JACKIE BROWN
Jackie Brown
Screenplay by Quentin Tarantino
OPENING CREDITS
INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY
We hear the rhythm of funky seventies SOUL MUSIC.
Then SHE steps into FRAME.
She is JACKIE BROWN, a stewardess dressed in her CABO AIR
uniform. (A little shuttle airline that flies from Los
Angeles to Cabo San Lucas. Approximate flight time: forty
five minutes)
Jackie stands still as a people-mover slowly inches her
through the airport. The CREDITS APEAR and DISAPPEAR in
front of her.
Jackie Brown is a very attractive black woman in her mid
forties, though she looks like she's in her mid-thirties.
The people-mover reaches the end of the line, she steps
off.
She breezes through Customs and we follow her with a
STEDICAM as she strides through the airport... She gets
to her gate disappears inside the plane for a moment
comes back out sans flight bag picks up the microphone.
JACKIE
(into mike)
Flight 710 Cabo San Lucas, now
boarding Gate 12, first class only.
With a smile on her face, she collects passengers'
boarding passes as they board the plane.
FADE TO BLACK
TITLE CARD
"ORDELL ROBBIE"
FADE UP ON:
EXT. FIRING RANGE - DAY
VIDEO
A chorus line of six beautiful bikini-clad women, all
holding different automatic weapons, BLASTING away.
The cheap VIDEO TITLES to:
"CHICKS WHO LOVE GUNS"
Play over this image.
One bikini beauty is singled out. She's a gorgeous
brunette named SIDNEY. Sidney stands facing camera
holding a TEC-9 and describing it.
SIDNEY
(to camera)
Hi, I'm Sidney. And I love to TEC-9.
The popular TEC-9 is advertised by
its makers as being tough as the
toughest customer.
SIDNEY'S STATISTICS: Age, height, measurements, date of
birth, appear at the bottom left-hand corner. As Sidney
continues her sales pitch/demonstration, a BLACK MAN'S
VOICE begins talking over the video.
BLACK MAN (O.S.)
That's a TEC-9. It's a cheap ass
spray gun outta South Miami.
After a CLOSEUP of the TEC-9, Sidney FIRES the weapon.
BLACK VOICE (O.S.) (CONT'D)
Cost three-eighty retail. I get them
for two hundred and sell 'em for
eight.
INT. MELANIE'S BEAHC APARTMENT - NIGHT
The Black Voice belong to forty-five-year old ORDELL
ROBBIE.
Ordell wears clothes nice and likes wearing nice clothes.
Stylish, athletic wear (Reebok), heavy, black leather
jackets (Hugo Boss), warm-colored berets and baseball
caps to cover his balding head are Ordell's "look." At
this moment Ordell's wearing an open silk shirt.
Ordell narrates the video playing on the big-screen V.
(the most expensive thing in the apartment). He holds a
cocktail in one hand (screwdriver, his drink of choice)
and the remote control in the other, pacing the floor in
his I-can-talk-anybody-into-anything voice.
LOUIS GARA, who looks like he does his shopping at the
Salvation Army (dressed in a Hawaiian shirt and
dungarees), sits on the sofa staring blankly at the
video, drinking Jack Daniels on ice. Louis, white, also
in his mid forties, has lived over half of his life in
penal institutions. The experience has affected both his
body language and his thought process.
While acutely aware of the rhythm of life inside a
correction facility, in the real world his timing is
thrown. It's like a song he doesn't know the lyrics to
but attempt to sing anyway.
The third person watching the video is the person who
lives in this apartment, MELANIE RALSTON. Melanie, thirty-
three, is a tanned, blonde, California beach bunny. Like
the kind you se in the old Crown International movies
from the seventies like "Pom Pom Girls" "Malibu Beach"
and "Beach Girls," except Melanie is older than any of
those girls ever are. She's dressed in her Melanie-
uniform of stringy Levis cutoffs and a stringy bra top.
So far Melanie has been able to make a living out of
lying in the sun, always finding a generous, wealthy man
more than willing to pay her rent and pick up her tabs.
In her prime (twenty two) it was Japanese industrialists,
film production guys, and Middle Eastern businessmen who
kept Melanie. And it was places like the Bahamas,
Acapulco, and the Virgin Islands where they kept her.
But now, at thirty three, she lives in an apartment in
Hermosa Beach, California that Ordell pays for an drops
in and out of. She's curled up in a reclining chair,
smoking weed from a pipe, reading Movieline Magazine and
paying no attention to the video.
ORDELL
This TEC-9? They advertise it as
being the most popular gun in
American crime. Can you believe that
shit? It actually says that on the
little booklet that comes with it.
"Most Popular Gun in American Crime,"
like they're proud of that shit.
Ordell hits the fast-forward on his remote control.
Sidney is rushed off the screen and replace by CINDY, a
pretty, blonde bodybuilder clad in a red, white and blue
bikini, holding a Styer Aug.
ORDELL (CONT'D)
Check out this body-builder chick...
Now see what she got. That's a Styer
aug. Styer Aug's a bad motherfucker.
Listen.
Ordell punches up the volume.
Cindy BLASTS the Styer Aug, loud.
Ordell imitates the sound of the weapon.
ORDELL (CONT'D)
Shit's expensive, man. Comes from
Austria. My customers don't know shit
about it, so there ain't no demand.
(to Melanie)
Baby, I could use some more ice.
Melanie puts down the magazine, takes his cocktail glass
from him and moves to the kitchen.
ORDELL (CONT'D)
But put that bad boy in a flick,
every motherfucker out there want
one. I'm serious as a heart attack.
Them Hong Kong movies came out, every
nigga gotta have a forty-five. And
they don't want one, they want two,
cause nigga want to be "The Killer."
What they don't know, and that movie
don't tell you is a .45 has a serious
fuckin' jammin' problem. I always try
and steer a customer towards a 9-
millimeter. Damn near the same
weapon, don't have half the jammin'
problems. But some niggas out there,
you can't tell them anything. They
want a .45. The killer had a .45,
they want a .45.
Melanie comes back, hands Ordell his screwdriver, then
sits where she was.
ORDELL (CONT'D)
Thanks, Baby.
LOUIS
Who's your partner?
Ordell sits down on the couch. Melanie's reading
"Movieline Inside" magazine.
ORDELL
Mr. Walker. He runs a fishing boat in
Mexico. I deliver the merchandise to
him, gets it to my customers. On all
my bulk sales, anyway. Nigga didn't
have a pot to piss in or a window to
throw it out 'fore I set 'em up. Now,
motherfucker's rollin' in cash. He
got himself a yacht, with all kinds
of high tech navigational shit on it.
(back to video)
AK-47, the very best there is.
GLORIA, a tall, Amazonian, bikini-clad, black woman faces
camera and describes the AK-47.
ORDELL (CONT'D)
When you absolutely, positively,
gotta kill every motherfucker in the
room, accept no substitute. That
there is the Chinese one. I pay eight-
fifty and double my money.
The phone rings.
ORDELL(CONT'D)
Get that for me, will ya baby?
MELANIE
You know it's for you.
Ordell just stares at her.
ORDELL
Girl, you better not make me go over
there and put my feet to ya.
Louis keeps staring at he screen.
Melanie gets up, goes over to the counter that separates
the living room from the kitchen, picks up the phone,
says:
MELANIE
Hello.
Puts the phone down and says;
MELANIE (CONT'D)
It's for you.
Before Ordell knows it, Melanie is back in the reclining
chair, reclining back all the way.
Ordell, pissed, looks at her a moment before taking the
phone.
ORDELL
(into phone)
Yeah.
(pause)
Hey, Junebug, what's up
Louis sits on he couch, drinking his Jack Daniels,
watching the video.
Melanie lies back on the reclining chair, takes a hit off
her pipe, then says in a 'holding in smoke' voice;
MELANIE
(referring to the tape)
It's boring, isn't it?
LOUIS
I can sit through it once.
MELANIE
He thinks he's Joe Gunn now.
LOUIS
I'm impressed. He knows a lot.
MELANIE
He's just repeating shit he
overheard. He ain't any more a gun
expert than I am.
Holding up her pipe.
MELANIE
Want a hit?
LOUIS
Sure.
Louis takes a hit off the pipe.
MELANIE
When did you get out of jail?
LOUIS
Four days ago.
MELANIE
Where at?
LOUIS
Susanville.
MELANIE
How long?
LOUIS
Two months shy of four years.
MELANIE
Four years?
LOUIS
Uh-huh.
MELANIE
What for?
LOUIS
Bank robbery.
MELANIE
Really, I'm impressed.
Louis takes a drink of whiskey.
MELANIE
Four years that's a long fuckin time.
Louis nods his head in agreement.
Ordell hangs up the phone.
Ordell comes back, sitting down on the other side of
Louis.
ORDELL
See, what did I tell you? Man in New
York wants a 9 millimeter Smith and
Wesson Model 5946. Why does he want
it? It's the gun that nigga on "New
York Undercover" uses. Because of
that nigga, I can sell it to this
nigga for twelve-fifty.
LOUIS
What's your cost?
ORDELL
As low as two.
LOUIS
Are you serious?
ORDELL
That's what I been tellin' you. Start
adding these motherfuckin' figures
up, and you tell me this ain't a
business to be in.
The phone rings again.
Ordell looks at Melanie.
Melanie looks at Ordell.
They have a bit of a staring contest before she gets up
and gets the phone.
ORDELL (CONT'D)
I got me five M-60 machine guns.
These came straight from the Gulf
War. I sold me three of them so far,
twenty grand a piece.
