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Below The Bottom
by
FRED SKUPENSKI
EXT. UPTOWN MANHATTAN - THIRD AVE - NIGHT
PAUL (24) trim, clean but not too neat munches on pizza
zigzagging through New Yorkers lost to themselves on third
avenue.
He wears jeans, an aged but stylish sport jacket and a very
wrinkled white shirt.
PAUL (V.O.)
It was like the movies. What else
would you call being surrounded by
wiseguys, lesbians and Robin.
You're a healthy guy in his
twenties, be honest, would you walk
away from that? This job had my
attention, it had mystery.
Paul fades into the shadows toward the West Side.
EXT. UPTOWN MANHATTAN-SIDE STREET - NIGHT
PARKED CLASSIC LINCOLN
A powerful hand of an African
American male taps the side mirror
of a classic, immaculate black
Lincoln Continental.
IN THE MIRROR
The suit is Armani, the shirt is
starched, a red silk tie and
matching red silk handkerchief add a
swatch of color to the suit.
That powerful hand effortlessly adjusts the knot of the red
silk tie.
STREET
Satisfied, JACKIE, a big man, in
shape and built like a heavy weight,
with a touch of gray hair, walks
proud, with a subtle, understated
stride.
As Jackie walks away, a "No Parking" sign hovers over the
Lincoln.
EXT. - A LONG 1/2 BLOCK UP FROM JACKIE - NIGHT
"BELOW THE BOTTOM", a blue neon sign flickers above...
BOOTS, an EGYPTIAN gentlemen in his late thirties is
groomed with big money. A linen napkin is tucked in his
collar, a tiny cup of espresso rests in his hand. Inside his
open suit jacket, under an arm, his 9mm pistol is holstered.
A large keyring with dozens of keys hang from the entrance
door lock.
He sips his espresso, concentrating across the street...
EXT. ACROSS THE STREET - NIGHT
In the shadows a leather jacket and a designer skirt are
locked in an embrace. Flashes of light stream over passion.
Anatomy is fondled, grabbed and stroked.
Jackie's voice interrupts romance.
JACKIE
What kind of love is that?
THERESA and CAROL, (Caucasians) separate from their kiss.
They stare up at Jackie. Theresa, holding Carol in her
arms is youthful in her leather jacket. She's sexy with
plenty of sass.
Carol is stylish, older, and refined with a naive kind of
sensuality.
Theresa's arm lunges out of the shadows. She flips him off,
her wrist is covered in a cast. Carol is scared.
Jackie's lips snag the finger, gently biting down, Theresas
heels lift off the concrete. Jackie smacks his lips with a
kiss. Theresa painfully drops her hand.
JACKIE
Theresa! You have a real handicap
of stupidity.
THERESA
Piss-off, Jackie.
JACKIE
You boys have a nice evening, too.
Jackies large silhouette walks across the street. Carol's
face suggests displeasure.
THERESA
I already have enough pain, keep
your bad advice to yourself.
ACROSS THE STREET
"BELOW THE BOTTOM", the blue neon
sign announces Jackie's destination.
EXT. BELOW THE BOTTOM - NIGHT
Jackie reaches Boots.
BOOTS
Jackie, keep Theresa and her gang
of moral corruption out of here, I
prefer profit over pain.
Jackie gestures in agreement.
JACKIE
I'll let them die in the street.
BOOTS
It will be easier to explain.
Boots reaches the entrance door. A subtle noise of
footsteps on concrete spark Jackie's cat-like reflexes. He
abruptly turns, stepping in front of Boots.
PAUL
Excuse me, sir, are you Boots?
Jackie's big fingers test the fabric of the severely
wrinkled white shirt.
JACKIE
The kitchen is in the back.
PAUL
No, you don't understand.
JACKIE
I understand, the kitchen is in the
back.
Boots steps out from behind Jackie. He studies Pauls
wardrobe.
BOOTS
Waiters have to apply during the
day.
PAUL
But Sal said...
Boots' penetrating stare analyzes the words, he considers
Pauls presence.
BOOTS
He said he had a friend in the
restaurant business who needed a
good worker, wear a jacket.
PAUL
Yes!
BOOTS
Kid, you look like a charity case
for the Salvation Army.
You belong downtown.
Jackie studies the street. He shrugs.
JACKIE
He aint stylish, but just maybe Mr.
GQ here has accountability.
Boots' stares at Paul with silky smooth intensity. Paul's
skeptical face stares at Jackie.
JACKIE
Kid, don't look at me,I already got
a job.
Boots retrieves his keyring. He smiles at Jackie, then
enters the club.
Jackie subtly offers the street his intense stare. He
protects his General's back.
He points for Paul to enter.
PAUL
Thanks.
JACKIE
Save it, Kid. Words ain't worth
nothing.
Paul enters, Jackie stares across the street.
EXT. STREET - ACROSS FROM CLUB - NIGHT
Theresa stares back at Jackie. She rubs the stiffness out
of her finger joints.
Theresa grabs Carol, they disappear into a open door. Above
their heads a neon sign reads, "HERS/HERS".
INT. BELOW THE BOTTOM - NIGHT
This is a small club, during the day it is a uptown
restaurant, at night it is converted to a dance club.
The interior appears to be in chaos.
Dining tables are pushed across a colorful dance floor
colliding through the kitchen's swinging doors. CUBAN
bartenders hoist cases of booze to furnish the bar. Busboys
hastily grab dirty table cloths tossing them over their
shoulder.
Boots, Jackie and Paul stand at the bottom of the stairs
studying the activities. Boots motions to a BUSBOY who has
passed the bar and neglected to remove a tray of dishes,
then he speaks to Paul.
BOOTS
Two guys got shot in here last
weekend. How do you feel about that?
PAUL
What happened?
BOOTS
A small misunderstanding.
PAUL
How small?
BOOTS
They lived.
Boots pulls his napkin from his collar, he quickly
sidesteps in front of the Busboy he motioned to and is now
off duty headed for the stairs.
BOOTS
You clean the tables, someone else
washes the dishes, someone else
stacks the dishes, it's an easy job,
its called responsibility. What are
you when you're not responsible?
The Busboy shakes his head, NO.
BOOTS
Tell him Jackie.
JACKIE
Unstable!
Boots hold up a twenty.
BOOTS
This is stable, its American.
Boots pushes his napkin and the cup of espresso into the
Busboy. The Busboy awkwardly accepts them. Boots tears the
twenty in half.
BOOTS
This is unstable.
Boots places both halves of the twenty into the Busboy's
shirt pocket.
BOOTS
One works, one doesn't.
Boots motions for Paul to follow him, Paul obeys.
BUSBOY
Jackie, all that for a tray of
dirty dishes?
Jackie acknowledges the Busboy by rolling a toothpick
across his lips.
The Busboy walks off toward the kitchen with the napkin and
espresso cup. He turns around.
BUSBOY
I'll be early tomorr...
No one is there.
INT. BELOW THE BOTTOM - HALLWAY - NIGHT
Paul follows Boots, they walk through the back hallways of
the club.
ROBIN (24) cute, a perky girl in top physical shape slides
between Boots and Paul. She is dressed DOWN in that very
understated bulky style that New York girls wear to avoid
attention.
Robin brushes against Paul. She smiles, every inch of her
body slithers against him. Paul watches Robin stroll down
the Hallway. Boots continues down the hall, Paul stares.
BOOTS
Very attractive?
PAUL
Anatomy, I know! Its the bullets Im
not sure about.
BOOTS
Kid, go into every meeting with a
positive attitude, youll live longer.
They stop in front of what appears to be a large industrial
cooler. Boots slips a key from his large key ring into the
cooler's handle. Dozens of keys dangle from the keyring.
BOOTS
Kid, welcome to Below The
Bottom,...another stop were people
pay to forget.
Boots turns the key, the door clicks open. Paul quizzically
stares at the industrial cooler.
BOOTS
Think of it as the principal's
office.
They enter.
INT. BELOW THE BOTTOM - BAR - NIGHT
Jackie, at the bar prepares a huge sandwich, uncertain
about his nourishment, he adds more mustard to the bread.
Robin approaches.
ROBIN
Jackie, without Theresa's right
cross, it's going to be a long night.
Jackie nods with approval.
ROBIN
I need to be prepared, don't you
think?
Jackie eats with one hand nibbling at his sandwich. His
free hand rests on the bar, arm wrestling with Robin. She
obviously has no chance but she is tenacious, using both her
hands she cups his fist, she almost climbs on the bar
refusing to lose.
Jackie calmly directs the activities in the club, he simply
points with the sandwich.
INT. LARGE INDUSTRIAL COOLER - NIGHT
Boots and Paul sit inside this odd office, Boots counts a
hell of a lot of money at his desk, he counts money the way
ARABS do...he holds it between his fingers of one hand,
counting it with his thumb. Americans do not do this.
Paul faces Boots across the desk, he peeks at the odd
assortment of items: stacks of napkins, gallon cans of
condiments, dozens of boxes of fresh fruits and vegetables.
Boots hands a fist full of money to Paul.
BOOTS
Count it.
Paul does it the American way, pulling the bills from one
hand to the other.
PAUL
This is one thousand dollars!
Boots tosses Paul a roll of RED tickets and a small metal
hand counter. Paul, bewildered stares at them.
BOOTS
Im going to put you to work at the
door, I need someone now, tonight.
PAUL
But Sal said, maybe bar-tender!
BOOTS
I have everything I need, except
honesty.
