Go (1999) Written by John August http://movieclips.com/yr7R-go-movie-collateral/ GAINES You come here out of the blue asking for twenty hits. Just so happens twenty is the magic number where intent to sell becomes trafficking. RONNA Todd, I would never fuck you like that. GAINES How would you fuck me? Would you strap it on? He climbs over the sofa to a dresser. In a drawer, he digs down through a pile of socks to find a wide-mouthed bottle. And an empty Tylenol bottle. Blows out the dust. GAINES What’s the occasion? RONNA There’s this big Christmas party thing. Warehouse, you know. A bunch of us are doing sort of a pre-party thing. GAINES Friends of yours. You’re not going to go and try to sell this on me, are you? RONNA No. GAINES You’re not dealing. RONNA Swear to God. He transfers pills from the big bottle to the Tylenol bottle. GAINES This is the real thing. Pharmaceutical grade, not that crunchy herbal rave shit. Don’t let anyone double dose or you’ll be frying eggs off ‘em in the emergency room. One hit per headbanger. RONNA Understood. He snaps the cap on tight. GAINES Twenty at fifteen is 300. RONNA Fifteen? I was thinking more like ten. GAINES You already did strap it on. RONNA It’s just that I know you charge Simon ten. GAINES Inflation’s a bitch. He offers it to Ronna, who doesn’t reach out for it. RONNA Here’s the deal. There’s 20 of us. I need all of this. But I only have two hundred. I mean, that’s all I have. Gaines undoes the cap of the Tylenol bottle, starts pouring the pills back out. RONNA (CONT’D) No, hear me out. This two-hundred is like a downpayment. You give me the stuff, I get the extra hundred from them, then I come right back and pay you. GAINES See, that would be doing you a favor, and you know how I feel about favors. RONNA I could leave something with you. Collateral. He gives her a quick look over. GAINES I already got a fucking Swatch. I need something I know you’ll come back for. Ronna looks at the Tylenol bottle in his hands. Thinking... EXT. THE BEAST - NIGHT Ronna kneels down beside the passenger window. Knocks on the glass. Claire rolls down the window. MUSIC spills out. RONNA Claire, could you come up with me for a sec? EXT. DOORSTEP - NIGHT The release BUZZER stops as Ronna pulls open the door to the stairs. Claire just stands there, disbelieving, making no motion to go in. RONNA Forty-five minutes. Hour, tops. You just have to sit there. CLAIRE Hello! He’s a drug dealer. RONNA Jesus, Claire. Don’t get 818 on me here. How much shit have I done for you? This is nothing. CLAIRE No. No! You’re making me an accessory. RONNA Claire. That bracelet of mine you’re wearing is an accessory. You are just some chick who’s sitting in an apartment. That’s it. It’s not just the matter at hand, but years of minor adjustment and one-upsmanship. Ronna finally drops the bravado. RONNA Okay, no bullshit. I need this. I don’t get this money, I get evicted. My ass is out the street.

The Man with the Golden Arm (1955) Screenplay by Walter Newman, Lewis Meltzer and Ben Hecht (uncredited), from the novel by Nelson Algren http://www.youtube.com/watch?v=12Eq0IKDe1A&feature=player_detailpage#t=2322s Louie: Five bucks. Frankie Machine: Last time it was two. Louie: That was more than six months ago before you went away. They keep raising the price on me. Frankie Machine: I keep doing that, I'd have to find something to take its place. Louie: The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn. Frankie Machine: The monkey will die waiting. He ain't climbing up on my back no more. Never again. I mean it. Louie: Sure. Sure.

Blow (2001) Screenplay by David McKenna and Nick Cassavetes, based on the book by Bruce Porter http://www.youtube.com/watch?v=w8mFh_QeLgI EXT. BASSETERRE HOTEL - ANTIGUA - POOLSIDE - 1976 - DAY Diego and George sit with five other Colombians, most notably, a man named CESAR ROZA. The mood is not friendly. DIEGO Fifteen kilos. Seven and a half in each suitcase. You receive a hundred thousand dollars upon delivery. GEORGE Okay. CESAR Not so fast. I would like to go over the details. GEORGE What details? I put the coke in the false bottoms and take it through customs. CESAR Tell me about the suitcases. What is the make and the color? DIEGO Samsonites. Red. No tags. Cesar thinks about it. CESAR Hmm. I see. Will there be clothes in the suitcase? GEORGE What? Yeah, sure. CESAR Whose cloths? Your clothes? GEORGE My clothes, your clothes. What does it matter? CESAR I would like to know the contents. Every detail is important. GEORGE What are we doing here, Diego? This guy's a clown. He's talking about clothes. CESAR I demand to know everything. I do not trust six-hundred thousand dollars of coca to someone I don't know. GEORGE It's a lousy fifteen kilos. I piss fifteen kilos. CESAR The coca is my responsibility! GEORGE You're a fucking amateur! DIEGO Gentlemen, please. There is no need to be impolite. Cesar, this will be fine. You have my word. George, Cesar is just being thorough. That's all. CESAR Very well. But just remember, Mr. Jung. I will be with you the whole way. And I will be watching.