LOUIS
That's good money.
ORDELL
Louis, this is it, man. I'm gonna
make me a million dollars out of
this. I already got me a half-a-
million sittin' in Mexico. When I do
this last delivery, I'm gonna make me
another half-million.
LOUIS
Then what?
ORDELL
I get out. Spend the rest of my life
spending.
Melanie sits back down in he chair.
ORDELL (CONT'D)
Who is it?
MELANIE
It's Beaumont.
KITCHEN
Ordell, drink in hand, picks up the receiver.
ORDELL
(into phone)
Beaumont¢Ordell. What's the problem?
(pause)
What the fuck you doin' in jail?
(pause)
What the fuck you doin' that for?
(pause)
Ain't you got better sense than to be
drivin' drunk carrying a goddam
pistol?
He listens to Beaumont on the other line - it's obvious
Beaumont's starting to freak out. Ordell changes his
tone.
ORDELL (CONT'D)
- Beaumont. Beaumont. Listen to me.
Number one, you need to chill out,
nigga. Bad as this shit is, this shit
ain't as bad as you think it is.
(pause)
Course you're scared. That's what
these motherfuckers get paid for
scarin' the shit outta ya. That's
their job. And my job is to get you
the fuck home so let me tell you what
is gonna happen... May I speak?...
Thank you... You gonna spend the
night in jail; it's too late to get
you out now. Tomorrow, they gonna
take you into court. I'm gonna be
there. Judge gonna set your bail. I'm
gonna pay your bail, they gonna cut
you loose. By tomorrow night, you'll
be back home, I promise.
(pause)
So just calm your ass down, and I'll
see you tomorrow.
(pause)
You owe me a helluva lot more than
one, nigga.
(laughs)
See you.
Ordell hangs up the phone.
CUT TO:
EXT. CHERRY BAIL BONDS - DAY
The store front window of Cherry Bail Bonds in Inglewood,
California. The name of the business is spelled out on
the window, which also includes a drawing of a fat red
cherry.
Ordell's BLACK MERCEDES CONVERTIBLE pulls up.
Ordell in the driver's seat. Louis in shotgun position.
INT. CHERRY BAIL BONDS - DAY
Inside Cherry Bail Bonds, looking out through the picture
window. We can read the name on the glass backwards.
Ordell and Louis appears in the window and enter the
building. Ordell carries a L.A. Lakers athletic bag.
An unidentified MALE VOICE, obviously on the telephone,
can be heard.
Ordell goes toward the voice and tells Louis to "hang
back."
MALE VOICE (O.S.)
... the judge doesn't give a fuck
about that. He's ready to habitualize
you. Is that what you want - you
wanna look at ten years?
The voice belong to MAX CHERRY, bail bondsman. Max, a
regular-Joe-type white guy in his fifties, sits behind
his desk talking on the phone. His eyes raise as he sees
Ordell approach him.
MAX (CONT'D)
(on phone)
Just overnight is all. Tomorrow I'll
get you out, I promise. But it means
I gotta pick you up tonight.
Ordell motion to the chair in front of Max's desk. Max
motions for Ordell to take a seat.
MAX (CONT'D)
(on phone)
Reggie, there ain't no two ways about
it. You're spending the night in
jail, but I already told you I'll get
you out tomorrow. Now where are you?
(pause)
You're at your mother's house, aren't
you?
Ordell lights up a cigarette. (Viceroy).
He notices a picture on the wall of Max with his arm
around a big, powerfully built black man. They're both
grinning.
Louis pours himself some coffee from a coffeemaker into a
small, white styrofoam cup. He picks up a jar of powdered
non-dairy creamer that's so dry he has to break off a
rock. Louis adds the rock of coffeemate to his beverage.
MAX (CONT'D)
(on phone)
Okay. Just stay put till I come for
you.
(pause)
Reggie, do yourself a really big
favor and be there when I get there.
He hangs up the phone.
Ordell sits in front of the desk, smiling at him and
smoking.
MAX (CONT'D)
How can I help you?
ORDELL
(indicating the Viceroy)
Where would you like me to put my
ash?
Max looks at him for a moment.
MAX
Use that coffee cup on the desk.
Ordell picks up the coffee cup, which still has a little
bit of coffee in it, and flicks his ash.
ORDELL
And I need me a bond for ten
thousand.
Max throws a look past Ordell to Louis.
ORDELL (CONT'D)
Oh, that's just my white friend,
Louis. He's got nothing to do with my
business. We just hangin together.
We're on our way to a cocktail
lounge.
From across the room, Louis nods his head in Max's
direction.
Max looks at him a moment, then back to Ordell.
ORDELL (CONT'D)
(returning to the photo)
Who's that big Mandingo nigga you
gotcha arm around?
Max looks at him a moment and says;
MAX
That's Winston. He works here.
ORDELL
He's a big one. You two tight?
MAX
Yeah.
ORDELL
It was our idea to take the picture,
wasn't it?
Max looks at Ordell, getting his drift, then says;
MAX
So, you want a ten-thousand dollar
bond. What've you got for collateral?
ORDELL
Gonna have to put up cash.
MAX
You have it with you?
Ordell picks up his Lakers bag and puts it in the empty
chair next to him.
ORDELL
It's in my bag.
MAX
You have cash. What do you need me
for?
ORDELL
C'mon, you know how they do. Black
man comes in with ten thousand, they
wanna fuck with 'em. First off, they
gonna wanna know where I got it.
Second, they gonna keep a big chunk
of it - start talkin' that court cost
shit. Fuck that shit, Jack. I'll go
through you.
MAX
Cost you a thousand for the bond.
ORDELL
I know that.
Louis just stands, feeling uncomfortable, in the other
room drinking coffee.
MAX
Who's it for? A relative?
ORDELL
Fella named Beaumont. They have him
up at county. It started out drunk
driving, but they wrote it up
"possession of a concealed weapon."
Dumb monkey-ass had a pistol on him.
MAX
Ten thousand sounds high.
ORDELL
They ran his name and got a hit. He's
been in before. Besides, Beaumont's
from Kentucky, and I think they're
prejudiced against black men from the
South out here.
MAX
He takes off and I gotta go to
Kentucky to bring him back, you pay
the expenses.
ORDELL
You think you could do that?
Max taking papers out of the drawer...
MAX
I've done it.
... picking up the pen...
MAX (CONT'D)
What's his full name?
ORDELL
Beaumont. That's the only name I
know.
Max looks at Ordell, but doesn't ask him the obvious
question.
Max picks up the phone.
MAX
(on phone)
Records office.
Max on hold, looks at Ordell.
Ordell smiles.
MAX (CONT'D)
(back on the line)
Hello, this is Max Cherry. Cherry
Bail Bonds. Who's this?
(pause)
Hi, Vicki. Look, Vicki, I need you to
look up the booking card and rough
arrest on a defendant named Beaumont.
(pause)
That's all I have. I believe it's a
surname but I'm not sure. Thanks.
Louis enters the area, standing over Ordell.
LOUIS
I'm going to wait in the car.
ORDELL
Sure.
(to Max)
We almost done, ain't we?
MAX
Getting there.
ORDELL
You go wait in the car. Wait a
minute.
Ordell pulls out a heavy-duty keychain with a shitload of
keys on it.
ORDELL
Take the keys, man. Listen to music.
LOUIS
Which one is for the car?
Ordell finds it. While he goes through the keys, Vicki
comes back on the line.
Max speaks with her as he fills out his papers.
ORDELL
(holding a key)
This one's for the ignition...
(holding a little black
box)
... but you gotta hit this thing to
shut the alarm off and unlock the
door.
LOUIS
What do I do?
ORDELL
You ain't got to do nothing. Just
point at it and push the button.
You'll hear the car go "bleep." That
means the alarm's off and the doors
are open.
LOUIS
Okay.
ORDELL
Now play the volume as loud as you
want but don't touch my levels. I got
them set just the way I want 'em.
Louis nods and goes out.
EXT. CHERRY BAIL BONDS - DAY
Louis walks out of the office. He goes up to Ordell's
black Mercedes. He points the little black box at it. The
car goes BLEEP.
He gingerly approaches it, opens the door and climbs
inside.
INT. MAX CHERRY'S OFFICE - DAY
Max hangs up the phone.
MAX
(to Ordell)
Beaumont Livingston.
ORDELL
Livingston, huh?
MAX
On his prior, he served nine months,
and he's working on four years'
probation.
ORDELL
You don't say.
MAX
Do you know what he's on probation
for?
ORDELL
Haven't a clue.
MAX
Possession of unregistered machine
guns.
ORDELL
Will they consider this a violation
of his probation?
MAX
They do consider this a violation of
his probation. Your boy's looking at
ten years, plus the concealed weapon.
ORDELL
Man, he won't like that. Beaumont
don't got a doin' time disposition.
MAX
I need your name and address.
ORDELL
Ordell Robbie. O-R-D-E-L-L. R-O-B-B-I-
E. 1436 Florence Boulevard. Compton
90222.
MAX
House or apartment?
ORDELL
House.
MAX
Now I need you to count your money.
Ordell hands him the Lakers bag. Max takes the money out
putting it on the desk.
ORDELL
Hope you don't mind me askin' where
you keepin' my money till I get it
back. In your drawer?
Max begins counting it.
MAX
Across the street a Great Western. It
goes in a trust account. You'll need
to fill out an Application for
Appearance Bond, an Indemnity
Agreement, a Contingent Promissory
Note. That's the one, if Beaumont
skips and I go after him, you pay the
expenses.
ORDELL
Beaumont ain't going nowhere.