Boots snaps a crisp twenty dollar bill in his fingers.
BOOTS
Your choice, if not, heres cab fare.
Paul glances at the twenty in Boots fingers, he studies the
thousand dollars in his hand.
PAUL
I will not do anything illegal.
Boots' half grins pulling the twenty away.
BOOTS
This is straight-up employment.
Just do the job and NYU will get its
tuition money, we'll both be happy.
PAUL
I apologize. How'd you know I went
to NYU?
Boots studies Paul for a moment.
BOOTS
Kid, this isn't Macy's, but we both
must have references.
Boots catches Pauls cold stare at two wooden baseball bats
resting against the wall behind Boots desk. These bats have
their handles wrapped in black tap and their tops sawed off.
BOOTS
Nasty factors, kid. Lifes elements
of management.
Boots looks at his watch, he points to the door. Paul
opens the door, Jackie greets him.
JACKIE
The big boys gotta talk.
He motions for Paul to leave.
BOOTS
Paul, I operate a different kind of
a bank, so always remember whose
money you're holding.
Robin's bubbly face is seen peeking around Jackie as he
steps into the cooler.
JACKIE
Robin, relax this kid, do it nicely.
Robin tucks her arm into Paul's, she pulls him along.
Jackie watches the two disappear, a toothpick rolls across
his lips, his big hand slams the cooler door shut.
INT. BELOW THE BOTTOM - UPSTAIRS - NIGHT
Paul follows Robin walking toward the bar, his attention is
on the swing in her behind.
INT. BELOW THE BOTTOM - JOSE'S BAR - NIGHT
Paul and Robin arrive at the bar. Robin slides onto a bar
stool, she sits there perched, swaying to the club's house
music.
ROBIN
You'll like it here, it's crazy.
Jose extends his hand.
JOSE
I'm Jose, what will it be?
Paul shakes hands.
PAUL
Paul, Jack Daniels.
Jose pours the bourbon.
Robin gently pinches Pauls cheek.
ROBIN
You look a little young for
straight JD, sprinkle water on it
Jose.
Robin removes her hand from Paul's face. Paul accepts the
new weaker drink from Jose.
PAUL
To insanity.
Robin looks at Paul in a sexy way.
ROBIN
Why not to love?
Paul raises his glass.
PAUL
Okay, here's to Mom.
Jose laughs, Robin is pleasantly distressed.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Boots stands at the bottom of the entrance stairs, he
motions to Jose.
AT BAR
JOSE
Time to punch in.
Paul immediately leaves his bar stool, he waves thanks to
Jose. Robin follows him tighter than his shadow.
ROBIN
Call me precious and I'll give you
the world.
PAUL
You went to feminist school didn't
you?
Robin stops. Paul continues alone toward the entrance.
Robin examines the backside of Paul.
ROBIN
Everybody goes to school, one way
or another.
EXT. STREET - NIGHT
Jackie is the sentry of the club, his icy gaze surveys the
opposite side of the street.
EXT. STREET - HERS/HERS CLUB - NIGHT
Young GIRLS hang-out, they mill about the entrance of
HERS/HERS, their affections boldly displayed.
INT. HERS/HERS - NIGHT
A FEMALE DANCER'S sinuous movements entertain the club from
on top the bar.
Carol shyly observes, she sips a drink with an umbrella in
it.
Theresas work shirt, a garment torn at her shoulders,
reveals her large tattoo. The words BULL DAGGER arced over
the handle of a dagger covers her entire upper arm. Theresa
swallows a boiler maker, she rams dollars into the Dancers
G-string.
CAROL
Let's go to my place.
Theresas hand travels under Carol's dress, it slips deep
into Carol's inner thigh. Carol's dress slides up revealing
an absence of underwear.
Theresa ignores Carol, her free hand slams another boiler
maker, her face turns to inspect the open door to HERS/HERS.
She ignites with contempt.
DOORWAY - VIEW ACROSS THE STREET
Jackie's sizable silhouette masks portions of Below The
Bottom's door.
AT THE BAR - HERS/HERS
THERESA
It looks like it's time for Mafia
school.
CAROL
Leave it alone, please.
THERESA
It's a free country.
CAROL
That's a different world over there!
A flash of silver burst in Theresas injured hand...
THERESA
He hurt me!
Theresa's switchblade snaps open. Carol grabs her arm.
Suddenly Theresa thrust the blade up, cutting the G-string
off the dancer. Loud screams of approval echo.
Theresa presents a smug stare toward the door, it fades to
anger. She greets only the glowing neon sign, Below The
Bottom, Jackie is gone.
Carol rubs Theresas arm with the tattoo, she gently lays
her head on Theresas shoulder.
CAROL
What can I make you for Breakfast?
INT. CLUB - BOTTOM OF STAIRS - NIGHT
Paul approaches Boots.
BOOTS
Kid! Smile, it's easier for them to
give up the money.
Paul nods in agreement.
BOOTS
Kid, you don't get to agree, but
you must understand.
Jackie carries a wooden podium between Paul and Boots
forcing them to separate. Paul attempts to comprehend
Jackie's ease and grace in carrying the heavy wooden podium.
PAUL
Your hands are the size of my
kneecaps.
BOOTS
Kid, you believe people are
protected by a Guardian Angel?
PAUL
I've never seen an Angel, or
anything celestial.
BOOTS
Now it starts to come out, the
kid's a wise ass!
JACKIE
From here on, kid, think of me as
your Guardian, and along the way if
you behave, you'll meet an Angel, if
not...
BOOTS
You meet the devil! Simple, Huh?
Jackie places the wooden podium at the base of the carpeted
stairs. Behind the podium is room for Jackie and Paul, then
a mirrored wall.
Customers enter the club, descend the stairs, greet the two
men, the mirrored wall is at their backs...no one can come
up behind them.
BOOTS
Keep two hundred bucks in your left
hand, take the customer's money with
your right. Show me.
Paul takes the money from Boots and demonstrates.
JACKIE
Open your mouth.
Paul reluctantly obeys.
BOOTS
The customers money always goes on
the bottom of the cash. Why?
Jackie slides a toothpick into Paul's mouth. Paul plays
with the money, flipping his wrist a few times. He mumbles.
PAUL
So if you need to double check, you
simply flip your hand, double
checking what was given to you.
JACKIE
If you're going work with me ...you
gotta try to be cool.
BOOTS
Good kid, maybe you'll do.
Boots rapidly snaps his fingers. Paul thinks, he grabs the
roll of RED tickets and the metal counter from inside his
pocket. He places them on the podium. Boots' fingers tap the
tickets.
BOOTS
These are given out so if the
customer leaves, he flashes it to
you and you let him back in.
Jackie passes between Boots and Paul again carrying a bar
stool.
Boots taps the metal counter.
BOOTS
This counter clicks off every
customer. The Fire Department loves
these things.
Paul nods...Then catches himself.
PAUL
I understand.
BOOTS GLANCES AT HIS WATCH,
BOOTS
Doors open in five minutes.
Boots climbs the stairs, he stares out into the street. A
key from his large keyring slips into the lock.
Paul counts out two hundred dollars, he looks at the empty
bar stool.
Jackie stares down at Paul, Paul extends his right hand,
indicating Jackie can be seated.
JACKIE
You think the old man needs to sit
down?
PAUL
No. I think, you think, the old man
should sit down.
Jackie's vacant stare studies Paul. Suddenly, Jackie pulls
his shoulder, faking a well intended punch at Paul...Paul
doesnt even blink.
JACKIE
You dont believe Ill do it?
PAUL
Another time, maybe. Not now, you
would have to do both our jobs.
JACKIE
Kid, you got balls, for awhite boy.
CLICK...Boots turns the key, the door is opened and pushed
back. He walks out.
Jackie, delicate and agile slides his body onto the bar
stool. He adjusts his suit coat, places something under the
podium (a metal detector), comfortable and confident he
closes his eyes, he lazily leans against the wall.
JACKIE
Okay kid, you're in my life now,
try not to fuck it up.
Street noises enter the club.
EXT. HERS/HERS - NIGHT
Theresa and Carol approach Carols BMW parted in the street.
Carol unlocks the door, she slides in. Theresa in an
unfriendly mood, hesitates, she broods studying the opposite
side of the street. Theresas slams the door, irritated she
struts away.
Carol exits the car chasing after Theresa.
INT. MR. TS - TOBACCO ACCESSORY SHOP - NIGHT
Mr. TS, is a pricey Uptown tobacco shop at the end of the
block from Below The Bottom. Its products are the finest
aromatic and tobacco mixtures.
Boots is handed a small plastic bag containing a tobacco
mixture by the STORES PROPRIETOR, a gray haired individual
well groomed in an apron emblazoned with the stores logo.
Boots removes a handful of tobacco from his bag, he
examines it.
BOOTS
Its light and warm, crumb sized
flakes with some medium ribbon cuts,
good. Just enough Turkish to keep
it from being bland.
Boots passes the tobacco under his nose.
BOOTS
Subtle fragrance.
STORE PROPRIETOR
Like the spring grass on the island.
Boots gently tosses the bag.
BOOTS
Separates easily.
STORE PROPRIETOR
Boots, Ive never seen you smoke a
pipe.
Boots pays the Store Proprietor.
BOOTS
I keep it for those moments when Im
alone, the delicacy of Oriental Silk
is perfect for contemplation.
STORE PROPRIETOR
You got a new errand boy?
Boots turns away from the Store Proprietor, he walks toward
the door.
