Forwarded message BLOW Book by Bruce Porter (II) Screenplay by David McKenna and Nick Cassavetes                                                      ON BLACK:   A MAN MUST LOOK AT HIS LIFE AND THINK LUXURY.   FADE IN:   EXT. GUARJIRA, COLOMBIA - 1989 - DAY   A majestic panorama of the lush green slopes that are the   Columbian highlands.  A faint chopping sound IS HEARD and   then another.  WHOOSH.  WHOOSH.  The view changes and tiny   dots appear on the hillside vegetation.  WHOOSH.   CLOSER   We realize the dots are people.  Workers swinging long steel   machetes in slow methodical rhythm.  WHOOSH.  WHOOSH.  WE SEE   the South American Indian MEN clearly now.  Their tar stained   teeth.  Their gaunt faces riddled with crow's feet.  Their   jaws chewing away on huge wads of coca leaves as they collect   the harvest.   EXT. DIRT ROAD - COLOMBIA - DAY   Old rickety trucks carrying the huge green tractor-sized   bales speed along the narrow road.   EXT. CLEARING - COLOMBIA - DAY   The bundles are undone and Columbian women separate out the   leaves.  Tribes of underweight workers carry armload after   armload of the harvest and ritualistically dump them into a   gigantic cannibal pot which sits on top of a raging bonfire.   The leaves are being boiled down and a huge plume of smoke   streaks the sky.  Wizened Indios brave the heat and shovel   ashes into the pot to cool the solution.   INT. JUNGLE - COLOMBIA - DAY   A primitive but enormous makeshift lab contains all the   equipment.  The machinery.  The solutions.  The over-sized   vats.  Dark-skinned bandoleros smoke cigarettes and sport   automatic weapons at all the points of entry.  The coca is   now a basuco paste and is being sent in for a wash.   INT. LABORATORY - COLOMBIA - 1989 - DAY   A conveyor belt pours out brick after brick of pure cocaine   hydrochloride.  The bricks are wrapped, tied up, weighed, and   stamped with a P before being thrown into duffel bags.   EXT. JUNGLE AIRSTRIP - COLOMBIA - DAY   A small twin-engine Cessna is loaded with dozens of duffel   bags and the plane takes off.   EXT. VERO BEACH AIRFIELD - NIGHT   The Cessna touches down.   EXT. WORKSITE - WEYMOUTH - 1966 - DAY   The worksite is busy.  George is amongst other workers,   working a summer job.  As George is taking five, he looks   across the sight to Fred, who is sweeping up debris.  A long   way from being the boss.   INT. COLLEGE ADMISSIONS OFFICE - WEYMOUTH - 1966 - DAY   George stands in line to register for college, wearing his   Brooks Brothers suit, bowtie, and freshly Bryllcreamed hair.   The room is crowded and the line is long.  Bob Dylan's   Subterranean Homesick Blues blares out of one of the kid's   transistor radios.  George looks around the room.  He is   uncomfortable.  He catches his reflection in the shiny glass   partition and stops.  He doesn't like what he sees.   Something is not right.  He looks like everyone else.  Same   cookie-cutter hair, same cookie-cutter clothes, same cookie   cutter faces.  He's a carbon copy.                       REGISTRATION WOMAN             Next.   It's George's turn but he doesn't hear it.   Twenty years of   schooling and they put you on a day shift.  The words hit   him like a tone of bricks as he continues to stare at his own   reflection.                       GEORGE (V.O.)             I was standing there, and it was like             the outside of me and the inside of me             didn't match, you know?  And then I             looked around the room and it hit me.  I             saw my whole life.  Where I was gonna             live, what type of car I'd drive, who my             neighbors would be.  I saw it all and I             didn't want it.  Not that life.   EXT. CONSTRUCTION SITE - WEYMOUTH - 1966 - DAY   George sits with Fred.  It's breaktime and Fred eats from a   lunch box.                       GEORGE             There's something out there for me, Dad.             Something different.  Something free             form, you know?  Something for me, and             college just isn't it.                       FRED             That's too bad.  You would have been the             first one in the family.                       GEORGE             I know.                       FRED             Alright.  You want me to get your old             job back?  Because I could, you know, I             could put in that word.                       GEORGE             No, Dad.  I don't want to...I mean, I             just don't want...   It's obvious to Fred that his son doesn't want to be like   him.                       FRED             What are you going to do?                       GEORGE             I'm going to California.   