Jay and Silent Bob Strike Back (2001) written by Kevin Smith Jay: [singing] Fuck, fuck, fuck, fuck, / Mother, mother fuck, / Mother, mother fuck, fuck / Mother fuck, mother fuck, / Noise noise noise, / 1, 2, 1, 2, 3, 4, / Noise, noise noise / Smokin' weed, smokin' wizz, / Doin' coke, drinkin' beers, / Drinkin' beers, beers, beers, / Rollin' fattys, smokin' blunts, / Who smokes the blunts? / We smoke the blunts. / Rollin' blunts and smokin'... Teen #2: Uh, let me get a nickel bag. Jay: [singing] / Fifteen bucks, little man, / Put that shit in my hand, / If that money doesn't show, / Then you owe me, owe me, owe, / My jungle love, yeah, / Owe-ee, owe-ee, owe, / I think I want to know ya, know ya, / Yeah, what? http://www.youtube.com/watch?v=ON0iqz4ento

Boogie Nights (1997) written by Paul Thomas Anderson 172 EXT. RAHAD JACKSON'S HOUSE - NIGHT The Corvette pulls up in front of a tacky one-story house in the hills of Studio City. The Corvette stops and CAMERA DOLLIES IN QUICK. Dirk, Reed, Todd sit in the parked car. In sotto; DIRK Okay. TODD You guys ready for this? REED I am. TODD Dirk? DIRK Me? Yeah . . . yeah, I'm ready. I was born ready. TODD Alright. Todd takes out a .45 AUTOMATIC PISTOL and loads a cartridge. DIRK What the fuck is that? TODD It's a big gun. DIRK I know, but why? TODD Just in case, just in case. Let's go. They pile out of the damaged Corvette and walk up. CAMERA (STEADICAM) follows them. REED I'm nervous. TODD It'll be okay. REED Let's get in and out, in and out. TODD Not too quick -- that looks suspicious. Lemme do the talking -- They arrive and ring the doorbell. CUT TO: 173 INT. RAHAD JACKSON'S HOUSE - NIGHT - THAT MOMENT A really big fat black BODYGUARD comes to the door and opens up: BODYGUARD Hello. Come on in. The bodyguard leads them down a hall and into a tacky and spacious, sunken LIVING ROOM. They're greeted by a man in a silk robe, slightly open to show some bikini briefs and a thin sheen of sweat covering his body: RAHAD JACKSON (late 40s). Off in a corner of the room, a YOUNG ASIAN KID is casually throwing some FIRECRACKERS around. Rahad is DANCING around by himself to NIGHT RANGER, "SISTER CHRISTIAN." He spots the men; RAHAD Hello, friends. Which one is Todd? TODD That's me. We met before at the club -- RAHAD Oh, yeah. Come on in here. TODD These are my friends Dirk and Reed. RAHAD Great to meet you. You guys want something to drink -- or a pill -- or some coke -- or some dope? DIRK/REED/TODD No thank you, thanks, no. RAHAD So what do we have, we have, something, yeah? TODD Here it is . . . half a key . . . it's really good, if you wanna test it out -- RAHAD Oh, wait a minute, I love this part: (sings along) "SISTER CHRISTIAN, THERE'S SO MUCH IN LIFE, DON'T YOU GIVE IT UP BEFORE YOUR TIME IS DUE . . . IT'S TRUE!" (to Dirk) This song is so amazing. Anyway: What's the price? TODD We were thinking five thousand. RAHAD That's good. No problem, cool, cool. The Bodyguard brings over a PAPER BAG FULL OF CASH and hands the bag to Todd in exchange for the PAPER BAG FULL OF BAKING SODA. Reed watches the Bodyguard take the bag and notices something. REED'S POV: a SHOULDER HOLSTER holds a .45 Automatic Pistol. Rahad does an air guitar solo to the Night Ranger song . . . he walks across the room, picks up a COKE PIPE and looks to the guys; RAHAD You wanna play baseball? DIRK/REED/TODD No thank you. Rahad