Original subtitles

(MAN S H O UTI N G I N S PAN I S H)

(PO L I C E S I RE N S WAI L I N G)

(SC REAM I N G)

B U M PY: H appy Than ksg ivi ng !

(C ROWD C H E E RI N G)

Come here !

Yeah ! MAN : Rig ht here !

MAN : Toss me a bi rd , B u m py !

WOMAN 1 : B u m py !

Yeah ! WOMAN 2 : B u m py ! We love you !

There you go , darl i ng .

WOMAN 3 : Over here ! Over here !

F ran k ! Come on !

Come here .

B U M PY: Th is is the problem .

Th is is what's wrong with America .

It's gotten so big , you j ust can 't fi nd you r way.

The g rocery store on the corner is now a su permarket.

The candy store is a McDonald 's .

And th is place , a su per-fucki ng d iscou nt store .

Where's the pride of ownersh i p , h u h ?

Where's the personal service?

You see what I mean ? S h it.

(B U M PY C H U C KL I N G)

I mean , what rig ht do they have , of cutti ng out the su ppl iers ,

push i ng out al l the m idd lemen ,

buyi ng d i rect from the man ufactu rer?

(C H U C KL ES)

Sony th is , Tosh i ba that.

Al l them C h i n ks putti ng Americans out of work.

That's the way it is now.

You al l rig ht?

You can 't fi nd the heart of anyth i ng

to stick the kn ife .

H ey !

Anybody here?

Can I hel p you ?

Cal l an am bu lance .

Forget it, F ran k.

There's no one i n charge .

(WH E EZ I N G)

Cal l an am bu lance !

REPORTER: Some say Bumpy Johnson was a great man,

according to the eulogies, a giving man, a man of the people.

No one chose to use in their remembrances

the word most often associated with

Ellsworth "Bumpy" Johnson, "Gangster, "

whose passing has brought a who 's who of mourners on this chilly afternoon.

Lucchese mob boss Dominic Cattano,

Harlem crime figure Nicky Barnes.

MAN : N icky ! N icky !

REPORTER: From the political arena,

the Governor has come down, the Mayor of New York,

and Chief of Police and Commissioner,

sports and entertainment luminaries.

REPORTER 2: Bumpy Johnson, age 62 when he passed,

was a folk hero among Harlem locals for over four decades.

Regarded by some as the Robin Hood of Harlem,

by others as a ruthless criminal...

TAN G O : I don 't u nderstand , you know.

I wou ld 've thoug ht that B u m py wou ld

put out a better spread , you know?

You want someth i ng ? N o , than ks .

I want ch icken wi ngs at my fu neral .

MAN : Al l rig ht, N icky Barnes .

N I C KY: Who is that?

H e d id n 't know what h it h i m , you know what I ' m sayi ng ?

I j ust kept poppi ng h i m i n the face 'cause that's what I do .

(WOMAN LAU G H I N G)

M m m .

I don 't have a l ig hter. You have a l ig ht?

(G RU NTS)

F RAN K: O kay?

TAN G O : That's very good .

H ey, F ran k.

Go get me a l ig ht wh i le you ' re at it.

Appreciate it.

Don Cattano .

H ey, how you doi ng , Rossi ?

Good .

BARTE N D E R: Wou ld you l i ke a d ri n k, si r?

G ive h i m a scotch on the rocks .

Come on . Come on .

I know you ' re h u rti ng , F ran k.

So am I .

I ' m al l rig ht.

You gon na be al l rig ht?

Yeah .

I ' m su re B u m py d id n 't say anyth i ng to you , but he made me prom ise

that if anyth i ng ever happened to h i m ,

that I shou ld make su re that you want for noth i ng .

I appreciate that.

You know, half the people i n th is room

owed B u m py money when he d ied .

They th i n k I ' m gon na forget to col lect, but I ' m gon na get that money.

Wel l , that's the spi rit. Go get 'em .

P RO F ESSO R: M r. Roberts , taki ng the prosecution 's side ,

g ive us US v. Mead, su bject, issues , what the determ i nation was

and what it means to us today.

C lass , you ' l l be critiq u i ng M r. Roberts , so pay attention .

RI C H I E : I hate heari ng my name cal led , you know?

It means I gotta get u p i n front of the class , I gotta tu rn arou nd ,

and I know every one of those people there , they know more than I do .

The n u m ber one fear of people ,

it ai n 't dyi ng , it's pu bl ic speaki ng .

I get physical ly i l l , I wan na th row u p .

And that's what you wan na do for a l ivi ng .

N o , I don 't wan na be l i ke that, man , I wan na beat it.

JAY: So , shou ld I do th is?

N o , he' l l take it from me , he knows me .

I 've known h i m si nce h ig h school .

F rom h ig h school ?

Good morn i ng . Yeah .

H e doesn 't take it, j ust th row it i n . It's good service .

Th row it i n ? Al l rig ht. Yeah .

JAY: What's u p , S usie? H ey, J ay.

H ow you doi ng , baby? Al l rig ht.

Al l rig ht. Ready?

(DOG BARKI N G)

(ROCK MUSIC PLA YING)

(YE L L I N G)

H ey ! That's h is head !

(G RU NTI N G)

(G RU NTI N G)

RI C H I E : You ' re su pposed to be my friend , asshole !

CAM P IZ I : I swear to God , Rich ie , I d id n 't know it was you .

I wou ld never slam a door on you r hand , knowi ng ly.

You bit my fucki ng hand .

What are you doi ng servi ng su bpoenas , anyway?

JAY: We' re on loan to Cou nty. Cou nty?

H ow's that worki ng out for you ? H ey, fuck you .

H ey, I ' m sorry. Consider me served . Can we leave it there?

Assau lt on a pol ice officer? I don 't th i n k so .

H ey, for old ti mes' sake . What can we do?

What do you want? What can I g ive you ?

What do you get for assau lt with a dead ly weapon , J ay?

F ive years m i n i m u m . RI C H I E : F ive years .

G uys , come on . N o , g uys .

What do you want? Who do you want?

Who do you got?

You want B ig Al 's bookie? You want h is accou ntant? I ' l l g ive h i m to you .

CAM P IZ I : Stop , stop , stop .

There he is .

That's h i m . That's the bookie .

RI C H I E : Al l rig ht, Carlo , get lost.

Rig ht here? Yeah , rig ht here . Get out of the car.

CAM P IZ I : Th is is . . . I 'd rather not.

JAY: Come on . Let's go .

Take it ease .

JAY: Want to stay with h i m or the car?

Let's see who comes for the car.

Th i n k he made us?

You cal led i n the warrants , rig ht?

So , where are they?

I j ust cal led , man .

I cal led and wal ked back here and 1 0 seconds has gone by.

I saw h i m with the sl i ps , J ay.

You saw pol icy sl i ps? You saw g rocery bags . You don 't know what's i n 'em .

Yes , I do and so do you . Don 't g ive me that bu l l .

What's the rush , Rich ie?

H alf an hou r, the warrant wi l l be here .

I got n ig ht school , al l rig ht?

G uess you ' re gon na m iss it.

(S I G H S)

RI C H I E : F uck th is . Come on . You su re?

Yeah , I ' m su re . Let's go .

F uck.

J ay. Yeah ?

F uck.

MAN ON RADIO: WBZ, honey bunch, the show they all love!

It's the groovy sound of the Jefferson Kaye Saturday Night Show.

Dig, honey, it's coming up time for news.

Jumping on the ceiling, wallpaper peeling on WBZ.

Stick around, the Jace-man 's got 1 0.

Back in 1 0.

(POP MUSIC PLA YING)

(SWITC H ES RAD I O O F F)

It's not j ust a cou ple of bucks , al l rig ht?

It's the same th i ng i n pri nci ple .

O h , are we tal ki ng pri nci ples?

Rich ie , a cop who tu rns i n th is ki nd of money, says one th i ng .

H e tu rns i n cops who take money.

We' l l be fucki ng pariahs .

Yeah , wel l , then we' re fucked both ways .

N ot if we keep it. O n ly if we don 't,

then you ' re rig ht, we' re fucked .

B ut not if we keep it.

God dam n it, man ! D id we ask for th is?

D id we put a g u n to someone's head

and say, "G ive us you r money"?

Cops ki l l cops they can 't trust.

We can 't tu rn it i n , man .

Can you bel ieve that?

H ow m uch is it?

N i ne h u nd red and eig hty-seven thousand dol lars .

Wel l , what happened to the rest of it?

TO BAC K: What the hel l are you doi ng cou nti ng it out here i n front of everybody?

Are you n uts?

Get it back i n the bags , seal them u p

and down i nto the property room .

D ETECTIVE : You fucki ng Boy Scout.

What? What?

Detective Tru po , sig n here .

TRU PO : You g uys ready to make a lot of fucki ng money?

MAN 1 : Always . MAN 2 : H el l , yeah .

TRU PO : F ucki ng A.

(TRU PO EXC LAI MS)

(M E N LAU G H I N G)

TRU PO : O h , look at th is .

There you go .

TRU PO : Al l rig ht, look at th is .

MAN 2 : F ucki ng beautifu l .

There's th ree more boats .

TRU PO : H ey, don 't lose any of that sh it.

MAN 1 : I know.

TRU PO : Al l rig ht, be carefu l .

(KN OC KI N G O N WI N DOW)

H ey ! J ust enoug h for the reagent test.

A l ittle less .

ROSSI: This is the French Connection dope.

Kilos of the same dope Eddie Egan and Sonny Grosso took from us.

The cops seize it, arrest everyone,

then they start taking it out of the evidence room,

whacking it down to nothing and selling it back to us.

They basically control the market with it.

M r. Rossi , I have a su rprise for you .

ROSSI: They've been doing it for years now. They live off it, our dope.

What do you th i n k?

What the fuck is happen i ng to the world , F ran k?

Those fucki ng crooks .

Yeah . Sad about B u m py.

Th i ngs are never gon na be the same i n H arlem .

You wal k down the street, nobody bothers you

'cause B u m py was maki ng su re of it.

H alf a key.

H ow is you r day now?

It's chaos . Every gori l la for h isself.

(G RU NTI N G)

Motherfucker!

Who can l ive l i ke that? There has to be order.

That wou ld never happen with Ital ians .

More i m portant than any one man 's l ife , is order.

F ran k.

H ey. Come on i n , C laude . S it down .

F RAN K: H ow y'al l doi ng , h u h ? Good .

So , you see N ate over there?

MAN : Yeah , al l the ti me .

N ate is everywhere . H e's good . Yeah .

H e's sti l l over there?

Yeah . H e's got h i mself a cl u b now.

O kay. Whereabouts , Saigon ?

MAN : Bang kok.

Bang kok?

I don 't th i n k he's ever com i ng home .

Come on .

O n the house , for ou r boys i n u n iform .

Than k you , sugar. That's very ki nd .

RE DTO P : Than k F ran k.

Than ks , F ran k.

J ust relax.

You have to boot th is sh it a cou ple of ti mes .

The cops keep cutti ng it, sel l i ng the sh it.

I don 't want to say anyth i ng , 'cause the price is rig ht,

but that sh it i n N am is way,

way heavy.

D id you ai n 't seen the jar, F ran k?

I th i n k you wal ked rig ht past it.

The money jar, F ran k.

What do I gotta do , put a fucki ng sig n on it?

H m m ?

(TAN G O C H U C KL ES)

Look at th is n igger rig ht here . You know, F ran k,

B u m py don 't own 11 6th no more .

B u m py don 't own no real estate i n H arlem rig ht now.

I ' m the land lord and the lease is 20% .

Look, don 't sel l dope then , F ran k. Get a real job .

You need a fucki ng job , F ran k?

Is that what you need ?

Wel l , you can come work for me .

O kay? You can d rive me arou nd , h u h ?

You can open my doors .

H u h ? "Yes , si r" , " N o , si r" , " Rig ht away, si r" ,

"Anyth i ng you want, Massa J oh nson" .

Twenty percent.

20% is my profit, Tango .

If I g ive you that, then what do I got left? N oth i ng , man .

20% puts me out of busi ness ,

and every somebody you know out of busi ness .

There's leg iti mate ways of doi ng th i ngs , Tango ,

and then there's th is way.

N ot even B u m py took 20% .

B u m py's fucki ng dead .

My man .

Twenty percent?

Twenty percent. Doc, let's go .

Out. Good job. Sit.

A leader, like a shepherd,

he sends his fastest nimble sheep, out front.

And the others wi l l fol low.

Wh i le the shepherd , he wal ks q u ietly beh i nd it.

H ere , boy ! H ere we go . Rig ht here .

B ri ng it here . Yeah .

N ow he's got the stick, and the cane , he' l l use it !

If he has to .

B ut most ti mes he doesn 't have to .

H e moves the whole herd q u ietly.

What rig ht do they have cutti ng out the su ppl ier?

The m idd leman . B uyi ng d i rect.

P utti ng Americans out of work.

That's the way it is now, F ran k.

That's the way it is .

MAN 1 ON TV: The drug problem in Vietnam is more than marijuana.

At this point, it is estimated that one third

of American troops are experimenting

with opium and heroin.

MAN 2 ON TV: The authorities say they ha ve confiscated

large quantities of marijuana, heroin and pills.

Every person and every vehicle going through the gates

is subject to a thorough shakedown.

MAN 3 ON TV: Soldiers ha ve access to the drugs

at many rest and relaxation spots in Bangkok, Saigon and other areas

throughout Vietnam and Thailand.

Officials say the easy a vailability, relatively cheap cost

and high purity of heroin throughout Saigon and the Far East,

is leading to an epidemic of heroin addiction among US soldiers.

Operator.

F RAN K: Yeah , i nternational .

What city?

Bang kok.

You know the country code ?

Yeah , 376 .

For the first three minutes, it'll be...

I got it, I got it. I got it.

(MAN SPEAKING THAI)

H el lo?

Soul Brothers. Hey, can I help you ?

N ate .

Do I know you ? Yeah , it's me .

Who ?

Me , F ran k. You r cousi n , neg ro .

Go on , get you rself a new su it.

Look, I ' m sorry.

O h , please , Rich ie .

It cou ld n 't be avoided .

I ' l l take h i m next weekend , al l rig ht?

