3a82541bb17890577626925533f6549efe5cf08e
movie
http://www.imsdb.com/scripts/We-Own-the-Night.html
WE OWN THE
. THE END
 In 1988 in Brooklyn, New York, Bobby Green (Joaquin Phoenix) is the manager of the successful El Caribe nightclub in Brighton Beach that is frequented by Russian black market gangster and drug lord Vadim Nezhinski (Alex Veadov), and owned by Marat Buzhayev, Vadim's uncle and Bobby's boss.
Bobby has distanced himself from his father, NYPD Deputy Chief Burt Grusinsky (Robert Duvall), and his brother, Captain Joseph Grusinsky (Mark Wahlberg). He uses the maiden name of his mother, Carol Green, as his last name, preferring to remain on the sidelines and enjoy a hedonistic life with his girlfriend Amada Juarez (Eva Mendes) and best friend Louis "Jumbo" Falsetti (Danny Hoch).
When Joseph leads a police raid on El Caribe in the hopes of arresting Vadim, Bobby refuses to cooperate. The incident strains Bobby's relationship with his father and brother even more, to the point that Bobby and Joseph come to blows.
The police are unsuccessful in making a case against Vadim, who decides to retaliate. The next evening, Joseph is shot by a masked assailant, and his unmarked police cruiser firebombed. Joseph survives the ambush, but is hospitalized for four months. Vadim, unaware of Bobby's family ties, confides that the Chief will be the next victim. Bobby resolves to help the police. Without his father's knowledge, Bobby goes undercover inside Vadim's cocaine-smuggling operation with a police listening device hidden in a cigarette lighter, but when the device is discovered, he narrowly escapes being murdered, and the police raid the operation and arrest Vadim.
Bobby and Amada are placed in protective police custody, and their relationship begins to deteriorate. Months later, Vadim escapes custody while being transported to a hospital. The police prepare to move Bobby and Amada to a new location. During a blinding thunderstorm, the police convoy is intercepted by Vadim's men, and during a chaotic car chase, Burt is fatally shot. Bobby passes out in the rain when he sees his father's body.
The police take Bobby and Amada back to a hotel near Kennedy Airport. Bobby wakes up a few hours later and finds Joseph in the hotel room. After Joseph tells him that their father died, the grief-stricken Bobby asks how "they" found them. At the subsequent funeral, a colleague of Joseph's, Captain Jack Shapiro, gives him Burt's Korean War medal. Bobby is told that a Russian shipment of cocaine is arriving sometime in the coming week.
To avenge his father, Bobby decides to officially join the police force without the consent of Amada, who leaves him. After he is sworn into the NYPD, Bobby learns the true involvement of Jumbo, his friend, and Marat, Vadim's uncle. He and Joseph organize a final sting operation, set for April 4, 1989. During the raid, Joseph is emotionally incapacitated by the memory of his shooting and cannot continue. Vadim flees into the reed beds, and the police toss in flares to smoke him out. As the beds are engulfed in flame and smoke, Bobby runs in to find Vadim himself, ignoring the other officers' pleas that he wait. Bobby shoots Vadim in the chest, mortally wounding him.
Nearly a year after the raid on El Caribe, Bobby, now in uniform, graduates from the NYPD Police Academy to become a full-time police officer. Before the ceremony, Joseph reveals to Bobby that he has decided to switch to a job in the administration sector, since the shooting led him to realize that he needs to spend more time with his children. As the chaplain announces that Bobby is to give the valedictorian address, Bobby thinks he sees Amada in the audience, but it turns out to be an illusion. Bobby and Joseph express their brotherly love.
