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Кокаин, фильм
Сценарий легендарного фильма Кокаин
Название русское: Кокаин
Название оригинальное: Blow
Страна: США
Жанр фильма: Криминальная драма
"A MAN MUST LOOK AT HIS LIFE AND THINK LUXURY."
FADE IN:
EXT. GUARJIRA, COLOMBIA - 1989 - DAY
A majestic panorama of the lush green slopes that are the
Columbian highlands. A faint chopping sound IS HEARD and
then another. WHOOSH. WHOOSH. The view changes and tiny
dots appear on the hillside vegetation. WHOOSH.
CLOSER
We realize the dots are people. Workers swinging long steel
machetes in slow methodical rhythm. WHOOSH. WHOOSH. WE SEE
the South American Indian MEN clearly now. Their tar stained
teeth. Their gaunt faces riddled with crow's feet. Their
jaws chewing away on huge wads of coca leaves as they collect
the harvest.
EXT. DIRT ROAD - COLOMBIA - DAY
Old rickety trucks carrying the huge green tractor-sized
bales speed along the narrow road.
EXT. CLEARING - COLOMBIA - DAY
The bundles are undone and Columbian women separate out the
leaves. Tribes of underweight workers carry armload after
armload of the harvest and ritualistically dump them into a
gigantic cannibal pot which sits on top of a raging bonfire.
The leaves are being boiled down and a huge plume of smoke
streaks the sky. Wizened Indios brave the heat and shovel
ashes into the pot to cool the solution.
INT. JUNGLE - COLOMBIA - DAY
A primitive but enormous makeshift lab contains all the
equipment. The machinery. The solutions. The over-sized
vats. Dark-skinned bandoleros smoke cigarettes and sport
automatic weapons at all the points of entry. The coca is
now a "basuco" paste and is being sent in for a wash.
INT. LABORATORY - COLOMBIA - 1989 - DAY
A conveyor belt pours out brick after brick of pure cocaine
hydrochloride. The bricks are wrapped, tied up, weighed, and
stamped with a "P" before being thrown into duffel bags.
EXT. JUNGLE AIRSTRIP - COLOMBIA - DAY
A small twin-engine Cessna is loaded with dozens of duffel
bags and the plane takes off.
EXT. VERO BEACH AIRFIELD - NIGHT
The Cessna touches down.
EXT. WORKSITE - WEYMOUTH - 1966 - DAY
The worksite is busy. George is amongst other workers,
working a summer job. As George is taking five, he looks
across the sight to Fred, who is sweeping up debris. A long
way from being the boss.
INT. COLLEGE ADMISSIONS OFFICE - WEYMOUTH - 1966 - DAY
George stands in line to register for college, wearing his
Brooks Brothers suit, bowtie, and freshly Bryllcreamed hair.
The room is crowded and the line is long. Bob Dylan's
"Subterranean Homesick Blues" blares out of one of the kid's
transistor radios. George looks around the room. He is
uncomfortable. He catches his reflection in the shiny glass
partition and stops. He doesn't like what he sees.
Something is not right. He looks like everyone else. Same
cookie-cutter hair, same cookie-cutter clothes, same cookie
cutter faces. He's a carbon copy.
REGISTRATION WOMAN
Next.
It's George's turn but he doesn't hear it. "Twenty years of
schooling and they put you on a day shift." The words hit
him like a tone of bricks as he continues to stare at his own
reflection.
GEORGE (V.O.)
I was standing there, and it was like
the outside of me and the inside of me
didn't match, you know? And then I
looked around the room and it hit me. I
saw my whole life. Where I was gonna
live, what type of car I'd drive, who my
neighbors would be. I saw it all and I
didn't want it. Not that life.
EXT. CONSTRUCTION SITE - WEYMOUTH - 1966 - DAY
George sits with Fred. It's breaktime and Fred eats from a
lunch box.
GEORGE
There's something out there for me, Dad.
Something different. Something free
form, you know? Something for me, and
college just isn't it.
FRED
That's too bad. You would have been the
first one in the family.
GEORGE
I know.
FRED
Alright. You want me to get your old
job back? Because I could, you know, I
could put in that word.
GEORGE
No, Dad. I don't want to...I mean, I
just don't want...
It's obvious to Fred that his son doesn't want to be like
him.
FRED
What are you going to do?
GEORGE
I'm going to California.
EXT. BELMONT SHORES APARTMENT - 1968 - DAY
SUPERIMPOSE: MANHATTAN BEACH, CALIFORNIA 1968
George and Tuna, now 21-years old, struggle with their bags.
Their new place is a tackily furnished, two-story apartment
with small balconies and a view of the ocean. As George and
Tuna struggle with the bags, two California beauties appear
on the balcony next door: BARBARA BUCKLEY, 20, and MARIA
GONZALES, 21.
GIRLS
You guys need some help?
George and Tuna share a look.
TUNA
I don't know about you, but I think
we're gonna like it here.
EXT. MANHATTAN BEACH - 1968 - DAY
SERIES OF SHOTS
Barbara and Maria introduce George and Tuna around to the
Manhattan Beach regulars. They are immediately accepted
despite their ill fitting shorts and Tuna's unhip black
socks. The beach scene is one big party. Lots of beer,
music, bikinis, and good times. By the end of the day,
George and Tuna have a hundred new friends.
GEORGE (V.O.)
California was like nothing I'd ever
experienced. The people were liberated
and independent and full of new ideas.