We' re movi ng .

What? Where?

The St. Reg is . What do you care?

To my sister's .

You r sister's? I n Vegas? Yeah .

You are not movi ng to Las Vegas .

N ot with M ichael , anyway.

(LAU G H S)

What am I su pposed to do with h i m ,

leave h i m with you ? There's a pictu re .

(BOTTL E SMAS H I N G)

H ey, g uys ! Be cool .

Lau rie , Las Vegas is not the ki nd of place that you raise a kid .

Li ke th is is a good envi ron ment?

And arou nd you r friends?

When am I su pposed to see my boy?

Th is weekend . Last weekend .

(BOTTL ES S HATTE RI N G)

God dam n it.

H ey ! I asked you n ice to sh ut u p , rig ht?

N ow I ' m gon na have to ki l l you .

I swear I wi l l pu l l out my g u n

and put a bu l let i n you r fucki ng heads !

N ow stop what you ' re doi ng and pick u p the g lass !

Cal m down , man . O kay, be cool .

F ucki ng crazy, man .

You don 't have a g u n .

You su re?

You are crazy, Rich ie .

You don 't have room for us .

I ' l l see you i n cou rt.

Come on , M ichael .

Say bye to you r dad .

Get over here . H ey, kiddo .

I ' l l see you next week, al l rig ht?

We' l l do someth i ng .

LAU RI E : Let's get you an ice cream .

You have 1 0 m i n utes remai n i ng . 1 0 m i n utes .

(P LAYI N G B L U ES M U S I C)

MAN : S hake it, baby. S hake it, shake it, shake it.

MAN : O h , come on , g i rl . Don 't tel l me $5 don 't get me a l ittle someth i ng .

G I RL : Can you d ig that it costs money to be here?

MAN : O h , come on , g i rl .

(AU D I E N C E C H E E RI N G)

(S P EAKI N G THAI)

H ow m uch you want, F ran k?

Tel l h i m I want 1 00 keys .

NATE : F ran k, ai n 't nobody I know can get you

that m uch personal ly, al l rig ht?

You ' re gon na have to piece it together from several sou rces ,

and it's not gon na be 1 00% pu re .

I don 't want that.

I know what you don 't want, F ran k,

but look, what you ' re gon na need is to get

to the C h i u-C hou synd icate , al l rig ht?

C holon , Saigon .

If they' re gon na deal with you at al l .

I u nderstand that, but by then it's gon na be too late .

It' l l be al ready chopped u p .

I wan na go get it where they go get it from .

I wan na go to the sou rce .

So , you ' re gon na go get it you rself?

Why not?

H u h ? I came th is far.

You ' re gon na go i nto the motherfucki ng j u ng le?

I ' m i n the j u ng le . Look arou nd .

They' re eati ng these roaches and whatever that is .

N igger, I ' m tal ki ng about snakes , al l rig ht?

I ' m tal ki ng about tigers , I ' m tal ki ng about Vietcong ,

I ' m tal ki ng about mosq u itoes that' l l fucki ng ki l l you r ass .

You wan na go i nto the j u ng le?

We' re goi ng .

(SCO F FS)

F uck it. Let's go . We' re goi ng .

Why not? Let's go .

H ey, F ran k.

Th is whole spot's locked down by the Kuom i ntang ,

General C h iang Kai-shek's defeated army.

(S P EAKI N G FO RE I G N LAN G UAG E)

H ow wou ld you get it i nto the States?

You ai n 't got to worry about that.

Who do you work for i n there?

You ai n 't got to worry about that, either.

Who are you , real ly?

F ran k Lucas , says it rig ht there i n my passport.

I mean , who you represent?

Me .

You th i n k you ' re goi ng to take 1 00 ki los of heroi n i nto the U S ,

and you don 't work for anyone?

Someone is goi ng to al low that?

That's rig ht.

(S P EAKI N G FO RE I G N LAN G UAG E)

After th is fi rst pu rchase , if you are not ki l led by Marsei l le i m porters ,

or thei r people i n the States , then what?

Then there wi l l be more , m uch more , I g uarantee it.

And if it's al l the same to you ,

I don 't wan na have to d rag my ass u p here no more .

Of cou rse not.

My man .

Sou l brother, h u h ? Sou l brother.

(BOTH LAU G H I N G)

50 g rand . It's gon na cover them

and the pi lot and the boys on the other end .

G ive them 1 00 .

50 is gon na cover it, F ran k.

G ive them 1 00 , g ive them the whole th i ng . H ere .

And look,

that's al l I got.

So , if that dope don 't arrive for any reason ...

H ey, l isten , cousi n or no cousi n , I ' m a busy man , al l rig ht?

I ai n 't got no ti me to be goi ng to nobody's fu neral .

I ' l l let you know when it's i n the ai r.

My man .

(P H O N E RI N G I N G)

F uck.

(G ROAN S)

JA Y: Richie ? Yeah .

This fucking guy made me.

I don 't know how he d id , but he d id .

He went for his gun.

I had to do it, man .

There's 1 00 people out there that heard the shots .

You gotta hel p me . You gotta do someth i ng .

WOMAN : Baby.

Where are you , J ay?

(PO U N D I N G O N DOO R)

That's the problem .

D ispatch , I got a 1 0- 1 3 . I got a 1 0- 1 3 .

Copy that. What's your 20?

Tower two .

Apartment 1 G .

Kent and West i n the projects .

Identify yourself, please.

Detective Rich ie Roberts .

That's a negative. I got no units in that area.

B u l lsh it.

P lease put the cal l out agai n . I ' m gon na need assistance .

Detective Roberts, I got no units in that area.

F uck you . That's a negative.

(P EO P L E C LAMO RI N G)

I d id n 't mention no cops . Know what I ' m sayi ng ?

You know what I ' m sayi ng ?

MAN 1 : I ' l l get the motherfucker! Kick h is ass !

MAN 2 : Yo , cracker, you gon na pay for th is sh it !

MAN 3 : Where the fuck you goi ng ? Where the fuck you goi ng ?

What you gon na do , motherfucker?

H ey, hey, be cool . Be cool , al l rig ht?

I ' l l fi nd out what's goi ng on i n here .

JAY: Rich ie .

(PO U N D I N G O N DOO R)

MAN : O pen the door!

O pen the motherfucki ng door!

PARAM E D I C : Where's you r backu p?

MAN : You motherfucki ng cracker!

You got no backu p? Why is that?

MAN : You gotta come out someti me , motherfucker!

Bandage h is neck.

Rich ie , he's dead .

I know he's fucki ng dead , rig ht.

Bandage h is neck, clean u p h is head ,

prop h i m u p on the g u rney so he's sitti ng and open h is fucki ng eyes .

MAN : O pen th is fucki ng door!

Al l rig ht? Let's go .

PARAM E D I C : F uck.

Al l rig ht, clean h i m u p .

PARAM E D I C 2 : O kay. Where's the sol ution ?

RI C H I E : H ey. H u h ?

MAN : God dam n it, open th is fucki ng door!

G ive me you r g u n . What?

G ive me you r g u n .

MAN : Get you r pu n k ass out here , man !

You have you r badge?

Yeah .

MAN : I ' m gon na ki l l that son of a bitch !

You g uys ready? U h-h u h .

O kay. J ust keep movi ng forward .

You al l rig ht? Yeah .

It's okay ! It's okay !

We' re taki ng h i m to the hospital .

Everybody, step back ! Step back !

H e's al l rig ht.

H e's okay. We' re taki ng care of h i m .

Step back. Step back.

Everyth i ng 's fi ne . J ust stand back.

H e's al l rig ht.

H e's al ive .

WOMAN : What happened i nside?

RI C H I E : We' re taki ng h i m to the hospital .

(S I RE N WAI L I N G)

JAY: Than ks , man .

F uck.

That asshole pu l led a piece on me , man .

Can you fucki ng bel ieve it?

H e pu l ls a piece on a cop?

I had to do it, man . Ki l l or be ki l led .

F ucki ng crazy world , rig ht?

What the fuck were you doi ng i n the projects?

I nvestigati ng stuff, man , you know,

j ust l i ke you taug ht me . C hecki ng on g uys ,

fol lowi ng th i ngs u p , putti ng the pieces together.

That g uy was a dealer. A fucki ng dealer. Scu m of the earth .

That g uy d id n 't pu l l a g u n on a cop , J ay.

That g uy pu l led a g u n on a j u n kie ,

a j u n kie who was tryi ng to rob h i m .

What the fuck you say?

What the fuck, man ? What are you doi ng , man ?

What the fuck is that?

That's my fucki ng money, man !

I earned th is sh it. That's m i ne !

I earned it doi ng good cop work ! What the fuck is th is?

What the fuck is that? I earned it doi ng good cop work !

You m u rdered a g uy ! I earned it getti ng shot at !

You m u rdered a g uy !

You m u rdered h i m , you robbed h is money,

then you cal led me to get you out of it.

That makes me an accessory after the fact, motherfucker.

I ' l l tel l you the facts , man .

J ust write the report the way I say it happened ,

and then that's the way it is , and that's how it wi l l be .

I can 't do that.

I ' m a leper because I l istened to you

and tu rned i n a m i l l ion bucks .

N o one wi l l work with me after that.

I can get off th is sh it, Rich ie . That's easy.

J ust write the report between us , as partners .

I can 't do that.

H ey !

Stop ! Stop !

(PANTI N G)

F uck it.

(H O RN B LARI N G)

O pen the tru n k.

PEOPLE ON TV: (CHANTING) Peace now! Peace now! Peace now!

LBJ, how many kids did you kill today?

Get out, get out, get out of Vietnam!

Get out, get out, get out of Vietnam!

MAN ON TV: . . . as loud as we can

that the Vietnam War should stop,

and that the best way to stop it is for the United States

to simply pack up and get out of Vietnam right now.

(CRO WD CHEERING)

F RAN K: H ow we looki ng ?

(LAU G H S)

Typical ly, what I see is 25% to 45% pu re .

I mean , there's no ad u lterants , no al kaloids , no d i l utants .

It's 1 00% .

May I ?

Take it with you .

Than k you , F ran k.

(LAU G H I N G)

(BABY C RYI N G)

(P LAYS P IAN O)

I ' l l take it.

N o conti ngencies , no loans , no noth i ng .

Cash .

Fabu lous .

I ' m not tal ki ng about you r procl ivities , Rich ie . Those I on ly know too wel l .

I ' m tal ki ng about bei ng a cop .

RI C H I E : You ' re tal ki ng about taki ng money?

I don 't do that. It's not my th i ng .

What about you r friends from the neig h borhood ?

Do you sti l l hang out with them ?

Yeah .

P lay basebal l on the weekends .

Wise g uys? That's gon na look good .

G uys I went to h ig h school with . So what?

What about J oseph Sodano?

What about h i m ?

Rich ie , I ' m j ust tryi ng to u nderstand th i ngs you r wife has said .

If they' re not true , tel l me .

Yeah , he's one of them .

Is he also you r son 's godfather?

Yeah .

H e's defi n itely fucki ng her.

Do you real ly care about th is?

O r do you j ust not want her to wi n ever?

You know, there's an i nterview room on the second floor.

That's what I thoug ht.

The door on ly locks from the i nside .

Al l rise .

(S H E I LA MOAN I N G)

O h , God , Rich ie .

Rich ie , fuck me l i ke a cop , not a lawyer!

(P H O N E RI N G I N G)

S H E I LA: Don 't answer it !

Yeah ?

(S I G H I N G)

Rich ie Roberts . H ey, N orm ?

H ey. Rich ie Roberts .

H i . Detective N orman Rei ly.

H ey, N orm . H ow are you ?

Good .

So , is that h i m ? Yeah .

P icked a n ice n ig ht to come out, h u h ?

It's l i ke G rand Central arou nd here .

It's been l i ke th is .

I ' m l ucky if I get home by m id n ig ht.

It's l i ke noth i ng we've seen before .

Someth i ng I gotta sig n ?

RE I LY: Yeah . It's rig ht here .

I ' m taki ng th is with me . I ' l l reg ister it with Essex Cou nty, al l rig ht?

RE I LY: Al l rig ht.

America 's public enemy number one

in the United States is drug abuse.

In order to fight and defeat this enemy,

it is necessary to wage a new, all-out offensive.

REPORTER: Federal authorities ha ve announced their intention

to establish special narcotics bureaus

in Washington, New York, Los Angeles, Chicago...

A detective without the su pport of h is fel low detectives

real ly can 't do m uch .

You know why I don 't have it.

Doesn 't matter. You d id what you had to do .

G reatest city i n the world !

And it's tu rn i ng i nto an open sewer.

Everybody's steal i ng , deal i ng .

Look at you .

You can 't work because you d id you r job .

Good news is , you ' re not the on ly honest cop i n town .

The special narcotics bu reau i n Wash i ngton is not a dog and pony show.

They are si ncere . I know th is because they want us to orchestrate it.

And I want you to head u p th i ngs here on ou r end .

If it's federal , who do I answer to , the post office?

N o , you answer to me ,

me and the U S Attorney, nobody else .

You never step foot i n a pol ice station agai n .

You work out of you r own place , you pick you r own g uys ,

g uys that you know wou ld not take a n ickel off the sidewal k.

Wel l , we got the lovely transit.

600-year-old mahogany doors .

N ow, look at that. Can 't you j ust feel it?

I th i n k it's lovely.

Watch you r step .

(EXC LAI MS)

Look at these beautifu l floors .

At least, I don 't know, 200 years old .

And it's hard to get the cracks ...

N ow th is was one of my favorite rooms

but we had some problems with the pl u m bi ng .

I even fixed it. I know it works .

It's not gon na leak.

H ere it is .

You know, I used to be a real ly good

piano player when I was a kid ,

but then , I don 't know why I forgot.

Life goes on . Wel l ...

H ow long are you gon na be?

O h , and do me a favor, please .

M i nd the doors .

Those are beautifu l , ornate g lass doors , you know.

H ere we go , J i m my. Come on .

O h , yeah . G ive it back.

(P H O N E RI N G I N G)

H uey's .

FRANK: Huey. What up, boy?

Yeah , who th is?

Who you th i n k it is , boy?

