Traffic Page #6

Synopsis: Traffic is a 2000 American crime drama film directed by Steven Soderbergh and written by Stephen Gaghan. It explores the illegal drug trade from a number of perspectives: a user, an enforcer, a politician and a trafficker. Their stories are edited together throughout the film, although some of the characters do not meet each other. The film is an adaptation of the British Channel 4 television series Traffik.
Genre: Crime, Drama, Thriller
Production: USA Films
  Won 4 Oscars. Another 69 wins & 83 nominations.
 
IMDB:
7.6
Metacritic:
86
Rotten Tomatoes:
92%
R
Year:
2000
147 min
$123,836,420
Website
2,472 Views


MICHAEL ADLER, about Robert's age, and as successful, but in

a different way, approaches, catching Robert's eye through

the arguing demagogues.

UNDERSECRETARY:

We need Mexico for these reasons:

number one -- Defense; two -- Trade;

three -- Tourism; then, way on down

the line, comes Drugs. The President

knows this. Why's he holding

everybody's feet to the fire?

MICHAEL:

(solemn)

Mr. Wakefield, there's a situation

that needs your attention right away.

Robert looks at Michael, squints, looks closer, then follows.

RUSH PHILLIPS:

(oblivious)

One in sixteen Americans is of Mexican

descent. Mexico our third largest

trading partner...

ANGLE ON ROBERT AND MICHAEL ON THE BACK PORCH.

ROBERT:

You're looking pretty good for an

old guy.

MICHAEL:

My work keeps me young.

ROBERT:

Which part, getting terrorists loose

on bail or freeing convicted murderers

on technicalities?

MICHAEL:

The worst serial killer in history -

who? Gacy - right? Killed forty

two people. Our government killed

fifty thousand in Vietnam and lied

about it every day.

ROBERT:

Michael, you represent drug dealers,

not civil libertarians.

MICHAEL:

We kidnapped Noriega out of Panama.

Is that covered in your Constitution?

Because it isn't in mine.

ROBERT:

Noriega is a criminal.

MICHAEL:

Noriega was head of a sovereign nation

who made the mistake of doing business

with the U.S. Government. So, no,

I don't have a problem waking up

every day and fighting our government,

fighting people like you, trying to

keep this system a little bit honest.

ROBERT:

(amused)

Last I read your clients were chopping

people up with chainsaws and

delivering illegal narcotics into

this country.

MICHAEL:

I hope when you were on the bench,

Judge Wakefield, you didn't handle

the presumption of innocence in the

same fashion.

ROBERT:

If I ever return to the bench,

Counselor Adler, I hope I have the

pleasure of hearing your arguments.

CUT TO:

INT. HOSPITAL EMERGENCY ROOM, SAN DIEGO - DAY

Eduardo Ruiz lies in a hospital bed, handcuffed to the

railing. His bandaged foot is held aloft by a sling and a

tube drains the wound. He is tugging on the handcuffs as

Castro and Gordon enter the room.

GORDON:

You planning on going somewhere,

Eduardo? You don't like it here?

This is the best situation you're

going to have for a long, long time.

RUIZ:

I am a legitimate business. Fishing

boats. Tuna. Check it out. Tax

records, everything --

GORDON:

Listen you motherf***er, you tried

to kill me with a f***ing cannon.

RUIZ:

You can't visit me here. I want my

lawyer.

GORDON:

The amount of coke we got on you

means capital punishment in some

states.

CASTRO:

Move 'em to Texas, fry 'em up.

GORDON:

We got you on tape making the deal.

We got you bragging about the quality.

We got you bragging about your

business. We got you.

A NURSE appears in the doorway. Gordon goes to the door and

shuts it in her face.

GORDON:

One chance here, Eduardo. Make us

believe you got a boss. No boss,

it's all on you.

RUIZ:

It's a death sentence. I'll never

make it to the trial.

GORDON:

We can protect you.

Ruiz looks at them in disbelief.

CASTRO:

Who do you work for?

RUIZ:

This is coercion.

GORDON:

That's a big word for a fisherman.

CASTRO:

Who do you work for?

Gordon and Ruiz stare at each other.

RUIZ:

I know another word... Immunity.