EXT. BELMONT SHORES APARTMENT - 1968 - DAY   SUPERIMPOSE: MANHATTAN BEACH, CALIFORNIA 1968   George and Tuna, now 21-years old, struggle with their bags.   Their new place is a tackily furnished, two-story apartment   with small balconies and a view of the ocean.  As George and   Tuna struggle with the bags, two California beauties appear   on the balcony next door: BARBARA BUCKLEY, 20, and MARIA   GONZALES, 21.                       GIRLS             You guys need some help?   George and Tuna share a look.                       TUNA             I don't know about you, but I think             we're gonna like it here.   EXT. MANHATTAN BEACH - 1968 - DAY   SERIES OF SHOTS   Barbara and Maria introduce George and Tuna around to the   Manhattan Beach regulars.  They are immediately accepted   despite their ill fitting shorts and Tuna's unhip black   socks.  The beach scene is one big party.  Lots of beer,   music, bikinis, and good times.  By the end of the day,   George and Tuna have a hundred new friends.                       GEORGE (V.O.)             California was like nothing I'd ever             experienced.  The people were liberated             and independent and full of new ideas.                       GEORGE (V.O.) (CONT'D)             They used words like right on,             groovy, and solid.  The women are             all beautiful and seemed to share the             same occupation.                       WOMAN #1             I'm a flight attendant.                       WOMAN #2             I'm a flight attendant.                       WOMAN #3             I'm a flight attendant.   The weed comes out and is passed around.  Pipes.  Joints.   Bongs.  In SLOW MOTION, Barbara takes a huge hit of grass,   grabs George's face, french kissing him, and giving him a   huge shotgun.   INT. BELMONT SHORES APARTMENT - 1968 - DAY   George and Barbara are sleeping late.  Their bodies   intertwined beneath the sheets.  A slam of the front door   wakes them up.  It's Tuna.                       TUNA             Hey, wake up.  Come on, you two             lovebirds.  Hurry, I want to show you             something.   George and Barbara shake cobwebs out and stumble into the   kitchen to find Tuna holding a brown paper shopping bag.                       TUNA (CONT'D)             Figured it out.                       GEORGE             Figured what out?                       TUNA             You know how we were wondering what we             were going to do for money?  Being how             we don't want to get jobs and whatnot?             Well, check this out.   Tuna takes the paper bag and empties its contents on the   kitchen table.  It's a grey mound of stocky, seedy marijuana.   Barbara examines the reefer.                       BARBARA             Tuna, this is crap.                       TUNA             I know it's not the greatest.  It's             commercial.                       BARBARA             It's garbage.                       GEORGE             It's oregano.  You got ripped off, pal.             What are you gonna do with all this?                       TUNA             We sell it.  I got it all figured out.             We make three finger lids and sell them             on the beach.  We move all of it.  We've             made ourselves a hundred bucks.  Or a             lot of weed for our head.  What do you             think?  Not bad, huh?  I got the baggies             and everything.                       BARBARA             You can't sell this to your friends.                       TUNA             Man.  Fuck you guys.  I have this great             idea and you guys have to be all             skeptical.                       BARBARA             Look, if you really wanna score some             dope, I got the guy.   EXT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY   George, Barbara and Tuna stop outside the front door.                       GEORGE             Are you sure this guy is cool?                       BARBARA             You'll see for yourself.                       TUNA             A beauty parlor for men?  Sounds pretty             queer.   They walk in.   INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - CONTINUOUS   George, Tuna and Barbara enter.  The Whipping Post is   California's first male hair salon.  George looks around at   the customer's being pampered.  Haircuts, pedicures,   manicures.                       GEORGE             Nothing like this back home.                       BARBARA             Derek!   DEREK FOREAL is a curious man.  Daringly effeminate,   especially for the sixties, he is always surrounded by   beautiful women.  As he sees Barbara, he stops his haircut   and runs to embrace her.                       