strokes the pipe while dancing. Dirk looks across to an open bedroom door. DIRK'S POV: Through the crack in the door, we can see a bloody, battered YOUNG BLACK WOMAN in a silk robe . . .she's followed by another YOUNG WHITE GIRL in nothing. RAHAD (OC) Check this out -- He takes out a nickel plated REVOLVER and loads a single bullet, spins the chamber and puts it to his head and sings; RAHAD SISTER CHRISTIAN -- OH THE TIME HAS COME . . . AND YOU KNOW THAT YOU'RE THE ONLY ONE TO SAY . . . OK . . . He pulls the trigger . . . Click . . . he smiles and casually speaks; RAHAD I put a mix tape together of all my favorite songs . . . This is song number three . . . I love putting mix tapes together, you know . . . if you buy an album or tape or something, those guys put the songs in their order and they try and say how you should listen to the songs, but I don't like that. I don't like to be told what to listen to, when to listen to or anything . . . The Night Ranger song FADES OUT . . . BEAT . . . Rahad smiles at the Asian Kid who's casually throwing some firecrackers around. RAHAD (to Dirk/Reed/Todd) He's Chinese . . . he loves to set off firecrackers . . . REO SPEEDWAGON, "CAN'T FIGHT THIS FEELING," begins to play. RAHAD I CAN'T FIGHT THIS FEELING ANY LONGER AND YET I'M STILL AFRAID TO LET IT FLOW. WHAT STARTED OUT AS FRIENDSHIP HAS GROWN STRONGER -- I ONLY WISH I HAD THE STRENGTH TO LET IT SHOW -- DIRK Well . . . I think maybe . . . we better get going -- RAHAD No, stay. Hang out. We'll party. DIRK No, we really gotta split. We have to be somewhere and we -- Dirk and Rahad continue to haggle about leaving/not leaving. CAMERA BEGINS A SLOW DOLLY INTO A CU ON TODD. TODD We're Not Leaving Yet. Dirk and Reed look at Todd. He stands up. TODD We're here now and we want something else. Hey -- Hey. We Want Something Else From You. RAHAD What? DIRK Todd -- what the hell are you doing? TODD In the master bedroom, under the bed, in a floor safe . . . You understand? The Bodyguard turns his head. Dirk and Reed are confused; DIRK Todd . . . what the fuck, man, c'mon -- TODD Shut up, Dirk. I told you I got a plan. I got a good plan. RAHAD Are you kiddin' me kittie? TODD No I'm not. I'm not kidding. We want what's in the safe. We want what's in the safe in the floor under the bed in the master bedroom. DIRK Todd -- don't be crazy. (to Rahad) Sir -- we don't know anything about this. This is not the thing that we wanted. TODD SHUT THE FUCK UP, DIRK. The BODYGUARD reaches into his coat . . . . . . Todd pulls his REVOLVER quickly and AIMS at the Bodyguard. TODD Don't reach for your gun. . . . Rahad reacts by AIMING HIS GUN AT TODD . . . RAHAD You don't wanna do this, friendly. TODD You've only got one bullet. Rahad PULLS THE TRIGGER . . . a bullet FIRES from the gun and strikes Todd in the SHOULDER . . . the gun in his hand falls to the floor and he stumbles back . . . . . . The Bodyguard takes this moment to GRAB HIS OWN GUN from the holster and FIRE off shots at Dirk and Reed . . . . . . Bullets graze past them and they DUCK FOR COVER . . . . . . The GIRLS in the bedroom SCREAM and SHOUT at the gunfire . . . . . . A STRAY BULLET HITS the ASIAN KID in the heart, but he doesn't fall . . . . . . TODD reaches hold of his gun, crouches for cover and FIRES a bullet STRAIGHT INTO the Bodyguard . . . who falls back DEAD . . . Todd looks right and sees: RAHAD scuttles into the bedroom with the women . . . Todd looks over his shoulder to Dirk and Reed; DIRK WHAT THE FUCK ARE YOU DOING, TODD? TODD He went in the bedroom. DIRK ARE YOU CRAZY? WHEN DID YOU GO CRAZY? TODD He's got cash and coke in the safe under the bed -- if we leave here without it we're fools. REED Let's just split, let's just split right now, Todd. Don't be stupid. This wasn't part of the deal. TODD I'm goin' in that bedroom and get what's in that safe. Are you coming? DIRK Fuck no. Todd. Don't. Don't do it. Todd gets up and heads for the bedroom with his revolver at the ready . . . he inches closer to the door and twists the door knob, then KICKS THE DOOR OPEN; . . . Rahad is standing right there, holding a SAWED OFF SHOTGUN. He pulls the trigger . . . Todd blinks . . . . . . Rahad's SHOTGUN BLAST blows Todd BACK and UP in the air about fifteen feet . . . he FALLS to the ground with a HOLE in his STOMACH about the size of a basketball . . . Rahad calls out to Dirk and Reed; RAHAD C'mon out, little puppies. You want to come and see, come and see, to get what is coming down. Coming down. Rahad peers out from his bedroom, sees a sliver of Dirk behind the wall. Rahad FIRES HIS SHOTGUN . . . which cuts right past Dirk's head and SHREDS the wall near him . . . Reed and Dirk make a DASH for the front door . . . . . . Rahad FIRES another shot . . . . . . a BLAST BREEZES PAST THEIR HEADS . . . Dirk and Reed make it OUTSIDE . . . Rahad chases after them . . . CUT TO: 174 EXT. RAHAD'S HOUSE - THAT MOMENT Reed and Dirk make a dash for the Corvette -- they're steps away when a SHOTGUN BLAST BLOWS INTO THE PASSENGER'S SIDE DOOR -- Reed heads away from the car -- makes a run diagonally across the street for shelter behind some SHRUBS and TREES -- (he gets lost from CAMERA) Dirk gets around to the driver's side of the Corvette, shielded and crouched -- he opens the door and starts to get in -- ANOTHER SHOT BLOWS THE PASSENGER'S SIDE WINDOW OUT. GLASS SPRAYS IN HIS EYES AND HIS HAND SLIPS DOWN, RELEASING THE EMERGENCY BRAKE OF THE CAR -- WHICH BEGINS TO ROLL DOWN THE STREET-- Dirk stumbles back from the car. He looks to the house: Rahad is about to FIRE the shotgun again . . . . . . he looks down the street: the Corvette is ROLLING away and picking up speed as it goes down the hill -- Dirk gets on his feet and makes a run for the car, Rahad FIRES . . . . . . Dirk catches up with the car, hops in -- gets the key in the ignition and starts it up, peels off down the street -- From: http://sfy.ru/?script=boogie_nights Youtube: http://www.youtube.com/watch?v=H9pZpcxodf4

http://www.youtube.com/watch?v=zgCprJPSlpA (40 secs in) Mark "Rent-boy" Renton: What's on the menu this evening, Sir? Swanney: Your favorite dish. Mark "Rent-boy" Renton: Excellent. Swanney: Your usual table, Sir. Mark "Rent-boy" Renton: Oh, why thank you. Swanney: Would Sir care to pay for his bill in advance? Mark "Rent-boy" Renton: No. Stick it on my tab. Swanney: Ah, regret to inform, sir, credit limit was reached and breached quite some time ago. Mark "Rent-boy" Renton: Oh, well in that case... [hands him some cash] Swanney: Ah, hard currency. Thank you, Sir. Can't be too careful these days. Would Sir care for a starter of some garlic bread perhaps? Mark "Rent-boy" Renton: No, thank you. I will proceed directly to the intravenous injection of hard drugs, please.