Frank. F ran k who?

Frank your brother, negro.

F ran k?

(FRANK LA UGHING)

That's rig ht.

H ey, Melvi n ! Melvi n , where's Ma?

What?

F ran k's on the phone !

M E LVI N : H ey, Ma ! H ow are you doi ng , F ran kie?

F ran k's on the phone !

Say what? Mama , F ran k's on the phone !

F ran k? O h , my Lord !

Yeah , when ?

Wel l , you j ust say it, man , yeah .

Listen , I ' m gon na cal l y'al l back

at 6 : 00 . I want you to get everybody together, al l rig ht?

Get Mama , get everybody.

All right? O kay.

(DOG BARKI N G)

(EXC LAI MS)

M RS . L U CAS : H ey, F ran k !

What's happen i ng , F ran k?

H ey, F ran kie .

H ow you doi ng , U ncle F ran k?

TE RRE N C E : Get out the car.

Get the kids , get the kids .

Look at th is , baby.

(LAU G H I N G) O h , my Lord !

I ' m so g lad to see you , boy.

O h , I ' m tel l i ng you , th is is some piece of land you got here !

(LAU G H I N G)

F RAN K: I wonder what the poor people are doi ng here?

M RS . L U CAS : And whose house is that, F ran kie?

That is you r house , Mama .

M i ne?

That's you rs .

And who else?

(AL L LAU G H I N G)

BOY: N ow, there , that's my room rig ht there , man .

Rig ht over there .

(TAP P I N G O N G LASS)

Anybody want some more col lard g reens?

(AL L C HATTE RI N G)

Listen !

I wan na tel l you how happy I am to see al l my ch i ld ren at the table

and the g randch i ld ren at the same ti me .

My heart's so happy.

E njoy you rselves .

Rig ht on , G rand ma .

I hope you got a job , boy, the way you ' re eati ng over here .

That boy rig ht there , he got a arm on h i m . I mean , a major leag ue arm .

O h , yeah ?

Ai n 't that rig ht?

Rig ht on , Pop .

Wel l , we' l l see after d i n ner. We' l l see h i m th row it arou nd a l ittle bit.

N o , no , you can 't catch h i m , man .

I ' m tal ki ng about. . . I ' m tal ki ng about...

Th is g uy th row harder than G i bson .

We' re tal ki ng 95 m i les an hou r.

Can you catch h i m ? H e gon na ...

H e gon na catch the g rou nd .

We m ig ht've played catch , I th i n k, when I was about five years old .

S i nce then , he ai n 't been able to keep u p .

Th is is you r room .

It's perfect.

O h . Why, it's ...

Wi l l you look at th is?

It's beautifu l . It's beautifu l . It's j ust...

I ...

(LAU G H I N G)

H ow d id you ...

I had it made .

F rom memory.

You were five when they took it away on me .

That's rig ht. H ow cou ld you remem ber it?

H ow cou ld I forget, Mama?

(STAMM E RI N G) I ' l l j ust tel l you it is perfect.

It's al l perfect.

I can 't tel l you how m uch I love you .

I love you , too , Mama .

It's okay.

(F U N K M U S I C P LAYI N G)

S P EARMAN : Both these g uys , good with wi res , they got sol id i nformants ,

and they' re honest and they' re fearless .

They' re i nsane , Rich ie , l i ke you .

Where are they?

That's J ones with the ski n ny wh ite broad .

Best I ever seen on the street.

H e knows dope , but he's together, al l rig ht?

H e's a stand-u p g uy al l rou nd .

And that's Abruzzo with the two fat black ones .

H e loves a big ass , man .

H e's a bu l ldog . H e don 't fuck arou nd , al l rig ht.

H e's got a bit of a tem per,

yeah , but you can trust th is g uy with you r g rand mother.

Listen , Rich ie . We work together.

You want me , you gotta take them , too .

When do we start?

The man I worked for,

he had one of the biggest com pan ies i n N ew York C ity.

H e ran it for more than 50 years .

F ifteen years , eig ht months and n i ne days ,

I was with h i m every day. I worked for h i m ,

I protected h i m , I looked after h i m , I learned from h i m .

B u m py was rich , but he wasn 't wh ite man rich , you see?

H e wasn 't wealthy.

H e d id n 't own h is own com pany.

H e thoug ht he d id , but he d id n 't,

he j ust managed it.

The wh ite man owned it, so they owned h i m .

N obody owns me , thoug h . H ey.

H ow you doi ng , babe? Good .

That's 'cause I own my own com pany,

and my com pany sel ls a prod uct

that's better than the com petition ,

at a price that's lower than the com petition .

Wel l , what are we sel l i ng here , F ran k?

(SO UL MUSIC PLA YING)

(KN OC KI N G O N DOO R)

H ow you doi ng , Red ?

These are my brothers , j ust got here from N orth Carol i na .

Everybody, th is is Redtop .

H el lo . H ow you doi ng ?

F RAN K: And the lad ies . LAD I ES : H ey.

That's fam i ly.

What's wrong ? Y'al l n iggas ai n 't never seen hooch ie before?

TU RN E R: Why are they al l naked ?

F RAN K: So they can 't steal noth i ng .

Rig ht.

The most i m portant th i ng i n busi ness

is honesty, i nteg rity, hard work,

fam i ly,

never forgetti ng where we came from .

Than k you , C harlene .

See , you are what you are i n th is world ,

that's either one of two th i ngs .

E ither you ' re somebody,

or you ' re nobody. Be rig ht back.

I need these fresh . 'Cause if I have to come back here and get you ,

you know what it is . F RAN K: Tango .

Don 't y'al l play that. VE N DO R 1 : Yes , si r, I hear you .

You won 't have to come back. There won 't be no problem .

VE N DO R 2 : What about you , F ran k? You need anyth i ng ?

Where's my money? Redtop gave you the package .

You ' re su pposed to be hand i ng me my money.

H ere's a jar rig ht here , 20% .

You got the jar?

That's rig ht.

Get the fuck out of here . . . What you gon na do?

(G U N COC KI N G)

What the fuck you gon na do , F ran k?

H u h ? What you doi ng ?

You gon na shoot me i n front of everybody?

H u h ? Come on .

(P EO P L E EXC LAI M I N G)

S h it.

There you go , 20% .

So , what was I sayi ng ?

(P IAN O P LAYI N G)

J ones .

J onesy.

That was n ice , man .

J ust doi ng my melod ious th i ng , baby.

Got you .

Th is is the newly formed Essex Cou nty N arcotics Sq uad .

O u r mandate is to make major arrests . N o street g uys .

We' re looki ng for the su ppl iers and the d istri butors .

H eroi n , cocai ne , am phetam i nes . N o g rass u nder 1 , 000 pou nds .

N o powder u nder 40 ki log rams .

Any less than that, then somebody else can waste thei r ti me .

We gon na be hand l i ng the big sh i pments ,

the big money and the big tem ptation .

J O N ES : I heard a story about you .

That you fou nd a m i l l ion dol lars i n u n marked cash

and gave that sh it back. Is that true?

Yeah , I d id . Anybody got a problem with that?

(AL L LAU G H I N G)

So do I , you know? I th i n k about it every day.

I shou ld be down i n South F lorida

with a 68-foot cru iser doi ng fish i ng charters .

MAN : You and me , both .

B ut you know, I d id n 't, so here I am ,

and we' l l be looki ng to land some other ki nd of sharks .

Al l rig ht? AB RUZZO : B i ngo .

J O N ES : See that, Rich ie?

Yeah .

And th is stuff is you r everyday stuff.

B ut th is B l ue Mag ic, twice the potency.

I mean , it's the pu rest th i ng I ever seen i n the streets .

It's strong enoug h to smoke .

And that's for those wh ite su bu rban kids who are scared of need les .

AB RUZZO : I paid 1 0 bucks for that.

And it's everywhere .

I mean , it's on every corner out there .

So , how is that possi ble?

Who can afford to sel l sh it twice as good for half as m uch ?

(F U N K M U S I C P LAYI N G)

H ey, man . F ran kie , baby, good to see you !

Everyth i ng 's good ?

Yeah , man , j ust got back from E u rope ,

over there for two months , south of F rance , man .

P H OTOG RAP H E R 1 : Look rig ht, look rig ht.

Wonderfu l , wonderfu l .

P H OTOG RAP H E R 2 : N icky !

P H OTOG RAP H E R 3 : G ive us a sm i le , N icky.

P H OTOG RAP H E R 4 : You ' re on the cover.

You know what I ' m sayi ng , man ?

P H OTOG RAP H E R 5 : H ey, N icky, over here .

There you go .

N icky !

(WH OO P I N G)

Who is that? Look at you , my man .

(M U S I C STO PS)

Al l rig ht.

LEAD SINGER: Ladies and gentlemen,

the Brown Bomber! The champ!

Mr. Joe Louis!

(C ROWD C H E E RI N G)

(BAN D RES U M ES P LAYI N G)

Who's that with J oe?

M iss P uerto Rico .

P uerto Rico? M m m-h m m .

Is she a beauty q ueen ?

For real . The beauty q ueen .

(I NAU D I B L E)

(SINGING)

Welcome .

My mai n man . My mai n man .

Can you al l excuse us for a m i n ute , please?

MAN : Yeah , su re , F ran k.

Yes , si r.

Than k you .

What's goi ng on , man ?

What you sm i l i ng about? I don 't know.

What is th is? H u h ?

What's what?

What's what?

Come here .

What is that you got on ?

What's what, man ?

Yeah , that ! What you got on .

Th is is a very, very, very n ice su it.

That's a very, very, very n ice su it, h u h ?

That's a clown su it. That's a costu me . . . Come on , man .

...with a big sig n on it that says "Arrest me . "

You u nderstand ? You ' re too loud .

You ' re maki ng too m uch noise . Look at me .

The loudest one i n the room is

the weakest one i n the room . I told you that.

Al l rig ht? What, are you tryi ng to be l i ke N icky Barnes , now?

What's you r problem with N icky, man ? I l i ke N icky.

I ai n 't got no problem with N icky. O h , you l i ke N icky?

Yeah ! You want to be l i ke N icky?

You want to be su perfly? You wan na work for h i m ?

S hare a jai l cel l with h i m ? Maybe cook for h i m ?

H e wants to tal k to you .

O h , so now you tal ki ng to h i m about me?

What? You ...

About what? What is it about? It ai n 't l i ke that.

Then what is it l i ke? We were tal ki ng ,

you r name came u p . About what?

I don 't know, man . I told h i m I 'd tel l you .

You know. . . Boy, you ...

You know, if you wasn 't my brother,

I 'd ki l l you . You know that, don 't you ?

I 'd blow you r motherfucki ng brai ns out.

Come on , man . Don 't be l i ke that.

I ' m taki ng you shoppi ng th is week.

I went shoppi ng . I can tel l .

(SINGING) See deep into you

And know what you 're thinking now

And if I'm what you 're needing

I need some kind of sign

Let me know, 'cause I can 't read your mind

Are you in or am I in this on my own ?

I need some clue from you

It's a tax th i ng .

It's a m istake my lawyers are straig hten i ng out,

but for the ti me bei ng ...

H ow m uch do you owe , J oe?

It's noth i ng . It's l i ke ...

F ifty g rand .

You got it.

Than k you , man .

H ey, I ' m gon na pay you back as soon as I ...

J oe , th is ai n 't no loan . It's a g ift. Al l rig ht?

Al l you d id for B u m py, we owe you .

Keep you r ch i n u p . Al l rig ht? O kay?

Al l you have wh ich is down there . Down .

C h i n down .

Al l rig ht. Doc, wi l l see you , okay?

You play it so cool

H ey !

You sti l l owe me that dance , rig ht?

F RAN K: Doc, come on .

F ran k, check th is .

H ow you doi ng ? H i .

F ran k Lucas .

Eva Kendo .

N ice to meet you , Eva .

N ice to meet you , F ran k.

You ' re F ran k and th is is you r place?

That's rig ht. I ' m F ran k and th is is my place .

Why is it cal led S mal l 's?

Why don 't you cal l it F ran k's?

When you own someth i ng , you can cal l it what you want.

S mal l 's .

O r F ran k's . F ran kie S mal l 's .

S mal l 's F ran kie .

That's rig ht.

You want to let my hand go?

O kay.

You leavi ng ?

N o , I was goi ng to my table .

O kay. N eed somebody to go with you ?

Yes? EVA: M m m-h m m .

S P EARMAN : Al l the cheesies .

Rig ht here , here we go . What have we got here?

AB RUZZO : Wash you r hands?

I got one pri nt of that, don 't sm udge it.

MAN : Yeah . There you go .

J O N ES : H ey, S pearman , what about h i m ? Who is that?

J oey Sodano . Don Cattano's nephew.

S P EARMAN : Yeah , yeah . P ut h i m u p there by the big man .

J O N ES : H e looks l i ke you r u ncle , Abruzzo .

Yeah , but he's not as handsome .

J O N ES : H e looks more l i ke you r sister.

MAN : Where's Ice P ick's m ug ?

AB RUZZO : Yeah , that's fu n ny.

Maybe you g uys shou ld take that show on the road .

So we need Ice P ick Pau l .

AB RUZZO : Ice P ick Pau l ? J O N ES : S u re . Yeah .

S P EARMAN : There you go . Get h i m u p .

AB RUZZO : Ice P ick Pau l , he goes way u p there , u p top .

N o , Ice P ick Pau l , he's a fucki ng sold ier. Th is g uy's a l ieutenant.

H ow's that even fucki ng possi ble?

J O N ES : That's Ben ny the B ishop .

That g uy is a sold ier. Th is g uy's a l ieutenant. N o way that g uy's on top .

J O N ES : You th i n ki ng of Ben ny the B ishop .

Vi n n ie Two Socks is fucki ng Cattano's dead beat son-i n-law.

S P EARMAN : J onesy's rig ht.

H ey, wh ich one of you g uys has ever actual ly seen Ice P ick Pau l sel l i ng d rugs?

Actual ly seen it go down ?

Yeah , seen it go down .

Been i n h is place . Seen h i m hand le d rugs .

That rat, Ricky, has told us ...

H e's fucki ng dead . About fou r weeks ago .

H e's dead .