(he takes a pen out of
his pocket)
Where do I sign?
Max pulls the forms from his desk, and lays them in front
of Ordell. Max goes back to counting the money. Ordell
reads the first agreement then says;
ORDELL (CONT'D)
(reading the form)
Hey, Max.
MAX
(still counting money)
Yes.
ORDELL
(still reading form)
I was wondering. What if before the
court date gets here, Beaumont gets
hit by a bus or something and dies.
(he puts the form down
and looks at Max)
I get my money back, don't I?
CUT TO:
A BLACK FINGER
Pressing a BLACK BUTTON next to the name, "BEAUMONT
LIVINGSTON".
INT. BEAUMONT'S APARTMENT - NIGHT
BEAUMONT LIVINGSTON, wearing no shirt, sweatpants, and
smoking a fatty answers the intercom, which buzzes
loudly. We can hear JAY LENO interviewing a CELEBRITY on
TV OFFSCREEN.
BEAUMONT
(into the speaker)
Who is it?
EXT. BEAUMONT'S APARTMENT - NIGHT
Ordell stands outside the security gate of Beaumont's
Hollywood apartment.
EXTREME CLOSEUP - Ordell's lips talking into the intercom
speaker.
ORDELL
It's your benefactor, nigga. Buzz me
up.
EXTREME CLOSEUP - Beaumont's finger pressing the entry
button.
EXTREME CLOSEUP - The doorknob on the security gate,
BUZZING. Ordell's hand comes into frame twisting it open.
Beaumont opens his apartment door, fatty between his
fingers. He sees Ordell approach.
Ordell greets him, arms spread out in hug mode, with a
big smile across his face.
ORDELL
Look at you and your free ass. Come
over and give me a motherfuckin' hug.
Ordell and Beaumont embrace.
BEAUMONT
What the fuck can I say? I'm serious,
man. What the fuck can I say? Thank
you... thank you... thank you.
ORDELL
Who was there for your ass?
BEAUMONT
You were there for me.
ORDELL
Who?
BEAUMONT
You.
Laughing his hustler's laugh and bumping Beaumont's fist
hard.
ORDELL
You goddam right!
Beaumont laughs.
ORDELL
You see,ļit works like this. You get
your ass in trouble, I get your ass
out. That's my job. And I don't mind
tellin ya, nigga, it's steady work.
BEAUMONT
I'm still scared as a motherfucker,
Ordell. They talkin' like they
serious 'bout me doin' that machine
gun time.
ORDELL
Naw, man. They just tryin' to put a
fright in your ass.
BEAUMONT
If that's what they want to do,
they're doin' it.
ORDELL
How old is that machine gun shit?
BEAUMONT
Three years.
ORDELL
Three years. That crime's old, man.
They ain't got room in prison for all
the motherfuckers out there killin'
people. How they gonna find room for
you?
BEAUMONT
That's not what they're tellin' me.
ORDELL
That's why they call it "fuckin' with
ya." Now you wanna hear how we
retaliate?
Beaumont takes a hit off the fatty and nods his head.
ORDELL (CONT'D)
Tomorrow I pick you up, take you to
Century City, meet my lawyer. Now let
me tell you a little bit about my
lawyer. His name is Stacin Goins and
this nigga is a junkyard dog! He's my
own private Johnie Cochran. In fact,
he'd kick Johnie Cochran's ass. And
like Johnie Cochran, dude hates
fuckin' cops. I'm serious, this man
lives to fuck with the police. So as
a favor, I had him look at your case.
Stacin told me you aint got shit to
worry about. They just fuckin' wit
ya. So we sic the junkyard dog on
their ass, make 'em -
(he bumps fist with Beaumont)
... Stop fuckin' wit ya!
Beaumont gesture inside his apartment.
BEAUMONT
Hey, c'mon in, man. I was just - you
know - smokin' a fatty, watchin' TV.
ORDELL
Naw, man. I gotta be someplace. I was
kinda hopin you could come with me.
BEAUMONT
What'd ya mean?
ORDELL
Look, I hate to be the kinda nigga,
does a nigga a favor - then BAM -
hits a nigga up for a favor in
return. But I'm afraid I gotta be
that kinda nigga.
BEAUMONT
What?
ORDELL
I need a favor.
BEAUMONT
That requires me goin out tonight?
ORDELL
A bit.
BEAUMONT
Aaaaawww man, I wasn't plannin' on
goin no place. It's twelve o'clock,
man. I'm home, I'm high -
ORDELL
Why the fuck you at home? Cause I
spent ten thousand dollars gittin'
your ass home.
(changes tone)
Look, I gotta problem. I need help,
and you can help me.
This has the desired effect.
TIME CUT:
WITH ORDELL WAITING OUTSIDE THE DOOR
Beaumont comes out of the apartment, sporting Nikes and a
Queen Latifah t-shirt. He locks his front door and walks
with Ordell to his car. They talk the whole way. We
STEDICAM in front of them the whole way.
BEAUMONT
What's the problem?
ORDELL
Well, it ain't so much a problem a a
situation. Remember I sold those
three M-60 machine guns outta the
five I got?
BEAUMONT
Uh-huh.
ORDELL
I'm gonna sell the other two tonight.
This group of Koreans in Koreatown
have started a Neighborhood Watch
kinda thing. And they want a few
weapons so the neighborhood niggas
know they mean business. So I'm gonna
sell 'em my two machine guns tonight.
Only problem, I aint never dealt with
these Koreans before. Now I aint
worried. Asians are by and large real
dependable. They don't want no
trouble. You might argue about price,
but you aint gotta worry about them
shootin' you in the back. But I got
me kind of a rule. Never do business
with nobody you ain't never done
business with before without backup.
That's why I need you, backup.
BEAUMONT
Man, I ain't ready to be goin' out
nowhere -
ORDELL
- Let me finish. Can I finish?
BEAUMONT
Go ahead.
CUT TO:
TRUNK
The trunk of a car is opened.
Ordell bends down into the trunk and pulls out a pump
action shotgun. Beaumont obviously doesn't want any part
of any Ordell game that requires a pump action shotgun as
a playing piece.
ORDELL
Now you're gonn be in the trunk
holding onto the shotgun. And I'm
going to tell them I'm opening up my
trunk to show 'em my goods. I open up
the trunk, you pop up, rack that bad
boy.
BEAUMONT
Fuck that shit, man. I ain't shootin'
anybody.
ORDELL
What the fuck I tell you. You don't
hafta shoot nobody. Just hold the
gun. They'll get the idea.
BEAUMONT
I ain't gittin' in that trunk.
ORDELL
We're only goin' to Koreatown. You'll
be in there - ten minutes.
BEAUMONT
Uh-uh. I ain't riding in that trunk
no minutes. Why don't I just ride
with you?
ORDELL
You can't ride with me. The surprise
effect is ninety percent of it.
BEAUMONT
Well, I'm sorry, man, but I ain't
gittin' in that trunk.
ORDELL
I can't believe you do me this way.
BEAUMONT
I ain't doin' you no way. I just
ain't climbin' in that trunk. I got a
problem with small places.
ORDELL
Well, my ass has got a problem
spending ten thousand dollars of my
own goddam money to get ungrateful,
peanut-head niggas outta jail, but I
do it -
BEAUMONT
Look, man, I know I owe you -
ORDELL
- Well, if you owe me, git your ass
in the trunk.
BEAUMONT
- I wanna help you, but I don't wanna
be locked in the trunk of no car.
ORDELL
You think I wanted to spend ten
thousand dollars on your ass?
Beaumont starts to speak -
ORDELL (CONT'D)
Answer the question, nigga. Do you
think I wanted to spend the thousand
dollars on your ass? Yes or no?
BEAUMONT
Course you didn't.
ORDELL
But the only way to help you was to
do that, so I did it. (pause) Okay,
how 'bout this? After we're through
fuckin' with these Koreans, I take
you to Roscoe's Chicken and Waffles.
My treat.
Beaumont smiles. So does Ordell.
ORDELL (CONT'D)
Just think, man. That Scoe's special,
smothered in gravy and onions. Get a
side of red beans and rice.
Uuuuummmmm, that's some good eatin'.
Beaumont and Ordell laugh together... the Beaumont says;
BEAUMONT
Now exactly how long I gotta be in
this motherfucker.
CUT TO:
TRUNK
Beaumont in the trunk, holding the shotgun. The trunk lid
is SLAMMED closed.
EXT. / INT. OLDSMOBILE - NIGHT
Ordell walks around the car, climbs into the plush
interior of the Olds and turns on the engine. It comes to
life with a SOFT RUMBLE. He puts a tape in the player
inside the dash.
The tape is labeled "ORDELL'S JAMS."
Cool, old-school R&B fills the cab.
Ordell cruises, moving his head to the rhythm and
mouthing the words.
He drives for awhile, just groovin' on the music...
... then stops.
Ordell switches the engine and the music off. The cab
goes black.
He leans over the passenger seat, opening the glovebox. A
tiny light turns on when the glovebox is opened. It's the
only light in the cab. Ordell leaves it on.
In silence he takes one glove out and puts it on his
right hand. Then with his gloved hand, reaches in the
glovebox and pulls out a five-shot .38 snubby. He closes
the glovebox.
The cab goes black.
EXT. OLDSMOBILE - NIGHT
The Olds is parked out in the middle of some urban
nowhere.
Ordell gets out, sticks the snubby in his pants, and
walks to the back of the Olds. He sticks his key in the
trunk and says;
ORDELL
Don't worry. It's just me.
