'95 Manute Bol sapphire card
97

'95 Manute Bol

Premium / Frostbite


General information

Theme
Frostbite
Position
C
Height
7'7" (231cm)
Weight
200lbs (90kg)
Age
24
From
None
Plays
Post Up Low P&R Roll Man

Hot Zones

Badges

0
0
2
2
'95 Manute Bol sapphire card

85 Overall

2798 Total attr.

72 Outside scoring

  • 92 Shot close
  • 70 Shot mid
  • 74 Shot 3pt
  • 98 Shot IQ
  • 67 Free throw
  • 90 Offensive consistency

80 Inside scoring

  • 47 Driving layup
  • 90 Standing dunk
  • 45 Driving dunk
  • 90 Draw foul
  • 74 Post moves
  • 88 Post hook
  • 66 Post fade
  • 92 Hands

38 Athleticism

  • 26 Speed
  • 25 Acceleration
  • 28 Vertical
  • 30 Strength
  • 95 Stamina
  • 90 Hustle
  • 65 Overall durability

30 Playmaking

  • 25 Speed with ball
  • 30 Ball handle
  • 30 Passing accuracy
  • 32 Passing vision
  • 34 Passing IQ

85 Defending

  • 94 Interior defense
  • 37 Perimeter defense
  • 96 Help defense IQ
  • 78 Pick & roll defense IQ
  • 27 Lateral quickness
  • 85 Pass perception
  • 69 Reaction time
  • 62 Steal
  • 98 Block
  • 97 Shot contest
  • 95 Defensive consistency

94 Rebounding

  • 92 Offensive rebound
  • 95 Defensive rebound

Finishing

Putback Boss

Increases shot percentage when attempting a putback after an offensive rebound

Lob City Finisher

Improves the chances of completing a successfull alley-oop dunk/layup

Shooting

Playmaking

Defense/Rebounding

Rim Protector

Improves ability to block shots, gives boost to the Takeover meter for blocker/teammates

Intimidator

Intimidates offensive players causing them to miss shots more often

Personality

Dunks

  • 90 Standing dunk
  • 75 Driving dunk
  • 5 Flashy dunk
  • 75 Alley-oop
  • 47 Putback dunk
  • 25 Crash

Layups

  • 59 Driving layup
  • 37 Spin layup
  • 56 Hop step layup
  • 0 Euro step layup
  • 48 Floater

Jump shooting

  • 93 Step through shot
  • 57 Shot under basket
  • 35 Shot close
  • 40 Shot close left
  • 24 Shot close middle
  • 36 Shot close right
  • 65 Shot mid
  • 55 Spot up shot mid
  • 50 Off screen shot mid
  • 35 Shot 3pt
  • 0 Spot up shot 3pt
  • 0 Off screen shot 3pt
  • 85 Contested jumper mid
  • 80 Contested jumper 3pt
  • 15 Stepback jumper mid
  • 0 Stepback jumper 3pt
  • 35 Spin jumper
  • 0 Transition pull up 3pt
  • 0 Drive pull up 3pt
  • 0 Drive pull up mid
  • 47 Use glass

Drive setup

  • 55 Triple threat pump fake
  • 0 Triple threat jab step
  • 75 Triple threat idle
  • 0 Triple threat shoot
  • 25 Setup with sizeup
  • 0 Setup with hesitation
  • 67 No setup dribble

Driving

  • 40 Drive
  • 40 Spot up drive
  • 40 Off screen drive
  • 50 Drive right
  • 0 Driving crossover
  • 0 Driving spin
  • 0 Driving step back
  • 0 Driving half spin
  • 0 Driving double crossover
  • 0 Driving behind the back
  • 0 Driving dribble hesitation
  • 0 Driving in and out
  • 75 No driving dribble move
  • 80 Attack strong on drive

Freelance

  • 60 Shoot
  • 69 Touches
  • 99 Roll vs. pop
  • 0 Transition spot up
  • 1 Iso vs. elite defender
  • 12 Iso vs. good defender
  • 18 Iso vs. average defender
  • 35 Iso vs. poor defender
  • 99 Play discipline