BOOTS
Maybe? Honesty and money are two
of the hardest thing to find, keep
the change, its a perfect blend.
Boots exits Mr. Ts.
EXT. MR. TS TOBACCO SHOP - NIGHT
Theresa races up to Boots. Boots doesnt stop. Theresas hand
holds the switchblade in her pocket.
THERESA
Youre scum.
Boots moves around her.
THERESA
Dont ignore me.
Boots continues his easy walk. Theresa shoves him toward
the building. He stumbles, quickly regaining his balance.
BOOTS
I don't have time for you.
THERESA
Make time!
BOOTS
It's over, Theresa. Dont give me
another reason to hurt you. Next
time, the only evidence that you
actually existed will be little
specks of body parts clinging to my
janitors mop.
Theresa releases her grip, exposing her hand with the cast.
Boots notices Carol who has caught up to them. Boots
reaches for the rich fabric of Carols blouse, Carol bats his
hand away. Boots reaches again, Carol submits.
BOOTS
Where is the spirit of love, when
its mysteries are confined to
batteries?
CAROL
You are rude.
Boots releases Carols blouse, he walks away.
THERESA
This is the U.S. of A-not Egypt,
you can't keep me out of the club.
This is America.
Boots silhouette fades toward the club, he stops, he faces
the Girls.
BOOTS
Theresa, you're are no longer
welcome. Money sets everything in
motion, where is the profit, if I
lose the customer. Stay out.
Theresa screams.
THERESA
You are not the law.
BOOTS
Feel free to test my authority.
Boots turns, he walks toward the club.
Carol, fearful leans against the wall.
CAROL
Stop this! You're committing
suicide.
Theresas body slides into Carol chest, Carol leans back
into the building. Theresas face is a pensive glow, her
fingers play in Carols hair. Carol sneers.
CAROL
I dont like that look. Forget it!
He's just a cocky, ignorant fool.
Theresa kisses her.
THERESA
I need to know if revenge is as
sweet as you are.
Carols sneer melts.
INT. BELOW THE BOTTOM - NIGHT
Boots descending the stairs politely greeting his customers
At the podium, Boots nonchalantly speaks to Jackie.
BOOTS
Jackie, keep a tight hold
tonight-no slack.
Jackie offers no response, his body leans against the wall
in the corner. Paul studies Jackies empty reaction to Boots.
Boots grabs Pauls hand, he turns it palm up. Quickly Boots
examines the metal counter indicating the attendance at the
club.
BOOTS
Kid, zero the counter, unless
you're going to pay me for the 500
people that aren't here.
Paul clicks the counter to zeros. Boots shakes Pauls
shoulder.
BOOTS
Relax kid, Jackie will get you out
alive.
Boots enters the club.
AT TOP OF STAIRS
Carol is timid, standing behind Theresa. Theresa stares
down at Paul.
Paul looks up to the top of the stairs.
PAUL
Hello ladies, come on in, we're
open.
THERESA
Jesus! Jackie, did you drag that
bad boy out of the river or is he an
immigrant?
Jackie without opening his eyes responds.
JACKIE
Theresa, do us both a favor.
Tonight, keep your bitches in the pen.
THERESA
You damn, homophobic Mafia piece of
shit, tell that camel jockey and
those Sicilian bums they're all
assholes.
Carol timidly pulls Theresa away from the door.
JACKIE
I'll mention it.
Theresa and Carol leave.
BOTTOM OF STAIRS
PAUL
Nice friends you have, but keeping them out isn't legal.
JACKIE
I'm not keeping Theresa out, she's
just not coming in.
Paul is suspicious.
JACKIE
It's a mean old world, kid.
PAUL
That's not an answer.
Jackie senses Paul looking at him.
Jackie pulls a HEINEKEN from out of his suit coat pocket.
He pops the top with an opener from under the podium. His
big black knuckles hide the entire bottle except for a tiny
portion of green at the top of the bottleneck.
Jackie takes a swallow. He studies his own fist holding the
beer.
JACKIE
Kid, whatever the law can giveth,
the biggest fist can take away.
PAUL
Youre dangerous.
Paul follows Jackie's hand as it places the empty Heineken
under the podium.
JACKIE
Hell kid, I'm just a big black
teddy bear.
Jackie adjusts his tie, closes his eyes and leans against
the wall.
INT. BAR - NIGHT
Jose pours with both hands, Marguerites exchanged for crisp
cash pass through his grasp.
LADIES flirt with him, MEN slam their drinks while
attempting to discover Jose's secret.
INT. COAT CHECK ROOM - NIGHT
The music kicks Robin into her world, she sways uninhibited
while checking coats.
BOTTOM OF STAIRS
Paul quickly turns his back to
check the money. He has his back to
the stairs, he hears a sexy whistle
then a smack of a kiss.
Turning he greets a pair of PINK HIGH top tennis shoes
belonging to a very flamboyant homosexual, KIKAY.
PAUL
There's a twenty dollar cover, sir.
KIKAY
Honey, for twenty dollars I'll
cover you anytime.
Kikay attempts to pass Paul without paying. Paul does not
allow it.
KIKAY
Jackie, who is this new Hombre with
the K-mart styling?
Paul notices the obvious deep cocaine sniffles from Kikay.
PAUL
Health problem? Or a broken heart.
Kikay turns to Jackie.
JACKIE
Just what we need, another paid
assassin.
Jackie mumbles from his comfortable position against the
wall,
JACKIE
You're late Kikay.
KIKAY
Business.
JACKIE
Kid, this is Kikay, the weirdest
white person I know, Kikay, this is
the kid, the worst dressed white
person I know.
Kikay studies Paul...
KIKAY
Mr. Boom Boom here has no finesse
Paul, only big hands.(he winks)
Kikay enters the club.
PAUL
Mr. Boom Boom? That guy's a real
piece of work.
JACKIE
And you ain't?
Paul looks at Jackie leaning into the wall, eyes closed,
cat napping.
INT. DJ BOOTH - BELOW THE BOTTOM - NIGHT
Kikay, a revved up individual is a visual display behind
the large glass of the DJ booth. Kikay's voice blends with
the music over the PA system.
KIKAY
Ain't nothin' too deep or too low
for Kikay, yes indeedy, I aim to
please.
The volume increases on the music.
EXT. COAT CHECK ROOM - NIGHT
A MAN offers his coat to Robin, his free hand slyly slips
over Robin's breast. Robin glances at her breast. The Man
winks. Robin winks.
Robin snatches the Man's wrist, she turns it backward,
lifting her hand forces the Man up onto his toes.
In full control, Robin shouts.
ROBIN
Jackie!
Robin smiles, her free hand grabs his tie. Every ounce of
her trim body yanks down the tie. CRACK...The Man's face
slams down onto the wooden part of the coatroom door. Blood
flies, his nose is broken. Robin releases the tie. The Man
falls.
People raise their drinks to keep from spilling them, the
Man lands on the floor covering his nose. A few pissed off
LADIES brutally kick the Man.
INT. STAIRS/BELOW THE BOTTOM - NIGHT
The stairs support a line of descending, well-dressed
diverse patrons. Music from the DJ booth kicks in.
Paul fumbles with the money, sometimes with the tickets and
the metal counter, sometimes with everything.
Jackie's hand rises. Puzzled patrons fearfully halt. Paul
utilizes this momentary break to attempt to regain control
of the situation.
JACKIE
You alright kid?
Paul nods.
PAUL
Sure.
JACKIE
Sorry folks.
JACKIE TURNS TO PAUL
JACKIE
No one enters, you sit.
Paul awkwardly slides onto Jackie's stool, he politely
smiles to the customers.
INT. BELOW THE BOTTOM - NEAR COAT CHECK ROOM - NIGHT
The wounded Man is a bundle of blood and pain.
Jackie's shadow hovers.
JACKIE
Think about this very carefully.
Sir, would you like me to take you out?
The Man offers Jackie a dizzy glaze, his head vibrates, no.
The Man struggles, stands and limps toward the entrance.
Robin waves to Jackie making a muscle. Jackie replies with
a cordial smile of approval.
A few WOMEN standing around applaud Jackie.
JACKIE
I didn't do anything ladies.
WOMAN
We don't care.
Jackie, amused, is quick to exhibit his wedding band by
rolling it on his finger with his thumb and index finger.
The Women boo.
Jackie raises his arms up in surrender, he slips away,
sliding like James Brown.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
This is New York, a few patrons near the door cannot help
but comment to the limping Man ascending the stairs.
PATRON 1
You stupid shit you deserved
it
PATRON 2
Yea, whatever it was you did.
Jackie curls his index finger, people enter.
Paul jumps off the stool...he cautiously sneaks a look back
at Robin in the coatroom. Jackie slides onto the bar stool.
INT. COAT CHECK ROOM - NIGHT
Robin's face rests in her hands, her expression glows. She
catches Paul's glance, Robin sends him a sultry message.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Jackie's big hand yanks Paul back from daydreaming.
PAUL
Twenty dollars, please.
The Patrons pay, the stairway is empty, street sounds enter.
PAUL
How did I get into this?
Jackie mumbles from on the his stool.
JACKIE
Money my man, money.
Jackie simply points, Paul rapidly turns his attention to
another customer.
EXT. JACKIES LINCOLN - NIGHT
Carol observes Theresa's ritual to improve her looks in the
Lincolns side mirror. Theresa steps away from the vehicle,
her eyes explore theclassic Lincoln.
THERESA
I've never driven one of these.
