Tequila Sunrise Page #3

Synopsis: Mac Mckussic is an unlikely drug dealer who wants to go straight. His old and best friend Nick Frescia is now a cop who is assigned to investigate and bring him to justice. Mac is very attracted to Jo Ann, the owner of a stylish restaurant. Nick gets close to Jo Ann attempting to know more about Mac's drug dealing plans and his connections with the Mexican dealer Carlos, who the police believe is coming to town to meet with him. Nick also falls for Jo Ann's charms and his friendship with Mac is in danger.
Genre: Crime, Drama, Romance
Director(s): Robert Towne
Production: WARNER BROTHERS PICTURES
  Nominated for 1 Oscar. Another 2 wins & 2 nominations.
 
IMDB:
6.0
Metacritic:
62
Rotten Tomatoes:
40%
R
Year:
1988
115 min
748 Views


What can I do for you?

I'll do anything.

GREG:

Name it.

Start by cleaning off that table,

and get some new paddles and balls.

Suddenly up for Ping-pong?

And drop something off

at Vallenari's for me.

- Who for?

- Jo Ann Vallenari.

- Aren't you going there tonight?

- I want to clean up first.

Besides, she can look that over

before we talk.

- Could you give it a rest?

GREG:
Whatever, man. I hear you.

What is it?

ARTURO:
The cop.

He's waiting for you.

JO:

How nice.

Not nice,

he thinks he did you a favor.

And cops are the worst barflies.

It's not worth it, I tell you.

You just don't like his looks,

Arturo.

It's quite an experience

to watch you work.

Like you're in a play,

everything's on cue.

NICK:
You're kind of letter-perfect.

- Thank you.

Do you ever flub your lines?

Are you politely suggesting

I lack spontaneity?

Have you seen Mac?

Mr. McKussic.

NICK:
He's going to ask you

to cater a party.

That is our business.

NICK:

We think it involves his business.

Are you suggesting I refuse because

it's a party for drug dealers?

No. But if it's for this one particular

guy, he's particularly unpleasant.

JO:
You mean violent?

- No, I doubt that.

Unless he doesn't like your lasagne.

I'm sure Mr. McKussic's friend

will be well-behaved.

Why would you call him a friend?

A figure of speech.

Who else would you give a party for?

A business associate.

As it happens,

Carlos and Mac are friends.

And you and Mac are friends.

That's right.

Sounds like a friendly situation

all around.

Not exactly.

Nobody knows Carlos. Nobody knows

what he looks like but Mac.

You want me to spy on a customer so

you can find out what he looks like?

Absolutely not!

Let's not discuss my business

or his business or your business.

But that leaves nothing

to talk about.

Let's eat.

VALET:

Good evening.

GREG:

She's having dinner with him.

MAC:

She can't be.

The chef is with them right now

checking out their Caesar salads.

Do you want me to drop off

the envelope anyway?

Yeah, I'm beat.

I'll never make it in there.

Thanks.

GREG:
You meet at Orville and Wilbur's

every Christmas.

He throws his Chevrolet keys

on the bar.

You throw your Porsche keys

on the bar.

You pick up your drink

with a gold Rolex on your wrist.

He wears a Timex.

Even if he wasn't a cop

he'd hate your guts.

(REPORTER OVER TV) Deputies seized

over 700 kilos of cocaine...

... a street value of $ 27 million.

MAC:

Street value $27 million.

What street is that?

You show me how to get there

just once.

Man, aren't you listening to me?

Nick Frescia came in that restaurant

looking for a way to bust your buns.

He's going to have to drag me

out of bed to do it.

I'm under the weather... heavily.

GREG:

Hey, Mac.

What I'm telling you

is for your own good.

NICK:
That swordfish was great.

JO:
Excellent piece.

- And the Cristal.

- You know it.

We serve it at the Lomita station.

What do cops drink?

Depends.

I tell my men to avoid vodka.

- And stick to Scotch and bourbon.

JO:
Why?

So the brass will know

they're drunk, not stupid.

- You have an answer for everything.

NICK:
So do you.

You answered Maguire's questions

like you were reading off a menu.

ARTURO:

Your keys.

Thank you.

And yours.

Want me to lock up?

No, I will.

Make sure the kitchen is closed.

Good night, Arturo.

You were saying.

You're still suspicious

of me and Mr. McKussic.

You think

we're in business together.

I don't date the customers, Nick.

Especially when they drive

$50,000 cars and always pay in cash.