S P EARMAN : (LAU G H I N G) Al l rig ht, wel l ,

we can take h i m off the fucki ng board .

I don 't th i n k we got any sol id evidence on anybody on that board .

What you sayi ng , Rich ie?

Th is is weeks and weeks of work, man .

I ' m sayi ng , take it down .

We got to start agai n from the street.

(P H O N E RI N G I N G)

Hi, who 's this ?

Hello ? Gabe ? Yeah, it's Scott. Yeah.

Scotty! What's going down, brother?

Those snow tires you ga ve me last night.

They come in yet?

Oh, the snow tires ?

Yeah. I want some more of them.

Give me one-and-a-half more.

One-and-a-half,

that's a pretty big order.

Yeah, I want the big whitewalls,

they better get at least 1 00, 000 miles.

Al l rig ht, I ' l l tel l you what.

You come i n here tomorrow morn i ng

I'm gonna set you up real nice

with a whitewall special, all right?

Thanks, bro.

No problem.

That's considerably more than one year's salary, Rich ie .

If it d isappears , I wi l l not be able to get it for you agai n .

That's you rs .

S ig n i ng my l ife away agai n , for a lousy 20 g rand .

It has to be B l ue Mag ic, rig ht?

Yeah , yeah , yeah , yeah , it's gon na be B l ue .

You can pick it u p here tomorrow.

RI C H I E : $20 , 000 .

M EC HAN I C : J ust leave it there .

H ow'd you do? Good .

RI C H I E : H ere he comes .

That's h i m ? Yep .

(CAR E N G I N E STARTI N G)

That was q u ick.

Rich ie , if he goes i n the city, what do we fucki ng do?

Stay with the fucki ng money, that's what we do .

We stay with the money, al l rig ht?

We can 't go i n the fucki ng city.

Yes , we can . That's 20 g rand i n there , al l rig ht,

that I ' m responsi ble for. I ai n 't losi ng it.

S P EARMAN : It's out of ou r j u risd iction !

RI C H I E : Fol low the money !

S P EARMAN : Al l rig ht, al l rig ht, al l rig ht !

RI C H I E : H e's pu l l i ng over.

S P EARMAN : Al l rig ht, here we go .

RI C H I E : Let me out here .

(H O RN H O N KI N G)

RI C H I E : Don 't d isappear, al l rig ht?

I ' l l ci rcle the block.

D RIVE R: Move !

H ey ! Who's the fuck? You gotta fucki ng move !

(TI RES SC RE EC H I N G)

Pol ice Officer. I ' m com mandeeri ng

you r veh icle . Get out of the car.

Who the fuck cares about you ? Th is is N ew York C ity, man .

Get someone else's car!

Get out of the car.

Come on , man . Can 't we l ive i n peace ...

(TI RES SC RE EC H I N G)

(H O RN S B LARI N G)

(B RAKES SC RE EC H I N G)

(TRAI N RU M B L I N G)

F ran kie , F ran kie ! S it down .

MAN 1 : What?

H appy bi rthday, gentlemen .

H ow you doi ng , h u h ?

H e's about to do someth i ng , h u h ?

H e's goi ng bowl i ng ?

Look at that. Stri ke .

H ey, what's between you r legs? What's i n the bag ?

M EC HAN I C : N oth i ng . Get u p , you fucker. Get the fuck u p !

MAN 2 : Knock it off.

MAN 3 : S h ut the fuck u p ! What d id I tel l you ?

MAN 4 : Keep you r fucki ng head down .

MAN 3 : S h ut u p ! Whose bag is th is?

WOMAN : What' re you doi ng ? MAN 3 : S it down and sh ut u p !

MAN 4 : Don 't you move !

(S I RE N S WAI L I N G)

H ey, g uys? G uys ! Officers !

H ey, I ' m Rich ie Roberts , from N ewark.

That's my money.

What the fuck?

What money, h u h ? What money?

The bi l ls are seq uenced , rig ht?

They' re reg istered with the Essex Cou nty

P rosecutor's Office . J ust check them out.

They al l start with C F3500 . H ave a look.

F ucki ng reg isters .

I thoug ht I had a fucki ng C h ris-C raft sitti ng i n my d riveway.

H onest m istake . I ' l l j ust get the money.

Th is ti me . Al l rig ht.

RI C H I E : There it is . Al l rig ht. Than k you .

When was the last ti me I was i n J ersey?

Let me th i n k.

N ever.

What' re you doi ng , com i ng over here u nan nou nced ?

You don 't th i n k you cou ld get h u rt doi ng that?

You got you r fucki ng money, Rich ie .

And never, ever come i nto th is city agai n u nan nou nced .

You come i n to see a fucki ng B roadway show,

you cal l ahead fi rst, see if it's okay with me .

N o problem . Al l rig ht.

MAN : Let's go , h it some bal ls .

RI C H I E : G reat su its , pal .

Is that you r car?

That's a fucki ng g reat car.

H ave a n ice fucki ng tri p back to J ersey.

RI C H I E : Al l rig ht.

Come on , I got a tee ti me . Let's go .

(E N G I N E REVVI N G)

What were you doi n ' there?

Wel l , that's where th is dope is com i ng from .

B l ue Mag ic, it's com i ng out of N ew York.

What do you expect me to do , ig nore it?

The cab d river has fi led agg ravated assau lt and g rand theft charges

wh ich he may reconsider

depend i ng on how m uch the State of N ew J ersey offers to settle .

I showed h i m my I D . I told h i m I was a cop .

(C H U C KL I N G) You stole h is cab and you knock h i m out.

I was chasi ng the 20 g rand , al l rig ht?

N ext ti me , knock h i m out before you show h i m you r badge .

Look, I don 't want to hear about you goi ng i nto N ew York agai n .

Wel l , then th is i nvestigation 's over.

You ' re not l isten i ng to me .

I said , " I don 't want to hear about you goi ng i nto N ew York agai n . "

You do whatever you have to do .

You go wherever you have to go

to fig u re out who's bri ng i ng th is sh it i nto the cou ntry.

J ust don 't tel l me about it.

F RAN K: There's you r g i rl , rig ht there .

H ey, how'd you do? H i .

I d id n 't keep you waiti ng long , d id I ? N o . F i ne .

Good . A woman as beautifu l as you shou ld n 't have to wait.

For anyth i ng .

Than k you , ma'am . You as pretty as ever.

H ey, Doc.

Tom my !

H eard you r boy scored two touchdowns last week.

S u re . S u re do make father proud .

Al l rig ht.

Th is is you r father?

That's Marti n Luther Ki ng .

It is not. It is . It is Marti n Luther Ki ng .

You know, " I have a d ream"?

Of cou rse .

N o , that's ...

H e was j ust as i m portant as Marti n Luther Ki ng to me .

What d id he do?

D id a lot of th i ngs . H e was a friend

and served N ew York. N ew York served h i m .

H e was my boss .

My teacher.

What d id he teach you ?

H e taug ht me a lot of th i ngs . H e

taug ht me how to take my ti me .

Taug ht me that if I was goi ng to do someth i ng ,

to do it with care , with love .

Anyth i ng else?

H e taug ht me to be a gentleman .

That's what you are?

That's what I try to be . Come here .

Come here . S it rig ht here .

Look at me .

I own about five apartments i n Man hattan .

H omes al l over the East Coast,

I cou ld have taken you to any one of them , but I d id n 't.

I broug ht you here .

M RS . L U CAS : F ran k, I was looki ng for you , boy.

Because I wanted you to meet my mother.

H ow you doi ng , Ma?

Is th is her?

Eva , th is is my mother.

EVA: H i , Eva .

N ice to meet you .

S he's beautifu l ! F RAN K: Yeah ?

Look at her, F ran k.

S he's an angel come down from heaven .

EVA: Than k you .

M r. Roberts? I ' m here for ou r appoi ntment.

Morn i ng . Morn i ng .

Sorry. O u r appoi ntment?

C h i ld Social Services .

(POP MUSIC PLA YING)

S he d id mention you r name , thoug h .

The stewardess?

N o , not the stewardess .

The lady from C h i ld Services .

S he mentioned you r name .

Rig ht after she asked me if I associated with any cri m i nals .

BOY 1 : Al l rig ht, go ! Go , go !

BOY 2 : Yeah ! You wan na see th is? Go , go .

RI C H I E : H ey, boys .

J O EY: J oey. H ey, J oey !

Get i n the pool . Go on .

Come on . Come on .

So , how'd she get my name?

Lau rie .

S he's been sayi ng a lot lately.

A lot.

You know, when you asked me to be you r son 's godfather,

I took it very seriously.

I know. I know and I appreciate that.

And I said yes , I wou ld take on th is responsi bi l ity.

Take care of you r son , if God forbid , someth i ng happened to you .

J oe , the ki nd of th i ngs she's sayi ng to C h i ld Social Services

made me look real ly bad , al l rig ht. You know,

out at al l ki nds of hou rs at n ig ht ti me ,

lowl ife i nformants arou nd , women .

O ld friends l i ke me .

O ld friends l i ke you , yeah .

U ncle J oey, watch me , okay?

(G I RL WH OO P I N G)

(WATE R S P LAS H I N G)

O kay, I u nderstand .

They ask me , I ' l l tel l them what you want me

to tel l them . I ' l l l ie for you .

N o , don 't l ie . You don 't have to l ie .

J ust, om it certai n detai ls .

S u re . Al l rig ht.

You know, there's someth i ng else I was gon na ask you .

Someth i ng else .

You don 't have to answer if you don 't want.

B l ue Mag ic. Anyth i ng ?

J ust a lot of sorrow, m isery from g uys

getti ng put out of work, that's al l .

What, you r g uys?

J ust g uys .

You th i n ki ng about where it's com i ng from ?

G uys down south . That's al l I heard .

C u bans? I don 't know.

N ot Mexico .

I don 't know.

You ' re tel l i ng me , it's com i ng i n from South America?

I don 't know.

Al l I can tel l you is whoever it is ,

they' re u psetti ng the natu ral order of th i ngs .

And that's al l there is .

(P H O N E RI N G I N G)

What's u p?

FRANK ON PHONE: My man, how we looking?

F ran k, I want you to meet M i ke Sobota .

H ow are you doi ng , M r. Sobota? H ow are you ?

What can I get you ?

H ow about a left-hander? F rom what C harl ie tel ls me , you r nephew.

O h , th is is the . . . Yan kees , yeah . H ey, Steve !

Yan kees .

Steve ! Come here . Excuse me one second .

Th is boy's good , okay? I want you to put h i m on the Yan kees .

'Cause you good enoug h , ai n 't you ?

I ' m a Lucas .

Good enoug h on a bad day, J ack.

H e's good enoug h on a bad day, so don 't make it a bad day,

make it a good day, you u nderstand ?

NYP D , excuse me , Pol ice Department.

Back u p , baby.

Whoa !

D ETECTIVE : H ey ! H ey ! H ey !

Taki ng you r ass i n , J i m my.

Taki ng you r ass i n .

Where are the handcuffs?

I got a l icense for that, motherfucker.

You got a l icense for th is?

Excuse me , al l rig ht?

(S N I F F I N G)

S h it. Al l rig ht ! Yeah !

N ow, you know what? I gotta arrest you for that sh it.

That sh it's too good to be on the street.

Wait a m i n ute , I got th is for you .

You ai n 't got to arrest nobody.

Are you bri bi ng me now?

I ' l l tel l you what, I ' m arresti ng everybody !

N ow, al l you ' re u nder arrest ! You fi rst !

That's my fam i ly. That's my...

Excuse me , excuse me .

Back it u p , baby.

What was that?

Come on , g uys . What's the matter with you , man ?

I said , what the hel l was that? What was what?

I said what the hel l are you doi ng , man ? Be cool , man !

What's you r fucki ng problem ?

What the hel l 's wrong with you ?

D ETECTIVE : God dam n !

H e's al l rig ht.

I j ust shot h i m i n the leg , is al l .

D ETECTIVE : Dam n , J i m my !

Get u p .

(G RU NTI N G)

Al l rig ht, everybody, get out ! Get out !

H U EY: Come on , F ran k, it was an accident.

F RAN K: It wasn 't no goddam n accident. H e feels terri ble .

H e don 't feel sh it, 'cause he's coked u p al l the motherfucki ng ti me !

H e's you r d river. Get rid of h i m .

Come on , man , that's you r cousi n !

That ai n 't sh it to me ! H e don 't mean noth i ng to me .

What's he gon na do , go back home?

I don 't g ive a dam n what he does !

Send h is ass home ! H ey ! H ey ! H ey !

H ey ! Don 't ru b on that ! You blot that !

You u nderstand ? That's al paca !

That's $25 , 000 al paca ! You blot that sh it !

You don 't ru b it ! P ut the cl u b soda on there .

S i m ple S i mon-ass motherfuckers .

Listen , from now on , don 't nobody

tal k to me d i rectly ! You u nderstand ?

You got busi ness with me , you tal k to H uey !

H uey, you tal k to me ! You got it?

Al l rig ht.

Dam n it, never on the phone ! You got it?

I got it. Al l rig ht !

And take them goddam n su ng lasses off.

Take the goddam n su ng lasses off!

Dam n it, man .

S i m ple S i mon-ass motherfuckers .

The whole place was i m ported .

B rick by brick.

G loucestersh i re .

Who? G reat B ritai n .

You rs .

H ere you go .

P u l l !

Come , Eva .

I ' m su re you ' re dyi ng to see the rest of the house .

Of cou rse . Excuse me .

Than k you for a wonderfu l l u nch . It was del icious .

What do you th i n k of monopol ies?

You mean l i ke the game?

N o , I j ust th i n k monopol ies were made i l legal i n the cou ntry, F ran k,

'cause nobody wants to com pete , you know.

N obody wants to com pete , not with a monopoly.

I mean , you let the dai ry farmers do that,

half of them wou ld be out of busi ness tomorrow.

J ust tryi ng to make a l ivi ng .

That's you r rig ht, I mean , it's everyone's rig ht. It's America .

We j ust can 't do it at the u n reasonable expense of others .

'Cause then it becomes u n-American .

That's why the price we pay for that gal lon of m i l k

cou ld never represent the true cost of prod uction

'cause it's got to be control led .