The trunk opens. Beaumont is hunched on his side with the
shotgun.
ORDELL (CONT'D)
I was wondering. Did any federal
people come visit you in jail and I
should be watching my ass?
Beaumont doesn't say anything.
ORDELL (CONT'D)
You wouldn't tell me if they did and
I wouldn't blame you.
Ordell takes the snubby out of his pants.
Beaumont quick-racks the pump shotgun, pulls the trigger,
and hears the click you hear from an empty weapon. He
racks it again, CLICK then BAM. Beaumont is shot hard in
the chest. He goes back into he trunk.
Ordell puts one more shot in his head, BAM, tosses the
weapon on top of the dead body and closes the trunk.
Ordell's Beaumont problem is solved. He climbs back into
the cab, turns on the engine. We hear the old-school R&B
song come back on, but VERY LOW.
Ordell drives the Olds away.
CUT TO:
INT. MOTEL - NIGHT
Louis sits on a bed in a flophouse motel room, flipping
from one channel to another with a remote control,
drinking cocktails from a can.
The phone rings. He answers it.
LOUIS
Hello.
INT. OLDSMOBILE (PARKED) - NIGHT
Ordell is sitting parked in the comfy-cozy cab of the
Olds, listening to soul music with his tiny cellular
phone next to his ear.
ORDELL
Louis, my man. Watcha doin'?
LOUIS
Oh, I dunno. Watching TV.
ORDELL
Whatcha watchin'?
LOUIS
Nothin' really. Just kinda goin' back
and forth. They had some black girl
from some black show on Jay Leno. I
watched that for a bit, but I kept
flippin channels cause I didn't know
who she was.
ORDELL
Guess where I am?
LOUIS
I dunno.
ORDELL
I know you don't know. I said guess.
LOUIS
The moon - I dunno
ORDELL
I'm talkin' to you from the comfy-
cozy interior of an Oldsmobile parked
outside your nasty-ass welfare motel.
LOUIS
You're outside?
ORDELL
Uh-huh.
LOUIS
C'mon in.
ORDELL
Naw, man. I just told you, I'm
comfortable. I ain't about to walk
into that roach motel and get
uncomfortable. You bring your ass out
here.
LOUIS
I'm in my underwear.
ORDELL
Then put your goddam drawers on, and
get your ass out here. I got
somethin' to show you.
EXT. MOTEL - NIGHT
Louis, having just thrown on some pants, walks outside
his room and sees Ordell's big, black Oldsmobile parked
in front of the motel.
As he approaches, the power window on the driver's side
comes down, revealing a comfortable Ordell sitting back
in his seat looking up at Louis.
ORDELL
You know what your problem is, Louis?
Louis doesn't say anything, he just puts his hands in his
pockets.
ORDELL (CONT'D)
You think you're a good guy. When you
go into a deal you don't go in
prepared to take that motherfucker
all the way. You go in looking for a
way out. And it ain't cause you're
scared neither. It's cause you think
you're a good guy, and you think
there's certain things a good guy
won't do. That's where we're
different, me and you. Cause me, once
I decide I want something, aint a
goddam motherfuckin' thing gonna stop
me from gittin' it. I gotta use a gun
get what I want, I'm gonna use a gun.
Nigga gets in my way, nigga gonna get
removed. Understand what I'm saying?
CLOSEUP: KEY GOING INTO TRUNK
Trunk opens showing Beaumont shot in the chest with half
his head blown off.
Louis looks inside, see Beaumont, looks at Ordell, then
back to Beaumont.
Ordell closes the trunk.
LOUIS
Who was that?
ORDELL
That was Beaumont.
LOUIS
Who was Beaumont?
ORDELL
An employee I had to let go.
LOUIS
What did he do?
ORDELL
He put himself in a situation where
he was gonna have to do ten years in
the penetentiary, that's what he did.
(taking out a Viceroy and
lighting it up)
And if you know Beaumont, you know
there aint no way in hell he can do
no ten years. And if you know that,
you know Beaumont's gonna go any
goddam thing Beaumont can to keep
from doin' those ten years including
telling the Federal government
everything they want to know about my
ass. Now that, my friend, is a clear
case of him or me. And you best
believe it aint gonna be me. You know
what I'm sayin'? You gonna come in on
this with me, you gotta be prepared
to go all the way. I got me so far
over a half-a-million dollars sittin'
in lockboxes in a bank in Cabo San
Lucas. Me and Mr. Walker make us one
more delivery, I'm gonna have me over
a million. You think I'm gonna let
this little cheese eatin' nigga here
fuck that up? Shit, you better think
again. 'Fore I let this deal get
fucked up, I'll shoot that nigga in
the head, and ten niggas look just
like em.
(pause)
Understand what I'm sayin'?
LOUIS
Yeah.
ORDELL
So we on the same page then?
LOUIS
I follow.
Ordell smiles (not his hustler smile, but a genuine
smile).
Louis grins.
They both bump fists.
FADE TO BLACK:
TITLE CARD:
"JACKIE BROWN"
The sound of airplanes landing and taking off can be
heard underneath this...
INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY
A SUBTITLE reads:
"LOS ANGELES INTERNATIONAL AIRPORT PARKING GARAGE"
We look down a row of cars in an enclosed parking garage
at LAX. Jackie Brown, the Cabo Air stewardess from the
opening credits, walks into frame. We dolly behind her as
she walks down the row of cars.
VOICE (O.S.)
Miss Brown.
She turns towards the voice/camera.
Young plainclothes cop, MARK DARGUS, walks up to her,
holding open his I.D. case.
DARGUS
Hi, I'm Detective Mark Dargus.
L.A.P.D. can I ask what you have in
that bag?
JACKIE
The usual things. I'm a flight
attendant with Cabo Air.
Young plainclothes cop RAY NICOLET, enters the scene.
NICOLET
Can I be of some assistance?
As Jackie pulls the cigarettes (Davidoffs) from her
purse, she says to Ray;
JACKIE
I doubt it.
(to Dargus)
Who's your friend?
DARGUS
This is Special Agent Ray Nicolet
with Alcohol, Tobacco, and Firearms.
Would you mind if we looked in that
bag?
Jackie lights her cigarette with a yellow Bic lighter.
JACKIE
Would I mind? Do I have a choice?
DARGUS
You have the right to say "no." And I
have the right to make you wait here
with Ray while I go get a warrant.
And if I don't want to go through all
that trouble, I could just take you
in on suspicion.
JACKIE
Suspicion of what?
NICOLET
All he wants to do is peek in your
bag. I'll watch he doesn't take
anything.
Jackie shrugs and says;
JACKIE
Go ahead.
Dargus lays the flight bag on the pavement, gets down on
his haunches, and starts feeling through her things.
CLOSEUP FLIGHT BAG
A soiled blouse, uniform skirt, - then a manila envelope,
a fat one, nine-by-twelve.
Jackie watches him straighten the clasp...
ENVELOPE
Opens it. Out drops several packets of one hundred dollar
bills secured with rubberbands.
Nicolet whistles.
Dargus looks up at her.
DARGUS
I'd say there's about, oh, fifty
thousand dollars here. What would you
say Ray?
NICOLET
That looks like fifty thousand
dollars from here.
JACKIE
Not saying anything at the moment.
DARGUS
This is your money?
JACKIE
If I were to tell you "no it
isn't..."
Dargus smiles.
DARGUS
You should know if you bring in
anything over ten thousand you have
to declare it. You forgot or what?
You could get a two hundred and fifty
thousand dollar fine, plus two years
in prison. Now you want to talk to us
about it, or you want to talk to
Customs?
JACKIE
I'm not saying another word.
NICOLET
Listen, Jackie, Hope you don't mind
if I call you Jackie. They're a bunch
of fuckin' pricks in Customs.
Something about that job makes them
kinda hard to get along with. Now, do
you want to talk with a bunch of
suspicious, disagreeable people like
them, or a couple good-hearted guys
like Mark and myself.
Nicolet smiles.
CLOSEUP JACKIE
Doesn't smile back.
DISSOLVE TO:
CLOSEUP JACKIE
Sitting in a chair facing the two offscreen detectives.
Jackie lights up a cigarette. We don't leave the CLOSEUP
until noted.
INT. DARGUS OFFICE - DAY
DARGUS (O.S.)
Hey, this is my office. There's no
smoking.
JACKIE
Arrest me.
Nicolet laughs O.S.
DARGUS (O.S.)
We could, smart ass... or we could
work out what's known as a
Substantial Assistance Agreement.
That is if you're willing to
cooperate. Tell us who gave you the
money and who you're giving it to.
Jackie doesn't sat anything... she just smokes.
NICOLET (O.S.)
You got a good lawyer?
DARGUS (O.S.)
Can she afford a good one is the
question. Otherwise she'll be in
Sybill Brand three weeks easy before
the Public Defender gets around to
her.
NICOLET (O.S.)
Ever heard of a fella named Beaumont
Livingston?
Not a word.
NICOLET (O.S.) (CONT'D)
Don't know Beaumont? That's funny
'cause Beaumont knows you. Well he
did know you, Beaumont was found in
the trunk of a car - dead. Shot
twice. Once in the head and once in
the chest.
Jackie, she puts the "ool" in "cool."
NICOLET (O.S.) (CONT'D)
I had the chance to talk to Beaumont
yesterday. You see, like you,
Beaumont found himself in some hot
water. He was looking at ten years he
was pretty sure he didn't want to do
and was understandably concerned. Now
maybe you don't know Beaumont, but
Beaumont knew you, and maybe so does
the guy who blew Beaumont's head off.
