Gold Page #15

Camera sweeps across the now-candlelit room, murmur of

intimate conversations and laughter. It’s that time after

dinner before desert when people start table hopping. We find

Kay with an empty seat beside her. She glances up, watching

Kenny work the room.

WELLS:

...It’s all gambling. Risk. If I

really wanted to make money, I’d stay

home on Sunday and bet pro-football.

We realize the beautiful woman is seated at the same table

where Wells is now holding court.

WELLS (CONT’D)

...Stallone on the sidelines in

Philly, Eagles won’t cover--!

Kay’s wine glass is refilled. She glances at Acosta who smiles

mysteriously.

WELLS (CONT’D)

Miami won’t cover in San Fran. Hell,

the game starts at midnight for them.

The woman catches his eye, holding out a hand. He gives her a

smoke and lights it.

RACHEL:

Thank you. Rachel Hill.

Their eyes connect.

76A.

WELLS:

What brings you out, Rachel?

RACHEL:

I’m in Investor Relations. At Brown

Thomas. On the team.

There’s an empty seat across from her. He considers this. She

opens her hand in a gesture that says, please.

WELLS:

Does that mean you relate to

investors?

RACHEL:

Something like that.

Wells laughs. And Rachel laughs with him. Across the room Kay

downs her drink. She watches Wells say something and laugh

again. She doesn’t want to look at the way Rachel Hill smokes,

but she can’t help it.

WELLS:

Rocks of gold as big as your knuckle

just sloshing along in the river -

77.

KAY:

Hello, I’m Kay.

We realize instantly Kay is sort of drunk and emotional.

RACHEL:

Hello, Kay.

WELLS:

This is Kay, say hello to Rachel.

KAY:

I just did.

WELLS:

Rachel works at Brown Thomas. She’s on

the team.

KAY:

I’m going to the washroom. Then I want

to leave.

Wells is supposed to say, “I’ll go with you,” but he doesn’t.

As Kay moves off, Wells catches Acosta's eyes on him, Acosta's

look asking:
“What the hell are you doing?” But Wells's

attention is drawn back to Rachel as...

UNDER THE TABLE:

Rachel’s sexy shoe drops from her sexy stocking foot, which

now moves it’s way under the cuff of Wells's pants leg.

She considers him cooly. Off his expression, WE GO...

INT. FOUR SEASONS RESTAURANT - LADIES’S RESTROOM - NIGHT

Kay looks into the mirror, trying to keep it together.

Two UPPER EAST SIDE WOMEN enter, waiting for the mirror. The

women wait. Kay looks at herself in the mirror and WE GO...

INT. FOUR SEASONS RESTAURANT - DINING ROOM - NIGHT

Rachel and Wells still talking. Wells all swept up with the

wine and newfound celebrity.

RACHEL:

To go out into the wilderness and

discover something that everybody

wants... how does that feel?

They consider each other. Rachel’s foot is doing something

else under the table. In the twinkling room no one notices.

77A.

WELLS:

Better than a kick in the ass.

INT. FOUR SEASONS RESTAURANT - BAR - NIGHT

As Kay makes her way up the stairs, she overhears:

WOOLF (O.S.)

It’s like a drunk raccoon found the

Hope Diamond. You don’t want to get

too close, but you don’t want to let

it get away either.

Laughter. It’s Woolf at the bar talking to a banker, LEWIS

HORNE. Kay pauses a moment to listen.

78.

HORNE:

It’s your raccoon, Bryan. Do you let

it run a multi-billion dollar company.

WOOLF:

And lose you as a client?

Woolf is shaking his head as Kay sidles up.

KAY:

Who wants to buy a girl a drink?

Woolf covers:

WOOLF:

Kay, meet Lewis Horne!

KAY:

(to the bartender)

Three double shots of Jack.

(to Horne)

Lewis, I like that name, Lewis.

She’s flirtatious. Her cleavage like the prow of a ship. The

men share a glance: did she overhear? She raises her glass.

They raise theirs.

KAY (CONT’D)

I propose a toast-

HORNE/WOOLF

Here, here -

KAY:

To a small creature...often taken for

granted or considered a nuisance just

because of its survival skills.

She heard.

KAY (CONT’D)

(fun fact)

Their babies are called “kits.”

(beat)

They are intelligent, fierce fighters,

and omnivorous. They eat anything.

Just like humans.

WOOLF:

Kay-

78A.

KAY:

And they’re cute even when they’re

waking you up ‘cause they got the lid

off your garbage can.

(beat)

To the raccoon.

She downs her shot. Smiles sweetly, leaves them there. Horne

downs his shot and watches her go, impressed and leering both.

HORNE:

Do raccoons mate for life?

INT. FOUR SEASONS RESTAURANT - DINING ROOM - CONTINUOUS

As Kay approaches the table, she sees Rachel and Wells,

heating up. He turns, sheepishly. Kay picks up her bag.

KAY:

Stay if you want. I’m going.

WELLS:

Come on, babe, one more drink.

Kay heads for the door. Wells glances back to Rachel’s half-

smile, but suddenly Acosta is at Wells's side, standing over

him.

ACOSTA:

What are you doing?

WELLS:

What do you mean? Mike, Rachel --!

ACOSTA:

Time to go, pal.

79.

INT. THE WALDORF-ASTORIA - WELLS'S SUITE - NIGHT

Kay walks in, Wells does his best to keep up with her. They

both make drinks right away.

KAY:

...I don’t want to talk about it.

WELLS:

I wasn’t doing anything.

KAY:

I don’t want to talk about it.

WELLS:

Okay, well maybe I should’ve banged

her right there on the table!

KAY:

You’re too drunk to get it up anyway.

WELLS:

I’ll take that challenge.

He tries to make a move. She shrugs away.

KAY:

I don’t care about you flirting with

Miss Pneumatic ‘88. Think I haven’t

seen it before?

WELLS:

Wait, her tits aren’t that big.

They’re not real?

KAY:

None of this is real.

WELLS:

Kay -

KAY:

And you know what, none of it ever was

real. We drive up to look at that

dream ranch and it’s so nice, Kenny,

but on the way we pass through where?

What did we go right through?

He knows.

KAY (CONT’D)

Maggie’s Creek. Where your greatgrandad

staked a claim.

(MORE)

79aA.

KAY (CONT’D)

And it’s a ghost town. Which is

exactly what this place feels like to

me.

79A.

WELLS:

I knew if I brought you along, you’d

work overtime to screw it up for me.

KAY:

You have never needed any help in that

department.

And she leaves the room. And he goes after her.

80.

IN THE BEDROOM:

Kay sits on the bed, taking off her new shoes. Wells appears

in the doorway. Watches her a moment.

WELLS:

You know what your problem is, Kay --?

KAY:

No, why don’t you tell me -

WELLS:

You have no vision. It’s like your

whole world is this big --

Wells holds up two fingers an inch apart -

WELLS (CONT’D)

At one end is your kitchen sink and

the other end is the goddamn parking

lot of a furniture store.

That hurt, actually.

KAY:

You mean an actual job that would

support a person in a place they live.

You mean that vision. You know what,

f*** you!

WELLS:

F*** you!

Now she starts packing her things, which really starts to piss

him off, and every item she drops in her bag urges him to say

more that he’ll regret later.

WELLS (CONT’D)

Yeah, run back to your crappy little

life.

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