It's gotta be set. It's gotta be fai r.

Gotta be control led by who?

I set a price that I th i n k is fai r.

I don 't th i n k it's fai r. You don 't?

I don 't th i n k it's fai r. I th i n k it's fai r.

I mean , I know you r customers are happy, F ran k,

bu nch of fucki ng j u n kies that they are .

B ut we fel low dai ry farmers out here , F ran k, are you th i n ki ng of us?

You th i n ki ng of them ?

The dai ry farmers? Yeah .

I ' m th i n ki ng of them , Dom i n ic,

about as m uch as they've ever thoug ht about me .

I ' m j ust th i n ki ng out loud now.

If you took some of you r i nventory, F ran k, and you sold it wholesale ...

S it.

We cou ld work.

We cou ld do some d istri bution .

I don 't know. I ' m pretty good , Dom i n ic.

You know, I got 11 0th , 1 55th , river to river.

I ' m al l rig ht.

That's ki nd of a mom and pop store

next to what I ' m tal ki ng about.

I mean , let's go at least bigger than Kmart.

I ' m tal ki ng about LA, C h icago , Detroit, Las Vegas .

Let's go nationwide , h u h ?

I ' m gon na g uarantee you you r peace of m i nd here . You don 't want that?

You ' re goi ng to need it.

I don 't know how you view me , you know.

I ' m ki nd of a Renaissance man , F ran k.

You know, the people I deal with on a dai ly basis ,

you know, they' re not en l ig htened , F ran k.

You tal k to them about civi l rig hts , they don 't know, you know.

They' re not open to change .

N ot from the way th i ngs are done and who's doi ng it.

I tal k to them , there's j ust no m isu nderstand i ngs .

And that's what I mean by you r peace of m i nd .

You ' re payi ng , what, $75 , 000 , $80 , 000 a ki lo?

I ' m a Renaissance man , too .

I ' l l consider $50 , 000 .

Why wou ld you trust these people?

And the way they look at you ...

They look at me l i ke it's C h ristmas and I ' m Santa C laus .

They look at us l i ke we' re the hel p .

They work for me now.

ALI ON TV: I predict that when I meet Joe Frazier,

this will be like a good amateur fighting a real professional.

This will be like a kid out of the Olympics...

MAN 1 : That's gon na be Al i i n l i ke th ree .

FRAZIER ON TV: You 're not fighting Oscar Bona vena,

you 're not fighting Sonny Liston.

You 're fighting Joe Frazier.

ALI: Everybody knows that. That's not the point.

AB RUZZO : H e's al l tal k, man .

S P EARMAN : Look at F razier!

J O N ES : Al i gon na crush h i m , baby.

ALI: I'll stop him.

FRAZIER: Stop me ? You ?

COSELL: How soon ? What round?

FRAZIER: Don 't let him obligate you.

ALI: One to 1 0!

MAN ON TV: Tonight, March 8, 1 9 71.

Here we are at Madison Square Garden

for the Fight of the Century.

And by anybody's definition, this is a happening.

There are handshakes and, of course, there are utterly beautiful women.

But behind the smiles and behind the handshakes,

you can feel the atmosphere is so hea vy with tension, it's almost unbearable.

Everybody who is anybody is here.

Like Sinatra. Like Graziano, Da vid Frost and Diahann Carroll.

And Woody Allen and Diane Keaton.

The celebrities are pouring in.

ALI: The way you all build it up,

Life magazine cover, Ti me magazine,

everybody gives their opinion.

Dempsey says I'll lose. Joe Louis...

And when Joe Louis said I'm gonna lose,

that's how I knew I'd won this one.

Joe Louis always picks the wrong man!

Always picks the wrong man.

FRAZIER: Joe Louis is here tonight. Watch your ass.

MAN: The official weight of Joe Frazier is 205. 5 pounds.

ALI: Float like a butterfly, sting like a bee.

You ' re not watch i ng the fig ht, Bob?

I ' m not i nto boxi ng .

RI C H I E : Th is ai n 't boxi ng , kid .

It's pol itics .

I got someth i ng for you , too .

F RAN K: Yeah ?

The coat? For me?

M m m-h m m .

Do you l i ke it?

The coat? Yeah , yeah , it's n ice .

What do you th i n k? Yeah .

You su re? Yeah .

(P EO P L E C HATTE RI N G)

P H OTOG RAP H E R 1 : Over here , Sam my.

P H OTOG RAP H E R 2 : H ey, Sam my ! G ive a look.

(C ROWD C H E E RI N G)

P H OTOG RAP H E R 1 : J oe Lou is ! Over here !

H ow's it goi ng , F ran k?

H ow are you , J oe?

ANNO UNCER: Now, ladies and gentlemen,

we ha ve quite a list of introductions.

We are now going to introduce people from all endea vors of life.

And not just show people.

Because everyone is here tonight!

(CAM E RA C L I C KS)

Main event!

1 5 rounds.

For the undisputed Hea vyweight Championship of the World!

MAN : There we go , Al i !

From Louisville, Kentucky, he 's wearing red trunks.

C ham p ! Th is is F ran k Lucas .

He weighs 21 5 pounds.

Here is Muhammad Ali!

His opponent, from Philadelphia, Pennsylvania,

he 's wearing green trunks.

Who's that laug h i ng with Cattano?

H ow'd he get so fucki ng close to the ri ng ?

The Hea vyweight Champion of the World,

Joe Frazier!

H ey, F ran k.

You gon na keep that hat on al l n ig ht?

I ' m gon na m iss the fig ht.

You paid for it.

(P H OTOG RAP H E RS C LAMO RI N G)

J oe , over here !

(CAM E RAS C L I C KI N G)

SPEARMAN: This guy, he 's a supplier at most. Orjust a pimp.

Otherwise we 'd know his name.

H is tickets were phenomenal . Better seats than Dom i n ic Cattano . Rig ht?

J oe Lou is shook h is hand .

Who the fuck is th is g uy?

What's th is?

That's the plate off the l i mo .

C heck with the com pany who rented it.

(P EO P L E C LAP P I N G)

WE D D I N G P H OTOG RAP H E R: Rig ht there , M r. Lucas . Rig ht there . Good .

P H OTOG RAP H E R 1 : Can I get a shot here , F ran k? Rig ht here .

P H OTOG RAP H E R 2 : Looki ng good , F ran k.

WOMAN : Beautifu l .

MAN : Rig ht on , F ran k !

WOMAN : Cong ratu lations !

S he's the most beautifu l bride I 've ever seen .

That's my su nsh i ne rig ht there , M r. Wi l l iams .

I wish B u m py had met her.

WOMAN : Th row it to me !

(C H E E RI N G)

Get a pictu re .

Come here , baby.

What's happen i ng ?

F RAN K: S it tig ht.

Cong ratu lations , F ran k.

Detective .

So , you su re you done the rig ht th i ng ?

I mean , she's a beautifu l g i rl and al l ...

H ey, hey, l isten , l isten .

Before you say anyth i ng about me or about my wife ,

u nderstand th is is the most i m portant day of my l ife , Detective .

O h , I u nderstand . I u nderstand .

You know, a man who wal ks arou nd i n a $50 , 000 ch i nch i l la coat

and never even boug ht me a cu p of coffee .

There's someth i ng wrong there .

Pay you r bi l ls , F ran k?

I don 't know what you ' re tal ki ng about.

Do you pay you r bi l ls , I asked you ?

If you ' re not getti ng you r share ,

maybe you need to tal k to the C h ief of Pol ice .

What's my share?

'Cause you don 't even fucki ng know me .

Maybe I ' m special .

You are special .

TRU PO : You see that rig ht there?

S pecial I nvestigations U n it.

S pecial .

Get it?

1 0 g rand . F i rst of each month .

Del iver it rig ht here .

Are you done?

O h , yeah , I ' m done .

TRU PO : Don 't forget you r card .

H ave a n ice fucki ng honeymoon .

F RAN K: Let's go .

RICHIE: His name is Frank Lucas.

Originally from Greensboro, North Carolina.

A cou ple of arrests years ago .

Gam bl i ng and u n l icensed fi rearm .

For 1 5 years , he was B u m py J oh nson 's d river, bodyg uard and col lector.

H e was with h i m when he d ied .

H e's got five brothers .

H e's the oldest. And a lot of cousi ns .

They al l l ivi ng u p here now,

spread th roug hout the five boroug hs and J ersey.

The brothers are Dexter,

in Brooklyn. He 's a dry cleaner.

What can I do for you ?

I ' m picki ng u p .

MAN: Yeah.

RICHIE: Melvin in Queens has got a custom furniture and fire doors business.

That's it rig ht here? Rig ht there .

RICHIE: Terrence in Newark, he has a hardware store.

Turner in the Bronx has got a tire shop.

And Huey Lucas in Bergen County has a body shop.

Is you r manager here? That's my price .

O h , man , I ' m gon na take it somewhere else , al l rig ht?

These businesses are the distribution and collection points

for Frank's dope and Frank's money.

Everyth i ng about F ran k's l ife seems

u n pretentious , orderly and leg iti mate .

He starts early, gets up at 5:00 a. m.

Has breakfast in a diner in Harlem every morning, usually by himself.

Then he starts work.

Takes a meeting with the accountant or with his lawyer.

At nights, he usually stays at home. And if he does go out,

it's to one of two clubs or a handful of restaurants with his new wife.

Some ball players. That's fucki ng Wi lt C ham berlai n .

RICHIE: Friends, musicians.

Never, never with organized crime guys.

Sundays, he takes his mother to church.

Then he drives out and he changes

the flowers on B u m py's g rave .

Every S u nday, no matter what.

TOBA CK: Not the typical day in the life of a dope man, Richie.

RICHIE: No.

Bumpy Johnson 's life wasn 't typical either, and he ran Harlem for years.

TOBA CK: So you 're saying that Frank Lucas replaced Bumpy Johnson ?

RICHIE: Yeah. TOBA CK: His driver?

RICHIE: Yeah.

TOBA CK: Sounds a little farfetched.

RICHIE: But is it? Is it? Because everything he does...

J O N ES : H e's hand i ng out tu rkeys , man .

RICHIE: . . . he does the same as Bumpy would ha ve done, right?

And who was B u m py most l i kely to teach ?

The g uy he sees every day.

It's like a Sicilian family.

H e's structu red h is organ ization

to protect h i m i n the same way.

And if he was with B u m py for so long ,

that means he wou ld have spent a lot of ti me with Ital ians .

Defi n itely long enoug h to learn that m uch .

B ut here's the th i ng . I don 't th i n k

it's F ran k Lucas that we' re after.

Who we want is whoever F ran k Lucas is worki ng for.

It's whoever's actual ly bri ng i ng the heroi n i n .

O kay. So what do you have on h i m

that wi l l stick i n cou rt? Because th is isn 't it.

Without powder, without i nformants , no one's goi ng to jai l .

RI C H I E : That's u nderstood , si r.

And I don 't th i n k we' re gon na get i nformants , not from i nside the fam i ly,

you know, u n less we get very, very l ucky.

Straig ht u p lab tests suggesti ng

pu rity's consistent with Asian dope .

The Ital ians , we know, usual ly work with other E u ropeans

or with the Tu rks .

We got smal l bl ue packets tu rn i ng u p

i n neig h borhoods al l over the Tri-State area .

F rom C h i natown , to H arlem , Wash i ngton H eig hts ,

Rich mond Aven ue and Staten Island .

They got N orth O range , P ri nceton , Bayon ne , N ewark,

Syracuse , Rochester, B uffalo , and al l the way th roug h Con necticut.

The same dope .

(P EO P L E C HATTE RI N G)

Al l rig ht.

(AL L EXC LAI M I N G)

That's it, down there .

MAN ON TV: And it's Three Counts

as they round the turn for home now.

(DOO RB E L L RI N G I N G)

(G O B B L I N G)

(G LASS S HATTE RI N G)

O kay, let's al l joi n hands .

Lord , we than k You for th is food we' re about to receive ,

the nou rish ments of ou r bod ies .

Feed ou r sou ls with heaven ly g race ,

i n J esus' name and for H is sake .

Amen . AL L : Amen .

(C RYI N G)

MAN : S h h . S h h .

H ey, it's okay. It's okay. Come on , now.

It's okay.

You better get you rself ready, old man .

Come on , big man . Th row the bal l .

Get you rself ready, old man . Al l rig ht !

Come on , now. You r pop said you had an arm on you . Come on !

I ' m gon na set you r ass i n the g rass , U ncle Melvi n .

M E LVI N : H ey ! Watch you r mouth , boy. Th row the bal l !

STEVI E : Dam n , U ncle Melvi n , I ' m a pitcher, not an outfielder!

Steve . Steve , come here .

Come , sit down .

U ncle F ran k. What's happen i ng ?

H ow you doi ng ?

Cool .

You want a d ri n k?

You know better than that.

J ust checki ng .

Why d id n 't you show u p for that meeti ng , Steve?

I set it u p with the Yan kees and B i l ly Marti n .

Why d id n 't you show u p?

Don 't l ie to me .

I don 't want to play bal l no more .

I decided . What you tal ki ng about?

You decided ? Decided what?

(STAMM E RI N G) That ai n 't what I want. What you tal ki ng about?

You 've been playi ng si nce you was a l ittle boy.

You were ready to go i nto the pros . What you ...

F ran k ! We got a problem , man .

What do you want?

I want what you got, U ncle F ran k.

I want to be you .

H e's been d i l uti ng it so m uch .

We' re down 2% , 3% pu re .

And you tested it? You ' re su re?

Yeah .

F uck you looki ng at?

(POP MUSIC PLA YING)

(KN OC KI N G O N DOO R)

(F RAN K WH I STL ES)

My man .

Welcome , F ran k.

H ow you doi ng , N ick? It's al l g reat. Welcome .

I need to tal k to you . G reat. Come on .

H ey, you al l , everybody get out ! Let's go .

Come on ! H u rry u p !

S it, my brother.

I take it you tal ked to C harl ie .

G uess you wan na hear more about my B lack coal ition .

Let me explai n to you . . . N o , no , no .

I ' m al l rig ht.

That's not what I came here for, N ick.