Then you'd heard about Mac.

You hear everything in a restaurant.

He's never asked you out?

No.

You're still suspicious.

If I was, you'd talk me out of it.

That's not it.

No, you're suspicious of any woman

who hasn't slept with you.

Jo Ann...

...that is a wildly off-the-wall

assumption on your part.

What is it? Do you need

some Chap Stick or lip gloss?

Your lips get stuck on your teeth,

or is that your idea of a smile?

That's my idea of a smile.

You are, you're tough.

You're a bad boy, Nick.

You're a very bad boy.

What's this mean?

NICK:

Redondo Union High.

You smoked in high school?

We were a bunch of rowdies, Jo Ann.

How about an espresso?

JO:
I've got to lock up

and I'll never do it like this.

Oh, no!

NICK:

What are you doing?

JO:

I want this under there.

JO:
You'll get dirty.

NICK:
Don't be silly.

The skylight's indented, so rain...

...fills it up into a puddle

until it becomes a pond, and then...

And then what?

And then you're all wet.

I'm sorry.

I should have just left it.

(GREG VOICE OVER)

I don't know what it is...

... about going to high school

with someone...

... that makes you feel you're

automatically friends for life.

Who says?

Who says friendship lasts forever?

We'd all like to, maybe...

... but maybe it just wears out

like everything else.

Like tires.

There's just so much mileage in them

and then you're on nothing but air.

(CAT MEOWS)

MAC:

Keep your shirt on.

Any word on where

McKussic's giving the party?

How would I know? I'm waiting

to hear it from your snitch.

I keep coming back to this.

What do you think?

Excuse me, Hal.

This is a personal call.

How about a movie?

JO:
I can't tonight.

We're booked solid.

This afternoon.

JO:
Don't you ever work?

- Yeah, I'm working now.

Don't say that or I'll believe you.

I always believe the worst.

I'm going to die if I don't see you.

We can't have that.

Check out the competition with me

this week...

...and we can both keep working.

MAC:
Where's Jo Ann?

ARTURO:
She's taking a few days off.

Your table is ready.

I'll have the drink sent over.

HAL:

Where the f*** have you been?

Working my ass off, Hal.

Mac's party is next week at his

house at 1:
00 P.M. For 56 guests.

You like cappuccino?

(COP 1 OVER RADIO)

We got two coming out.

Down front, two males.

(COP 2 OVER RADIO)

I got them.

(MAC BUGGED OVER TELEPHONE) She won't

talk as long as the checks keep coming.

Surprise!

FRIEND:
What's so funny?

- That dogcatcher.

FRIEND:
He's not catching the dog.

MAC:
That's right.

Wrong size handcuffs.

I'm leaving right now.

Thank you.

Nice food.

Thank you.

Nice party.

You're a real magician.

I was surprised.

MAC:

Well, it was a surprise party.

JO:
Did it surprise your boy?

MAC:
Oh, yes.

Not as much as it surprised

the 25 cops on the beach.

You're going to tell me

that's a surprise?

No.

Mr. Frescia said it was possible

the police might be watching you.

Did he say why?

Yes.

Do you want me to be specific?

I'd appreciate that.

He said that you were

a serious drug dealer.

You promised to quit,

but you lied and are still doing it.

He called me a drug dealer

and a liar?

Bummer!

I guess I can't blame you.

For what?

Telling Nick about the party.

Thanks again.

I didn't tell Nick about the party.

He told me.

What was I supposed to do?

I didn't know it was

for your child's birthday.

I didn't even know you had a child.

Rate this script:4.0 / 2 votes

Robert Towne

Robert Towne (born Robert Bertram Schwartz; November 23, 1934) is an American screenwriter, producer, director and actor. He was part of the New Hollywood wave of filmmaking. His most notable work was his Academy Award-winning original screenplay for Roman Polanski's Chinatown (1974), which is widely considered one of the greatest movie screenplays ever written. He also wrote its sequel The Two Jakes in 1990, and wrote the Hal Ashby comedy-dramas The Last Detail (1973), and Shampoo (1975), as well as the first two Mission Impossible films (1996, 2000). more…

All Robert Towne scripts | Robert Towne 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

    "Tequila Sunrise" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/tequila_sunrise_19517>.

    We need you!

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

    Watch the movie trailer

    Tequila Sunrise

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "parenthetical" refer to in screenwriting?
    A A character's inner thoughts
    B An instruction for how dialogue should be delivered
    C A scene transition
    D A description of the setting