DEREK             Barbie!   Derek's female entourage rush over as well.  Kisses all   around.                       DEREK (CONT'D)             So, this is the new man, huh?  He's             cute!   George and Tuna stick out there hands.                       GEORGE             George.                       TUNA             Tuna.                       DEREK             Tuna, oh my.  Enchante, George.  Barbie,             he's yummy.  He looks like a Ken doll.             Oooh, Ken and Barbie.  It's perfect.             Alright, girls, give me five minutes.   Derek makes dismissing gestures and the girls scatter.                       DEREK (CONT'D)             Everyone, shoo!  You, too, Barbie.  I             want to talk to the boys alone.   After the girls leave, Derek closes the partition and his   playful demeanor changes.  He's all business now.                       DEREK (CONT'D)             What can I do for you guys?                       GEORGE             We want some grass.                       DEREK             I know what you want.  But, first of             all, are you cops?                       GEORGE             No.                       DEREK             Because if you are, you have to tell me.             If not, it's entrapment.                       GEORGE             We're not cops.  We're from             Massachusettes.  I mean, does he look             like a cop?                       DEREK             I guess not.  Okay.  You know, you're             very lucky you're friends of Barbie's.             If you weren't, I'd never talk to you.   Derek pulls a television-sized brick of quality marijuana out   from under a sink and sets it down in front of George.                       GEORGE             What the fuck is that?                       DEREK             It's your grass.                       TUNA             Wow.  That's more than we had in mind.                       DEREK             I don't nickel and dime.  You want it or             not?   George and Tuna look at each other.                       GEORGE             We'll take it.   EXT. MANHATTAN BEACH - 1968 - DAY   SERIES OF SHOTS   Summer on the beach.  It's one big party.  George and Tuna   are on the beach.  They are the new kings.  They smoke pot   and drink brews.   George and Barbara get close as do Tuna and Maria.  Slowly,   George's clothes and hair start to look better, cooler.   George and Tuna hanging out with the SURFERS.   George and Tuna hang with Barbara, Maria and SOME GIRLFRIENDS   in bikinis.   George and Barbara hang together at the life guard stand.   George and Tuna on the strand with HIPPY PROFESSORS selling   half-ounces.   Derek, Tuna, George, Barbara, Maria and the Elves play   volleyball.   Barbecue at Belmont Shores apartment with George, Barbara,   Derek, Tuna, Maria and different Elves.   George and Tuna sell half-ounces to BIKERS.   Derek is having a party out of a mini-van in the beach   parking lot.  George, Barbara, Tuna and Maria are there.   EXT. MANHATTAN BEACH - 1968 - SUNSET   George and Barbara sit by the water, watching the waves crash   into the sand.  The sky is streaked with purple and red.                       GEORGE             This is it for me.                       BARBARA             What is?                       GEORGE             Just everything.  You.  California.  The             beach.  This spot right here.  I feel             like I belong here, you know?  It just             feels right.                       BARBARA             You happy, baby?                       GEORGE             Yeah.  I am.   EXT. WORKSITE - WEYMOUTH - 1966 - DAY   The worksite is busy.  George is amongst other workers,   working a summer job.  As George is taking five, he looks   across the sight to Fred, who is sweeping up debris.  A long   way from being the boss.   INT. COLLEGE ADMISSIONS OFFICE - WEYMOUTH - 1966 - DAY   George stands in line to register for college, wearing his   Brooks Brothers suit, bowtie, and freshly Bryllcreamed hair.   The room is crowded and the line is long.  Bob Dylan's   Subterranean Homesick Blues blares out of one of the kid's   transistor radios.  George looks around the room.  He is   uncomfortable.  He catches his reflection in the shiny glass   partition and stops.  He doesn't like what he sees.   Something is not right.  He looks like everyone else.  Same   cookie-cutter hair, same cookie-cutter clothes, same cookie   cutter faces.  He's a carbon copy.                       REGISTRATION WOMAN             Next.   It's George's turn but he doesn't hear it.   Twenty years of   schooling and they put you on a day shift.  