Yeah , everybody's good , N ick.

You know, everybody's happy. C harl ie , Baz, the Ital ians ,

you know, J oh n ny Law. Everybody's happy except you .

I ' m happy, F ran k.

You happy? Real ly?

Wel l , maybe I ' m the one with the problem .

Yeah , go on . Get one .

Al l rig ht.

I gotta problem 'cause

I don 't u nderstand why you gotta take

someth i ng that's perfectly good

and mess it u p .

See , brand names .

B rand names mean someth i ng . U nderstand ?

(P EO P L E LAU G H I N G)

S h ut the fuck u p !

Go ahead , F ran k.

I ' m sorry about that bu l lsh it.

B l ue Mag ic.

That's a brand name .

Li ke Pepsi , that's a brand name .

I stand beh i nd it. I g uarantee it.

They know that, even if they don 't know me any more than

they know the chai rman of General M i l ls .

What the fuck are you tal ki ng about, F ran k?

What I ' m tal ki ng about is when you chop my dope down

to one , two , th ree , fou r, five percent

and then you cal l it B l ue Mag ic,

that is trademark i nfri ngement.

You u nderstand what I ' m sayi ng ?

With al l d ue respect, F ran k, if I buy someth i ng , I own it.

N o , that ai n 't true . That ai n 't true .

If I buy a car, and I wan na pai nt it, I can pai nt the motherfucker.

Yeah , but you don 't have to .

Th is is what I ' m sayi ng to you , N ick, you don 't have to .

Good enoug h the way it is .

You can make enoug h money off it

the way it is , j ust by cal l i ng it B l ue Mag ic.

Anyth i ng more than that is g reed , son .

What you want, F ran k? You want me to change the name on it?

I wou ld have to i nsist that you change the name .

F i ne by me , F ran k. I ' l l cal l it Red Mag ic,

even thoug h that don 't sou nd as good .

I don 't g ive a fuck what you cal l it.

P ut a chokehold on the motherfucker

and cal l it B l ue Dog S h it, you know what I mean ?

I don 't care , j ust don 't let me catch you doi ng th is agai n .

Catch me? I nfri ngement? I nsist?

I don 't l i ke these words as m uch as ,

" P lease , than k you , I ' m sorry to bother you , N icky. "

These are better words you use to come to my motherfucki ng cl u b

without an i nvitation ! You hear me?

My man .

O h , sh it. F uck, is that the cops there , man ?

It's al l rig ht.

The hel l they' re gon na do , g ive us a ticket?

Stuff's i n the car, F ran k.

What?

Some of it's i n the tru n k.

H ow you doi ng , F ran k? I ' m good . H ow you doi ng , Detective?

H ow was you r Than ksg ivi ng ?

N ot so good , as a matter of fact.

Why don 't you get out of the car?

Come on , g ive me the fucki ng keys .

Where's the S hel by at?

The S hel by's gone , F ran k.

The S hel by's gone? Stay rig ht there .

Yes , si r. Rig ht here .

TRU PO : You got anyth i ng worth looki ng at i n here?

RI C H I E : H ey, that's that Tru po g uy.

S P EARMAN : Is that h i m ? RI C H I E : Yeah .

F ucki ng prick.

(EXC LAI M I N G)

Come over here a m i n ute , F ran k.

Yeah .

What are we gon na do about th is?

We don 't do sh it about it. We close it u p , th row it back i n the tru n k,

everybody go home , have some pu m pki n pie , warm apple cider.

I got a better idea .

O r wou ld you rather me th row you

and you r brother i n the fucki ng river?

Wou ld you rather you r house blows u p next ti me?

I loved that car.

I know.

RI C H I E : What's he doi ng ? S hakedown !

Somebody's getti ng some money for the Benevolent F u nd .

S P EARMAN : Look at that sh it.

Sorry, F ran k.

It's al l rig ht. Go and get i n the car.

(CAR E N G I N E STARTI N G)

(G RU NTI N G)

RI C H I E : Al l rig ht, you cal l me back.

I N S , I RS , F B I .

I can 't get a dam n th i ng out of any of them .

Because they al l th i n k you ' re on the take .

And you th i n k they are .

You know, I don 't th i n k they want th is to stop .

I th i n k it em ploys too many people .

J udges , lawyers , cops , pol iticians ,

prison g uards , probation officers .

They stop bri ng i ng dope i nto th is cou ntry,

about 1 00 , 000 people are goi ng to be out of a job .

S pearman .

F B I . H ere to see Detective Roberts .

So who took it out? Somebody I know? My wife?

Come on , if somebody's taki ng a contract

out on my l ife , I 'd l i ke to know.

I can 't say without com prom isi ng ou r sou rce . You u nderstand ?

N o . N ot when it's my l ife , I don 't u nderstand .

If you want we can assig n someone to you .

F B I protection .

You know what? My l ife is dangerous enoug h as it is .

Wel l , we' l l let you get back to you r busi ness .

O kay. Larry, Bob .

Than ks for visiti ng The Garden State .

Take care .

H ey, what do you know about F ran k Lucas?

We know that you keep cal l i ng about h i m .

We believe that peace is at hand.

We believe that an agreement is within sight.

(P H O N E RI N G I N G)

As I said earlier...

Yeah .

H ey, J oey. H i .

Al l rig ht. Yeah , tomorrow. Why?

RI C H I E : What the fuck is a m icrowave?

J O EY: It's a scientific force , l i ke atom ic energy.

Yeah ? J O EY: Yeah .

It rearranges the molecu les .

RI C H I E : Of what?

J O EY: Of what? Of popcorn .

(B UZZ E R B E E P I N G)

Of you r head . Stick it i n . Go on .

I can get you one of those .

B rand new, j ust l i ke th is .

I ' l l have it del ivered .

N o , than k you .

H ey. Where is that?

Aspen . We j ust got back.

H ad a g reat ti me . You know who we met?

Who?

B u rt Reynolds .

Yeah ? Yeah ?

Yeah . I ' m not kidd i ng .

A lot people from H ol lywood go u p there now.

They' re buyi ng u p everyth i ng .

Th is is you r place? M m m .

You know what that's worth ?

S ki i n , ski out. F ive bed rooms .

Sau na . Everyth i ng . We were g uests .

It's you r place .

Isn 't there someth i ng we can do ,

about leavi ng the big g uy alone?

You know who I mean .

I don 't report what you j ust said ,

I can get i n a lot of trou ble .

I do report it, then the trou ble is you rs .

I ' m hopi ng you won 't do that.

Rich ie , come on . I ' m not tapi ng it.

H ow do you know? Because we' re friends .

And I ' m tel l i ng you , th is is a real offer.

F rom who? You r u ncle?

Why wou ld you do th is?

Why wou ld you risk ou r friendsh i p?

Because

I care what happens to you .

You shou ld n 't have done th is .

I had to , I had no choice .

N either do you . Rich ie !

You don 't have a choice .

J ust leave F ran k Lucas alone .

F ran k Lucas?

Yeah .

You tel l Marie I had to leave . I ' m sorry.

Tel l her why.

Tal k ! Tal k ! Don 't shoot ! Don 't shoot ! Don 't shoot !

Are you Rich ie Roberts?

Yes , so what?

You 've been served . I ' m sorry.

WOMAN : Al l rig ht.

(WH I S P E RI N G) Lau rie .

Look, I ' m sorry I never gave you

the ki nd of l ife you wanted , al l rig ht.

I ' m sorry it was never enoug h .

Don 't pu n ish me for bei ng honest.

Don 't take my boy away.

(SCO F FS)

What are you sayi ng ? That because you were honest

and you d id n 't take money l i ke every other cop , I left you ?

N o , you don 't take money for one reason .

To buy bei ng d ishonest about everyth i ng else .

And that's worse than taki ng money nobody g ives a sh it about.

(S H U S H I N G)

D rug money, gam bl i ng money nobody's gon na m iss .

You know, I 'd rather you took it and been honest with me .

O r don 't take it. I don 't care .

B ut then don 't go cheat on me .

Don 't cheat on you r kid by never bei ng arou nd .

Don 't go out and get laid by you r sn itches

and you r secretaries and stri ppers !

I can tel l by j ust looki ng , she's one of them .

You ...

You th i n k you ' re goi ng to heaven

because you ' re honest, but you ' re not.

You ' re goi ng to the same hel l as the crooked cops you can 't stand .

(DOO R O P E N I N G)

BAI L I F F : Al l rise .

J U DG E : P lease be seated .

M iss D ickerson , before the cou rt renders its opi n ion ,

is there anyth i ng else you 'd l i ke to be heard on ?

Yes , You r H onor.

You r H onor, a lot has been said here today about how u nsavory

M r. Roberts' envi ron ment is for a ch i ld .

H ow dangerous it is .

We tel l h i m to protect us . We g ive h i m that responsi bi l ity,

but then say, "O h , we don 't trust you to raise a ch i ld .

"We don 't th i n k you ' re fit for that. "

I ' m not.

You ' re rig ht.

Bei ng arou nd me is no place for a kid .

You take h i m to Vegas .

I ' l l come see h i m when I can .

You r H onor, I want to apolog ize for wasti ng the cou rt's ti me .

F RAN K: Doc.

I see them .

D ETECTIVE : There he is .

The fuck is th is g uy doi ng ?

DOC : H ey ! C ham pag ne .

DOC : Merry C h ristmas , Detectives .

For us?

DOC : Yeah . E njoy that.

You fel las have a good ti me .

M m m-h m m .

It's C ristal .

MAN ON TV: South Vietnamese troops called in air strikes

on Communist positions inside the city.

Payi ng off J oh n ny Law, that's one th i ng .

There ai n 't no problem with that.

I 've been payi ng off the pol ice si nce I was 1 0 years old .

P ut more of thei r kids th roug h col lege

than the N ational Merit Award .

G ive me one of them rou nd one . . . Yeah .

Th is is d ifferent, thoug h . These ...

S pecial I nvestigative U n it. That's thei r problem . They th i n k they' re special .

F ucki ng crooks . N o code of eth ics .

What do you th i n k?

Looks g reat. It's beautifu l .

Good .

The pol ice , that ai n 't the on ly somebody I ' m worried about.

I seei ng cars where I ai n 't never seen them before , people I don 't know.

Yeah , me , too .

EVA: H o , ho , ho .

Merry C h ristmas , C harl ie .

Than k you .

I love you .

I love you , too .

H ere , take th is .

A q u ick toast, and then I ' l l be off.

MAN ON TV: What happened here was an accident of war.

Somebody made a mistake.

B u m py ai n 't hard ly ever go out no more .

After a certai n poi nt he stayed i n the house .

Watch TV.

P lay chess . Read the newspaper.

I thoug h he was j ust tryi ng to lead the q u iet l ife ,

but no , he cou ld n 't go nowhere .

N ot without someth i ng happen i ng .

F ran kie ...

We can sti l l go out.

With who? Where?

Wel l , with ...

B ut I know he's u nder su rvei l lance .

Ai n 't gon na be no C h ristmas ti me

with my fam i ly bei ng here no more .

Why don 't you j ust pay who you have to pay?

I do pay them . I pay thousands and m i l l ions

to dope dealers , crooks , cops .

I pay everybody.

I pay more than they shou ld get.

I can 't satisfy nobody !

It's l i ke dope ! Everybody's stru ng out !

The more you g ive 'em , the more they want.

They expect more .

G ive more and they want more .

Do you want to go out?

Al l rig ht, baby. P ut someth i ng of what you got.

S hou ld I ? Yeah .

That's C h ristmas spi rit.

That's what I ' m tal ki ng about. Feliz Na vidad.

Someth i ng n ice? M m m-h m m .

We' re goi ng to have a g reat ti me .

That's rig ht, chica.

M r. Lucas . E njoy you r even i ng .

It's al l clear.

WOMAN : (EXC ITE D LY) N icky !

N I C KY: Who is that? DOC : There's you r boy, N icky. See h i m ?

N I C KY: Know what I ' m sayi ng ?

Yeah , I see h i m . Let's keep goi ng .

Arou nd back?

F RAN K: H el l , no . I ai n 't sneaki ng i nto my own cl u b .

I ncred i ble . H u h ?

(S P EAKI N G S PAN I S H)

Come on .

H old on . H old on .

(CAR H O N KI N G)

What?

I want to wait i n the car.

F ran k, I got it. I got it. I ' l l wait for it. I got it.

Get that yel low sauce . Yel low sauce .

And the ch icken . The Ku ng Pao ch icken .

Can you tu rn the heater on ?

S h it. I ' m gon na go get the keys .

Doc, g ive me the keys .

DOC : H ere you go .

(CAR E N G I N E REVVI N G)

Doc !

Get out of the car.

DOC : You okay? Yeah .

DOC : S h it.

Come on .

Come on , baby. You al l rig ht?

Let's go .

Was it N icky?

We' l l go rig ht now and fucki ng ki l l h i m whether it was h i m or not,

you say the word , F ran kie .

We got to do someth i ng , F ran k.

We can 't j ust sit here .

We' re leavi ng .

Al l rig ht, everybody get out. TU RN E R: You al l rig ht, man ?

Go on home . It's C h ristmas ti me . Go and be with you r fam i l ies .

I ' m al l rig ht.

Go on . Go ahead . Be with you r kids .

Go ahead .

Where are we gon na go , h u h ?

We' re gon na go to S pai n , somewhere? C h i na?

H u h ? Come on , sit down . Tel l me where you want to go .

F ran k, we can go anywhere we want.

N o , we can 't. We can l ive anywhere , F ran k.

Where? And do what? Ru n ? H ide?

F ran k Lucas don 't ru n from nobody, baby.

We ai n 't goi ng nowhere . We' re gon na stay rig ht here .

We' re gon na stay rig ht here . Th is is my home .

Th is is where my busi ness is , my wife , my mother, my fam i ly.

My cou ntry. I ai n 't goi ng nowhere .

I ai n 't ru n n i ng from nobody !

Th is is America .

And you ai n 't goi ng nowhere , either!

H u h ?

A ceasefire, internationally supervised,

will begin at 7:00 p. m. this Saturday,

January 27th, Washington time.

S P EARMAN : I ' l l cal l you back.

H ey ! What are you doi ng ?