yesterday MOB day on AMC. I looked for scenes from Scarface, Godfather I and II, then went to Fear and Loathing in Las Vegas which amazingly did not seem to have any drug deals just drugs drugs drugs on You Tube. To sum up was not successful in finding matching video clips for dialogue. But here is Scarface: INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER We are looking through a cubbyhole at the diners. Young Cuban guys with chiquitas drift in with their fancy clothes, diamonds and -- the mark of status -- large bodyguards. They're out front with the flash, shaking hands with friends, kissing, talking loud, familiar with the waitresses. Staring through the smeared window enrapt are Tony and Manny wiping the sweat off their faces with towels. MANNY Look at that chick man, wow! Look at them knockers. TONY Yeah, look at the punk with her. What's he got that I don't got? MANNY He's good-looking that's what, look at his clothes, flash Chico, pizzaz!.. a little coke money don't hurt nobody.... TONY Junkie! -- They got no fuckin' character. (looks at his hands) Look at these...fucking Cono! onions! They outta be picking gold off the streets. His hands are shriveled white from dishwater. COOK (Spanish) Hey you two, outside! You got company. . MANNY That's him -- El Mono's here! TONY (contemptuous of the name) El Mono? Shit.... CUT TO 30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT Omar Suarez (El Mono -- "The Monkey") is so named 'cause he looks like one. Nervous, crooked, darting eyes, feverish intelligence, constantly smoking a cigarette and coughing between words, his face pock-marked and pitted like the moon from an old acne scars, he cuts a skinny figure at the wheel of a big beige Coupe De Ville, idling the motor...with him is Waldo Rojas eating a large foot and a half banana. In contrast he's amiable, heavyset with a receding hairline, flashing a lot of gold when he smiles. MANNY (leaning in the window) Hey Omar, Waldo, coma esta...my friend I told you about. Tony Montana.. .Omar Suarez, Waldo Rojas.... Waldo mumbles something indistinct, Omar just stares briefly as Tony hangs back, nodding arrogantly. Omar's eyes move back to Manny. OMAR I got something for you. MANNY That's great...What do we Oh yeah! gotta do? OMAR We gotta unload a boat -- grass, twenty- five tons -- that's what we gotta do. You get five hundred each. MANNY Okay! (to Tony) what'd I tell you. See? TONY You gotta be kidding! Whaddayou think we are -- baggage handlers? Omar looks at him somewhat incredulously as Tony wipes his hands on his greasy apron as he talks. TONY ...five hundred dollars -- shit! What'd I do for you guys in the slammer, hunh? What was the Rebenga hit -- game of dominoes or somethin'? You're talkin' to important guys here. MANNY (shocked) Hey Tony, c'mon, it's okay Omar, we.... TONY Shaddup! Omar sniggers, his eyes shifting to Waldo who shakes his head and laughs. OMAR (to Manny) So what's it with this dishwasher, Chico? Don't he think we coulda gotten some other space cadet to do Rebenga -- cheaper maybe. Fifty bucks? TONY (shrugs) So why didn't you? And who the fuck you calling a dishwasher, I'll wipe your monekyshit ass all up and down this Boulevard. Steps forward. Manny grabs him. MANNY Hey! -- Tony, Tony.... In the car, Omar looks over at Waldo. OMAR Guy's a lunatic, let's go. WALDO What about them Indians? He buys it, somewhat amused. The idea crosses Omar's mind, OMAR Yeah.. . . (back to MANNY) All right, smart ass, you wanna make some big bucks? You know anything about cocaine? TONY You kidding. OMAR ...There's a bunch of Columbians… Flying in Friday. New guys. They say they got two keys for us for openers. Pure coke. In a motel over in Miami Beach. I want you to go over there, and if it's what they say it is, pay 'em and bring it back. You do that, you'll make five grand. MANNY (to Tony-) Hey, that sounds great, Tony.... Tony says nothing. OMAR You know how to handle a machine gun? MANNY Sure we was in the Army together. OMAR You're gonna need a couple other guys.... MANNY No problem. OMAR Meet me at Hector's bodega Friday at noon. You get the money then. Some- thing happens to the money, pobrecito, and my boss' gonna stick your head up your asses faster'n a rabbit gets fucked. Throws the remains of his cigarette at their. feet and pulls the Coupe De Ville out of the lot.

haha yes - I love the 'chainsaw' deal that follows this (I tried to find a youtube clip for this bit but couldn't): Hector the Toad: So, you got the money? Tony Montana: Yep. You got the stuff? Hector the Toad: Sure I have the stuff. I don't have it with me here right now. I have it close by. Tony Montana: Oh... well I don't have the money either. I have it close by too. Hector the Toad: Where? Down in your car? Tony Montana: [lying] Uh... no. Not in the car. Hector the Toad: No? Tony Montana: What about you? Where do you keep your stuff? Hector the Toad: Not far. Tony Montana: I ain't getting the money unless I see the stuff first. Hector the Toad: No, no. First the money, then the stuff. Tony Montana: [after a long tense pause] Okay. You want me to come in, and we start over again? Hector the Toad: [changing the subject] Where are you from, Tony? Tony Montana: [getting angry and supicious] What the fuck difference does that make on where I'm from? Hector the Toad: Cona, Tony. I'm just asking just so I know who I'm doing business with. Tony Montana: Well, you can know about me when you stop fucking around and start doing business with me, Hector!