What script. . .?
FOX: You don't know it, a prison script . . .
GOULD (simultaneously with “script"): One of ours . . .?
FOX: I found it in the file. I loved it . . . all the time I'm thinking . . .
GOULD: Uh huh . . .
FOX: How to do this script, I, one day . . .
GOULD: Uh huh . . .
FOX: . . . so . . .
GOULD: So, you give the script to Brown . . .
FOX: Not “him,” his . . .
GOULD: Uh huh . . .
FOX: . . . his . . .
GOULD: . . . I know . . .
FOX: His “guy.”
GOULD: Yes.
FOX: Gives Douggie the script . . . (Phone rings. GOULD picks up the phone. )
GOULD (into phone): Yes. Thank you. (Hangs up.) Ross'll get back to us . . .
FOX: . . . His guy gives Douggie the scri. . .
GOULD: He gives Douggie the script.
FOX: Yes.
GOULD: Mmm . . .
FOX: Months ago, alright? I don't know. Today, alright. . .? Today. (Pause.) I'm having coffee . . .
GOULD: Umm hmmm . . .
FOX: Who drives up?
GOULD: . . . coffee at your house . . .
FOX: Who drives up?
GOULD: Douggie Brown.
FOX: Douglas Brown drives up to my house. (Pause.) He says “I Want To Do Your Script. I've got this other thing to deal with, and we'll settle it tomorrow Call me ten o'clock tomorrow morning. I'll come in and sign up.” (Phone rings.)
GOULD (into phone): Hello . . . who? No calls. No calls. Just Richard Ross. And we need coffee . . . okay? Got it. . .? (Hangs up.)
FOX: . . . cross the street to shoot it. . .? And he says “why not.” (Pause.)
GOULD: . . . huh . . .
FOX: Huh . . .?
GOULD: . . . He'd come over here to shoot it. . .
FOX: Sonofabitch like out of some damn fairytale.
GOULD: . . . he drove to your house . . .
FOX: . . . I'm looking out the window . . .
GOULD: . . . son of a bitch . . .
FOX: . . . Douglas Brown drives up . . .
(The phone rings. GOULD picks it up.)
GOULD (into phone): Hello. Yes. Richard . . . (Pause.) Yes. Put him . . . Hello, Richard. Fine, just fine. They're painting it. Well, thank you. Thank you. Listen Richard. Do you need some good news . . .? (Pause.) Well, it's a surprise that I've got for you. No, I want to tell you in person. Do you have five mi . . . (Checks watch.) We'll be there. (Pause.) Charlie Fox . . . Charlie came in with a . . . (Pause.) Right. Right. We'll be there. Right. (Hangs up.) Well. We see him in ten minutes.
FOX: Yessir. I need some coffee.
GOULD: Oh, Jesus, what's the . . .
FOX: What. . .?
GOULD: The, what's the story? Tell me the . . .
FOX: I can tell it. No, you're right. You tell it.
GOULD: Gimme the broad outl. . .
FOX: Yes, yes.
GOULD: Just sketch me the broad . . .
FOX: Yes, yes, the thing, of course, is . . .
GOULD: Douggie, Brown, of course, the thing . . .
FOX: "A Douggie Brown picture” . . .
GOULD: A Douggie Brown picture . . .
FOX: Eh? A buddy . . .
GOULD: A Buddy Picture.
FOX: Douggie and . . .
GOULD: “Watch this space,” I got it. . .
FOX: Right.
GOULD: The Flavor of the Month . . . okay, now, what's the story?
FOX: Doug's in prison.
GOULD: . . . prison . . .
FOX: Right. These guys, they want to get him.
GOULD: Black guys . . .
FOX: Black guys in the prison.
GOULD (into phone): Coffee, quickly, can you get some coffee in here? (Hangs up.)
FOX: And the black guys going to rape his ass.
GOULD: Mmm.
FOX: Okay. Now. “Now, you could,” he goes, “you could have your ‘way’ with me, all of you . . .”
GOULD: Uh huh, what? ten or twenty guys . . .
FOX: “. . . and you could do that. But I'd have to, you see? Here's the thing of it. Unless you killed me, I would . . .”
GOULD: Uh huh . . .
FOX: “. . . have to come back and retaliate, sometime, somehow, because . . .”
GOULD: . . . okay . . .
FOX: “I couldn't..
GOULD: . . . uh huh . . .
FOX: “. . . live with that.”
GOULD: . . . The degradation . . .
FOX: “So whyn't you skip all the middle shit, kill me right now.”
GOULD: . . . he throws it in their face.
FOX: You got it.
GOULD: . . . uh huh . . .
FOX: “Or.” (Pause.) Or . . .
GOULD: . . . yes . . .
FOX: “If you could use a friend, why not allow me this? To be your friend . . .”
GOULD: He teams up with