Carol quickly scoots toward HERS/HERS. Theresa gives chase,
she catches Carol.
THERESA
Dont be shy, sweetie.
Tell Theresa what's the matter?
CAROL
I don't want to be found in the
river, I don't want to die in New
York City. I don't want my parents
to see me on Jackie's obituary list.
THERESA
He's not going to hurt you.
CAROL
You're right! Because I'm not
going to be stupid.
THERESA
It was only a thought.
CAROL
Think again!
Theresa coyly smiles.
INT. BELOW THE BOTTOM - NIGHT
Three large well dressed MEN descend the stairs.
Reaching Paul, a HIGH PITCHED squeal is heard. The metal
detector under the podium has been activated.
Paul, awkwardly, almost foolishly, searches for the sound.
Jackie's hand slides beneath the podium turning off the
metal detector. Jackie motions for the Men to enter, Paul
steps in front of the Men halting their movement.
PAUL
Sixty dollars, please.
MAN 1
Jackie, why are all the new guys
stupid?
PAUL
Hey! Where's your manners, asshol...
Quickly Jackie's large hand covers Paul's mouth, Jackie
pulls Paul into his body, Jackie motions the Men inside.
The Men pass the podium, Jackie releases his vice grip of
Paul's mouth.
PAUL
Some jerk calls me stupid, I get
pissed off.
JACKIE
You're not big enough to get pissed
off.
Customers face Paul.
PAUL
Twenty dollars please.
Customers enter.
PAUL
See, no hostility here.
JACKIE
No cops either.
Paul thinks about that, Jackie cat naps. Paul looks under
the podium, he sees the metal detector.
PAUL
Guns.
JACKIE
Learn their faces.
PAUL
Why?
JACKIE
Call it homework.
Paul sighs.
Robin rubs a cold beverage glass across the back of Paul's
neck. He jerks in surprise.
Robin offers a glass to Paul.
ROBIN
Have some girl juice.
Robin slyly slides a Heinekin bottle behind Paul. He
grimaces sipping the beverage.
Robin winks to Paul, she sashays back toward the coat room.
PAUL
You get a beer, I get soda?
JACKIE
Some men are worthy of better
things.
Paul raises his soda.
PAUL
To Jackie, fly like butterfly sting
like a bee.
JACKIE
Something like that.
Music kicks...Paul makes change, more customers enter.
PAUL
What kind of nasty factors do you
use?
JACKIE
Youre crossing that line, kid.
PAUL
You dont have to answer but I
thought I'd ask.
JACKIE
Do you know what line Im talking
about?
PAUL
Pretty sure! Why?
Jackie buries the empty beer bottle under the podium. His
shoulder leans against the wall, his eyes close.
JACKIE
Because Kid, I am a nasty factor.
PAUL
No argument from me!
JACKIE
That's reassuring kid. Try this,
my job is to protect the money, you
just happen to be holding it tonight.
PAUL
That means I'm dispensable.
JACKIE
Pretty much.
INT. HERS/HERS - NIGHT
Theresa and Carol are slow dancing.
CAROL
Theres something not right about
him!
THERESA
Youre a good judge of mob members,
are you?
CAROL
He doesnt look like a gangster.
THERESA
Hes an asshole.
CAROL
You dont know him, he's new!
THERESA
I got a history with those jerks,
their stupid family and all that
shit those guys live by.
Theresa leads, positioning them so she can stare across at
the Below The Bottom.
THERESA
Do you have one hundred bucks?
CAROL
For what?
THERESA
Its hard times, love. I'm out of
work.
Carol flashes a fifty dollar bill.
THERESA
For a lipstick lesbian all you have
is this?
CAROL
Yes!
Theresa buries the money in her jacket, she pulls Carol
closer, they dance.
THERESA
Its been a bad week, I need the
favor?
Theresa leads, she stare across at the Below The Bottom.
Her face hardens.
INT. DJ BOOTH - NIGHT
Kikay is a visual show moving to the music. Boots sips
espresso in the shadows behind Kikay, his eyes are in
constant motion observing every inch of his club.
INT. CLUB - DANCE FLOOR - NIGHT
Two MEN accidentally collide hard.
INT. DJ BOOTH- NIGHT
Kikay's right index finger flamboyantly points down onto
the dance floor.
Boots automatically looks. Boots sees the two Men dismiss
the collision as an accident.
BOOTS
Too close.
KIKAY
That's not close. Close is hot and
sassy, like him.
Kikay points to a good looking GENTLEMAN on the dance floor.
BOOTS
You're lucky you are profitable,
because I would really like to put a
couple of caps in your ass.
Boots' jacket sways open revealing his .9mm pistol.
KIKAY
I wish I had two guns.
BOOTS
You fuckin' guys are all weird.
Kikay's finger suddenly points again. Boots' head snaps to
his right, he buttons his jacket.
INT. MEN'S ROOM - NIGHT
A swinging door reveals a group of GUYS, all ethnic groups
are represented, money flashes, little white envelopes are
snatched and hidden.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Paul is playing with the metal clicker, Jackie occupies his
stool leaning against the wall.
Boots' calmly approaches.
BOOTS
Jackie.
Boots briefly turns away from the podium, he motions to
Jose at the bar.
Jackie leaves his stool passing by Paul. As Jackie passes
Boots, the two men quickly exchange something, Boots' key
ring is passed to Jackie.
Paul's eyes follow Jackie around the corner. Boots tugs
Paul back.
BOOTS
Observe, evaluate, learn.
Jose appears drying his hands in a bar towel. Boots takes
the money from Paul and hands it to Jose.
BOOTS
Jose work the door.
JOSE
You got it, Boots.
Boots disappears into the darkness of the club.
PAUL
What the hell is going on?
JOSE
Go with Jackie, he'll show you the
temperament of a street artist.
INT. MENS ROOM - NIGHT
The group of Guys turn around staring at Jackie and Paul.
The door is at their back. Jackie points to a free stall.
JACKIE
Lock the door and stand on the bowl.
Paul, mystified attempts to speak.
JACKIE
You heard me.
Paul obeys.
Jackie, unconcerned looks into the mirror adjusting his tie.
JACKIE
Lets close our eyes and pretend for
a moment. This is the Colosseum,
you know the one completed by the
emperor, Titus.
The Guys exchange quizzical stares Rolling a toothpick
across his lips Jackie walks toward the group of Guys. He
stops.
JACKIE
You young studs can be the Romans.
Me, I'll be the pissed-off Nigerian
slave.
The Guys are getting very nervous.
JACKIE.
The kid here will be some Mediterranean hot-shot in for the
festivities.
Paul's upper body observes from the stall.
JACKIE
Okay, those are the rules, the only
rules.
Jackie smiles.
THEN
Like a jack-hammer Jackie sends a
right cross into one Guys jaw.
CRACK...it breaks, blood flows.
Spinning around Jackie grabs another guy, he throws him
head first into a toilet stall door. As the Guy falls,
Jackie brutally kicks him.
Jackie, exasperated, pulls the toilet stall door closed
with one hand. His other hand picks up the Guy, Jackie
violently bangs his head several times against the stall
door.
The remaining Guys back up.
Jackie drops the body like a bag of cement. He points.
JACKIE
You.
GUY 1
Me, I didn't do nothing.
GUY 2
You're nuts man, you can't do this.
JACKIE
Sure I can. I made the rules.
The Guys spread themselves out, surrounding Jackie.
JACKIE
You young entrepreneurs ever catch
those old late night westerns?
The Guys are nervous, they exchange stares.
JACKIE
I guess that's no. I like them too,
I like them because even when the
good guys were surrounded, some of
bad guys died.
THEN...like some ancient God of War, Jackie's fist slams
into one Guy's face, this guy falls like a bowling pin,
straight back onto the floor.
The remaining Guys rush the door, they fight the door to
get out. The door is locked.
Jackie stands there dangling Boots' key ring in his mighty
hand.
JACKIE
Gentlemen, if you party in my
house, you must be invited.
Give it up.
The remaining Guys quickly dig into their pockets. Their
hands hold large quantities of little white envelopes.
Jackie extends his hand. In turn, each Guy drops his drugs
into Jackie's waiting hand.
Jackie points to the bodies on the floor. One Guy retrieves
the drugs from his unconscious friend.
Jackie studies the contents of his hand. Dissatisfied he
speaks.
JACKIE
Two mistakes get you hurt, hurt
real bad.
Huge amounts of money pour out of their pockets. They
gently place it in Jackie's hand. Jackie smiles at a well
dressed GUY. Jackie's fingers roll around the money.
BAM...He slams that fist into the Guy's stomach, following
it with a left hook which drops the Guy to his knees, but
not out.
Jackie nods in approval.
JACKIE
You should know better...you
understand me.
The Guy coughs, nodding yes.
Jackie unlocks the door, his forearm swings it open.
Boots stands there sipping his espresso.
BOOTS
Good evening Gentlemen. I would
like to close our first corporate
meeting by stating for the record,
that in my Club, unauthorized
capitalism gets you planted deeper
than the worms. Now, unless there
are any objections, my sergeant of
arms will provide you boys with an
educational demonstration.
Boots smiles at Jackie, on an impulse he points to a boy.
Jackie seizes the wrist of the boy. As Jackie leads him to
the sink, he awkwardly attempts to escape Jackie's grasp.
JACKIE
Relax, if you tense up, it's worse.
Paul stands in awe watching from inside the stall. The Guys
put themselves back together.