In 1988 in Brooklyn , New York , Bobby Green ( Joaquin Phoenix ) is the manager of the successful El Caribe nightclub in Brighton Beach that is frequented by Russian black market gangster and drug lord Vadim Nezhinski ( Alex Veadov ) , and owned by Marat Buzhayev , Vadim s uncle and Bobby s boss . Bobby has distanced himself from his father , NYPD Deputy Chief Burt Grusinsky ( Robert Duvall ) , and his brother , Captain Joseph Grusinsky ( Mark Wahlberg ) . He uses the maiden name of his mother , Carol Green , as his last name , preferring to remain on the sidelines and enjoy a hedonistic life with his girlfriend Amada Juarez ( Eva Mendes ) and best friend Louis Jumbo Falsetti ( Danny Hoch ) . When Joseph leads a police raid on El Caribe in the hopes of arresting Vadim , Bobby refuses to cooperate . The incident strains Bobby s relationship with his father and brother even more , to the point that Bobby and Joseph come to blows . The police are unsuccessful in making a case against Vadim , who decides to retaliate . The next evening , Joseph is shot by a masked assailant , and his unmarked police cruiser firebombed . Joseph survives the ambush , but is hospitalized for four months . Vadim , unaware of Bobby s family ties , confides that the Chief will be the next victim . Bobby resolves to help the police . Without his father s knowledge , Bobby goes undercover inside Vadim s cocaine-smuggling operation with a police listening device hidden in a cigarette lighter , but when the device is discovered , he narrowly escapes being murdered , and the police raid the operation and arrest Vadim . Bobby and Amada are placed in protective police custody , and their relationship begins to deteriorate . Months later , Vadim escapes custody while being transported to a hospital . The police prepare to move Bobby and Amada to a new location . During a blinding thunderstorm , the police convoy is intercepted by Vadim s men , and during a chaotic car chase , Burt is fatally shot . Bobby passes out in the rain when he sees his father s body . The police take Bobby and Amada back to a hotel near Kennedy Airport . Bobby wakes up a few hours later and finds Joseph in the hotel room . After Joseph tells him that their father died , the grief-stricken Bobby asks how they found them . At the subsequent funeral , a colleague of Joseph s , Captain Jack Shapiro , gives him Burt s Korean War medal . Bobby is told that a Russian shipment of cocaine is arriving sometime in the coming week . To avenge his father , Bobby decides to officially join the police force without the consent of Amada , who leaves him . After he is sworn into the NYPD , Bobby learns the true involvement of Jumbo , his friend , and Marat , Vadim s uncle . He and Joseph organize a final sting operation , set for April 4 , 1989 . During the raid , Joseph is emotionally incapacitated by the memory of his shooting and can not continue . Vadim flees into the reed beds , and the police toss in flares to smoke him out . As the beds are engulfed in flame and smoke , Bobby runs in to find Vadim himself , ignoring the other officers ' pleas that he wait . Bobby shoots Vadim in the chest , mortally wounding him . Nearly a year after the raid on El Caribe , Bobby , now in uniform , graduates from the NYPD Police Academy to become a full-time police officer . Before the ceremony , Joseph reveals to Bobby that he has decided to switch to a job in the administration sector , since the shooting led him to realize that he needs to spend more time with his children . As the chaplain announces that Bobby is to give the valedictorian address , Bobby thinks he sees Amada in the audience , but it turns out to be an illusion . Bobby and Joseph express their brotherly love .
http://en.wikipedia.org/wiki/We_Own_the_Night_(film)
We Own the Night (film)
<html>
<head><title>We Own the Night Script at IMSDb.</title>
<meta name="description" content="We Own the Night script at the Internet Movie Script Database.">
<meta name="keywords" content="We Own the Night script, We Own the Night movie script, We Own the Night film script">
<meta name="viewport" content="width=device-width, initial-scale=1" />
<meta name="HandheldFriendly" content="true">
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta http-equiv="Content-Language" content="EN">