Post game

  • 13 Post up
  • 10 Post shimmy shot
  • 45 Post face up
  • 30 Post back down
  • 30 Post aggressive backdown
  • 18 Shoot from post
  • 50 Post hook left
  • 55 Post hook right
  • 50 Post fade left
  • 0 Post fade right
  • 15 Post up and under
  • 25 Post hop shot
  • 25 Post step back shot
  • 97 Post drive
  • 35 Post spin
  • 0 Post drop step
  • 0 Post hop step

Passing

  • 20 Dish to open man
  • 50 Flashy pass
  • 0 Alley oop pass

Defense

  • 35 Pass interception
  • 78 Take charge
  • 55 On-ball steal
  • 50 Contest shot
  • 50 Block shot
  • 90 Foul
  • 80 Hard foul

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Comments Sort by

    16

    HOLY SHIT HES BACK

    5

    YOOO I be taking 3s with basically Muresan.

    -19

    muresan is 10x better than this card lmao

    13

    Manute is way better smh

    Show 16 replies...
    -2

    in what world. he literally can only block shots lmao

    2

    He finishes at the rim like a beast, he doesn't even feel much slower than other centers, and for whatever reason he even finds a way too get more steals than blocks for me.

    -15

    imagine spending 30k+ on this shit card i wonder why he fucken gets steals cause hes a lenghty bastard thats black

    3

    Your name is Peter so I thought racism really grinds your gears but I guess not.

    -2

    i cant say someones black when im black yea ok lmaoo

    -2

    thats funny because your a white kid that jerks off to the confederate flag

    -4

    Says the one who believes in Santa lmao

    -1

    This is a picture of you Peter
    https://i.redd.it/99vsmqe5buh21.jpg

    -1

    ur black

    -1

    And you have a belt buckle weighing down your bank account and pants

    -1

    I GET THOTS

    -1

    That joke just made my day. Yee Haw bucko

    -1

    at least im not a bronze in 2k bum ass

    -1

    shut yo nobody ass up mr zero followers

    -2

    Yes cause without 2kMTCentral my clout would be reduced to ash
    I am devastated with 0 followers
    I don't think you understand I am torn
    I thought I had a good social life but then you exposed me

    1

    GOOD FELLAS

    by Nicholas Pileggi
    and
    Martin Scorcese

    Based on the book Wiseguys
    by
    Nicholas Pileggi

















    Shooting Draft
    January 3, 1989
    Revised 1/12/89






    FADE IN:

    JUNE 11, 1970S QUEENS, NEW YORK. THE SUITE - NIGHT

    A smoky, overdecorated cocktail lounge and nightclub on
    Queens Boulevard. Sergio Franchi is in full voice on the
    jukebox. It is after midnight. It has bean a long night..
    Balloons and empty glasses litter the place. BILLY BATTS,
    a 50-year-old hood in an out-of-date suit, court at the
    bar. WE SEE a younger, more sharply-dressed HOOD walk in
    with a BEEHIVE GIRLFRIEND and hug BATTS.

    HOOD
    Billy. You look beautiful. Welcome
    home.

    BAITS
    (laughing and turning
    to the bartender)
    What are you having? Give 'em what
    they're drinking.

    WE SEE FOUR OTHER MEN, including HENRY HILL and JIMMY BURKE,
    standing near BILLY BATTS at the bar, raise their glasses
    in salute. TOMMY DESIMONE and ANOTHER BEEHIVE BLONDE enter.
    BILLY BATTS looks up and sees TOMMY.

    BILLY
    Hey, look at him. Tommy. You grew
    up.

    TOMMY
    (preening a little)
    Billy, how are you?

    BILLY
    (smiling broadly at
    Tommy and the girl)
    Son of a bitch. Get over here.

    TOMMY walks over and BILLY, too aggressively, grabs TOMMY
    around the neck. TOMMY doesn't like it.

    TOMMY
    (forcing a laugh)
    Hey, Billy. Watch the suit.

    BILLY
    (squeezing Tommy's
    cheek, a little
    too hard)
    Listen to him. "Watch the suit,"
    he says. A little pisser I've
    known all my life. Hey, Tommy,
    don't go get too big.

    TOMMY
    Don't go busting my balls. Okay?

    BILLY
    (laughing, to the
    crowd at the bar)
    Busting his balls?
    (to Tommy)
    If I was busting your balls, I'd
    send you home for your shine box.