The words hit   him like a tone of bricks as he continues to stare at his own   reflection.                       GEORGE (V.O.)             I was standing there, and it was like             the outside of me and the inside of me             didn't match, you know?  And then I             looked around the room and it hit me.  I             saw my whole life.  Where I was gonna             live, what type of car I'd drive, who my             neighbors would be.  I saw it all and I             didn't want it.  Not that life.   EXT. CONSTRUCTION SITE - WEYMOUTH - 1966 - DAY   George sits with Fred.  It's breaktime and Fred eats from a   lunch box.                       GEORGE             There's something out there for me, Dad.             Something different.  Something free             form, you know?  Something for me, and             college just isn't it.                       FRED             That's too bad.  You would have been the             first one in the family.                       GEORGE             I know.                       FRED             Alright.  You want me to get your old             job back?  Because I could, you know, I             could put in that word.                       GEORGE             No, Dad.  I don't want to...I mean, I             just don't want...   It's obvious to Fred that his son doesn't want to be like   him.                       FRED             What are you going to do?                       GEORGE             I'm going to California.   EXT. BELMONT SHORES APARTMENT - 1968 - DAY   SUPERIMPOSE: MANHATTAN BEACH, CALIFORNIA 1968   George and Tuna, now 21-years old, struggle with their bags.   Their new place is a tackily furnished, two-story apartment   with small balconies and a view of the ocean.  As George and   Tuna struggle with the bags, two California beauties appear   on the balcony next door: BARBARA BUCKLEY, 20, and MARIA   GONZALES, 21.                       GIRLS             You guys need some help?   George and Tuna share a look.                       TUNA             I don't know about you, but I think             we're gonna like it here.   EXT. MANHATTAN BEACH - 1968 - DAY   SERIES OF SHOTS   Barbara and Maria introduce George and Tuna around to the   Manhattan Beach regulars.  They are immediately accepted   despite their ill fitting shorts and Tuna's unhip black   socks.  The beach scene is one big party.  Lots of beer,   music, bikinis, and good times.  By the end of the day,   George and Tuna have a hundred new friends.                       GEORGE (V.O.)             California was like nothing I'd ever             experienced.  The people were liberated             and independent and full of new ideas.                       GEORGE (V.O.) (CONT'D)             They used words like right on,             groovy, and solid.  The women are             all beautiful and seemed to share the             same occupation.                       WOMAN #1             I'm a flight attendant.                       WOMAN #2             I'm a flight attendant.                       WOMAN #3             I'm a flight attendant.   The weed comes out and is passed around.  Pipes.  Joints.   Bongs.  In SLOW MOTION, Barbara takes a huge hit of grass,   grabs George's face, french kissing him, and giving him a   huge shotgun.   INT. BELMONT SHORES APARTMENT - 1968 - DAY   George and Barbara are sleeping late.  Their bodies   intertwined beneath the sheets.  A slam of the front door   wakes them up.  It's Tuna.                       TUNA             Hey, wake up.  Come on, you two             lovebirds.  Hurry, I want to show you             something.   George and Barbara shake cobwebs out and stumble into the   kitchen to find Tuna holding a brown paper shopping bag.                       TUNA (CONT'D)             Figured it out.                       GEORGE             Figured what out?                       TUNA             You know how we were wondering what we             were going to do for money?  Being how             we don't want to get jobs and whatnot?             Well, check this out.   Tuna takes the paper bag and empties its contents on the   kitchen table.  It's a grey mound of stocky, seedy marijuana.   Barbara examines the reefer.                       BARBARA             Tuna, this is crap.                       TUNA             I know it's not the greatest.  It's             commercial.                       BARBARA             It's garbage.                       GEORGE             It's oregano.  You got ripped off, pal.             What are you gonna do with all this?                       TUNA             We sell it.  I got it all figured out.             We make three finger lids and sell them             on the beach.  