<meta name=objecttype CONTENT=Document>
<meta name=ROBOTS CONTENT="INDEX, FOLLOW">
<meta name=Subject CONTENT="Movie scripts, Film scripts">
<meta name=rating CONTENT=General>
<meta name=distribution content=Global>
<meta name=revisit-after CONTENT="2 days">

<link href="/style.css" rel="stylesheet" type="text/css">

<script type="text/javascript">
  var _gaq = _gaq || [];
  _gaq.push(['_setAccount', 'UA-3785444-3']);
  _gaq.push(['_trackPageview']);

  (function() {
    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;
    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';
    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);
  })();
</script>

</head>

<body topmargin="0" bottommargin="0" id="mainbody">

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
    <td valign="bottom" bgcolor="#FF0000"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_top.gif" border="0"></a></td>
    <td bgcolor="#FF0000">
	<center>
	    <font color="#FFFFFF"><h1>The Internet Movie Script Database (IMSDb)</h1></font>
</center>
  <tr> 
    <td background="/images/reel.gif" height="13" colspan="2"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_middle.gif" border="0"></a></td>
  <tr> 
    <td width="170" valign="top" class="smalltxt"> <a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_bottom.gif" width="170" border="0"></a> 
      <br>
	<center><span class="smalltxt">The web's largest <br>movie script resource!</span></center>
	</td>
    <td>	
    <script type="text/javascript"><!--
	 e9 = new Object();
     e9.size = "728x90";
     //--></script>
    <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
   </td>
  </tr>
</table>


<br>
<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
   
    <td width="180" valign="top">

<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
          <td colspan="2" class=heading>Search IMSDb<tr>
<form method="post" action="/search.php">
            <td width="180"> <div align="center">
                <input type="text" name="search_query" maxlength="255" size="15">
                <input type="submit" value="Go!" name="submit">
              </div></td>
</form>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=9 class=heading>Alphabetical
<tr align="center">
        <td><a href="/alphabetical/0">#</a> 
        <td><a href="/alphabetical/A">A</a>
        <td><a href="/alphabetical/B">B</a>
        <td><a href="/alphabetical/C">C</a>
        <td><a href="/alphabetical/D">D</a>
        <td><a href="/alphabetical/E">E</a>
        <td><a href="/alphabetical/F">F</a>
        <td><a href="/alphabetical/G">G</a>
        <td><a href="/alphabetical/H">H</a><tr align="center"> 
        <td><a href="/alphabetical/I">I</a>
        <td><a href="/alphabetical/J">J</a>
        <td><a href="/alphabetical/K">K</a>
        <td><a href="/alphabetical/L">L</a>
        <td><a href="/alphabetical/M">M</a>
        <td><a href="/alphabetical/N">N</a>
        <td><a href="/alphabetical/O">O</a>
        <td><a href="/alphabetical/P">P</a>
        <td><a href="/alphabetical/Q">Q</a><tr align="center"> 
        <td><a href="/alphabetical/R">R</a>
        <td><a href="/alphabetical/S">S</a>
        <td><a href="/alphabetical/T">T</a>
        <td><a href="/alphabetical/U">U</a>
        <td><a href="/alphabetical/V">V</a>
        <td><a href="/alphabetical/W">W</a>
        <td><a href="/alphabetical/X">X</a>
        <td><a href="/alphabetical/Y">Y</a>
        <td><a href="/alphabetical/Z">Z</a>
</table>
<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Genre
<tr> 
	<td><a href="/genre/Action">Action</a>
	<td><a href="/genre/Adventure">Adventure</a>
	<td><a href="/genre/Animation">Animation</a><tr>
	<td><a href="/genre/Comedy">Comedy</a>
	<td><a href="/genre/Crime">Crime</a>
	<td><a href="/genre/Drama">Drama</a><tr>
	<td><a href="/genre/Family">Family</a>
	<td><a href="/genre/Fantasy">Fantasy</a>
	<td><a href="/genre/Film-Noir">Film-Noir</a><tr>
	<td><a href="/genre/Horror">Horror</a>
	<td><a href="/genre/Musical">Musical</a>
	<td><a href="/genre/Mystery">Mystery</a><tr>
	<td><a href="/genre/Romance">Romance</a>
	<td><a href="/genre/Sci-Fi">Sci-Fi</a>
	<td><a href="/genre/Short">Short</a><tr>
	<td><a href="/genre/Thriller">Thriller</a>
	<td><a href="/genre/War">War</a>
	<td><a href="/genre/Western">Western</a>
</table>

<br>
<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
 <td colspan="2" class=heading>Sponsor<tr>
 <td width="300" bgcolor="#FFFFFF">
 <script type="text/javascript"><!--
	e9 = new Object();
    e9.size = "300x250";
 //--></script>
 <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
 </td>
</table>


<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>TV Transcripts
<tr> 
	<td><a href="/TV/Futurama.html">Futurama</a><tr>
	<td><a href="/TV/Seinfeld.html">Seinfeld</a><tr>
	<td><a href="/TV/South Park.html">South Park</a><tr>
	<td><a href="/TV/Stargate SG1.html">Stargate SG-1</a><tr>
	<td><a href="/TV/Lost.html">Lost</a><tr>
	<td><a href="/TV/The 4400.html">The 4400</a>
</table>