Not a word.
DARGUS (O.S.)
If you don't want to talk to us, I
guess we'll just have to hand you
over to Customs.
Jackie puts out her cigarette.
JACKIE
Okay, let's go.
She stares down the cops.
DARGUS AND NICOLET
We cut to the detective and the special agent for the
first time in the scene.
DARGUS
You know, Miss Brown, there's
basically three types of people that
we come along in the performance of
our duty. One is, INNOCENT PEOPLE.
Victims, witnesses, innocent
bystanders... You ain't any of these.
Then there's two; CRIMINALS. These
sonabitches have dedicated their
lives to a life outside the law. That
ain't you either. Where you belong is
the third category. The category we
refer to as LOSERS.
Jackie's eyes don't even narrow at the insult. She just
says without expression;
JACKIE
I'm not a loser.
DARGUS
Oh, you're both? In 1985 you were
flying for TWA and got busted for
carrying drugs. You were carrying
them for a pilot husband of yours. He
did time and you got off. But that
ended your career with the big
airlines. Cut to thirteen years
later. You're forty-four years of
age. You're flying for the shittiest
little shuttle-fucking piece of shit
Mexican airline that there is. Where
you make a whopping twelve-thousand
dollars a year. That ain't a hulluva
lot to show for a twenty year career.
And to top it off, you're going to
jail. Now true, the judge, even with
your prior, will probably only give
you a year or two. But this doesn't
seem like the time of life you got
years to throw away.
(pause)
Now, we don't like trying losers like
they're criminals. But in the absence
of a criminal, we will try you. Now,
wasn't this money given to you by an
American living in Mexico by the name
of Cedric Walker?
Jackie remains unmoved by this monologue.
Nicolet joins back in.
NICOLET
You know, ol' Beaumont wasn't much
for talkin', either. Yeah, he told us
about you and Mr. Walker, but whoever
the hell it was he worked for out
here, he wouldn't say. Could it be
the same person you were supposed to
deliver this money to?
Jackie just stares at them, saying nothing.
Dargus sits behind his desk, with Jackie's flight bag on
it.
DARGUS
I'd like your permission to open this
again. So we'll know exactly how much
money we're talkin' about here.
Jackie gets up from her chair, walks over to the desk,
unzips the bag, takes out the manila envelope and drops
it on the desk.
JACKIE
Help yourself.
DARGUS
While you're at it, let me see what
else is in there. You mind?
She reaches in the bag and brings out a pocketbook.
JACKIE
My pocketbook.
DARGUS
What's in it?
JACKIE
Beauty products.
Nicolet takes the manila envelope.
NICOLET
I'll count the money.
Dargus points at a clear plastic bag with pills and
packets in it.
DARGUS
What's this?
JACKIE
That's my diet shit.
Nicolet takes out the bills from the envelope.
DARGUS
Let's see what else is in there.
Nicolet takes the bills and looks inside the envelope.
His expression changes to a shit-eating grin.
NICOLET
Oh, Miss Brown?
JACKIE
Yeah?
Nicolet pulls out a clear cellophane sandwich bag with a
half-inch or so of white powder inside.
NICOLET
And what would this be, Sweet and
Low?
JACKIE
What the fuck is that shit?
NICOLET
I know what it looks like.
JACKIE
You planted that shit on me.
Nicolet and Dargus laugh at that.
JACKIE
Look, that shit ain't mine.
NICOLET
(to Dargus)
It isn't enough for Trafficking, but
how 'bout Posession with the Intent
to Distribute?
DARGUS
Oh, I wouldn't be so sure. What with
all the cash, I think I could go with
Conspiracy to Traffic.
JACKIE
I'm tellin' you, I don't know nothin'
about that fuckin' shit.
NICOLET
Well then, Miss Brown. Why don't you
have a seat and tell us who might
know something about this fuckin'
shit.
Jackie just looks at the two grinning Cheshire cats as
the balance of power rolls over on her.
CUT TO:
EXT. TORRANCE MUNICIPAL COURTHOUSE - DAY
A Los Angeles County Jail bus pulls up behind the
Torrance Court House.
INT. COUNTY JAIL BUS - DAY
Jackie, now wearing County Jail blues, sits next to
another BLACK WOMAN. Their hands cuffed together.
The bus stops. A rough-looking FEMALE COUNTY SHERIFF
unlocks the gate that encloses the prisoners. Then
explains in a you-better-do-exactly-what-I-say manner,
how they're going to leave the bus.
EXT. COUNTY JAIL BUS - DAY
MANY WOMEN, including Jackie, all wearing county blues
and handcuffed to each other, exit the bus.
The SHERIFFS lead them into the back entrance to the
court house.
INT. HALLWAY COURTHOUSE - DAY
Dargus and Nicolet confer with the PUBLIC DEFENDER, an
attractive blonde woman in a nice business suit.
DARGUS
If she'll cooperate with us, we'll
turn possession with intent into
plain ol' Possession, and she can
bond outta here for one thousand
bucks. If she doesn't help us, we'll
go for the Intent and request a
twenty-five-thousand dollar bond.
INT. COURTROOM - DAY
Jackie and the Public Defender. Jackie, in her county
blues; Public Defender in her nice suit.
JACKIE
You tell those guys they'll have to
do one helluva lot better than that
before I'll even say 'hi' to them.
PUBLIC DEFENDER
Well, that's the State's offer. If
you plead to possession and tell
L.A.P.D. what they want to know, your
bond will be set at one-thousand
dollars. If you don't, L.A.P.D. will
request one at twenty- five thousand
based on your prior record and risk
of flight. If you don't post it or
don't know anyone who can, you'll
spend six to eight weeks in County
before your arraignment comes up.
JACKIE
Who's side are you on?
PUBLIC DEFENDER
I beg your pardon?
JACKIE
What if I plead guilty?
PUBLIC DEFENDER
And cooperate? You might get
probation.
JACKIE
If I don't cooperate?
PUBLIC DEFENDER
With the prior? You could get
anywhere from a year to five
depending on the judge. You want to
think about it? You got two minutes
before we're up.
COURT IN SESSION
It's a full schedule in court today. Jackie sits with a
bunch of other females wearing county blues in the
defendant's area (where the jury sits during a jury
trial)
Dargus and Nicolet sit in the courtroom.
The JUDGE reads the next case.
JUDGE
Brown. Case number 700324.
Jackie rises amongst the other defendants.
The P.D. rises.
Dargus, the arresting officer, rises.
JUDGE
The charge is possession of Narcotics
with the Intent to Distribute. How
does your client plead?
PUBLIC DEFENDER
She wishes to stand mute, your honor.
JUDGE
Very well...
(to Dargus)
... Detective Dargus - You're the
arresting officer in his case,
correct?
DARGUS
That's correct, your honor.
JUDGE
You have a recommendation for bail?
DARGUS
Yes, I do, your honor. Based on the
defendant's prior conviction and the
extreme possibility of flight due to
her occupation, the State requests a
bond of no less than twenty-five
thousand.
The Judge looks at the report, then at Jackie...
JUDGE
I'll set bond at ten thousand and set
the date of August 14th for the
arraignment.
JACKIE
When is that, your honor?
JUDGE
That's six weeks from now, Miss
Brown. We'll continue this matter
then. Owens, case 72242.
Jackie sits down.
Dargus sits down next to Nicolet. They smile and giggle
together.
Jackie sees them giggle like fifth graders. It fucking
pisses her off.
DIFFERENT PERSPECTIVE
We go from a CLOSEUP of a boiling Jackie, to a
perspective from the back of the courtroom.
We see Jackie in the defendant's area.
We see the two happy detectives walk past us on their way
out of the courtroom.
ORDELL
Sits in the back, watching the proceedings without any
expression. When he's seen enough, he stands up and out
of the shot leaving an EMPTY FRAME.
FADE TO BLACK
TITLE CARD
"MAX CHERRY"
FADE UP ON:
INT. MAX CHERRY'S OFFICE - DAY
The bathroom door in Max's office. We hear a toilet flush
behind it. The door opens, and Max Cherry emerges,
zipping up his pants with a TV guide in his hand.
He looks up and stops dead.
Ordell sitting oh-so comfortably in the chair in front of
Max's desk.
ORDELL
Unh... unh... unh... I din't hear you
wash your hands.
Max looks at Ordell, then takes his place behind his
desk.
MAX
Comfortable?
ORDELL
The door was opened, so I just came
right in.
MAX
I can see that. Why?
ORDELL
I got some more business for ya.
MAX
Oh, yeah? What did he do?
ORDELL (O.S.)
She is an airline stewardess. Got
caught coming back from Mexico with
some blow. They set her bond this
afternoon at ten thousand. Now, what
I was thinkin', you could use the ten
thousand you owe me from Beaumont and
move it over on to the stewardess.
MAX
The bond for possession is only a
thousand.
ORDELL
They fuckin' wit' her. They callin'
it Possession with Intent. A black
woman in her forties gets busted with
less than two ounces on her, they
call that shit Intent. Same shit
happened to a movie star. It's
Possession.
MAX
It still sounds high.
ORDELL
She had, I believe it was... fifty
grand on her, too. There was a cop at
the hearing. Young guy with L.A.P.D.
wanted her bond set at twenty-five
thousand, saying there was a risk of
flight. Jackie being a stewardess and
all.
MAX
Before we start talking about
stewardess, let's get Beaumont out of
the way first.
Sitting back in the chair - almost grinning - but not
quite.
ORDELL
Somebody already did.
MAX
What?
ORDELL
You didn't hear?
