroline move to the front of the van. Caroline
gets in the driver's seat, and Harvey walks around to the
passenger side.
JUAN
I'll catch up with you; I think I
know where to go by now. I'll be by
in a bit.
Harvey nods and gets into the van. He closes the door, and
Caroline STARTS the engine.
HARVEY V.O.
So that's the plan. Juan's going to
play cousin and then catch up with
us at the dock. I know Caroline and
he don't get along, so I'm cool.
As the van drives off, we see Nicole, looking rather
frightened, in one of the back windows. Juan, Enrique, and
Elia walk into the house.
INT. COUSIN'S HOUSE - DAY
Enrique and Elia live in a modest, two bedroom ranch home that
is cleaner than a hospital. Enrique and Elia are sitting on a
couch, showing a photo album to Juan. Juan sits in a plush
recliner, his back to the front door. Unless otherwise noted,
all of their dialogue is in Spanish with English subtitles.
ELIA
This is Alejandro, seven years old
now.
ENRIQUE
He was just named little league
all-star.
JUAN
I haven't seen him since he was a
baby, he doesn't look anything like
he used to.
EXT. COUSIN'S HOUSE - DAY
Joey pulls up in an undercover police car, with its engine
SPUTTERING. As the car comes to a stop, smoke spills out from
under the hood. Joey gets out and walks up to the house.
INT. COUSIN'S HOUSE - DAY
There is a KNOCK on the door. Elia gets up and opens the door.
ELIA
¿Hola?
It is Joey, speaking English (with Spanish subtitles) while
everyone else continues to speak Spanish (with English
subtitles). He flashes a badge at Elia.
JOEY
Hola. (a beat) Uhh, does anyone
speak English here?
Enrique joins Elia at the door. Juan looks over his shoulder,
sees Joey's badge, and turns back around before Joey can see
him.
ENRIQUE
English? No. Do you speak English,
dear?
ELIA
English? No.
Joey takes a deep breath. He pulls out his picture of Harvey
and shows it to them.
JOEY
I'm looking for Harvey Johnson. Has
he been here?
JUAN
Shit.
ENRIQUE
Who?
JOEY
Harvey ... Johnson. I'm sorry -
who's that sitting over there?
EXT. HIGHWAY - DAY
Joey is driving Juan's Skylark rather quickly through the
traffic. Juan sits next to him in Harvey's shotgun seat,
handcuffed to the door. As they drive, they pass the other
blue Buick Skylark that Caroline keyed outside of the art
gallery. It still has a nasty streak down the driver's side.
Up ahead, we see the van with Caroline and Harvey.
INT. VAN - DAY
Caroline is driving. Harvey is sitting next to her, but is
turned in the seat so he can talk to Nicole in the back of the
van.
HARVEY (to Nicole)
So we're heading to the Gloria.
Everything's going fine until the
ostri start getting antsy.
The ostriches start getting antsy. They move around the back
of the van, pecking at the back window, as Nicole dodges out
of their way.
CAROLINE
Uhh, Harvey?
EXT. HIGHWAY - DAY
Juan's car is now directly behind the van. Joey flashes a
badge with one hand while steering with the other. Harvey
leans out the window and recognizes Juan, but sees only the
badge when he looks at Joey.
INT. VAN - DAY
Caroline is looking nervously at the rear view mirror.
Harvey's head is back in the van.
HARVEY
Shit.
CAROLINE
What do I do?
HARVEY
Keep driving. I'll take care of it.
(to Nicole) So I get my gun out to
take care of that double-crosser.
CAROLINE
(looking in rear view mirror)
Shit, I know him.
HARVEY
Of course you do, it's Juan.
CAROLINE
(muttering to herself)
What am I doing here?
HARVEY
Huh?
CAROLINE
Nothing.
Harvey draws his gun and leans back out the window. He aims to
take a shot.
INT. JUAN'S CAR - DAY
Joey is still waving Harvey and Caroline over when he sees
Harvey slowly aim his gun. With no free hands, he can't shoot
back.
INSERT (INT. VAN - DAY): As Harvey prepares to fire, an
ostrich comes flying out of nowhere. It CRASHES into the back
of his seat just as the gun GOES OFF.
Harvey's bullet smashes through the windshield and hits Juan
in the shoulder. Joey loses control of the car and swerves off
the road.
EXT. FRANCO'S (PATIO) - DAY
Nicole is sitting down, listening attentively to Harvey.
NICOLE
You shot Juan?
HARVEY
Well, I didn't mean to. I saw that
he was with a cop, so I just tried
to get them off the road. That
damned ostrich bumped into me,
though, and made me shoot Juan. But
... whatever. Our problem was
solved.
NICOLE
Okay, so then you loaded the
ostriches?
HARVEY
Yeah.
INT. JUAN'S CAR - DAY
The car comes to a sudden stop at the side of the road.
