Ruby Page #2

Synopsis: An exploration of certain conspiracy theories surrounding the JFK assassination from Jack Ruby's perspective. Ruby owns a run-down strip club in Dallas, and does what he can for credibility, both by giving information to the FBI and by doing the odd favor for his mafia contacts. When hitman Action Jackson is hit, Louie Vitali asks him to help get crime boss Santos out of a Cuban jail. When they get back, the bosses take his headliner Candy Cane under their wing to develop her career in Vegas. A mysterious government man named Maxwell expresses his displeasure to Ruby over his Cuban activities. Slowly all the pieces of a massive conspiracy begin to emerge to Ruby, who can do nothing to stop it.
Director(s): John Mackenzie
Production: Sony Pictures Home Entertainment
 
IMDB:
5.5
Rotten Tomatoes:
40%
R
Year:
1992
110 min
180 Views


My takings is going sky-high.

I don't need no FBI.

Our director, Hoover, has issued a directive.

Organized crime.

All since that cocksucker went on TV.

That equipment you got from me,

you still got it?

That equipment?

That's second-rate. I mean, look at that.

Come up with something smarter than that.

Yeah, well, the government

gave you this equipment.

Now use it.

Carousel.

Jack.

Louie?

You heard what happened to Action.

Yeah, that was bad.

Makes room for you, Jack.

Action was going to run an errand.

Yeah?

Yeah.

Something I can do in his place, poor guy?

Pack some bags.

- You're going on a vacation.

- Yeah?

We're gonna give you a shot, Jack.

Hey, Ronnie!

Where did you find her, Jack?

She's something else.

Ain't that your dispatcher, Ronnie?

- I'm hungry.

- Chicken soup, beef broth.

- Thank you.

- They make it good here.

Like my act?

I never knowed anybody

that learned to dance so quick.

It ain't dancing, it's stripping.

Let's not be too coy about it.

Truth is, Mr. Ruby, I can sing a bit, too.

I can't make you out.

Kid in a bus station, sweet and beautiful.

She don't mind about

taking her clothes off...

in front of a room full of drunken men.

I can't make you out.

Club owner, finds girls in diners,

takes them in...

and doesn't even

try to climb in the sack with them.

You're a cute kid. I like you.

Truth of the matter is,

I got a lot of business interests.

Not just the club.

Most of the customers is policemen?

Tonight was a special. I do a precinct night.

That the vice squad or the narcos

you was cutting a deal with?

I have stuff to take care of.

Your club is part of Cosa Nostra?

I thought you was out of Rising Star, Texas.

That's so.

That wasn't the first time you danced.

I went into burlesque when I was 15.

I never did no good for myself.

Marrying Hank was meant to be

some kind of alternative.

Maybe I was being unfair on burlesque.

Sorry I lied to you.

If I'd told you I was a seasoned dancer,

you'd never have cared so much.

Listen, am I good, or am I good?

- How many clubs you played?

- It was so long ago, what's the difference?

No one remembers.

You got a lot of people on your back.

It'll come good.

All I need is the right breaks.

Me, too.

I gotta go to Cuba

and get an associate out of jail.

I'm an expert with customs down there.

He a capo?

You know some funny words.

He's a very important guy.

Does he own any clubs?

Matter of fact.

Does he like girls?

Nothing like a fresh broad on your arm

to make you look nice.

What are you asking me now?

I wanna move, Jack.

You know? Move on.

I'm talking about my career.

You know somebody what's important.

Owns clubs.

I've been two-timed before.

I'm Candy Cane, fresh out of nowhere.

An hour ago

you billed me as Las Vegas hot sauce.

Tomorrow you headline me

as a virgin schoolgirl from Carolina.

I'm whatever you say.

You ever climbed a high school wall

when you was a kid?

Boys' prison.

You remember how many people it takes

to climb that wall?

One to stirrup and one to hoist hisself.

That's right.

This needs salt.

I wanna thank you

for the opportunity, Louie.