Jackie cradles the boy's wrist, palm down.
JACKIE
When you're defeated you lose, but
there is something more important...
Jackie raises the hand over the edge of the sink. Then with
a strong force he slams the wrist on the sink's edge,
crushing the bones and fracturing the wrist.
The boy falls to the floor screaming in pain.
JACKIE
To lose is to learn, never forget
it.
EXT. MENS ROOM - CLUB - NIGHT
The music screams, Boots and Jackie walk toward the podium.
Jackie slips Boots the white envelopes and the money. Boots
counting the money pulls off several hundred dollar bills
for himself, he gives the largest portion of money back to
Jackie.
BOOTS
Get that great car of yours washed.
JACKIE
How about a wax job?
Boots pulls off another couple hundred.
JACKIE
Its the bonus money that always
makes the job.
Boots slips the money and the drugs into his pocket.
Jackies hand is so large it conceals the money, Boots and
Jackie gracefully walk through the club.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Boots catches Jose's attention at the podium, he points to
the bar. Jose nods.
As Jose passes by Jackie, Jackie hands him a few bills from
his pocket.
JACKIE
Jose, for the tip jar.
JOSE
Alright, Jackie.
Paul arrives. Jose returns to the bar.
PAUL
Maybe I should be bartender.
JACKIE
You'll need an education for that.
PAUL
This place will fill that
requirement.
JACKIE
Give the white boy a gold star.
The Guys stumble past the podium exhaling groans from their
aches and pain. They carry the boy with the broken wrist.
Paul cringes yielding the stairs to them. He is troubled
looking up at Jackie.
JACKIE
You could say they forgot to apply
for their business license.
Jackie assumes his position on his stool.
PAUL
Neat and tidy, even after banging
someone's brain loose.
JACKIE
Kid, it is all in the presentation.
EXT. HERS/HERS - NIGHT
Theresa nervously taps money in her palm. She studies the
street.
CAROL
You are not using my money to buy
drugs? Drugs that could kill you!
Theresa flashes the fifty.
THERESA
See this! Boots said, money sets
everything in motion, I'm going to
test that theory.
Theresa sees a well dressed young Black Man, SONNY, exit a
parked Mercedes. Theresa walks toward him.
Carol attempts to follow, Theresa shoves her back, Carol
obeys.
Just as Theresa is about to pass Sonny she throws her palm
into his shoulder, he stops. Theresa pushes him against the
building, she begins licking, kissing his ear. She whispers
something to him.
Theresa steps away.
SONNY
Lets see it.
Theresa places the fifty dollar bill into Sonnys hand.
SONNY
Okay, when.
THERESA
Ill be right back.
Theresa runs across the street.
INT. BELOW THE BOTTOM - NIGHT
Jackie stares off, examining the bar, Jose is busy. Boots
is no where to be found. Jackie looks at Paul, he motions to
Robin.
JACKIE
Give me all the money but four
hundred.
Paul whips out a fistful of dollar bills.
Jackie instantly grabs Paul by the shoulders twisting him
into the corner facing the wall.
PAUL
What! Now What?
JACKIE
Kid, never advertise money, unless
you want to give it away.
PAUL
I now know what it's like to be
attacked by a Grizzly bear.
Jackie pulls the money from Paul's hand. He returns four
hundred to Paul.
Robin appears. Jackie slips the money into his pocket, he
stares out into the club.
JACKIE
You know the routine Robin.
Adjusting his tie Jackie slides past Robin.
ROBIN
Do you like Jewish girls?
PAUL
Where did he go?
ROBIN
He has his rounds to make, take me
down to the Village for drinks after
we close.
PAUL
There's two bars in this place!
Robin smiles.
ROBIN
You like me, right?
PAUL
Maybe. Who actually owns this place?
ROBIN
I have no idea.
PAUL
Yes you do, you know the routine.
Talk to me.
ROBIN
One of your character flaws is poor
judgment. This is not the place for
breaking the rules.
Paul offers a stoic stare. CUSTOMERS arrive.
PAUL
Twenty dollars, please.
Robin maneuvers herself behind Paul, leaning on his back
she faces the customers.
ROBIN
He's handsome, don't you think?
MALE CUSTOMER
Do I look like GQ magazine, who
gives a shit.
Robin leans into Paul's ear. She nibbles.
ROBIN
I do.
Paul nonchalantly looks toward the top of the stairs,
Theresa leans into the door. She points her finger from the
hand with the wrist cast at Paul like a gun.
THERESA
Bang!
EXT. HERS/HERS - NIGHT
Theresa strolls up to Sonny.
THERESA
Now. It should be easy since hes a
kid, watch out for Jackie.
Sonny flashes a cocky smile.
SONNY
I can handle that dinosaur.
Sonny walks across the street, he blends in with the
customers in line for Below The Bottom.
Standing by the entrance to HERS/HERS, Carol confronts
Theresa.
CAROL
What are you up to?
THERESA
Its party time.
Theresa grabs Carol by the hand, pulling Carol after her.
INT. BELOW THE BOTTOM - NIGHT
Stage lights spill over a dancing crowd.
INT. BELOW THE BOTTOM - JOSES BAR - NIGHT
Jackie, as if he was an unyielding gunfighter, studies the
crowd from the shadows at the end of Joses bar. Without
looking Jackie reaches under the bar for a toothpick.
Music screams. A very busy Jose sneaks a baseball bat
wrapped in tape for Jackie. Jackie ignores the weapon.
JACKIE
Maybe later.
Jackie moves away from the bar continuing his rounds.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Robin sees customers at the coat check.
ROBIN
I have to go. Can you handle this?
PAUL
Sure.
Robin thinks.
ROBIN
Okay, Ill be right back.
Paul slides onto the bar stool, he cautiously acts as the
doorman. A long line of patrons await entrance, Paul does
his job, periodically he scans the club searching for Jackie.
INT. BELOW THE BOTTOM - DANCE FLOOR
A GUY dancing, accidentally bumps into, then bounces off
Jackie. Seeing Jackies size, he mumbles.
GUY
Sorry.
Jackie focuses in the distance, he doesnt acknowledge the
Guy, he just speaks.
JACKIE
I know.
INT. BELOW THE BOTTOM - ENTRANCE
A long line of customers occupies the stairs. Everyone is
well dressed, looking sharp.
Sonny flashes a FIFTY dollar bill.
Noises, laughter, loud conversation. Paul is momentarily
distracted. Paul looks up, AWAY from the money he is
handling.
Paul has made the change for the FIFTY. Sonny begins to
enter the club. Paul flips his fist of money, he sees a
TWENTY, not the fifty.
Paul grabs Sonnys shoulder.
PAUL
Where's the fifty?
SONNY
I gave it to you.
PAUL
I don't have it.
SONNY
That's not my problem.
Paul looks around for Jackie, PEOPLE crowd around the
podium-they sense a fight, Paul releases Sonny, Paul mumbles
to himself.
PAUL
I lost a fifty.
SONNY
Can I go in or what?
PAUL
Go ahead in, enjoy yourself.
SONNY
Learn to count.
Sonny flexing some attitude enters.
Paul meticulously recounts the money.
INT. BELOW THE BOTTOM - DANCE FLOOR
Colored disco lights wash across the crowd, music plays.
Streams of light reveal Jackie looking out over the crowd,
he looks toward the entrance. He senses trouble for Paul.
Streams of light reveal Theresa standing on her toes, she
makes an obscene gesture toward the back of Jackie. Grabbing
Carol by the dress Theresa pulls her away.
INT. BELOW THE BOTTOM - NIGHT
Pauls fist pounds his forehead. He catches Jackie looking
down at him. Paul stares until he realizes that Jackie's
hand conceals the money behind the podium.
PAUL
I lost a fifty.
Jackie pulls the money back.
JACKIE
Wheres the bad boy?
PAUL
I let him in the club.
JACKIE
Folks, lets see the money, a dollar
at a time.
Customers fan their money for Paul, Jackie walks off. Paul
is overly cautious making change.
INT. DJ BOOTH - NIGHT
The DJ Booth door opens. Kikay snatches white envelopes,
Boots hand slips back out the door.
Kikay keys the microphone. He sniffs.
KIKAY
I've found my candy girl.
Music screams. The places rocks.
INT. BELOW THE BOTTOM - NEAR DJ BOOTH - NIGHT
Boots has a linen napkin tucked into his collar, he sips an
espresso. His pensive face explores the club. Jackie
approaches, his huge frame leans into Boots' ear.
Boots' listens, he calculates, Boots removes the napkin
from his neck. They both smile.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Paul faces a LATIN and BLACK FEMALE.
BLACK FEMALE
Do all Caucasians spend money on
those shirts?
PAUL
This is a fashion statement.
The Black Girl tows Paul close by his shirt.
BLACK FEMALE
Come up to Harlem, Ill show you a
different kind of statement.
PAUL
I'm sure that would be very
interesting, but could we start with
the twenty bucks.
Releasing him, her hand digs somewhere deep, money appears.
Paul accepts the cash, the Two Girls enter the club.
Boots and Jackie arrive at the podium.
BOOTS
Get behind me.
Paul allows Boots to step behind the podium. Immediately
Boots motions to Paul for the money. Paul surrenders the
cash and edges behind him. Jackie slips his portion of the
money to Boots.
JACKIE
Ill be back.
Jackie chewing on a toothpick walks into the dance crowd.
Boots' hands convey experience. He quickly makes change
politely welcoming his customers.
BOOTS
What happened?