We move all of it.  We've             made ourselves a hundred bucks.  Or a             lot of weed for our head.  What do you             think?  Not bad, huh?  I got the baggies             and everything.                       BARBARA             You can't sell this to your friends.                       TUNA             Man.  Fuck you guys.  I have this great             idea and you guys have to be all             skeptical.                       BARBARA             Look, if you really wanna score some             dope, I got the guy.   EXT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY   George, Barbara and Tuna stop outside the front door.                       GEORGE             Are you sure this guy is cool?                       BARBARA             You'll see for yourself.                       TUNA             A beauty parlor for men?  Sounds pretty             queer.   They walk in.   INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - CONTINUOUS   George, Tuna and Barbara enter.  The Whipping Post is   California's first male hair salon.  George looks around at   the customer's being pampered.  Haircuts, pedicures,   manicures.                       GEORGE             Nothing like this back home.                       BARBARA             Derek!   DEREK FOREAL is a curious man.  Daringly effeminate,   especially for the sixties, he is always surrounded by   beautiful women.  As he sees Barbara, he stops his haircut   and runs to embrace her.                       DEREK             Barbie!   Derek's female entourage rush over as well.  Kisses all   around.                       DEREK (CONT'D)             So, this is the new man, huh?  He's             cute!   George and Tuna stick out there hands.                       GEORGE             George.                       TUNA             Tuna.                       DEREK             Tuna, oh my.  Enchante, George.  Barbie,             he's yummy.  He looks like a Ken doll.             Oooh, Ken and Barbie.  It's perfect.             Alright, girls, give me five minutes.   Derek makes dismissing gestures and the girls scatter.                       DEREK (CONT'D)             Everyone, shoo!  You, too, Barbie.  I             want to talk to the boys alone.   After the girls leave, Derek closes the partition and his   playful demeanor changes.  He's all business now.                       DEREK (CONT'D)             What can I do for you guys?                       GEORGE             We want some grass.                       DEREK             I know what you want.  But, first of             all, are you cops?                       GEORGE             No.                       DEREK             Because if you are, you have to tell me.             If not, it's entrapment.                       GEORGE             We're not cops.  We're from             Massachusettes.  I mean, does he look             like a cop?                       DEREK             I guess not.  Okay.  You know, you're             very lucky you're friends of Barbie's.             If you weren't, I'd never talk to you.   Derek pulls a television-sized brick of quality marijuana out   from under a sink and sets it down in front of George.                       GEORGE             What the fuck is that?                       DEREK             It's your grass.                       TUNA             Wow.  That's more than we had in mind.                       DEREK             I don't nickel and dime.  You want it or             not?   George and Tuna look at each other.                       GEORGE             We'll take it.                         EXT. MANHATTAN BEACH - 1968 - DAY   SERIES OF SHOTS   Summer on the beach.  It's one big party.  George and Tuna   are on the beach.  They are the new kings.  They smoke pot   and drink brews.   George and Barbara get close as do Tuna and Maria.  Slowly,   George's clothes and hair start to look better, cooler.   George and Tuna hanging out with the SURFERS.   George and Tuna hang with Barbara, Maria and SOME GIRLFRIENDS   in bikinis.   George and Barbara hang together at the life guard stand.   George and Tuna on the strand with HIPPY PROFESSORS selling   half-ounces.   Derek, Tuna, George, Barbara, Maria and the Elves play   volleyball.   Barbecue at Belmont Shores apartment with George, Barbara,   Derek, Tuna, Maria and different Elves.   George and Tuna sell half-ounces to BIKERS.   Derek is having a party out of a mini-van in the beach   parking lot.  George, Barbara, Tuna and Maria are there.   EXT. MANHATTAN BEACH - 1968 - SUNSET   George and Barbara sit by the water, watching the waves crash   into the sand.  