CUT TO:

EXT. AYALA HOME - LA JOLLA - DAY

A starter castle high in the hills near Mount Soledad, an

exclusive neighborhood with views of the ocean. Joggers jog

to the SOUNDS of tennis and Jacuzzis gurgling, and lawn care

equipment operated by Mexicans.

Behind the Ayala gate we see David playing with his golf

club on the lush lawn.

Workers set-up the party under the direction of a professional

party planner.

A BMW 740il with tinted windows pulls into the driveway.

DAVID:

Daddy!

The window lowers and we see CARL AYALA, 40's, handsome,

charismatic, second generation American, in expensive,

conservative clothes, covering his cell phone as he greets

his kids.

CARL:

Hello. Hello.

He goes back to his phone call, pulling around to the garage.

David goes back to his game.

INT. AYALA DINING ROOM - DAY

There are MAIDS in the house and a COOK in the kitchen. The

large rooms are filled with fine art.

Helena Ayala sits at the dining room table with plans, bills

and receipts spread before her. Carl enters and paces around

the room, continuing his cell phone conversation.

CARL:

(into phone)

I'm sorry, Jonas. I don't care if

that is the price you have gotten in

order countries.

Helena watches her husband pace as he talks. He can't help

it, but a portion of this call is theatrical, for an

audience's benefit, which in this instance happens to be his

wife. Helena's expression of annoyance resets itself into

love.

CARL:

This is America, a different country.

I am Carl, a different man. So you

see, everything about our situation

is different and I believe the pricing

will be different, too.

(beat, listens)

You're a reasonable man... So take

the weekend to think about it.

Carl clicks off the phone, turns to Helena.

CARL:

Every day with this guy is like

starting all over again.

Carl winds down and finally becomes present in the room with

his wife. He looks at her. She looks back.

CARL:

Hi.

HELENA:

Hi.

CARL:

What's up?

HELENA:

Just watching you.

CARL:

I got that. How was your day?

She pushes the topiary away from her. Suddenly, she seems

tired. Carl comes over and puts his hand on her pregnant

belly.

CARL:

You all right?

HELENA:

I keep feeling like I'm forgetting

something.

Her husband watches her, then wraps his arms around her.

EXT. AYALA HOME - DAY

Carl and Helena step out on the front porch of their home

and watch David play with his golf putter.

OUTSIDE THEIR GATE

An unmarked police car rolls up and stops behind the wall.

Another arrives and another and another. OFFICERS in DEA

jackets exit the cars.

There is MURMURING, then SILENCE.

Helena slowly turns to look at her husband. He doesn't look

at her.

HELENA:

David, come inside --

Suddenly, POLICE and DEA enter the front yard. Gordon and

Castro enter the yard and move quickly up the drive to Carl.

CARL:

What is this? What is going on?

GORDON:

Mr. Ayala?

CARL:

That's right.

GORDON:

You're under arrest for violation of

Federal Narcotics laws.

Gordon and Castro spin him, cuff him, and without emotion

begin pulling him from his yard. David is trying to get to

his father. In a kind of shock. Helena trails after him.

Castro drags Carl into the street toward the open door of

the cruiser. He pushes him down into the backseat.

GORDON:

We have a warrant to search your

home, Mrs. Ayala.

Gordon hits the side of the cruiser and it pulls away. Carl

looks at his wife through the window.

Gordon and Castro head up the driveway toward her house.

Helena is left standing in the street. NEIGHBORS, who have

appeared in front yards and at the ends of driveways, stare

at her with suspicion. David approaches and holds onto her

leg.

Rate this script:0.0 / 0 votes

Stephen Gaghan

Stephen Gaghan (born May 6, 1965) is an American screenwriter and director. He is noted for writing the screenplay for Steven Soderbergh's film Traffic, based on a Channel 4 series, for which he won the Academy Award, as well as Syriana which he wrote and directed. more…

All Stephen Gaghan scripts | Stephen Gaghan Scripts

0 fans

Submitted by acronimous on May 20, 2016

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

    "Traffic" Scripts.com. STANDS4 LLC, 2024. Web. 5 Nov. 2024. <https://www.scripts.com/script/traffic_171>.

    We need you!

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

    Watch the movie trailer

    Traffic

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To outline major plot points
    B To write character dialogues
    C To provide camera directions
    D To describe the setting in detail