PAUL
I saw a fifty, gave change for a
fifty, then there was no fifty, I
had a twenty.
BOOTS
Relax, take a deep breath.
Tell me again.
Customers whiz past Boots' quick hands. Paul nervously
stands behind Boots.
PAUL
Am I in trouble for this?
BOOTS
One problem at a time, again, youre
missing something.
PAUL
There was some confusion, a noise...
INT. BELOW THE BOTTOM - DANCE FLOOR - NIGHT
Theresa and Carol look back over their shoulders.
THERESA
Get down on your knees.
CAROL
I'll ruin my dress.
THERESA
So buy another one!
A frazzled Carol crawls across the dance floor.
Theresa chews on a beer bottle. Emptying it, she laughs
tossing the empty bottle toward Jackie. Theresa falls to
her hands and knees like a marine doing an exercise.
Theresa follows Carol making obscene gestures with her
tongue toward Carol's behind.
The two girls crawl through the crowd.
INT. DANCE FLOOR - SEVERAL YARDS AWAY FROM THE LESBIANS -
NIGHT
Jackie is cleaning a girls forehead with his red
handkerchief.
GIRL
I could sue you for that!
JACKIE
You could try, get some ice from
the bartender.
The Girl leaves. Jackie probes the crowd, he cannot see
Theresa and Carol, he moves out.
INT. DJ BOOTH - NIGHT
Kikay powders his nose. He sees people periodically moving
back for no apparent reason. Looking harder he sees Theresa
and Carol crawling on the floor.
Kikay whacks his microphone with his finger. The thud
echoes over the PA system.
DANCE FLOOR - NIGHT
Hearing the thud, Jackie automatically looks toward the DJ
Booth, Kikay's voice rings out over the PA system.
DJ BOOTH
KIKAY
You got to go low to get the goodies my man.
DANCE FLOOR
Jackie pulls the toothpick from his
mouth snapping it between his thumb
and index finger.
DJ BOOTH
Kikay's hand covers the microphone,
preventing any transmission He
watches the dance floor.
KIKAY
Sorry sisters, but few loyalties
exit today and money isn't one of
them.
Kikay flips a switch, the music screams. Outside the DJ
booth there is knocking on the door.
DANCE FLOOR
Carol is scared, Theresa enjoys
herself crawling across the dance
floor Jackie's Italian loafers pick
up the pace.
DJ BOOTH
Kikay sees Jackie looking up at
him, Kikay surveys the dance floor,
he points. Turning around Kikay
accepts money from the people who
were knocking on his door, he hands
them little white envelopes.
DANCE FLOOR
Carol madly crawls on, Theresa
stops. Just as Theresa is about to
look over her shoulder she is lifted
straight off the floor.
JACKIE
Theresa, let me show you my kind of
banging.
Theresa goes ballistic, kicking, screaming, she attempts to
fight free from Jackie. Jackie's big hand holds her, he
lifts her high and into his face.
THERESA
You can't do this you bastard!
JACKIE
Yes I can, this isn't about rights,
it's about responsibility and guilt.
Carol, irrational races after them.
CAROL
Don't kill her, please.
Jackie mumbles.
JACKIE
Life is pain.
Jackie hustles Theresa to the entrance.
INT. BELOW THE BOTTOM - ENTRANCE
Theresa madly swings at Jackie as they pass the podium.
Jackie's arm deflects the attack, Boots quickly leans away,
Paul catches the blow, he tumbles into the mirrored wall
backwards, glass shatters.
Jackie possesses no kindness in dragging Theresa's tangled
frame up the stairs.
BOOTS
Jackie, add on the cost of the
mirror.
Theresa's body bounces off a wall.
EXT. STREET - NIGHT
Jackie has Theresa thrown over his shoulder, traffic stops
as he strolls across the street.
INT. TAXI - STREET - NIGHT
A salty CAB DRIVER stares out his window witnessing this
huge black guy carrying this crazy white lady over his
shoulder.
CAB DRIVER
This is better than Broadway.
He slams on the horn.
INT. ENTRANCE HERS/HERS - NIGHT
Jackie pushes past the door arriving like Attila the Hun.
Jackie grabs Theresa and throws her across the floor
sending her sliding, she crashes into the bar stools. Girls
tumble from their seats.
JACKIE
Stay where you belong.
Carol runs in racing to Theresa's side.
Jackie exits.
EXT. HERS/HERS - NIGHT
Jackie stands at the entrance, his brutal stare examines
the inquiring faces of a group of WOMEN PATRONS.
Jackie without looking pulls a cigarette from his pocket.
He stares briefly into the face of a shocked girl, he
snatches her cigarette from her mouth and uses it to light
his own.
JACKIE
I'm a Marlboro man, what are you?
He returns the cigarette to the stunted girl's mouth.
Jackie moves across the street like he owned it.
EXT. HERS/HERS - NIGHT
Theresa battered and shabby powers herself out the door
into the street. Carol pulls Theresa back as she attempts
to charge Jackie.
EXT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Jackie leans against a tall No Parking sign exhaling smoke.
He tentatively looks across the street at Theresa. His
message is his disquieting stare.
The three undercover Cops exit the club, they walk toward
Jackie.
EXT. BELOW THE BOTTOM - SIDEWALK VENDOR - NIGHT
Jackie has walked to the corner. He is offering money to
CHARLIE, an OLD STREET VENDOR for a Pretzel.
CHARLIE
Forget it, Jackie. It's on me.
Jackie places the money inside Charlies coat pocket.
JACKIE
Every dime we've taken, we've
earned. Keep it. Put a little soul
in your mustard, Charlie.
Charlie laughs, he nods his appreciation. The three Cops
approach Jackie.
COP 1
Hey Jackie, have you hurt anybody
really bad tonight?
JACKIE
You volunteering?
The Cop throws his hands up in a joking surrender.
COP 1
When are you going to give up the
street, get promoted man, get into
management.
Jackie places more money on the Vendor's cart, he motions
toward the three Cops.
JACKIE
When you guys were rookies, I was
already retired.
The Cops motion thanks to Jackie.
COP 2
What the hell do you call this?
JACKIE
I'm what is now a freelance
consultant.
COP 1
Get out of New York, move to Miami.
JACKIE
And do what? Freelance for the
white folks with blue hair.
The Cops laugh.
Suddenly a scream echo's across the street from outside the
club HERS/HERS.
EXT. HERS/HERS - NIGHT
Theresa, using only her good hand, shoves a Girl away from
Carol, Theresa shoves her again then punches the Girl with
hard right cross.
Theresa grabs the Girl by the wrist, she throws the girl
over the hood of a car. Theresa relentlessly continues
pounding the girl.
EXT. BELOW THE BOTTOM - NIGHT
The Men eat their pretzels while observing the fight.
COP 1
She throws her punches from the
shoulder, like a guy.
JACKIE
One minute they want to be sweet,
the next they want to be bold and
bad. How'd that shit get twisted in
their heads?
COP 1
They're like you.
JACKIE
Wrong neighborhood my man.
Jackie sort of humorously grimaces seeing...
EXT. HERS/HERS - NIGHT
Theresa is standing over her victim, the girl is curled up
on the sidewalk. Theresas foot slams into the girl's rib
cage.
Moans echo in the street.
Theresa yells across the street to Jackie.
THERESA
Hey Mr. Black, Islamic, Italian
bodyguard...I'm gonna do you like
this.
Theresa grabs her fallen victim by the hair, she punches
her in the mouth. Theresa grabs Carol, she yanks her into
the club.
EXT. BELOW THE BOTTOM - NIGHT
JACKIE
That kind of love breaks my heart.
COP 1
She should be in the ring fighting
men, you're next.
JACKIE
The trouble with life, my friend,
is when you're good at your job,
somebody always hates you for it.
COP 1
So go mess her up, finish the job.
JACKIE
You guys got the badge.
Make it legal, you always do.
COP 1
I'm not up for sergeant yet and I
guess you haven't been paid.
Jackie tosses the paper napkin from the pretzel into the
trash can.
JACKIE
I can't argue with the facts.
Jackie offers a subtle wave to the three Cops, He enters
the club.
INT. BELOW THE BOTTOM - NIGHT INT. BELOW THE BOTTOM - NIGHT
Jackie bounces down the stairs.
PAUL
Are there any pieces left?
JACKIE
Some...but the night is young.
Jackie shoots a questioning stare at Robin.
ROBIN
I know.
Robin leaves speaking to PAUL.
ROBIN
We'll play later.
Jackie slides onto his tool.
PAUL
What did I do?
JACKIE
They crawled past you when you lost
the fifty.
Jackie turns greeting two STRAIGHT FEMALE customers.
Nervously they offer him the money.
Jackie points to Paul. Their hands quickly swing the money
to Paul.
JACKIE
Thank you.
As the Girls pass Paul entering the club, Paul looks down
at their feet and around to the front of the podium.
He catches Jackie looking at him. Paul stares until he
realizes that under the podium Boots fist holds his money.
BOOTS
Lets do it.
Paul slides the money into his suit coat pocket.
Jackie and Boots walks past Paul. Jose joins Paul.
PAUL
Jose, I screwed up. Ill betcha I'm
gone.
Jose laughs.
JOSE
You don't get fired here, you just
disappear.
PAUL
But first they break something.
Paul flexes his fingers.
INT. BELOW THE BOTTOM - NIGHT
Sonny is seated at a table with his back to the wall. TWO
ATTRACTIVE FEMALES help him spend his money.