    TOMMY'S smile turns to a glare as he realizes BILLY is
    making fun of him. The Men at the bar are roaring with
    laughter. His GIRL is looking glumly at her shoes.

    BILLY
    (to the hoods at
    the bar)
    You remember Tommy's shines? The
    kid was great. He made mirrors.

    TOMMY
    (almost a threat)
    No more shines, Billy.

    BILLY
    Come ooonnn. Tommeeee. We're only
    kidding. You can't take a joke?
    Come ooonn.

    WE SEE that TOMMY is still angry, but begins to relax with
    BILLY'S apparent apology, but as soon as BILLY sees that
    TOMMY is beginning to relax, he contemptuously turns his
    back on TOMMY.

    BILLY
    (facing the bar)
    Now get the hell home and get your
    shine box.

    HENRY quickly steps in front of TOMMY who is about to
    explode. BATTS is facing the bar and does not see just how
    furious TOMMY has become.

    HENRY
    (gently wrestling
    Tommy away from
    the bar)
    Come on, relax. He's drunk. He's
    been locked up for six years.

    TOMMY
    I don't give a shit. That guy's
    got no right.

    HENRY
    Tommy. He. doesn't mean anything.
    Forget about it.

    TOMMY
    (trying to wrestle
    past Henry)
    He's insulting me. Rat bastard.
    He's never been any fuckin' good.

    HENRY
    Tommy. Come on. Relax.

    TOMMY
    (to Henry)
    Keep him here. I'm going for a
    bag.

    TOMMY roughly grabs his GIRL'S arm and storms out.

    HENRY
    (rejoining Jimmy
    and Billy Batts at
    the bar)
    Batts. I'm sorry. Tommy gets
    loaded. He doesn't mean any
    disrespect.

    BATTS
    He's got a hot head.

    WE SEE the LAST TWO GUESTS get up to leave. HENRY puts
    another dollar in the jukebox and moves back behind the
    bar and starts to total the register receipts.

    CUT TO:

    From HENRY'S POV behind the bar, WE SEE the GUESTS leave
    and suddenly WE SEE TOMMY in the doorway. HENRY walks around
    the bar and approaches TOMMY.

    WE SEE JIMMY and BATTS are still seated at bar with their
    backs to the door.

    BATTS
    They're fucking mutts.

    WE SEE JIMMY nod.

    BUTTS
    I seen them. They walk around
    like big shots and they don't know
    shit.

    JIMMY
    A guy gets half a load on. He
    mouths off.

    BATTS
    When I was a kid, I swear on my
    mother, you mouth off, you got
    your fucking legs broke.

    CUT TO:

    HENRY

    Approaching TOMMY who is carrying a large folded package
    under one arm.

    TOMMY, followed by HENRY, walks over to the bar where JIMMY
    and BILLY BATTS are talking. TOMMY drops the package on
    the floor.

    BILLY BATTS looks up.

    JIMMY turns around and sees that TOMMY has a gun in his
    hand.

    JIMMY immediately grabs BATTS's arms and WE SEE TOMMY smash
    the gun into the side of BATTS's head. WE SEE TOMMY hit
    BATTS again and again as JIMMY continues to hold BATTS's
    arms.

    JIMMY
    (to Henry, while
    pinning Batts's
    arms)
    Quick! Lock the door.

    WE SEE TOMMY club BATTS to the ground with JIMMY holding
    BATTS's arms.

    CUT TO:

    HENRY locking the door.

    CUT TO:

    BATTS'S INERT FORM -

    on the floor.

    WE SEE TOMMY unfold the package he had dropped near the
    bar.

    It is a plastic, flower-printed mattress cover.

    TOMMY and JIMMY start putting BAITS's legs into the mattress
    cover.

    HENRY is standing over them as JIMMY and TOMMY struggle to
    fit BAITS' s body into the mattress cover.

    HENRY
    What are we going to do with him?
    We can't dump him in the street.

    JIMMY
    (to Henry)
    Bring the car round back. I know a
    place Upstate they'll never find
    him.

    TOMMY is looking brightly at HENRY, as he and JIMMY finally
    zip BATTS in the mattress cover.

    TOMMY
    I didn't want to get blood on your
    floor.

    EXT. REAR DRIVEWAY - THE SUITE - NIGHT

    Darkness. The open trunk of HENRY 's car. The mattress
    cover is being shoved into the trunk by the THREE MEN. It
    is heavy work.