MAX
Hear what?
ORDELL
Somebody with a grudge blew
Beaumont's brains out - hey, that
rhymes - blew Beaumont's brains out.
MAX
Did the police contact you?
ORDELL
Very first motherfuckin' thing they
did. They see I put up a big money
bond on my boy, they start thinking
with that where-there's-smoke-there's
fire logic. They roust my ass outta
bed, ten o'clock in the morning.
Fuckin' scare my woman, Sherona, half
to death. She thought they were gonna
take my ass away for sure.
MAX
The stewardess. Do you know her last
name?
ORDELL
(smiles)
Brown, Jackie Brown.
MAX
What does she do for you?
ORDELL
Who says she does anything for me?
She's my friend. When my friends get
into trouble, I like to help 'em out.
MAX
Beaumont worked for you.
ORDELL
That's what the police thought. I
told them I'm unemployed, how could I
have anybody work for me? Now I bail
out Jackie, I'm liable to have the
police on me again, huh? Wanting to
know was she doing things for me, was
she bringing me that money!
MAX
Was she?
ORDELL
Is this, me and you, like a lawyer-
client relationship? The lawyer can't
tell nothing he hears?
MAX
You're not my client until you get
busted and I bond you out.
ORDELL
If there's no - what do you call it -
confidentiality between us? Why would
I tell you anything?
MAX
Cause you want me to know what a
slick guy you are. You got
stewardesses bringing you fifty
grand.
ORDELL
Why would a stewardess bring me fifty
grand?
MAX
You want me to speculate on what you
do. I'd say you're in the drug
business, except the money's moving
in the wrong direction. Whatever
you're into, you seem to be getting
away with it, so more power to you.
Okay you want another bond, and you
want to move over the ten thousand
you put down on Beaumont to the
stewardess. That means paperwork. I
have to get a death certificate,
present it to the court, fill out a
receipt for return of bond
collateral, then type up another
application. An indemnity agreement -
ORDELL
- Jackie aint got time for all that
shit -
MAX
- I'm telling you what I have to do.
What you have to do, in case you
forgot, is come up with premium of a
thousand bucks.
ORDELL
I got it. I just don't got it on me.
MAX
Well, come back when you do, and I'll
bond out the stewardess.
ORDELL
Man, you know I'm good for it.
Thousand bucks ain't shit.
MAX
If I don't see it in front of me,
you're right. It ain't shit.
ORDELL
Man, you need to look at this with a
little compassion. Jackie ain't no
criminal. She ain't used to this
kinda treatment. I mean, gangsters
don't give a fuck - but for the
average citizen, coupla nights in
County fuck with your mind.
MAX
Ordell, this isn't a bar, an you
don't have a tab.
ORDELL
Just listen for a second. We got a
forty-year-old, gainfully employed
black woman, falsely accused -
MAX
Falsely accused? She didn't come back
from Mexico with cocaine on her?
ORDELL
Falsely accused of Intent. If she had
that shit - and mind you, I said "if"
- it was just her shit to get high
with.
MAX
Is white guilt supposed to make me
forget I'm running a business?
Ordell gives up and takes an envelope out of his pocket.
ORDELL
Okay, man. I got your money. But
don't you ever ask me for no fuckin'
favor.
INT. MAX'S CADILLAC (MOVING) - NIGHT
It's early evening; and Max's powder-blue Seville is
driving to the County Jail with a client, a young
Hispanic woman of twenty named ANITA.
MAX
Tomorrow I'll talk to your probation
officer. Karen's a good kid, but
she's mad at you, because you lied to
her. This business about your
grandmother's funeral
ANITA
I went. I did. I took my mother and
little brother.
MAX
But you didn't ask permission. You
broke a trust. If you had asked,
Karen probably would have let you.
I'm sure she would.
ANITA
I know. That's why I went.
MAX
But then you told her you were home.
ANITA
Sure, 'cause I didn't ask her if I
could go.
Max gives up.
MAX
I don't know. Maybe it's a language
problem.
(getting stern)
Anita, you ever cause this much
heartache over something that could
easily be avoided, I'll never write
you again. You understand?
ANITA
I understand.
MAX
I mean it. I don't care how many
times your mother calls or how much
she cries.
Like an exasperated teenager.
ANITA
I understand.
MAX
Then say "Yes, Max. I understand."
ANITA
Yes, Max, I understand.
INT. L.A. COUNTY JAIL - NIGHT
POV THROUGH A WIRE MESH CAGE
Max and Anita, side by side. Anita's hands are cuffed
behind her back.
MAX
Dropping off and picking up. Dropping
of Lopez, Anita. Picking up Brown,
Jackie.
We're at the admitting desk of the L.A. County Jail. Max
undoes Anita's handcuffs, while a SHERIFF waits to take
her away.
ANITA
So you're gonna call Karen tomorrow?
MAX
I'll call her.
ANITA
Won't forget?
MAX
I won't forget.
She kisses Max on the cheek and the Sheriff takes her
away.
ANITA
Thanks, Max. See you later.
Max puts the cuffs away, sits on a bench, takes out a Len
Deighton paperback and begins to read.
FADE TO BLACK
FADE UP:
MAX
Still reading his novel. We hear offscreen, a SHERIFF'S
voice.
SHERIFF (O.S.)
Max! Here she comes.
Max puts his book down and see -
Jackie being led into the Admitting Area by TWO SHERIFFS.
She's wearing her stewardess uniform and carrying a small
envelope with her belongings in it and her shoes. When
Max was imagining a woman in her forties, he had someone
with a bit of wear and tear on them in mind. But this
Jackie Brown's a knockout.
As he watches her, she steps out of the County Jail
slippers she was wearing and slips into her shoes.
He approaches, handing her his card.
MAX
Miss Brown... I'm Max Cherry. I'm
your bail bondsman.
She takes the card and shakes his hand saying nothing.
MAX (CONT'D)
I can give you a lift home if you'd
like?
JACKIE
Okay.
INT. MAX'S CADILLAC - NIGHT
Max puts his key in the ignition, when Jackie asks;
JACKIE
Are you really a bail bondsman?
MAX
Who do you think I am?
She doesn't answer.
MAX (CONT'D)
I gave you my card there.
JACKIE
Can I see your I.D.?
MAX
You're serious?
She waits.
Max digs the case out of his pocket, hands it to her,
then reaches up and turns on the light above them for her
to see.
MAX'S ID: SURETY AGENT LICENSED BY THE STATE OF
CALIFORNIA
JACKIE
Who put up my bond? Ordell?
MAX
In cash.
She looks straight ahead.
Max shifts into drive.
Max rolls down his window at the front gate. A DEPUTY
comes out of the gatehouse and hands through the window
Max's .38 revolver, cylinder opened. Max hands the Deputy
his pass in exchange for the gun, says "thanks", then
puts the .38 in his glovebox in front of Jackie. He
drives on.
MAX AND JACKIE (MOVING)
JACKIE
Can we stop for cigarettes?
MAX
Sure, ever been to the Riverbottom?
JACKIE
I don't think so.
MAX
It's okay. It's a cop hangout.
JACKIE
Couldn't we just stop at a seven-
eleven?
MAX
I thought you might want a drink?
JACKIE
I'd love one, but not there.
MAX
We could stop at the Hilton by the
airport.
JACKIE
Is it dark?
MAX
It's kind of a sports bar
JACKIE
That doesn't sound dark.
MAX
Why does it need to be dark?
JACKIE
'Cause I look like I just got outta
jail, that's why. You droppin' me off
at home, right? There's a place by
me.
MAX
Great.
CUT TO:
EXT. THE COCKATOO INN - NIGHT
A big neon sign of a cockatoo sits on op of a red brick
inn.
INT. THE COCKATOO INN - NIGHT
CLOSEUP - A KNOB is pulled out.
Jackie picks up a pack of Mild Seven's cigarettes from
the bottom of a cigarette machine. She crosses the bar to
join Max, sitting at a small table waiting for her to
return.
The Cockatoo Inn is just what Jackie was looking for. A
dark and red cocktail lounge in Hawthorne off of
Hawthorne Boulevard by the apartment where the stewardess
lives (about ten minutes from LAX)
The clientele of the Cockatoo is an older, black crowd
and an even older white crowd who'd been coming here
years before it became a black bar.
A JUKEBOX plays soft, old-school R&B.
Jackie and Max sit side by side at a small table, lit by
a bar candle in a red glass thing.
Max drinks Bushmills over crushed ice. Jackie drinks
white wine. Jackie opens her Mild Sevens, offering one to
Max.
MAX
No thanks, I quit three years ago.
As she lights her cigarette.
JACKIE
You gain weight?
MAX
Ten pounds. I lose it and put it back
on.
JACKIE
That's why I don't quit. If I can't
fly anymore, I'm gonna have a bitch
of a time gettin' my brand.
MAX
What's your brand?
JACKIE
Davidoffs. I get 'em in Mexico.
They're hard to find here. I was
locked up with the last two getting
legal advice from a woman who was in
for bustin' her boyfriend's head open
with a baseball bat.
MAX
Was she helpful?
JACKIE
She was more helpful than the fuckin'
Public Defender.
(she takes a sip of wine)
I don't know - I guess what I need is
a lawyer, find out what my options
are.
MAX
You know, I figured out the other day
I've written something like' fifteen
thousand bonds since I've been in the
business. I'd say about eighty
percent of them were at least drug
related. If you want, I can help you
look at your options.
Jackie takes the talk in a different direction.
JACKIE
You're not tired of it?
MAX
(smiles)
I am, as a matter of fact.