JUAN
I can't believe the double-crosser
shot me! Now he's going to make off
with the loot and Caroline will
probably get my half. That son of a
bitch!
JOEY
Caroline? You know Caroline? She's
with Harvey now?
JUAN
Yeah, I know that bitch, and she's
gonna get my fuckin' money now!
Joey glares at Juan and then pulls out his gun. Juan's eyes
widen in fright.
JUAN
Don't shoot me, man!
Joey WHACKS the gun against the side of Juan's head, knocking
him out cold. He drives off.
EXT. GLORIA - DAY
Harvey and Caroline are loading the last ostrich off the van
and into the Gloria. The same ostrich from before is refusing
to budge again.
HARVEY V.O.
I don't know what it was with that
one ostrich. Guess it just didn't
like me or something.
NICOLE V.O.
I can't imagine anything not liking
you, Harvey.
HARVEY V.O.
(chuckling)
Yeah, sure.
Finally, Harvey manages to lead the last ostrich onto the
Gloria.
INT. GLORIA - DAY
Harvey and Caroline lead the ostrich down to the cabin with
the other three. Nicole steps out of their way to let them
pass.
A car is heard TEARING into the parking lot. Caroline sees
Joey as he gets out of the car.
CAROLINE
Joey!
Harvey hears Caroline's shout, turns, and sees the cop from
earlier. He pulls out his gun and starts FIRING. Joey
immediately RETURNS THE FIRE and soon enough we've got a
thunderstorm of bullets.
Joey hides behind the open driver's door of Juan's car, using
it as a shield as he FIRES RELENTLESSLY at Harvey. Harvey
stands out in the open, RETURNING THE FIRE with equal
ferocity. Nicole SCREAMS and drops to the deck, scared.
HARVEY (to Nicole, while firing)
I guess Caroline decides that I'm
not the good guy at this point and
starts sneaking off to the cop.
Caroline starts sneaking toward Joey, dodging and ducking the
deluge of bullets.
INT. JUAN'S CAR - DAY
P.O.V. Juan (waking up to a maelstrom of gunfire):
Blurry vision clears to reveal Joey REVELING in gunplay and
Harvey SHOOTING back. Caroline is walking toward the car.
HARVEY V.O.
All of a sudden, Caroline gets hit.
Caroline gets SHOT and drops, dead.
NICOLE V.O.
Did you shoot her?
HARVEY V.O.
I dunno.
Juan opens the glove compartment of the car and takes out a
gun.
EXT. GLORIA - DAY
The sound of police SIRENS fill the air as the first wave of
cops arrive to reinforce Joey.
Both Harvey and Joey, realizing that Caroline's dead, hold
their fire.
HARVEY (to Nicole)
The cops start pouring out of their
cars like ants onto a picnic. I
don't want to leave Caroline
behind, but she's dead.
Joey takes a step toward Caroline's body and immediately
falls, SHOT by Juan. Harvey sets sail.
HARVEY (to Nicole)
I guess it was Juan who shot the
cop, but I never got a chance to
thank him, since the other cops
were on his ass pronto.
COPS run up to Juan's car and start PEPPERING him with
bullets. Harvey's got the Gloria under full sail; she's moving
as fast as the breeze will carry her.
When the cops finally stop shooting at Juan, they turn to see
the Gloria already halfway home. Harvey has escaped.
EXT. FRANCO'S (PATIO) - DAY
Harvey drains the last of the beer. Nicole sits, looking
stunned.
NICOLE
So you're the only one who
survived?
HARVEY
Well, me and all the other cops.
NICOLE
Didn't the cops go after you?
HARVEY
No, they didn't. I never did figure
out why, either. Not that I cared.
NICOLE
That's quite a story.
HARVEY
You said it kid. What time's it?
NICOLE
I don't have a watch on.
Harvey looks at the positioning of the sun over the water.
HARVEY
It's about six now; let's go.
Harvey and Nicole both rise.
NICOLE
How did you know that? You're not
even wearing a watch.
HARVEY
Old sailor's trick. I'll teach it
to you sometime, but now, we've got
to get to work. Ready, kid?
NICOLE
Yup.
Harvey and Nicole both walk back inside.
INT. FRANCO'S - DAY
Franco nods at Harvey as he and Nicole enter.
HARVEY
Hey Franco. I'll have my phone on,
if you absolutely need me. We'll be
back tomorrow afternoon, prolly.
The place is all yours until then.
FRANCO
Just like old times.
Franco and Harvey LAUGH at that one. Harvey puts his arm
around Nicole's shoulder.
HARVEY
Yep, just like old times.
Harvey leads Nicole out the door to the parking lot. We stay
behind with Franco as the door closes.
NICOLE O.S.
So how come you own the place? You
have time to tell me now?
FADE OUT.
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