    HENRY
    Batts's made. His whole crew is
    going to be looking for him. This
    is fucking bad.

    TOMMY
    There's a shovel at my mother's.

    INT. TOMMY'S MOTHER'S HOUSE - KITCHEN - NIGHT

    Darkness in the kitchen. We hear noise of doors opening
    and tools being banged around in the dark.

    TOMMY
    SSHHH. You'll wake 'er up.

    Suddenly the light in the entryway goes on, and WE SEE
    TOMMY'S MOTHER, in housecoat, beaming at her SON and his
    FRIENDS.

    CUT TO:

    where TOMMY'S MOTHER' hovers over the seated TOMMY, HENRY
    and JIMMY. The table is filled with plates and coffee cops
    and the debris of dirty dishes.

    MOTHER
    (to all)
    Have some more. Yon hardly touched
    anything. Did Tommy tell you about
    my painting? Look.

    WE SEE her reach next to the refrigerator and pull up a
    couple of oil paintings she props on the edge of the table.

    MOTHER (CONTD)
    (proudly)
    They want me to do a portrait next.
    I'm gonna do the Moan Lisa.

    CUT TO:

    WINDOW

    where WE SEE HENRY 's car with the body in the trunk, still
    parked at the curb.

    INT. HENRY'S CAR - NIGHT

    Finally on their way, HENRY is driving. JIMMY, in the
    passenger's seat, and TOMMY, in the rear seat, embracing
    the shovel, are dozing off. The sleepy humming of the wheels
    is suddenly interrupted by a thumping sound. At first,
    HENRY thinks he has a flat, but the thumping is too
    irregular. JIMMY awakens. His eyes are on HENRY. TOMMY
    leans forward from the rear seat. Silence. Thump Silence.

    EXT. MERRITT PARKWAY - NIGHT

    Car pulls off the road onto the grass. HENRY, JIMMY and
    TOMMY, still holding the shovel, get out of the car.

    TOMMY
    Jesus Christ! Miserable bastard!

    HENRY opens the trunk and steps back. In the trunk light
    WE SEE the mattress cover squirming around. We hear muffled
    groans.

    TOMMY
    (raising the shovel)
    Can you believe this no-good fuck?
    The prick! He's still alive.

    TOMMY suddenly smashes the shovel into the moving, bloody
    mattress cover. He smashes it again and again and again.
    Cursing BATTS with every swing.

    TOMMY
    Rat bastard.
    (he swings shovel)
    No-good, low-life fuck.

    TOMMY swings shovel again and again.

    Soon the mattress cover stops squirming and TOMMY stops
    swinging the shovel. He is exhausted. TOMMY and JIMMY get
    back in the car. HENRY is facing the open trunk.

    TILT UP and FREEZE ON HENRY'S face slamming the trunk shut.

    HENRY (V.O.)
    As far back as I can remember, I
    always wanted to be a gangster.

    MAIN TITLE:

    GOOD FELLAS

    UNFREEZE and

    DISSOLVE TO:

    HENRY - AS A CHILD

    looking out his bedroom window.

    TITLE - EAST NEW YORK: BROOKLYN. 1955.

    HENRY (V.O.)
    To me, being a gangster was better
    than being President of the United
    States.

    EXT. CABSTAND - NIGHT

    HENRY'S POV - A GRIMY ONE-STORY CABSTAND

    with faded "Pitkin Avenue Cabs" sign above the door. Its
    after midnight. WE SEE A HALF-DOZEN, immaculately-dressed

    HOODS wearing diamond pinky rings and silk shirts, lounging
    around the cabstand talking and sipping coffee.

    HENRY (V.O.)
    Even before I first wandered into
    the cabstand for an after-school
    job, I knew I wanted to be a part
    of them. It was there I belonged.

    HENRY'S POV

    WE SEE a Cadillac pull up to the cabstand. WEE SEE the
    car rise slightly when TWO huge, dapper HOODS get out.

    On HOOD #1 WE SEE large diamond pinky ring on a sausage-
    thick finger.

    On HOOD #2 WE SEE a broken-nosed hood's tie hanging loosely
    across his monogrammed shirt like a silk bandolier.

    HENRY (V.O.)
    To me it meant being somebody in a
    neighborhood full of nobodies.