A moment of silence between them, they both take drinks.
MAX (CONT'D)
What have they told you?
JACKIE
So far I've been told I can cooperate
and get probation, maybe. Or, I can
stand mute and get as much as five
years. Does that sound right?
MAX
I'd say if you're tried and found
guilty you won't get more than a year
and a day. That's State time. Prison.
JACKIE
(under her breath)
Shit.
MAX
But they won't want to take you to
trial. They'll offer you simple
Possession, a few months of County
time, and a year or two probation.
(pointing to her drink)
How 'bout another?
JACKIE
Sure.
Max gestures to an older black cocktail waitress named
ROWEN for two more.
MAX
You know who put the dope in your
bag?
JACKIE
Yeah, but that's not what this was
about. They were fuckin waitin' for
my ass. They knew I had that money,
they even knew the amount. The one
who searched my bag, from L.A.P.D.,
Dargus, hardly even looked at it.
"Oh, I'd say there's fifty thousand
here. What would you say?" But all
they could do was threaten me and
hand me over to Customs, and I could
tell they didn't want to do that.
MAX
They wanted you to tell them what you
know.
JACKIE
I had 'em too. I burnt those two
Starky and Hutch motherfuckers down.
Then their asses lucked out and found
that coke.
MAX
What did they want to know?
JACKIE
Who gave me the money and who I was
giving it to. And some guy they found
in a trunk with his head blown off.
Said it was him who told them 'bout
me.
The Waitress comes with the drinks.
ROWEN
Can I get you two some popcorn?
MAX
No, thanks.
Rowen exits.
MAX (CONT'D)
That would be Beaumont Livingston.
JACKIE
That's him. How do you know 'em?
MAX
I wrote him on Monday. They found him
dead on Tuesday.
JACKIE
Ordell pick up his bond?
MAX
Same as you. Ten thousand.
JACKIE
The federal agent kinda half hinted
Ordell might of done Beaumont.
MAX
You mentioned a guy from L.A.P.D.,
but you didn't mention the Federal.
JACKIE
I didn't?
MAX
No, you didn't. What branch?
JACKIE
Ray Nicolet with Alcohol, Tobacco,
and Firearms.
Max puts it together.
MAX
He's the one who wants you.
JACKIE
It was the other guy who busted me.
MAX
'Cause if he busted you, you'd play
hell bonding out of federal court. He
doesn't want you mad at him, he wants
you to tell him what you know. He
uses you to get a line on Ordell,
make a case, then take him federal.
You know what Ordell's into?
JACKIE
I have a pretty good idea. Ordell
aint no bootlegger and I doubt he's
smugglin' Cuban cigars. So that only
leaves one thing an A.T.F. man would
be interested in.
Jackie waits a moment before answering, weighs things in
her mind and makes a decision.
JACKIE
I used to bring over ten thousand at
a time. That's the legal limit, so I
never brought more than that.
MAX
How many trips did you make?
JACKIE
With ten thousand? Nine.
MAX
He's got that kinda money?
JACKIE
It's all in lock boxes in a Mexico
bank. But he's got a problem. He's -
what do you call it when you got
money, but don't have cash?
MAX
Cash poor?
JACKIE
That's it. He's cash poor. He kept on
me till I finally said okay. I'll
bring whatever fits in a nine-by-
twelve envelope. I got paid five
hundred dollars, and his friend, Mr.
Walker, in Mexico gave me the
envelope.
MAX
If you knew bringing anything over
ten thousand was against the law, why
not pack a hundred grand?
Jackie gets exasperated.
JACKIE
Whatever it was had to fit in my bag
and not hit you in the face if the
bag was opened. This ain't solvin' my
problem. I gotta figure out a way to
either keep my job or get out of
trouble. I'm of today, but if I can't
leave the country I'm out of a job.
And if I don't got a job, I can't
hire a lawyer.
MAX
Ask A.T.F. They might give you
permission.
JACKIE
Yeah, if I cooperate.
MAX
Well, Jackie, you got caught, you're
gonna have to give 'em something.
JACKIE
But if all I can give 'em is Ordell's
name - I don't really know shit about
what he does or how he does it - That
don't give me much to bargain with.
MAX
Give 'em what you got. Offer to help.
Show a willingness to be helpful. You
want to stay out of jail, don't you?
Max looks at Jackie thinking about something.
MAX (CONT'D)
What'dya think?
CLOSEUP JACKIE
JACKIE
I think maybe I have more options
than I thought.
DISSOLVE TO:
CLOSEUP: ORDELL
Sitting in his black Mercedes, parked across the street
from Jackie's apartment building in Hawthorne. Johnny
Cash is playing inside his car.
EXT. JACKIE'S APARTMENT COMPLEX - NIGHT
ORDELL'S POV
Through the windshield, he sees Max's powder-blue
Cadillac Seville pull up to Jackie's apartment. She gets
out, ten bends down and talks to him through the window
of the passenger side door. Then makes a goobye gesture
and turns, walking into her apartment complex. Max drives
off.
ORDELL
While Johnny Cash continues crooning, Ordell puts on his
gloves. Then opens up his glovebox, taking out a little
Targa .22 pistol. He steps out of the car, slipping the
pistol into his coat pocket. We STEDICAM in front of him
as he walks across the street to Jackie's apartment. Once
inside the complex, Ordell passes us and WE FOLLOW BEHIND
HIM, up to Jackie's ground-floor apartment door.
He gives it a soft knock with one knuckle. He waits a
moment, then Jackie opens the door.
ORDELL
How you doing, Ms. Jackie?
JACKIE
I was expecting you. Come in.
Jackie holds the door open for him.
INT. JACKIE'S APARTMENT - NIGHT
Ordell steps inside. He moves over by a halogen lamp in
the living room.
ORDELL
You got some booze?
Jackie still standing by the door. She doesn't look
frightened.
JACKIE
I got some vodka in the freezer.
ORDELL
Got some o.j.?
JACKIE
Yeah.
Ordell turns the halogen lamp to dim.
ORDELL
Well, then, why don't you be a good
hostess and make me a screwdriver?
JACKIE
Sure.
Jackie moves into the kitchen area. Ordell follows her,
hanging in the doorway, while she makes the drink. Jackie
doesn't turn on the light.
ORDELL
You gonna thank me?
Taking a glass from the cupboard.
JACKIE
For what?
ORDELL
Who you think got your ass outta
jail?
Opening the freezer and filling a glass with ice cubes
and taking out vodka.
JACKIE
The same guy who put me in, thanks a
lot.
ORDELL
Hey, you get caught with blow, that's
our business.
Opens refrigerator, light cuts into the kitchen. She
takes out orange juice, then closes the door.
JACKIE
It wasn't mine.
Ordell has to stop and think.
Jackie makes screwdriver.
ORDELL
Oh, shit. I bet it was that present
Mr. Walker was sending Melanie.
Yaaaah, he's the one musta put it in
there if you didn't. Oh, man, that
shit's uncalled for, baby, and I
apologize. I 'magine they asked you a
shitload of questions about it, huh?
All that money, want to know where
you got it?
Jackie doesn't answer. She just walks up to Ordell
handing him his yellow drink in the darkness. Ordell
takes it, continues to look at Jackie.
ORDELL (CONT'D)
I'magine they asked who you givin' it
to, too.
JACKIE
They asked.
ORDELL
And what was your answer?
JACKIE
I said I wanted to talk to a lawyer.
ORDELL
You positive about that? You weren't
nervous and let something slip by
mistake? If you did, I ain't mad, I
just gotta know.
Jackie says to his face;
JACKIE
You're not asking the right
questions.
Then she walks past him back to the living room. She goes
over to the halogen lamp, turning the light up brighter,
then moves by the door, still standing and looking at
Ordell in the kitchen doorway.
JACKIE
Beaumont Livingston.
ORDELL
I knew it.
JACKIE
And they asked if I knew Mr. Walker.
Ordell by the halogen lamp. He turns it back to dim.
ORDELL
Yeah?
JACKIE
I didn't tell 'em anything.
Ordell moves slowly towards Jackie.
ORDELL
My name come up?
Jackie slowly shakes her head "no."
Ordell directly in front of Jackie, he gently places his
gloved hands on her shoulders.
ORDELL (CONT'D)
You say anything about me?
Jackie shakes her head "no."
ORDELL (CONT'D)
Well, that's mighty honorable of you.
Ordell's gloved fingertips move up her collarbone to her
throat, gently touching her skin. Jackie locks eyes with
his, but still shows no fear.
ORDELL (CONT'D)
This fella Beaumont, they say what
happened to him?
JACKIE
They told me.
At this moment the film becomes a:
SPLIT SCREEN
On the RIGHT-HAND SIDE is Ordell with his hands barely
touching Jackie's throat. On the LEFT-HAND SIDE is Max
driving home in his Seville.
MAX IN CAR
Max drives home, an almost moony romantic look no his
face. He can't stop thinking about Jackie. During the
night she'd have a gleam in her eyes, the look saying;
"WE COULD HAVE FUN". Unless she was appraising kinda him
with the look, making a judgment and what it said was; "I
COULD USE YOU". Either way it was a turn-on.
Max pulls into the driveway of his small house in
Torrance.
ORDELL AND JACKIE
ORDELL
Yeah, somebody musta been real mad at
Beaumont. Or they were afraid of
what he might say to keep from doin
some time. I'magine from time-to-time
they asked you a whole shitload of
questions. And you didn't give 'em no
answer?
Jackie shakes her head from side to side.
Ordell moves his thumbs from her collarbone to the middle
of her throat.
