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Gold Page #10
48.
By way of agreement he rubs her thigh where the dress has
ridden up. Sunlight filters through the trees above. Kay’s
toes are painted eggshell blue.
WELLS:
You’re gonna be able to quit all of it
if you want... Never work another day
in your life. Blue skies coming.
WELLS:
Close your eyes.
Wells drives down a country lane.
EXT. ELDORADO - DAY
Wells stops, gets out and starts around the car.
KAY:
(happy)
Kenny Wells, what are you doing?
WELLS:
Eyes closed. No peeking.
He opens Kay’s door, leads her a short distance.
WELLS (CONT’D)
Okay, now open ‘em.
She opens her eyes. In her eyes something immense that must be
comprehended. And for a moment we don’t see what she’s seeing
and then we do:
DREAM RANCH LAND
The sweep of ranch land is epic. Prairie dogs hop away. Elk in
the distance the size of ants.
KAY:
It’s beautiful.
WELLS:
It’s going to be our place, above it
all, away from it all. Like we always
wanted. We’ll put the house here.
(MORE)
49.
WELLS (CONT'D)
Fieldstone and oak. The kind that
lasts forever. A big kitchen where I’m
standing. And a great room with two
fireplaces.
He turns to look at Kay, to see if she’s going with it.
KAY:
Can we afford this?
WELLS:
Almost, baby. Almost...
Wells jogs a short distance away, still going...
WELLS (CONT’D)
Bedrooms here and here and here... And
here... For the kids. Ah, come on,
Kay... How many kids?
KAY:
People usually start with one.
They look at each other. It’s golden hour. Then she skips
KAY (CONT’D)
Kitchen should go the other way,
Kenny. To get the morning light.
INT. THE THREE GREENHORNS BAR - NIGHT
Wells laying it out for the boys: Burns, Connie, and Nevins.
WELLS:
It’ll be straight commission to
start, but this hook’s got meat on
it. There’s money out there, so reel
it in.
They throw back the rest of what’s in their glasses. Wells
leans over and whispers to Bobby Burns.
WELLS (CONT’D)
This stock’s gonna start cooking. You
sell a little here and there. Don’t
wait. Think rainy day, Bobby boy.
The car doors are open, a great SONG plays on the radio. Wells
and Kay slow dance in the field as a glorious sunset fades.
50.
And PULLING BACK to find a BILLBOARD ON STILTS showing a
“dream house.” As Kay and Wells slowly turn in the distance
and the music is gently blown away across the fields.
INT. THREE GREENHORNS BAR - NIGHT
Wells and Kay dancing in that way happy couples do, almost
like they’re one person, her head melting against his chest.
BURNS (O.S.)
Kenny... this is Walt Kealer. He
publishes “The Gold Digger.”
KEALER:
We reach a half a million readers and
they’d all love to know what you got
cooking over there in Indonesia. You
have a minute, I’ll buy you a drink.
Kealer, a serious guy, and Burns both look at Kay.
KAY:
(almost a whisper)
No one dances like you.
(to the world)
He’s all yours, Walt.
WELLS:
Hell, I read the Gold Digger. Step
over to my office, Walt.
Wells signals for two drinks, leads Kealer to the booth.
KEALER:
They’re saying you bring this in,
you’ll get the Golden Pickaxe. What do
you say about that?
WELLS:
I say we probably just jinxed it.
KEALER:
How many ounces you guessing?
WELLS:
Millions of ounces, Walt. Millions.
Kealer whistles. Makes a note.
50A.
KEALER:
Placer mining?
WELLS:
Hard rock. It ain’t amateur hour.
KEALER:
How’s the infrastructure?
51.
WELLS:
Building it from the ground up.
Wells sees Kay at the bar flirting/teasing with two regulars.
Queen of the runway. He loves this.
AT THE BAR:
Kay waits for Roy to mix fresh drinks.
ROY:
(nodding at Wells)
Seems like someone’s ship is finally
coming in.
KAY:
Everyone’s, Roy.
(so proud)
He makes sh*t happen. He really does.
A customer sidles up and wraps a big arm around. Kay flashes
some wattage -
KAY (CONT’D)
JD, where you been hidin’ yourself?
KEALER:
On a different tack, what do you think
your dad would say if he could see you
right now?
WELLS:
The last card you turn over is the one
that matters.
INT. COLEMAN & MEAD CAPITAL GROUP - CLIVE’S OFFICE - DAY
CLIVE Coleman, 70’s, flanked by a now-deferential Andrews and
Stanton, opposite Wells.
CLIVE:
Kenny, your father and I started out
together in this business. Hell, he
put me in the business, but I don’t
have to tell you that.
WELLS:
Dad always spoke well of you, Clive.
CLIVE:
One of the best men I ever knew.
51aA.
The mention of his father in this context makes Wells proud.
CLIVE (CONT’D)
You’ve gone from 4 to 23 cents on the
first assay result. And you’ve pulled
two more that confirmed those
findings?
51A.
WELLS:
Three more.
CLIVE:
Three more... I’d like to underwrite a
private placement of Washoe stock. I
believe we can raise between eight and
ten million dollars.
WELLS:
Capital’s definitely top of the agenda
right now.
CLIVE:
A lot of folks will want to make this
deal, but we’ve got history and I hope
you know you can trust me. I only wish
you’d brought it to me sooner. I could
have helped you from the get-go.
52.
Wells’ gaze now slides to Stanton, a deer in headlights. Wells
pushes his coffee mug across the table.
WELLS:
Top that off for me, will you?
Stanton rises and exits with Wells’s mug. WE FOLLOW HIM -
INT. COLEMAN & MEAD CAPITAL GROUP - HALLWAY - CONTINUOUS
Stanton walks to the kitchenette. A COWORKER looks at him like
a condemned man. Hear LAUGHTER from the conference room. He
pours the coffee, takes a deep breath, and heads back.
INT. COLEMAN & MEAD CAPITAL GROUP - CONFERENCE ROOM - DAY
Stanton comes back in to find the group on their feet, Wells
shaking hands with Clive Coleman.
CLIVE:
Stanton. Mr. Wells has agreed to give
us his business. On one condition.
Stanton blanches. Here it comes. Wells is stone-faced.
WELLS:
I want you to personally handle my
account. I need you to be available
to me 24-7 and 365.
Stanton is speechless for just a moment, but finds his voice.
STANTON:
Absolutely. Yes. Thank you.
Clive slaps the stunned Stanton on the shoulder.
CLIVE:
Congratulations. Seems you made quite
an impression.
A look between Wells and Stanton, a look of understanding.
Stanton is grateful, but also knows that Wells owns him.
WELLS:
It’s gonna be a wild-ass ride. You
ready for that?
53.
STANTON:
Yes, sir.
WELLS:
Then what are we standing here for?
Let’s go make some money.
SEQUENCE -
-- THE WASHOE SITE -- the noise is staggering as ACOSTA
supervises more core drilling. FOUR DRILLS now working,
CONVERGING as they MAP THE CONTOURS of the vein.
-- THE ASSAY LAB -- a Washoe sack is cut open, the crushed
rock core sample is poured onto an industrial scale.
-- THE THREE GREENHORNS BAR -- Wells, Bobby Burns and the guys
work the phones. Kay brings Wells another Seagrams. He gives
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