<br>
<table width="100%" class="body">
<tr>
<td colspan=3 class=heading>International
<tr> 
	<td><a href="/language/French">French scripts</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Software
<tr>
    <td><a href="/out/dvd-ripper"><img src="/images/a/dvd-ripper.jpg" alt="DVD ripper software offer"></a>
<tr>
	<td><a href="/software/rip-from-dvd">Rip from DVD</a>
<tr>
	<td><a href="/software/rip-blu-ray">Rip Blu-Ray</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Latest Comments
<tr>
<td><a href="/Movie Scripts/Star Wars: Revenge of the Sith Script.html">Star Wars: Revenge of the Sith<td>10/10<tr>
<td><a href="/Movie Scripts/Star Wars: The Force Awakens Script.html">Star Wars: The Force Awakens<td>10/10<tr>
<td><a href="/Movie Scripts/Batman Begins Script.html">Batman Begins<td>9/10<tr>
<td><a href="/Movie Scripts/Collateral Script.html">Collateral<td>10/10<tr>
<td><a href="/Movie Scripts/Jackie Brown Script.html">Jackie Brown<td>8/10<tr>
</table>
<br>

<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Chat
<tr> 
<td align="center">
<SCRIPT LANGUAGE="Javascript" TYPE="text/javascript" SRC="https://www.yellbox.com/ybscript_enhanced.js"></SCRIPT>
<iframe class="yellbox" frameborder=0 name="ybframe" height=170 marginwidth=0 marginheight=0 src="https://www.yellbox.com/yellbox.php?name=imsdb">
</iframe>
<form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe" name="yellform"> 
 <input type="hidden" name="sub_username" value="imsdb">
 <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = ''; return;"><br>
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>
 <table><tr><td>
 <button onClick="javascript:makeNewWindow(); return false;"><img src="https://www.yellbox.com/images/smiley.gif" width=16 height=16></button>
 <td><button type="submit" value="Post" onClick="return clearMessageBox();">Yell !</button></table>
</form> 
</table>


<div align="center"><br><br>
      <a href="https://www.imsdb.com/all%20scripts">ALL SCRIPTS</a><br><br>
</div>

<td width="10"></td>
<td valign="top">
<br> <table width="100%"><tr><td class="scrtext">

<pre>


<b>                                 WE OWN THE NIGHT
</b>


                                    Written by

                                    James Gray

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

</pre><br>
<table width="85%" border="0" align="center" cellpadding="5" cellspacing="0" class="body" style="BORDER-TOP: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid;">
  <tr> 
	<td align=center><img src="/posters/We-Own-the-Night.jpg" border=0>
	<td><h1>We Own the Night</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=James Gray" title="Scripts by James Gray">James Gray</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Crime" title="Crime Scripts">Crime</a>&nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a>&nbsp;&nbsp;<a href="/genre/Thriller" title="Thriller Scripts">Thriller</a><br><br><br>
		
		<a href="/Movie Scripts/We Own the Night Script.html#comments" title="We Own the Night comments">User Comments</a>
	</td>
</table>
<br><br>
<div align="center">
<a href="https://www.imsdb.com" title="Internet Movie Script Database"><img src="/images/lilbutton.gif" style="border: 1px solid black;"  alt="Internet Movie Script Database" border=1><br>
Back to IMSDb</a>
</div><br>
<br><br>
  </tr>
</table>
<br><br>
</table>

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
  <td background="/images/reel.gif" height="13" colspan="2">
</table>

<div align="center">
 <a href="https://www.imsdb.com" title="Internet Movie Script Database (IMSDb)">Index</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/submit" title="Submit scripts">Submit</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/links" title="Other sites">Links</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/link to us" title="Link to IMSDb">Link to us</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/feeds" title="IMSDb RSS Feeds">RSS Feeds</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/disclaimer">Disclaimer</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/privacy">Privacy policy</a> 
</div>

<br />

</body>
</html>
Who does Vadim say will be the next victim?
Who does Vadim say will be the next victim ?
The Chief
The Chief
the Chief, Bobby's father
the Chief , Bobby s father