Sonny looks up.
SONNY
Who the hell are you guys?
Boots boyish grin greets his question.
BOOTS
Jackie, why does it always come
down to accountability?
Jackie grabs the table, flipping it up into Sonnys lap, the
two girls scream.
Jackie snatches Sonny, yanking him over the rubble of the
destroyed table, Sonny ricochets off a wall. Jackie reaches
down to the floor, Sonny is brutally dragged through the
crowd.
BOOTS
No problem folks, enjoy yourselves.
This man probably thought he was
downtown.
INT. BELOW THE BOTTOM ENTRANCE - NIGHT
Near the podium Jackie lifts Sonny, Sonnys suit is trashed,
his face is bloody.
JACKIE
Do you know this face?
Sonny offers no response. Jackie bounces him off a wall.
JACKIE
You are getting very stupid.
This face, you know it?
SONNY
Everyone in the ghetto has heard of
you. So what?
JACKIE
So!...So then you know this isn't
personal.
Jackie releases his grip, Sonny takes a deep breath, on an
inhale Jackie drives his fist into Sonnys belly. Sonny falls.
Jackie grabs Sonnys trousers near his ankles, he drags
Sonny up the stairs, Sonnys head bounces off each step.
Boots appears.
BOOTS
Jose you're here, Kid, youre
outside with me.
Boots' index finger instructs Paul to climb the stairs
ahead of him.
EXT. BELOW THE BOTTOM - NIGHT
Jackie drags Sonny, he picks him up slamming him into the
metal support of a No Parking sign. Jackie backs off
allowing Sonny to slide down the metal support.
Jackie adjusts his tie.
As soon as Paul exits the club, Boots grabs him, spinning
him against the wall.
JACKIE
Watch this, it could be you.
Boots walks toward Sonny adjusting his french cuffs.
BOOTS
My friend, you owe me thirty
American dollars.
Sonny is too exhausted to respond.
BOOTS
Jackie!
Jackie steps in on Sonny, yanks him high, body slamming him
again into the No Parking sign.
JACKIE
Do you know why I'm a happy
employee?
SONNY
Screw you.
JACKIE
Okay you piece of shit, listen up.
I love taking this right fist and
driving it into a jaw, anybody's
jaw. Here's the best part, bro. I
watch their eyes roll back into the
head, when the mind goes unconscious
I bang the face into a rainbow of
red, black and blue.
Jackie throws Sonny to the street. Sonny meets the concrete
like a bag of wet sand.
JACKIE
Think! God's waiting.
Boots walks around this guy like a used car salesman.
BOOTS
Right now, deep in your soul, it's
telling you to hide the pain, be a
man, be brave...but Im telling you,
courageous fingers, gritty toes and
other fleshy parts of better men
than you, have been packed into
Sardine cans.
SONNY
You can't do nothing to me, this is
the sidewalk.
Boots looks at the many witnesses strolling the street,
none however stop.
BOOTS
Once again your judgment shows
stupidity. I own this slab of
concrete...Jackie.
PAUL
Wait! Stop!
Paul approaches Boots.
PAUL
It was my fault, I wasnt paying
attention. Dont beat this guy to
death for thirty bucks.
BOOTS
He needs a lesson.
PAUL
Be smart, scare him.
BOOTS
He is. The next stop is cruelty.
PAUL
Use your imagination.
Boots contemplates the idea.
BOOTS
Jackie.
Jackie steps away from Sonny, he speaks at Sonny from over
his shoulder.
JACKIE
Dont even think about it.
Boots stands near Jackie, very casually, very fast, Boots
slips a bundles of white envelopes into Jackies waiting hand.
Jackie returns to Sonny. He picks up Sonny bouncing his
head off the metal support, Sonny groans. Jackies hand slips
the drugs into Sonnys pocket...Sonny crashes to the concrete.
SONNY
Im bleeding all over the place.
BOOTS
Wipe yourself off!
Sonny struggles, he reaches into his pockets pulling out a
handful of little white envelopes, they tumble from his hand
onto the sidewalk.
SONNY
Shit!
BOOTS
Jackie, what do you think about a
man receiving gifts then is
ungrateful.
JACKIE
I think hell be doing time for
dealing.
SONNY
But this isn't my stuff.
BOOTS
It is now.
Sonny thinks but doesn't respond fast enough.
BOOTS
If I bring in the police your ass
is history.
SONNY
Wait...wait.
Sonny pulls out his wallet .
Boots grabs the wallet, he quickly flashes one hundred
dollars.
BOOTS
One hundred dollars. I don't cheat
people. Cheating me, well look at
yourself.
Boots returns the wallet. Sonny stares at him. Boots picks
him up, giving him to Jackie, who holds him up.
BOOTS
Have a drink on me. Relax, examine
what happened here.
Because next time, even Allah will not save your ass. Do
you understand.(this is said in Italian)
Jackie motions toward the entrance.
SONNY
What's with the extra seventy bucks?
BOOTS
Call it the doormans union dues.
Jackie pushes Sonny into the club. Boots adjusts his coat
where the his .9mm is holstered.
PAUL
This is going to affect my
situation.
BOOTS
You made a mistake with my money.
PAUL
Ive never been taken like that in
my life, this job is ridiculous.
Boots yanks Paul into him.
BOOTS
You disappointed me.
PAUL
Im sorry, I dont know this kind of
life.
Boots throws Paul into the outside face of the building,
Paul staggers, a tad off balance.
PAUL
Why dont you finish the job with
your nasty factors?
BOOTS
Because I dont have to.
PAUL
Youre ruthless.
BOOTS
Dont worry, kid. I have other
payment plans other than money.
PAUL
I know Im a little naive, but come
on!
Boots shrugs.
Paul begins to enter the club. Boots grabs his shoulder.
BOOTS
The Village is that way.
Paul looks hard, his fists tighten.
BOOTS
Im not the best choice for your
anger, kid. You know it and I know
it.
Paul walks away.
Jose appears with a saucer and a tiny cup of espresso.
JOSE
Jackie said you would want this.
Boots accepts the espresso.
BOOTS
What are you, my bartender or my
valet?
JOSEÕ
Sorry, Boots.
Jose enters the club.
Boots leans against the metal support of the No Parking
sign and sips his espresso. He sees Theresa standing across
the street. She smiles.
EXT. HERS/HERS - NIGHT
Theresa and Carol stand there staring back at Boots.
CAROL
Who is he?
THERESA
One twisted Arab, Islamic Mafia, if
you can believe that.
CAROL
He looks like a rich restaurant
owner to me.
THERESA
Who the hell knows? The word is he
ran guns, whores, and drugs out of
the biggest hotel in Cairo. Anything
for the buck.
CAROL
What an imagination you have.
THERESA
Well honey, that budge under his
arm is a different kind of muscle.
INT. BELOW THE BOTTOM - ENTRANCE - NIGHT
Robin sits on Jackies bar stool. A MALE CUSTOMER arrives.
ROBIN
Twenty dollars, sir.
The Customer pays her, he also offers Robin a Mr.Stud glare.
ROBIN
What are you looking at?
Your Mama didn't give you enough lunch money for me.
The Male Customer mumbles and enters the club.
BOOTS
Save that wicked edge for your new
love.
Teasing, Robin pushes Boots into the wall.
ROBIN
He's a nice guy.
BOOTS
So was I.
Robin looks at Boots, he offers no emotion, his face
changes to an expression of examination. Robin holds up the
palm of her hand. Boots slaps the money into it. He walks
away.
ROBIN
When was that?
Boots disappears in the darkness of the club.
INT. DJ BOOTH - NIGHT
Kikay holds a drink, his nose is covered in white powder.
His voice mixes with the music.
KIKAY
Kikay thanks you for your kindness.
Snorting enough coke to kill an elephant Kikay chases it
with a double shot of bourbon.
Kikay places his hand over his shoulder, five hundred bucks
is lowered into his palm. Kikay turns, handing a guy a
handful of white envelopes.
KIKAY
Thanks, honey.
Music screams.
Kikay dusts his nose. Boots steps in, he slips into the
shadows of the DJ booth, his attention is on ragged Sonny at
the bar.
BOOTS
Make sure he leaves after that
drink.
KIKAY
If he doesnt?
BOOTS
Hes a fool.
Kikay looks out at the dancing crowd. Kikay whacks his
microphone with his finger. The thud echoes over the PA
system. He turns to Boots and winks.
Kikay speaks over the microphone.
KIKAY
Hey people, a little late night
philosophy, this is Below the
Bottom, the underworld, where the
thrills are never gone.
The music screams.
EXT. MANHATTAN - NIGHT
Paul walks a block away from Below The Bottom. He walks
toward a corner, suddenly he angrily kicks the hell out of
the trash can.
Paul walks on, he turns the corner.
In the shadows a huge figure grabs him, Jackie holds Pauls
body, his large fingers cover Pauls mouth.
JACKIE
Take it easy kid.
Jackie releases his hold on Paul.
PAUL
I dont deserve this.
JACKIE
Get in the car.
EXT. UPTOWN MANHATTAN - NIGHT
Jackie's Lincoln travels uptown Manhattan. It maneuvers
from the East Side to the upper West Side.
The architecture of the upper West Side begins to
drastically change as the big Lincoln enters Harlem.
INT. JACKIE'S LINCOLN - NIGHT
Paul stares out the window at the passing rough
neighborhoods.
PAUL
Why don't you just let me out here,
at least I'll have a chance to get
out alive.