The sky is streaked with purple and red.                       GEORGE             This is it for me.                       BARBARA             What is?                       GEORGE             Just everything.  You.  California.  The             beach.  This spot right here.  I feel             like I belong here, you know?  It just             feels right.                       BARBARA             You happy, baby?                       GEORGE             Yeah.  I am.   INT. BELMONT SHORES APARTMENT - 1968 - DAY   George walks in to find Tuna and Maria sitting with KEVIN   DULLI, an old friend from back east.  He's sitting in front   of a water pipe and coughing his ass off.                       TUNA             Look what the cat dragged in.                       GEORGE             Holy shit, Dulli.  What the hell are you             doing here?                       KEVIN             Well, I'll tell you.  I was walking down             the beach, minding my business, when who             did I see but this fucking guy.  I             didn't know you guys were living in             California.                       GEORGE             Yeah, but what are you doing out here?                       KEVIN             I'm on vacation.  On my way back to             school.                       GEORGE             This calls for a joint.  You want to do             the honors?                       KEVIN             No, man.  I'm too fucked up.                       TUNA             Nice weed, huh?                       KEVIN             Fuck yeah.  I never seen nothing like             it.  I'm fucking wasted.                       GEORGE             Right on.                       KEVIN             G-d, I'm stoned.  I'm stoned.  I'm             really...                       GEORGE             Stoned?                       KEVIN             I wish there was shit like this back             home.                       GEORGE             Yeah?                       KEVIN             Shit, yeah.  Do you know how much money             I could make if I had this stuff back             east?                       TUNA             No shit, Kevin?                       KEVIN             That's right.                       GEORGE             Yeah?                       KEVIN             When there's something to move, it's too             easy not to.  Do you know how many             colleges are in a twenty mile radius?             U. Mass, Amherst, B.U....                       TUNA             Smith.  Hampshire....                       KEVIN             Right.  And Holyoke.  There are a             hundred thousand rich kids with their             parents' money to spend, but there's             never anything available.  Nothing good,             anyway.  I'm paying four hundred dollars             for shit.   INT. THE WHIPPING POST - MANHATTAN BEACH - 1968 - DAY   Derek, George and Barbara sit around.  The blinds are drawn.                       GEORGE             The way we figure it, Barbara flies to             Boston twice a week.  Two bags per             flight.  Twenty-five pounds in each bag.                       DEREK             You're kidding, right?  That's a hundred             pounds a week.                       GEORGE             Yeah, I know, it's a lot of weight.                       BARBARA             We're gonna call it California             sinsemilla.  Sounds exotic.                       GEORGE             I'm telling you, Derek, it will sell.                       DEREK             I don't know...                       GEORGE             Here's the best part.  We can charge             five-hundred a pound.                       DEREK             Come on, George, no one is going to pay             that.                       GEORGE             It's already been negotiated.  It's             done.  The money is there waiting.   Derek looks at Barbara.  She nods.                       DEREK             Goodness.                       GEORGE             Goodness is right.  If you do the math,             that's over thirty grand a week profit.             I want you to be my partner on this,             Derek.  Fifty-fifty.  That's fifteen             thousand a week for you, my friend.  In             your pocket, free and clear.                       DEREK             And I only deal with you?                       GEORGE             Barbara and me.  No one else.   Derek thinks about it.                       BARBARA             It's gonna work, Derek.                       DEREK             I don't know.  East coast.  Airplanes.             It all sounds pretty risky.                       GEORGE             She's a flight attendant.  