ORDELL
You scared of me?
Jackie shakes her head from side to side without her eyes
leaving his. Reaches over the seat
ORDELL
You got a reason to be nervous with
me?
With his hands on Jackie's throat, staring into the
woman's eyes, from BELOW FRAME then feels something hard
the fuck against his crotch. Neither break eye contact.
Ordell hears a CLICK.
Can't believe it.
MAX IN CAR
Max takes his keys, then to the glove box...
THE GLOVE BOX
The gun is gone.
MAX
Where is it?
A CLOSEUP OF MAX'S GUN IN ORDELL ORDELL'S CROTCH
ORDELL
Is that what I think it is?
JACKIE
What do you think it is?
CLOSEUP GUN IN CROTCH
ORDELL
I think it's a gun pressing against
my dick.
JACKIE
You thought right... Now take your
hands from around my throat, nigga.
Ordell flashes his hustler's smile and lets go.
END OF SPLIT SCREEN
Jackie turns Ordell around, gun firmly in his back, and
pushes him against the wall.
ORDELL
What the hell you doin'?
JACKIE
Shut your ass up and grab the wall!
Jackie has Ordell against the wall and is frisking him
the way a cop would. She finds the .22 pistol in his
pocket
ORDELL
Now, baby, that's got nothin' to do
with you. I just carry that. You been
listenin' to them cops too much.
JACKIE
The cops didn't try and strangle my
ass.
ORDELL
Damn, Jackie, I was just playin' with
you.
JACKIE
Well, I ain't playin with you. I'm
gonna unload both these
motherfuckers, you don't do what I
tell you. Understand what I'm saying?
ORDELL
Baby, I ain't come here -
She shoves both guns in Ordell's back.
JACKIE
I said, you understand what I'm
saying
ORDELL
I understand woman, damn!
JACKIE
Go sit over in that chair.
Ordell moves over to a chair across from the couch.
Ordell still tries bullshit...
ORDELL
I'm tellin' you, those cops been
fuckin' wit your mind. They turn
black against black, that's how they
do.
JACKIE
Shut your raggedy ass up and sit
down.
Ordell sits.
JACKIE (CONT'D)
Put both hands behind our head.
Ordell does...
ORDELL
This shits gettin silly now...
Jackie turns the halogen lamp to light.
JACKIE
I gotta tell you to shut up one more
time, I'm gonna shut you up.
Jackie sits down on the couch, holding a gun in each
hand, both pointed dead at Ordell.
A coffee table lays between them.
Ordell, hands behind his head, continues to mumble...
ORDELL
I just came here to talk.
JACKIE
Way I see it, me and you only got one
thing to talk about. What you willing
to do for me?
Ordell looks at her a moment and says;
ORDELL
Well, I can get you a good lawyer -
Jackie shakes her head "no!"
JACKIE
Let's get realistic, baby. Sooner or
later they're gonna get around to
offering me a plea deal, and you know
that. That's why you came here to
kill me.
ORDELL
- Baby, I didn't -
JACKIE
- It's okay. I forgive you. Now,
let's say if I tell on you, I walk.
And if I don't, I go to jail.
Ordell, very interested.
ORDELL
Yeah?
JACKIE
One hundred thousand put in an escrow
account in my name, if I'm convicted
up to a year, or put on probation. If
I have to do more than a year, you
pay another hundred thousand.
Ordell just takes in what the woman said.
ORDELL
I got a problem...
JACKIE
All your money's in Mexico.
Ordell has to smile at the woman.
ORDELL
Yeah.
JACKIE
I been thinkin about that, too, and I
got me a idea.
TIME CUT:
DOORWAY
Ordell goes through FRAME, out the door, Jackie steps
into FRAME, and talks with him.
JACKIE
I'll talk to the cops tomorrow and
tell you if it's on.
ORDELL (O.S.)
Talk to you tomorrow.
Ordell leaves.
Jackie shuts the door, and leaves FRAME.
FADE TO BLACK
OVER BLACK
We hear a knock-knock on the door.
FADE UP ON:
SAME SHOT DORWAY
Except it's day. Jackie in a bathrobe steps into FRAME
and opens the door. She says to the yet-unseen-by-camera
visitor;
JACKIE
You want your gun, don't you? Come
in. I'll go get it.
She leaves FRAME, and Max enters it, closing the door
behind him. Max stands by the door, a little surprised
and a touch pissed at the nonchalantness.
As he stands on the threshold to her living room, waiting
for her to return with the gun, feeling foolish, he
thinks about hauling her ass back to the stockade.
That'll change her expression, he'd bet.
She returns from the bedroom, gun in hand, wearing a sort
of sad smile.
JACKIE (CONT'D)
Max, I'm sorry. I was afraid if I
asked to borrow it you'd say no.
You'd have to. Would you like some
coffee?
Then, as quickly as the anger rose in Max, it dissipates
completely, leaving only curiosity.
MAX
If you're having some.
JACKIE
I am. Have a seat.
Jackie head to the kitchen, making the coffee. Max sits
at the dining table off of the kitchen.
MAX
You get a chance to use it?
JACKIE
I felt a lot safer having it. My milk
went bad when I was in jail.
MAX
Black's fine.
She puts a finger in the coffeemaker and starts scooping
coffee in it.
MAX (CONT'D)
You want to hang on to it awhile? It
wouldn't be legal, but if it makes -
Jackie goes to the sink, filling the coffee pot.
JACKIE
Thanks, but I have my own now.
MAX
You went out this morning and bought
a gun?
She turns off the water.
JACKIE
What, I couldn't hear you?
MAX
You went out this morning and bought
a gun.
Pouring water into the coffee machine.
JACKIE
Let's just say I got one, okay?
She turns on the coffeemaker.
MAX
Somebody loan it to you?
JACKIE
Yeah.
Jackie leaves the kitchen.
Max's eyes follow her to the living room.
JACKIE (CONT'D)
Want to hear some music?
MAX
Sure.
Jackie ends her knees and goes through a stack of records
leaned up against the wall on the floor.
JACKIE
I couldn't wait till I got home last
night and wash my hair.
MAX
It looks nice.
She finds a record, takes it out of the pile, removes the
album from the sleeve, and places it on her stereo
turntable.
MAX (CONT'D)
You never got into the whole CD
revolution?
JACKIE
I got a few. But I can't afford to
start all over again. I got too much
time and money invested in my
records.
The song starts; it's an old romantic soul music number
from the early seventies.
MAX
Yeah, but you can't get new stuff on
records.
Jackie picks up her cigarettes off the coffee table.
JACKIE
I don't buy new stuff that often.
Jackie enters the kitchen door frame by Max. She lights a
cigarette and stands.
Max listens to the soul song.
MAX
This is pretty.
JACKIE
Uh-huh.
MAX
Who is this?
JACKIE
The Delfonics.
MAX
'76?
JACKIE
'74, I think.
MAX
It's nice.
They listen for a moment.
JACKIE
I called in sick this morning. As far
as the airline knows, I'm still
available.
MAX
Are you?
JACKIE
I don't know yet. 'm going to talk
with Dargus and Nicolet today. Do
what you suggested. Offer to help and
see what happens.
MAX
What I meant was have a lawyer do the
negotiating for you.
JACKIE
I want to talk to them first. I know
more now about Ordell's money.
MAX
Well, if the A.T.F. guy is the one
who wants you, that'll only interest
him up to a point.
JACKIE
It's a lot of money. About a half-a-
million dollars. All of it in Cabo in
safe deposit boxes and more comin in.
MAX
How'd you find that out?
JACKIE
He told me last night.
MAX
He called you?
JACKIE
He came by.
MAX
What?... What'd you do?
JACKIE
We talked.
Jackie goes back in the kitchen. Coffee's almost there,
but not quite. She pulls down two mugs from a cabinet.
JACKIE (CONT'D)
He had his doubts at first. But he's
always trusted me an wants more than
anything to believe he still can.
MAX
Why?
JACKIE
He needs me. Without me all that
money is just gonna sit over there in
Cabo. Sugar?
MAX
No thanks. There's gotta be other
ways to get it out.
She pours the coffee.
JACKIE
Maybe, but 'm the only one he's ever
used. He can't trust his other
people. They're crooks. He can try
bringing I in himself, but Ordell
sure don't want to go through no
Customs line. Either he recruits
another Cabo stewardess, or he
continues to trust me. I made him
feel he still can.
Jackie walks to the table with the two coffee mugs and
sits down.
MAX
How do you get it out?
JACKIE
Same way I been don', but first they
got to let me go back to work.
MAX
You're gonna offer to set him up?
JACKIE
If I get let off. Otherwise, fuck
'em.
MAX
It's very possible Ordell's killed
somebody.
JACKIE
I ain't goin' to jail, and I ain't
doin' that probation thing again.
Max watches her a moment
Jackie takes a drink of coffee.
JACKIE (CONT'D)
How do you feel about getting old?
MAX
You're not old. You look great.
JACKIE
I'm asking how you feel. Does it
bother you?
MAX
It's not really something I think
about.
JACKIE
Really?
MAX
Okay, I'm a little sensitive about my
hair. It started falling out ten
years ago. So I did something about
it.
JACKIE
How'd you feel about it?
MAX
I'm fine with it, or I wouldn't of
done it, I did it to feel better
about myself, and I do. When I look
in the mirror it looks like me.
JACKIE
It's different with men.
MAX
You know, I can't really feel too
sorry for you in that department.
Jackie smiles.
MAX (CONT'D)
In fact, I'd make a bet that except
possibly for an Afro - you look
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