JACKIE
These folks can be hard on you.
PAUL
Not as hard as that right hand of
yours.
Paul studies Jackie, he looks again at the rough
neighborhood.
The Lincoln continues into Harlem.
EXT. HARLEM - MICKEY'S RESTAURANT - NIGHT
Jackie's Lincoln pulls to the curb under a dilapidated No
Parking sign.
Paul and Jackie exit the car to Jazzy Blues music pouring
out of Mickey's restaurant. Mickey's is a classy Harlem
barbecue restaurant where all types of New Yorkers come for
the best southern barbecue in the city.
Hearing the music Paul frowns in exasperation.
PAUL
Youre going to break me into pieces
to Blues music?
JACKIE
It goes with the pain.
Jackie pushes Paul toward the entrance of Mickey's.
INT. MICKEY'S RESTAURANT - NIGHT
The interior is spit and polish clean, black and white tile
floor with shinny chrome everywhere. Brightly colored
flowers and subtle neon add to this immaculate styled eatery.
Jackie walks past a busy cash register ATTENDANT. Everyone
in the restaurant notices Jackie, they can't help it.
PAUL
Jackie, this is not cool.
Jackie mumbles.
JACKIE
It is when you're the owner.
Jackie points to a table.
JACKIE
Sit.
Paul seats himself, he awkwardly smiles to the vast
majority of customers looking at him. Turning away he
studies the musicians in the quartet.
INT. KITCHEN - MICKEY'S - NIGHT
Jackie pushes through the swinging doors into the kitchen.
The kitchen is alive with restaurant activity.
JACKIE
Where's Doc?
Doc, a silvery haired Black Man in a starched white shirt,
tuxedo trousers and a black bow tie, steps out from behind a
large cooler door.
DOC
When are you going to learn to call?
JACKIE
Sorry, just throw some baby backs
and greens on a couple of plates.
And Doc, please make up Boots'
special chicken.
DOC
You got it Boss. Is Boots with you?
JACKIE
Not exactly.
Jackie sees NAOMI, a young preteen Black girl, sitting at
table scribbling while watching a television.
One of the COOKS notices Jackie's probing stare at Naomi.
Jackie glances at his watch.
The Cook approaches Jackie.
COOK
Sorry Boss, but the wife's pulling
a double at the hospital. I will not
leave Naomi home alone.
Jackie walks over to Naomi. Naomi smiles up at this
powerful man.
Jackie shuts the Television off.
JACKIE
Young lady come with me.
Naomi peeks around Jackie's huge frame. The Cook, her
father nods OK.
Naomi follows Jackie to the back of the kitchen. Jackie
opens his small office door. He flips on the light, a large
television sits in the corner of the room. Naomi looks up at
Jackie.
JACKIE
You can either do your homework or
sleep on that sofa, but no TV. I
catch you watching that TV, I'll put
you in one those big pots.
Jackie walks away leaving Naomi watching him.
Jackie returns to the main Kitchen, Doc is carrying two
plates stacked with food.
DOC
You old fool, you're nothing but a
softy.
Jackie grabs the two plates.
JACKIE
I can pack your sorry ass in the
other pot!
DOC
You do that and I'll kick your butt.
Jackie pushes himself through the swinging doors out into
the restaurant.
Naomi runs up to her father, the Cook, for a good-night hug.
The swinging doors to the kitchen are pushed open. Jackie
returns still holding the two plates, he stands there
staring down at the girl.
NAOMI
I'm cold, I need a blanket.
The kitchen personal study Jackie.
JACKIE
So sweet, and so demanding...
Jackie leans over and grabs a bottle of hot sauce, He
throws his shoulder into the swinging doors.
JACKIE
Get the lady a blanket.
INT. MICKEY'S RESTAURANT - NIGHT
Jackie places one plate in front of Paul. Before Jackie can
sit down, Doc is at the table with two Heinekens.
Jackie takes one beer.
JACKIE
Coffee for the trainee, please Doc.
PAUL
You brought me up here to eat?
JACKIE
Yes and No. Didnt your mother teach
you to eat your food before it gets
cold.
DOC
Hey kid, do all Caucasians spend
money on those shirts?
PAUL
Go ahead, screw with me, I could be
dead in ten minutes.
DOC
Well Jackie at least he's got some
spunk.
JACKIE
Lets see how long he keeps it.
Doc chuckles and leaves.
PAUL
You actually own a restaurant?
JACKIE
Kid, a question like that will
definitely shorten your ten minutes
of life...I own half.
Jackie nibbles his meal.
PAUL
Who is your partner?
Jackie ignores the question.
JACKIE
Boots senses weakness like an
animal. You got potential but you
give up too easy. Believe me, he'll
spring like a cat.
PAUL
Let me write this down, shit, I
forgot my gangster notebook.
Ignoring Paul, Jackie continues to eat. Paul begins to
nibble his food.
Paul's fingers are full of barbecue sauce. Jackie offers
Paul a handful of WHITE napkins.
JACKIE
Here, you get out much?
Jackie positions the napkins so Paul has to reach for them.
Simultaneously Jackie intentionally drops a piece of
silverware onto the floor. Paul automatically looks away
from the napkins and down at the floor. Jackie pulls the
napkins away from Paul forcing Paul to reach and pull for
the napkins.
Paul looks at his hand, it holds a BLUE napkin.
JACKIE
You happy now?
PAUL
Damn, it was under the fifty.
JACKIE
You eat barbecue wherever you're
from?
PAUL
Scranton, slick trick...
Paul plays with the napkins, studying them.
PAUL
Sure, but not like this.
JACKIE
Black folks didn't make it, that's
why.
PAUL
That's a racist statement.
How do you know this trick?
JACKIE
No it isn't. Racial inequality is
historic, political, geographic and
for some white's argumentative.
But good barbecue is fact.
PAUL
Where the hell is that logic from?
Doc brings Paul coffee. Paul follows the beer bottle buried
in Jackie's hand.
DOC
Sorry kid, but you ain't the boss.
Jackie toasts Paul with his beer.
JACKIE
To Jackie's logic, from down deep
where I live. Eat them greens.
Doc exits.
They eat their meals.
PAUL
I eat one thing at a time.
JACKIE
Tell that to Robin.
PAUL
She's crazy.
JACKIE
That's what love is kid, crazy.
PAUL
And you know?
JACKIE
Three daughters worth, I know.
PAUL
A family man that kills.
JACKIE
Someone tell you that?
PAUL
You're not exactly a social worker.
JACKIE
It's all where your loyalty is,
mine is to the streets.
PAUL
You're a damn lunatic.
JACKIE
Don't get stupid on me kid.
Paul is distressed.
PAUL
You make it sound like its a
vocational school.
Jackie stares out the window. He tenses then stands.
Jackie slips his hand into his jacket pocket, he walks away.
Paul looks out the window.
EXT. MICKEY'S RESTAURANT - NIGHT
A few GANGSTER types are hassling an elderly BLACK WOMAN
pushing a grocery cart. She swings her purse at the boys.
The boys laugh, one gangster pushes the elderly woman.
Falling, the Woman is caught in Jackie's arms.
JACKIE
Do yourself a favor, apologize to
this woman.
Placing the Woman to his side Jackie walks toward the
group, his hands are in his pockets.
GROUP LEADER
Who the fuck are you?
GUY 1
Man, don't mess with this guy.
GROUP LEADER
This fool will bleed like anybody
else.
Jackie walks, he stops by a fire hydrant, his right hand
slips deeper into his pocket.
JACKIE
Don't make your Mama wrong, boy.
GROUP LEADER
What?
JACKIE
I know your mama taught you
manners. You're about to cross that
line that's gonna make her cry.
GROUP LEADER
Fuck you.
The Group Leader goes for a gun in his belt. Jackie pulls
the beer bottle out of his suit pocket, he swings it against
the fire hydrant...glass flies.
The Group Leader raises the gun, Jackie drives the broken
glass bottle up into his ribs...the gun fires over Jackies
shoulder...Jackie jams the bottle neck hard. He twists it,
lifting the boy off the street.
Jackie stands still, the Group Leader slides down his leg.
Jackies knees push him away, his hand sweeps his trousers
to keep the blood and debris from soiling his trousers.
Jackie looks at the other gangsters.
JACKIE
When you mess with a pro, fools
don't have a chance.
The Group runs away.
ELDERLY WOMAN
Jackie, I'll say a prayer for you.
JACKIE
Save it Madame, my soul's already
taken.
The Elderly Woman pushes her cart down the street, she is
not rushed, just another night.
Jackie walks to the door, Jazzy Blues play. Jackie sees
Paul staring back at him.
DOC
Where'd you get him?
JACKIE
Scranton.
DOC
What you want me to do?
Jackie's fingers snap, flashing a few hundred dollar bills.
INT. JACKIE'S LINCOLN - NIGHT
Jackie and Paul travel a side street.
PAUL
Jesus, you're a cold bastard.
JACKIE
Kid, every job takes a talent.
And great talents are bought.
PAUL
You like it too much.
JACKIE
Maybe, but I'm a survivor just like
you.
PAUL
We are not even close.
JACKIE
Not the same game, but the same
aim. To get over, to do what it
takes.
PAUL
I don't think so!
JACKIE
You're in my world, it doesn't
matter what you think, me, I got
plenty of opinions but none of them
make me a dime. You understand?
Paul stares into the streets. The car takes a sharp turn.
Suddenly Jackie hits the brakes. He taps the car horn.