They don't             check her bags.   EXT. LOS ANGELES INTERNATIONAL AIRPORT - 1968 - DAY   George drops Barbara off in her uniform curbside.  They kiss   and she walks away with two big, red Samsonites.  She checks   them with a SKYCAP and tips him.   EXT. SKY - 1968 - DAY   A huge jet goes right to left through _frame_.   INT. LOGAN AIRPORT - GATE - BOSTON - 1968 - DAY   Barbara is greeted by KEVIN DULLI with a hug.  A baggage   claim check is slipped into Kevin's hand.                       BARBARA             Any message?                       KEVIN             Keep it coming.   INT. LOGAN AIRPORT - BAGGAGE CLAIM - BOSTON - 1968   We see Barbara's two red Samsonites being taken off the belt   by Kevin.   INT. LOGAN AIRPORT - GATE - BOSTON - 1968   Same scene repeated, except different clothes on all.  Maybe   Kevin is dressed a little better.                       KEVIN             More.   INT. LOGAN AIRPORT - GATE - BOSTON - 1968   The same scene repeated, same things changed again; now Kevin   is definitely dressed a little better.                       KEVIN             I need more.                       BARBARA             What do you want me to do?  I can only             take two bags, and I can't fly back here             everyday.                       KEVIN             I know, but I've got a feeding frenzy on             my hands.  Tell George this is small             potatoes.  We're missing out on some             serious cash.  You tell George.  He'll             think of something.   EXT. WINNEBAGO - 1968 - DAY   MUSIC CUE:   Tuna drives the big Winny.  Maria rides shotgun.  Barrelling   cross-country, it's a party on wheels.   EXT. WHITE OAK LODGE - AMHERST - 1968 - NIGHT   Kevin and his girl, RADA, are the welcoming committee as the   RV pulls into the parking lot.  They wave, slap the sides of   the Winnebago, and greet the prodigal sons with hugs and   handshakes.   INT. WHITE OAK LODGE - AMHERST - 1968 - LATER   George's room is rustic and plush.  A log fire burns and   empty champagne bottles adorn the surroundings.  The girls   have taken to each other.  The music is loud, and they dance   while the boys do business.  Kevin counts out the money.   It's stacked in piles all over the table.                       KEVIN             Twenty, forty, sixty, eighty, nine.             Twenty, forty, sixty, eighty, a             thousand.  It's all there.  Wow.  A             hundred and twenty-eight thousand             dollars.                       TUNA             Jesus Christ, I'm getting a boner just             looking at it.   But George isn't paying attention.  His wheels are turning.                       KEVIN             What's the matter, George?  Something             wrong?  You look like you just fucked             your mother.                       TUNA             Cheer up, man.  Half this money is ours.             We're fucking rich.                       GEORGE             It's not enough.                       KEVIN             What?                       TUNA             What the fuck are you talking about,             man?                       GEORGE             The set-up is wrong.  We're doing all             the legwork, and at the end of the day,             we're still paying retail.  We're             getting middled.                       KEVIN             So?                       GEORGE             So, we need to get to the source.                       TUNA             Source?  What about Derek?                       GEORGE             He's getting middled, too.  And Derek's             our partner.  What's good for us is good             for him.                       KEVIN             Okay.  So we need a source.  Where do we             start?                       GEORGE             Who speaks Spanish?   EXT. PUERTO VALLARTA - MEXICO - 1968 - DAY   MUSIC CUE.   SUPERIMPOSE: PUERTO VALLARTA, MEXICO   We PAN OFF the beautiful waters of Puerto Vallarta.  This is   a local beach on a Saturday afternoon.  The girls on the   beach are drinking coco-locos and swimming.   SERIES OF SHOTS - THE GANG LOOKING FOR A CONNECTION   George with a bartender.   Tuna and Dulli with cabbies.   George and Derek talking with a local man, RAMON, at a corner   bar.   Barbara, Maria and Rada talk with local girls.   EXT. OCEANA BAR - PUERTO VALLARTA - 1968 - DAY                       TUNA             This is bullshit, George.  We're never             going to find anything down there.                       KEVIN             You know, he's got a point.  We're             fucking Americans.  We stick out like             sore thumbs.                       DEREK             I don't think so.                       