GEORGE (V.O.) (CONT'D)
They used words like "right on,"
"groovy," and "solid." The women are
all beautiful and seemed to share the
same occupation.
WOMAN #1
I'm a flight attendant.
WOMAN #2
I'm a flight attendant.
WOMAN #3
I'm a flight attendant.
The weed comes out and is passed around. Pipes. Joints.
Bongs. In SLOW MOTION, Barbara takes a huge hit of grass,
grabs George's face, french kissing him, and giving him a
huge shotgun.
INT. BELMONT SHORES APARTMENT - 1968 - DAY
George and Barbara are sleeping late. Their bodies
intertwined beneath the sheets. A slam of the front door
wakes them up. It's Tuna.
TUNA
Hey, wake up. Come on, you two
lovebirds. Hurry, I want to show you
something.
George and Barbara shake cobwebs out and stumble into the
kitchen to find Tuna holding a brown paper shopping bag.
TUNA (CONT'D)
Figured it out.
GEORGE
Figured what out?
TUNA
You know how we were wondering what we
were going to do for money? Being how
we don't want to get jobs and whatnot?
Well, check this out.
Tuna takes the paper bag and empties its contents on the
kitchen table. It's a grey mound of stocky, seedy marijuana.
Barbara examines the reefer.
BARBARA
Tuna, this is crap.
TUNA
I know it's not the greatest. It's
commercial.
BARBARA
It's garbage.
GEORGE
It's oregano. You got ripped off, pal.
What are you gonna do with all this?
TUNA
We sell it. I got it all figured out.
We make three finger lids and sell them
on the beach. We move all of it. We've
made ourselves a hundred bucks. Or a
lot of weed for our head. What do you
think? Not bad, huh? I got the baggies
and everything.
BARBARA
You can't sell this to your friends.
TUNA
Man. Fuck you guys. I have this great
idea and you guys have to be all
skeptical.
BARBARA
Look, if you really wanna score some
dope, I got the guy.
EXT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY
George, Barbara and Tuna stop outside the front door.
GEORGE
Are you sure this guy is cool?
BARBARA
You'll see for yourself.
TUNA
A beauty parlor for men? Sounds pretty
queer.
They walk in.
INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - CONTINUOUS
George, Tuna and Barbara enter. The Whipping Post is
California's first male hair salon. George looks around at
the customer's being pampered. Haircuts, pedicures,
manicures.
GEORGE
Nothing like this back home.
BARBARA
Derek!
DEREK FOREAL is a curious man. Daringly effeminate,
especially for the sixties, he is always surrounded by
beautiful women. As he sees Barbara, he stops his haircut
and runs to embrace her.
DEREK
Barbie!
Derek's female entourage rush over as well. Kisses all
around.
DEREK (CONT'D)
So, this is the new man, huh? He's
cute!
George and Tuna stick out there hands.
GEORGE
George.
TUNA
Tuna.
DEREK
Tuna, oh my. Enchante, George. Barbie,
he's yummy. He looks like a Ken doll.
Oooh, Ken and Barbie. It's perfect.
Alright, girls, give me five minutes.
Derek makes dismissing gestures and the girls scatter.
DEREK (CONT'D)
Everyone, shoo! You, too, Barbie. I
want to talk to the boys alone.
After the girls leave, Derek closes the partition and his
playful demeanor changes. He's all business now.
DEREK (CONT'D)
What can I do for you guys?
GEORGE
We want some grass.
DEREK
I know what you want. But, first of
all, are you cops?
GEORGE
No.
DEREK
Because if you are, you have to tell me.
If not, it's entrapment.
GEORGE
We're not cops. We're from
Massachusettes. I mean, does he look
like a cop?
DEREK
I guess not. Okay. You know, you're
very lucky you're friends of Barbie's.
If you weren't, I'd never talk to you.
Derek pulls a television-sized brick of quality marijuana out
from under a sink and sets it down in front of George.
GEORGE
What the fuck is that?
DEREK
It's your grass.
TUNA
Wow. That's more than we had in mind.
DEREK
I don't nickel and dime. You want it or
not?
George and Tuna look at each other.
GEORGE
We'll take it.
EXT. MANHATTAN BEACH - 1968 - DAY
SERIES OF SHOTS
Summer on the beach. It's one big party. George and Tuna
are on the beach. They are the new kings. They smoke pot
and drink brews.
George and Barbara get close as do Tuna and Maria. Slowly,
George's clothes and hair start to look better, cooler.
George and Tuna hanging out with the SURFERS.
George and Tuna hang with Barbara, Maria and SOME GIRLFRIENDS
in bikinis.
George and Barbara hang together at the life guard stand.
George and Tuna on the strand with HIPPY PROFESSORS selling
half-ounces.
Derek, Tuna, George, Barbara, Maria and the Elves play
volleyball.
Barbecue at Belmont Shores apartment with George, Barbara,
Derek, Tuna, Maria and different Elves.
George and Tuna sell half-ounces to BIKERS.
Derek is having a party out of a mini-van in the beach
parking lot. George, Barbara, Tuna and Maria are there.
EXT. MANHATTAN BEACH - 1968 - SUNSET
George and Barbara sit by the water, watching the waves crash
into the sand. The sky is streaked with purple and red.
GEORGE
This is it for me.
BARBARA
What is?
GEORGE
Just everything. You. California. The
beach. This spot right here. I feel
like I belong here, you know? It just
feels right.
BARBARA
You happy, baby?
GEORGE
Yeah. I am.
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