Rich ie .

Wow.

So , what I hear it was the Corsican mob took a shot at F ran k.

You know, F rench Con nection , Fernando Rey,

the exporters that F ran k has put out of busi ness .

Look, I can take care of h i m i n N ew York.

I j ust don 't want to have to worry that every ti me

he d rives across the bridge to J ersey,

someone's gon na take another shot at h i m .

Rich ie , you and I gotta start worki ng together.

We need to step u p ou r efforts .

N ext ti me , thei r ai m cou ld be better.

We need to keep th is cash cow al ive .

What the fuck are you doi ng here?

Whoa !

Were you actual ly gon na arrest F ran k Lucas?

What's the matter with you ?

What, you don 't know?

N o .

Everybody i n N ew J ersey's crazy.

You know what we do here?

Cops arrest bad g uys .

Before you get on that bridge agai n ,

you shou ld cal l me fi rst, j ust make su re it's safe .

" I ' m more en l ig htened than some of my friends .

" I can g uarantee you peace of m i nd . "

That's what you told me , Dom i n ic.

(BAN G I N G O N TAB L E)

" I can g uarantee you peace of m i nd ! "

I don 't feel so peacefu l !

H u h ?

They tried to ki l l my wife !

Who was that? H u h ?

Maybe it was one of you r peoples .

I don 't know yet. N o . You don 't know?

You don 't know.

I ' l l tel l you what I know. Maybe I shou ld j ust put 500 g u ns

out there on the street and j ust start shooti ng u p some people ,

j ust to make a poi nt.

F ran k, it was a j u n kie . It was a rival . Some d u m b-ass kid

tryi ng to make a name for h i mself.

Somebody you forgot to pay off.

Someone you sl ig hted without even real izi ng it.

Cou ld be someone you put out of busi ness

from bei ng so successfu l . Look at you .

S uccess , it's got enem ies , F ran k.

Lots of enem ies .

So you r success took a shot at you .

What are you gon na do now?

H ow you gon na ki l l it?

You ' re gon na become u nsuccessfu l ?

F ran k, we can be successfu l and have enem ies , rig ht?

O r we can be u nsuccessfu l , too , you know, we can have friends .

That's the choice we make .

MAN ON TV: The final evacuation of military and diplomatic personnel

continued throughout the night,

as North Vietnamese troops marched on Saigon.

The imminent fall of the city has brought

chaos and a growing sense of desperation.

(P EO P L E C H E E RI N G)

Operator.

Yeah , Bang kok, 367 , i nternational .

One moment, please.

(P H O N E RI N G I N G)

(S P EAKI N G THAI)

FRANK: Yeah, Nate.

H ey, F ran k. What's u p , baby?

What's goi ng on over there?

It's all over.

Yeah , I ' m watch i ng the news . What the hel l 's goi ng on ?

The game 's over, Frank.

H u h ? It's done .

Everybody goi ng home , baby. G ive peace a chance .

Well, look, I'm not. . . Listen to me.

I want two ...

(P H O N E RI N G I N G)

(WH I S P E RI N G) I want 2 , 000 keys i n the ai r.

It's impossible, Frank.

All our resources are going home. It's over.

I ' l l tel l you what. I ' m on my way over there .

Right now? Oh, come. . . Yeah .

J I MMY: (S H O UTI N G) You stole my sh it?

S pearman , wake the fuck u p , man . What?

(WOMAN C RYI N G)

Where's my sh it, Darlyn n ?

Don 't h u rt me , J i m my !

(SC REAM I N G)

S P EARMAN : J esus ! What the . . . Pol ice ! J O N ES : Pol ice !

S P EARMAN : D rop the g u n , J i m my ! J O N ES : D rop the g u n !

J O N ES : Let me see you r hands !

S P EARMAN : J i m my, d rop the fucki ng g u n !

J O N ES : I ' m not playi ng with you , J i m my !

I ' l l blast you r fucki ng head off!

Don 't shoot ! Don 't shoot !

I got you r g u n and I got you r pri nts .

You know what you got?

You got attem pted m u rder.

F ifteen fucki ng years !

Attem pted m u rder is the same as M u rder O ne , that's a g rand j u ry.

N ow, a g rand j u ry cou ld come back favorably.

It cou ld be red uced to manslaug hter.

Al l rig ht? Maybe even self-defense .

It al l j ust depends on how we wan na deal with you .

See where th is is fucki ng goi ng , J i m my?

Let's say you beat it.

What do you th i n k you r cousi n F ran k is gon na th i n k?

Rig ht, he is gon na know, at some poi nt i n ti me ,

we sat you down , and we tal ked to you l i ke th is .

And then you go to cou rt and you beat attem pted m u rder?

What's he gon na th i n k?

Is he stu pid ? Is you r cousi n F ran k stu pid ?

AB RUZZO : Answer h i m !

N o . H e's goi ng to assu me that you tal ked .

B ut rig ht now, F ran k doesn 't know.

You want Frank to read about this in the papers ?

Or do you just want to walk out of here ?

No bail, no trial, no jail, just walk out of here today.

Your choice.

(P EO P L E C HATTE RI N G)

O pi u m plants are hard enoug h to outl ive any war.

They' l l sti l l be here long after the troops have gone .

What are you goi ng to do for transportation

when the last U S plane goes home?

I ' l l fig u re someth i ng out.

You wi l l see me agai n , that's for su re .

It is not i n my best i nterest to say th is , F ran k,

but q u itti ng wh i le you ' re ahead

is not the same as q u itti ng .

(SINGING) Only the lonely

Know this feeling ain 't right

There goes my baby

There goes my heart

They're gone forever

So far apart

But only the lonely

Know why

(RI N G I N G)

Yeah . Hey.

Go get h i m .

Whatever you want to do , baby.

O ne second .

It's F ran k. Yeah .

Yeah .

N ewark.

S hort term ,

parki ng lot th ree .

S hort term , lot th ree .

That's the M ustang we tal ki ng about, rig ht?

O kay, rig ht. What's the plate n u m ber?

K-A...

K-A...

FRANK: . . . 760.

HUEY: . . . 76.

Zero. All right.

There's no short term lot th ree at N ewark.

They got letters . A- B-C- D . I know.

Maybe he means a ti me . 3 : 00?

J O N ES : Th is isn 't no J ersey l icense plate ,

nor N ew York, for that matter.

K-A-7-6-0?

Yep .

Ki lo Al pha?

A plane tai l n u m ber?

Ki lo Al pha 760 .

You check com mercial planes .

You g uys check private planes .

Everyth i ng , from a l ittle fucki ng Cessna

to the biggest fucki ng whatever jet.

Al l rig ht?

I ' l l check m i l itary planes . Where you goi ng , J i m my?

You ' re not goi ng anywhere . S it. . . S it down .

Captai n ? Yeah ?

Rich ie Roberts . Essex Cou nty.

I know you ' re expecti ng us .

H ere's ou r warrant.

We' re looki ng on the plane .

Wait ! Wait !

Scotty, stop al l these sold iers !

C heck thei r bags . Every one of them .

(S I RE N S WAI L I N G)

N o-knock warrant.

Al l rig ht. Start u pstai rs .

Where are they goi ng ?

Step i n , sweetie .

Ma'am , please sit down .

M RS . L U CAS : What is th is?

Whoa , whoa , whoa ! Al l th is stops ! H ey. H ey. H ey.

N oth i ng leaves th is area , al l rig ht?

J ust slow down with th is .

Al l rig ht. Stop these trucks . MAN : H old on , hold on .

RI C H I E : Everyth i ng off the wal ls ! J ust pu l l it al l down .

S P EARMAN : Dam n th i ng 's a monster, Rich .

What is th is?

N oth i ng leaves th is area ti l l we've checked it.

Al l rig ht, Captai n . N oth i ng .

We got to take the plane down , we got to look i n the trucks .

Every man here gets searched .

Read the warrant, si r.

You r h usband 's i l l ustrious career is over.

The Feds are gon na come i n , gon na take everyth i ng .

And then they' re gon na take it al l .

B ut not before I get my g ratu ity.

So where's the money?

What are you tal ki ng about? What money?

What am I tal ki ng about? What money?

The getaway money that F ran k

and every other gangster keeps i n h is house .

If you leave now, there's a chance F ran k m ig ht not ki l l you .

S h ut u p ! S it down !

S it down !

MAN ON TV: Defense today announced the planned evacuation

of all remaining US combat forces from Vietnam,

news that comes too late for some,

as here, on a solemn tarmac at Dover Air Force Base.

This C- 130, loaded down with its sorrowful cargo,

a cargo of America 's bra vest and best,

en route to their final resting places.

(M E N S H O UTI N G)

You g uys . Take th is coffi n down .

O pen it. I ' m not doi ng that.

(S H U S H I N G)

G reat fucki ng dog , h u h ?

You stop th is , rig ht now.

My warrant g ives me perm ission to exam i ne th is plane ,

the plane and its cargo .

Wel l , you don 't have my perm ission .

I don 't need it, Captai n .

Easy ! Easy, boy. Come on . H ey ! Easy !

F ran k, move out of the way.

(DOG WH I M P E RS)

Dam n .

That's enoug h !

Stay with these coffi ns . Do not let them out of you r sig ht.

Got it. O kay.

TRU PO : H ey. H el p me out with th is .

(C LATTE RI N G)

That was a m i l itary transport plane .

If there was heroi n on board ,

then someone i n the m i l itary wou ld have to be i nvolved .

Wh ich means that even as it fig hts a war

that's clai med 50 , 000 American l ives ,

the m i l itary is sm ugg l i ng narcotics .

That is how th is event today wi l l be i nterpreted .

That someone em ployed by th is office

bel ieves that the U n ited States Army

is i n the d rug trafficki ng busi ness

and is tryi ng to prove it by desecrati ng the remai ns of you ng men

who have g iven thei r l ives i n the defense of democracy !

There is dope on that plane .

S h ut the fuck u p !

Is it any wonder, then , because of you r actions ,

the enti re federal narcotics prog ram is now i n jeopardy

of bei ng d ismantled as com pletely and enth usiastical ly

as that fucki ng transport plane?

That is what you 've accom pl ished , M r. Roberts , si ng le-handed ly.

I had good i nformation .

That the target of my i nvestigation

was bri ng i ng dope i n on that plane .

And that target is? F ran k Lucas .

Who? H is name's F ran k Lucas .

Who is F ran k Lucas?

Who does he work for? Wh ich fam i ly?

H e's not Ital ian . H e's black.

(LAU G H S)

Is that su pposed to be some ki nd of a joke?

You ' re th is close to the end of you r career i n law enforcement

and you ' re maki ng fucki ng jokes?

My i nvestigation i nd icates

that F ran k Lucas is above the Mafia i n the dope busi ness .

My i nvestigations also i nd icate

that F ran k Lucas buys d i rect from a sou rce i n Southeast Asia .

H e cuts out the m idd lemen and uses U S m i l itary planes

and person nel to transport pu re n u m ber 4 heroi n i nto the U n ited States

and he's been doi ng so on a reg u lar basis si nce 1 969 .

I have cases agai nst every mem ber of F ran k's organ ization .

F ran k's organ ization ?

N o fucki ng n igger has ever accom pl ished

what the American Mafia hasn 't i n 1 00 years !

And you wou ld know that how? Why?

'Cause you r head is stuck u p you r fucki ng ass?

H ey, Lou , do me a favor.

Wi l l you get th is fucki ng ki ke out of here?

Ki ke? Ki ke?

Rich ie , no .

H ey, Rich ie !

Make it stick.

S pearman 's with the coffi ns . They' re about a q uarter m i le away.

F RAN K: Doctor.

What?

F ucki ng Tru po came by the house , man . It's bad .

F ran kie , I need to speak with you a m i n ute . P lease?

I got to go , Ma .

N o , sit down j ust a m i n ute .

Wou ld you please come back a l ittle later?

Than k you .

Ma , I got to go . Al l rig ht?

J ust a few words .

Listen to me . I got...

P lease , sit down . J ust a few words .

I 've been th i n ki ng about some th i ngs .

You know, if you 'd been a preacher,

you r brothers wou ld have been preachers .

Rig ht.

If you 'd been a sold ier, they'd be sold iers .

You know that.

They came here because of you .

You cal led and they came ru n n i ng .

Rig ht.

That's because they look u p to you .

They always expect you to know what's best.

B ut even they know

you don 't shoot cops .

Even I know that.

Eva knows it. Al l rig ht, Ma .

The on ly one who doesn 't seem to know is you !

Al l rig ht, Ma . I got to go .

I prom ise you , I ai n 't gon na shoot nobody.

I never asked you where al l th is came from

because I d id n 't want to hear you l ie .

I d id n 't want you to worry about it. N ow, come on , I got to go .

Don 't l ie to me !

Don 't do that.

Do you want to make th i ngs so bad

for you r fam i ly that they' l l leave you ? Because they wi l l .

I u nderstand .

S he wi l l leave you .

Al l rig ht, Mama .

I wi l l leave you !

J O N ES : Got coffi ns on the move , Rich ie .

RI C H I E : We want the transport coffi ns , not the ceremon ial ones .

Who are these g uys?

RI C H I E : What does it say?

J O N ES : Bayon ne C ustod ial Services?

S P EARMAN : Bayon ne C lean i ng Services?

AB RUZZO : Bayon ne? What the fuck is that?

S P EARMAN : G ive me the camera , Al .

RI C H I E : B i ngo .

J O N ES : H oly sh it. That's the basebal l kid .

O h , yeah . That's Stevie Lucas .

So what you want to do , Rich ie? Fol low the trucks?

N o . N o . I wan na stay here with the Lucas kid .

We' l l fol low that van .

You g uys better eat u p .

We' re gon na have a long n ig ht.

(M E N C HATTE RI N G)

H U EY: Come on , more precious than gold , man .

Th is is more precious than gold .

We got a cou ple more .

Let's go . Stack that u p .

Take it. Take it.

MAN : G ive me a second , man , g ive me a second .

H ey. Yo . We got fou r caskets left, man .

Let's make some fucki ng money i n here .

S P EARMAN : What are they load i ng i n there?

AB RUZZO : What the fuck are they load i ng i n there?