GEORGE             You guys are such babies.  You want to             go home, go.  Me, I'm not going to stop             until I find the fucking motherlode.                       RADA             Georgie, we're gonna get busted if we             keep this up.                       GEORGE             We're not gonna get busted.                       KEVIN             George, we'll wind up in a Mexican             prison getting fucked up the ass by one             of Maria's relatives.                       MARIA             Hey, fuck you, Dulli.  I'm not Mexican.             I'm Italian.                       BARBARA             You're Italian?                       KEVIN             Yeah, right.  Gonzales.  What is that,             Sicilian?                       TUNA             As far as I'm concerned, we're on             fucking vacation.   He grabs Maria, runs and does a huge belly-flop into the   water.  They all laugh.   SERIES OF SHOTS.   George and Barbara with local musicians on the beach.   George and Derek at a cab stand.   George talks with a bellboy in the lobby of a local hotel.   INT. COCOS FRIOS BAR - PUERTO VALLARTA - 1968 - DAY   George, Barbara, Tuna, Derek, Maria, Kevin, and Rada are at   the bar.  Ramon comes up to George, they briefly discuss and   George follows him out of the bar.   EXT. STREETS - PUERTO VALLARTA - 1968 - DAY   George and Ramon climb into a beat up V.W. bug and take off.   EXT. COUNTRYSIDE - PUERTO VALLARTA - 1968 - DAY   Fields and Farms.  The V.W. bug pulls up to an old ranch.   They get out of the bug and are greeted by SANTIAGO and his   THREE SONS.                       SANTIAGO             Ramon tells me you are looking for some             mota.                       GEORGE             Yes, I am.   Santiago moves to a tarp and pulls it back to reveal many   bales of green, seedless sinsemilla.                       SANTIAGO             For instance, something like this?                       GEORGE             Very nice.  I'll take it.                       SANTIAGO             Ha ha ha.  You are funny.   Really, how             much will you be needing?                       GEORGE             All of it.  As much as you've got.  A             couples thousand pounds.  I'll be back             in a week with a plane.                       SANTIAGO             Listen, Americano, it is very nice to             meet you, but maybe we are going too             fast.  You take a little and then come             back.                       GEORGE             I don't need a little.  I need a lot.                       SANTIAGO             Marijuana is illegal in my country, and             I believe in yours, as well.  We must be             careful.                       GEORGE             What if I brought you, let's say, fifty             thousand dollars?  Would that eliminate             some of your concerns?                       SANTIAGO             Amigo, you bring me fifty-thousand             dollars, and I have no more concerns.   EXT. SANTA MONICA AIRPORT - 1968 - DAY   A pair of boltcutters snaps the chain off a single-engine   Cessna.                       TUNA             I can't believe we're stealing a plane.                       KEVIN             Don't be such a pussy.                       GEORGE             It's fine.  We're not stealing it.             We're borrowing it.  And try to look             natural.  We've got company.   A MECHANIC working on the adjacent plane is giving them the   hairy eyeball.                       GEORGE (CONT'D)             Be cool.   The three boys nod their heads in acknowledgement and give a   small wave.  The mechanic smiles and waves back.   INT. CESSNA - 1968 - DAY   The engine is on and the propeller is spinning.  Kevin is at   the controls.  Tuna is not making the trip.  He pokes his   head in before shutting the cockpit.                       TUNA             You guys are fucking insane.   George reads from a flight manual.                       GEORGE             Alright, pull back the throttle...   The engine screams.                       GEORGE (CONT'D)             Not that far, only halfway.  You sure             you know what you're doing?                       KEVIN             Relax.  I've flown with my old man a             million times.  And he always told me,             the taking off part is easy, it's the             landing you've got to worry about.   EXT. SANTIAGO FARM - MEXICO - 1968 - DAY   The plane tries to land.  It's a clumsy one.  The Cessna is   tipping and touching, first one wheel, then another, almost   sideways before straightening out and stopping.  George and   Kevin hop out of the plane.  They ar