Who said anything about bringing a broad?

A broad always looks good.

Santos likes to be seen with a broad.

Never mind what Santos likes.

What Louie likes is what matters.

This is a real nice cellar here.

Everything's totally crazy, Santos.

Nothing is what you'd call normal.

The way it used to be,

since you've been away.

Vito Tutone got hit.

After that, Action Jackson.

Santos, it's true. We had some losses.

That cocksucker on TV the whole time,

talking about Cosa Nostra.

That guy's out of his mind.

Besides, there ain't nobody

paying any attention to him anyway.

Now, Jack here is a very steady guy.

He's been making connections for us

down in Dallas for a long time now.

He can step into Action's place,

it won't be like nobody got hit whatsoever.

I come down to Dallas in '47.

I was in Chicago...

which is really my hometown.

I got the house waiting for you.

I fixed it up real good.

Jack's arranged for a trip home, no sweat.

Plus, he tells me he brought

some fresh female company for you.

Sure, I done.

I brought you my freshest girl.

- Your shirt.

- The shirt?

I got it in Texas. I figured I'd blend in easy.

You don't like the shirt?

Change the f***ing shirt.

Gracias.

I had to get a shirt.

They had stores in Galveston

if you wanted to get a shirt.

This shirt changes my life.

Forget it. You wouldn't understand.

What do you think of Cuba?

I think it's gonna be swell

when they get it finished.

The boys made a big mistake.

They should have gone to Texas.

Jesus Christ.

That's the Cuba Libre.

It was the biggest casino in Havana.

That was Santos Alicante's place?

That was all marble in there.

Even the toilets.

Even the toilets?

Santos come over from Sicily after the war.

He and his boys come over...

and kicked the old Neapolitans

out on their asses.

These Sicilians...

they're something else.

That's what Cosa Nostra is.

Sicilian.

I never met a lot of Sicilians in Rising Star.

We had Mexicans

when we wanted someone to look down on.

Are you Sicilian?

I'm Jewish.

You want to make something out of it,

I'll punch you right in the mouth.

What happened to your finger?

I got in a fight. Some guy bit it off.

Here.

Jack, it's beautiful.

Thank you.

You look terrific. They'll love you.

Now listen.

You don't gotta do nothing with this guy.

- You follow my meaning?

- Right.

He ain't gonna lay a finger on you.

But with a guy like this

it don't pay to suggest you know that.

Follow me?

You're saying he's too old

but you wanna flatter him...

- and that's never crossed your mind.

- You're a genius.

Let's go or we're gonna be late.

I'll be right with you.

I've brought someone for you. Her name's

Candy Cane. Straight out of high school.

- She's got some talent.

- Hi.

I'll be back for you later.

Enjoy yourself.

Mr. Santos, how about something

with a small orchestra?

A little class.

- You left them?

- Sure, I left.

You got a boat fixed yet, Jack?

I got a boat fixed since day one.

- I'm waiting to be told the time.

- You'll be told the time.

I don't get it.

If the commies got Santos in the slammer...

- how come he's got all them privileges?

- You know Santos.

He's got the influence.

How come he ain't got the influence

to get out of there?

Or walk in the plain?

Because his papers aren't straight.

He's got the Justice Department up his ass.

They'll deport him

the minute he steps ashore.

That's why he needs me

to get him off the island?

Well, that...

plus it looks better this way.

Looks better to who?

Whoever the f*** is watching.

- The time's gonna be tomorrow.

- Good.

That's good.

This guy in the street the whole time,

who is he?

Don't worry about him. He's a friend of ours.

I got some other instructions for you.

I'm listening.

You ain't just here to run a big man

Rate this script:0.0 / 0 votes

Stephen Davis

All Stephen Davis scripts | Stephen Davis Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Ruby" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/ruby_17208>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Ruby

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "subtext" in screenwriting?
    A The visual elements of the scene
    B The literal meaning of the dialogue
    C The underlying meaning behind the dialogue
    D The background music