S P EARMAN : That's the dope .

That's got to be the dope ! It's got to be .

RI C H I E : Let's go .

Let's move .

Lou , it's Rich ie .

We got everybody i n place . Everybody.

TOBA CK: Are you sure this is it?

I ' m positive , man . O kay?

Al l rig ht, they' re cutti ng and bagg i ng

i n the South Tower of the Stephen C rane P rojects rig ht now.

TOBA CK: Are you sure this is it? You 're positive ?

RICHIE: I'm positive, Lou. I'm positive. Okay?

Everything is ready to go. All the guys are ready to go.

J ust push the button , g ive me the warrant, okay?

O kay. You got it.

(E L EVATO R B E L L D I N G S)

MAN : You al l rig ht?

(P EO P L E C HATTE RI N G)

(WOM E N LAU G H I N G)

(C H U RC H B E L L TO L L I N G)

(CO N G REGATI O N S I N G I N G)

(S I N G I N G) When I in awesome wonder

Consider all

The works thy hand hath made

I see the stars

I hear the rolling thunder

Thy power throughout

The universe displayed

Got the warrant.

Al l rig ht.

Let's go !

Move !

(E L EVATO R B E L L D I N G S)

H i , ma'am . What's you r name?

What's goi ng on here?

Get down ! Get down , motherfucker!

Go .

O kay. Let's go , Al !

Move it, come on .

Come on , move it. Move it !

(P EO P L E C HATTE RI N G)

(PANTI N G)

(WH I S P E RS) Al l set.

(WH I S P E RS) Roger.

Get ready.

MAN : There you go ! BOY: Al l rig ht.

(BOY LAU G H I N G)

MAN : Come on .

At target.

S pearman , stand by.

I got civilians on the target floor.

BOY: What? O h ...

MAN : Come on , there you go .

WOMAN : H ey, Ti m .

MAN : G i rl , why don 't you get some clothes on ?

(C HATTE RI N G)

MAN : Let's go .

You th i n k you bad , h u h ?

H old on . Where you goi ng ? Where you goi ng ?

Come on !

(BOY LAU G H I N G)

BOY: I ' l l get it !

(G RU NTS)

Where's Ti m ?

Q u iet, kid !

I got some sandwiches for you boys , man .

B ut where's Ti m ?

S h it. Man , Ti m always playi ng arou nd .

H ey, man !

You got some B l ue Mag ic, baby?

F ucki ng j u n kie !

Yo , hand le that !

J O N ES : I ' m sick ! Come on ! I got money, man !

Come on , man , you know me , baby !

Come on !

Come on , I need that B l ue Mag ic, man .

It's me , Boogaloo , baby.

H ey, man , you know I got you r goddam n money. Come on , man .

And one , two , th ree ! G UARD : F ucki ng j u n kie .

(G RU NTS)

AB RUZZO : Pol ice ! Pol ice !

D rop it ! S P EARMAN : Get out, get out !

D rop the g u n ! Don 't do it !

D rop the g u n , d rop it ! Don 't do it.

Scotty !

(P EO P L E SC REAM I N G)

Pol ice ! Everybody down !

You motherfucker!

S P EARMAN : Pol ice ! N obody move !

Look out !

RI C H I E : Don 't fucki ng move !

(WOM E N SC REAM I N G)

AB RUZZO : I want to see you r hands ! Al l the hands !

Pol ice !

Down ! Down ! Get down !

Stay the fuck down !

(MAN CHA TTERING ON TV)

(WOMAN SC REAMS)

(BARKI N G)

(SC REAMS)

H ey, man , what's goi ng on ?

What the hel l ...

(G RU NTS)

Stay down ! Down , motherfucker! Stay down !

H ands ! H ands !

(CO U G H I N G)

O ut at home , baby.

(S I RE N S WAI L I N G)

CO N G REGATI O N : (S I N G I N G) Amazing Grace

How sweet the sound

Than k you very m uch .

You ' re welcome .

F RAN K: Y'al l wait rig ht here . Wait rig ht here .

That sa ved a wretch

Like me

I once was lost

But now am found

M rs . Lucas , please step back i nside .

Yes , Officer.

P lease , Mother Lucas , step i nside , please .

Respectfu l ly, ma'am , please step i nside .

Than k you . Step i nside .

(S I RE N WAI LS)

H ands u p agai nst the wal l . Stay back.

O h , man .

Don 't you owe me money?

I ' l l get you some more . H ere you go .

Yo , yo ! P igs ! Look out !

PO L I C EMAN : NYP D ! Everybody stand sti l l !

Tu rner! Go !

Down on the g rou nd , motherfucker!

That Grace appear

The hour

I first believed

(EXHAL ES)

... dead servicemen retu rn i ng from defend i ng ou r cou ntry i n Vietnam ...

Over there . O kay.

(AL L C LAP P I N G)

(GAVE L BAN G I N G)

J U DG E : Lad ies and gentlemen , at th is stage of the proceed i ngs

the cou nsels are ready for thei r open i ng statements .

For the prosecution , M r. Roberts wi l l proceed

with h is open i ng statement fi rst.

M r. Roberts , are you ready to proceed ?

Yes , You r H onor.

Lad ies and gentlemen of the j u ry,

the State wi l l show and you wi l l hear

that F ran k Lucas is the most dangerous man

wal ki ng the streets of ou r city.

Al l rig ht, y'al l , get on out.

Let me tal k to M r. Rich ie alone .

Come on , come on , come on .

I pay y'al l by the hou r, not by the m i n ute .

Than k you .

You ai n 't weari ng a wi re , are you ?

N o .

Al l rig ht. I was tal ki ng to my lawyers .

They said someth i ng to me , I can 't bel ieve it.

D id you real ly fi nd a m i l l ion dol lars i n the tru n k of a car

and then tu rn it i n ? D id you do that? Yeah .

You d id that for real , h u h ?

My man . Good for you . S h it.

You know J oh n ny Law got it thoug h , rig ht?

Maybe . Ai n 't no maybe about it, M r. Rich ie .

You know he got it. You tu rned that money i n ,

he took it and you ai n 't get noth i ng for it.

D id you ?

Why d id you do that?

It was the rig ht th i ng to do .

That's true .

That's a good answer. It was the rig ht th i ng to do .

The q uestion I have , the q uestion I 've been aski ng myself is ,

wou ld you do it agai n ?

I mean , that's a lot of money, that's a long ti me ago .

Many car payments ago , many ch i ld su pport payments ago .

So I said to myself, the on lyest way to fi nd out is to fi nd out.

RI C H I E : B ri bery, extortion , m u rder, racketeeri ng ...

FRANK: Now, you give me an address,

I'll make sure the car's there,

I ' l l make su re that money's i n that tru n k.

N o , than ks .

You su re?

Come on , now, Rich ie .

What do you th i n k, that i m presses me?

You th i n k that you ' re better than them ?

You ai n 't no better than them other cops .

I n fact, you ' re the same as them .

You are them .

Let me ask you th is .

Do you real ly th i n k that putti ng me beh i nd bars

is goi ng to change anyth i ng on them streets?

Them dope fiends is gon na shoot it,

they' re gon na steal for it, they' re gon na d ie for it.

P utti ng me i n or out ai n 't gon na change one th i ng .

Then that's the way it is .

That's j ust the way it is . So what we got, Rich ie?

We got me and you sitti ng here .

We got that little snitch-ass driver for my brother.

You got a little bit of powder.

You 're going to need more than that, Richie.

RICHIE: I got possession, supply, conspiracy,

bribing a law officer. I got people who 'll

attest to seeing you kill in cold blood.

I got your offshore bank accounts,

you r real estate , you r busi nesses ,

al l boug ht with money from heroi n .

And I got h u nd reds of parents of dead kids .

Add icts who O D'ed on you r prod uct.

And that's my story for the j u ry.

And that's how I make it al l stick.

"Th is man m u rdered thousands of people .

"And he d id it from a penthouse , d rivi ng a Li ncol n . "

Aside from that, you got noth i ng to worry about.

That's pretty good . B ut that's why

we go to cou rt, isn 't it, Rich ie?

'Cause I got witnesses , too .

I got celebrities .

I got sports fig u res . I got H arlem , Rich ie .

I took care of H arlem , so H arlem 's gon na take care of me . You can bel ieve that.

I got more than that, F ran k.

What you got?

I 've got a l i ne of people wanti ng to testify agai nst you ,

it stretches out the door and arou nd the block.

You damaged a lot of lives, Frank.

I got the Mazzano crime family.

Remember those boys ? You put them out of business.

I ai n 't got noth i ng to do with no Mazzanos .

Mazzanos ai n 't got noth i ng to do with me .

They got everyth i ng to do with you . What, they...

You know why? Why?

Because apart from the fact that they hate you personal ly,

they hate what you represent.

I don 't represent noth i ng but F ran k Lucas .

You su re?

A black busi nessman l i ke you ?

You represent prog ress .

The ki nd of prog ress that's goi ng to see them lose a lot of money.

With you out of the way, everyth i ng can retu rn to normal .

My man .

You know what normal is to me , Rich ie?

I ai n 't seen normal si nce I was six years old .

N ormal is seei ng the pol ice ride u p to my house

d ragg i ng my l ittle 1 2-year-old cousi n out, tyi ng h i m to a pole ,

shovi ng a shotg u n i n h is mouth so hard they bust h is teeth .

Then they bust two shotg u n shel ls

i n h is head and knock h is fucki ng head off.

That's what normal is to me .

I d id n 't g ive a fuck about no pol ice then .

I don 't g ive a fuck about no pol ice now. S h it.

You know what, you can do whatever you want to do .

So , it don 't mean noth i ng to me

for you to show u p tomorrow morn i ng

with you r head blown off.

Do you u nderstand what I ' m sayi ng ?

Yeah , F ran k. Get i n l i ne .

That one stretches arou nd the block, too .

Al l rig ht.

What do you want to do?

You know what you got to do .

What do you want me to do? S n itch , h u h ?

I know you don 't want me to g ive u p no cops .

What do you want? You want gangsters?

P ick one . J ew gangsters?

M ick gangsters? G u i neas?

They've been bleed i ng H arlem d ry

si nce they got off the boat, Rich ie .

I don 't g ive a fuck about no cri me fig u res .

You can have them .

I ' l l take them , too .

You ' l l take them , too?

N o , you d id n 't. You ' re tal ki ng about pol ice .

You want pol ice?

You want you r own ki nd ?

They' re not my ki nd .

They' re i n busi ness with you , F ran k.

They ai n 't my ki nd .

They ai n 't my ki nd l i ke the Ital ians are not you rs . Al l rig ht?

H u h .

What can you prom ise me , Rich ie?

I can prom ise you , you l ie about one name ,

you ' l l never get out of prison .

You l ie about one dol lar, i n one offshore accou nt,

you ' l l never get out of prison .

N ow you can l ive l ife rich i n jai l

for the rest of you r born days ,

or be poor outside for some of them .

That's what I can prom ise you .

I want them cops , Rich ie . That's what I want, I want them cops

that took that money out of my pockets .

H i m , too .

Al l rig ht. O kay.

H ey, S pearman ? S pearman .

So these g uys are al l con nected u p to Gwyn n , al l rig ht.

See th is g uy here , he's i n u n iform ...

NEWSCA S TER 1: Four police officers were arrested today

on charges of taking bribes from drug traffickers.

MAN : Wel l done , J i m my.

NEWSCA S TER 2: The in vestigation into police corruption

has swept through New York's drug enforcement ranks

broadened today with the arrest of 1 9 more officers.

NEWSCA S TER 3: In what is being called

this city's largest police corruption scandal,

32 more officers were indicted

today in federal court on bribery charges.

NEWSCA S TER 4: These police officers will face stiff prison terms,

say federal prosecutors, if found guilty.

NEWSCA S TER 5: A report by federal in vestigators into New York's

ever widening police corruption scandal

claims that more than half of the city's officers

assigned to drug enforcement ha ve engaged in some form of corruption.

NEWSCA S TER 6: Allegations of widespread corruption within

the elite narcotics squad SIU

ha ve led to the arrest of more New York City detectives.

NEWSCA S TER 7: Con victed of extortion,

members of New York City's Special In vestigations Narcotics Unit

will face sentencing today in federal court.

F RAN K: MacN amara . Vendazzo .

Tru po .

You are special .

(G ROAN S)

It's good work, F ran k.

You know...

You don 't want a d ri n k or someth i ng ?

Celebrate?

You got any holy water?

C heck you r property. S ig n , please .

(DOO R B UZZ I N G)

S mel l better out here?

F ran k. There you are .

Caffe latte . Yeah .

Latte?

O h , sh it. Yeah .

You al l rig ht?

That's a fancy way of sayi ng coffee with m i l k.

Yeah . $2 . 50 .

So you been tal ki ng to you r brothers?

N o , no , I ai n 't tal ked to them i n years .

It's probably best for them .

What the hel l am I goi ng to do out here , Rich ie?

I don 't know how I ' m gon na l ive .

H ey, I told ya , I ai n 't gon na let you starve , al l rig ht?

O bviously, you ai n 't starvi ng .

(LAU G H I N G)

Bagels and bl i nches They wi l l catch u p with you , you know?

Who's th is?

Expensive sneakers . About $ 1 00 a pai r.

F rederick Doug lass Bou levard .

Th is used to be E ig hth Aven ue , why do they cal l it

F rederick Doug lass Bou levard now?

Th is was me Rich ie , rig ht here .

Th is was al l me .

I n my day there were so many n iggers out here buyi ng dope

you cou ld 've made a Tarzan movie .

You know, one phone cal l , I ' l l be rig ht back i n busi ness , you know that.

You don 't do that, F ran k.

These days I keep al l my prom ises .

Why'd you come and get me , h u h ?

You ' re a su perstar, F ran k.

A su perstar?

You r evidence alone gave me 1 50 convictions .

Thoug ht the least we cou ld do is g ive you a ride home .

Yeah , you su re d id that.

You gave me a ride home . F ree ride .

Com i ng to gangsters .

What?

Ai n 't noth i n ' , man . Ai n 't noth i n ' , man .

That's l ife rig ht there . That's l ife rig ht there .

Even a fool gets to be you ng once .