    On the sidewalk WE SEE the TWO HOODS who just got out of
    the car hug and playfully shove TUDDY VARIO, the sloppily-
    dressed, solidly-built HOOD who runs the cabstand.

    HENRY (V.O.)
    They weren't like anyone else.
    They did whatever they wanted.
    They'd double-park in front of the
    hydrant and nobody ever gave them
    a ticket. In the summer when they
    played cards all night, nobody
    ever called the cops.

    WE SEE TODDY laughingly try to push them away.

    HENRY (V.O.)
    Tuddy Vario ran the cabstand and a
    pizzeria and a few other places
    for his brother, Paul, who was the
    boss over everybody in the
    neighborhood.

    WE SEE a laughing HOOD #1 slyly slip behind TUDDY and grab
    him around the neck, while HOOD #2 starts feigning punches
    to TODDY's ample midsection.

    Suddenly TODDY VARIO and HOODS see that PAUL VARIO, the
    boss, is standing in the cabstand's doorway. VARIO is

    A large man, standing six-feet tall and weighing over 240
    pounds. He appears even larger.

    HENRY (V.O.)
    Paulie might have moved slow, but
    it was only because he didn't have
    to move for anybody.

    TODDY and HOODS immediately stop horsing around.

    TITLES CONTINUE.

    CHILD'S BEDROOM - MORNING

    CARMELLA HILL, HENRY'S mother, shoves his books under his
    arm and pushes him into the hallway. WE SEE. HENRY'S TWO
    BROTHERS putting on their jackets and picking up their
    books and almost tripping over another brother's, MICHAEL,
    wheelchair. WE CATCH A GLIMPSE OF TWO SISTERS eating
    breakfast.

    WE SEE HENRY'S construction worker FATHER sipping coffee
    in kitchen before going to work.

    HENRY (V.O.)
    At first, my parents loved that I
    found a job across the street. My
    father, who was Irish, was sent to
    work at the age of eleven, and he
    liked that I got myself a job. He
    always said American kids were
    spoiled lazy.

    CARMELLA
    (to the brood)
    Come on. Come on. You'll all be
    late.

    HENRY (V.O.)
    And my mother was happy after she
    found out that the Varios came
    from the same part of Sicily as
    she did. To my mother, it was the
    answer to her prayers.

    WE SEE HENRY'S MOTHER shove him out the door with his school
    books.

    EXT. STREET SIDE OF DOOR - DAY

    CARMELLA, in doorway, watches HENRY go down the block toward
    school. When HENRY turns the corner, along with

    OTHER school-bound' YOUNGSTERS, WE SEE he suddenly stops.
    The OTHER SCHOOLCHILDREN keep walking. HENRY carefully
    sticks his head around the corner. His MOTHER is no longer
    there.

    WE SEE HENRY race across the street toward the cabstand.

    HENRY (V.O.)
    I was the luckiest kid in the world.

    EXT. CABSTAND - DAY

    WE SEE HENRY leap into the air to catch a set of car keys.

    HENRY (V.O.)
    I could go anywhere.

    EXT. CABSTAND PARKING LOT - DAY

    WE SEE HENRY, who can hardly see over the dashboard,
    jockeying a MOBSTER'S Caddy around the cabstand parking
    lot. WE SEE OTHER KIDS, HENRY'S age, watching HENRY, in
    awe, from behind a fence.

    HENRY (V.O.)
    I could do anything.

    INT. CABSTAND BACKROOM - DAY

    WE SEE HENRY watching TWO UNIFORMED COPS laughing with
    TODDY and SOME HOODS while stuffing whisky bottles under
    their tunics.

    HENRY
    I knew everybody and everybody
    knew me.

    EXT. SIDEWALK OUTSIDE CABSTAND - DAY

    WE SEE HENRY trying to sip hot espresso coffee just like
    the BIG GUYS, except WE SEE HENRY grimace because the coffee
    is too hot and far too bitter.

    HENRY (V.O.)
    But it wasn't too long before my
    parents changed their minds. For
    them, the cabstand was supposed to
    be a part-tie job, but for me,
    it was full-time.

    CUT TO:

    INT. REAR OF CABSTAND

    TODDY is folding and placing long sheets with policy bets
    into a brown paper bag. In the BG, WE SEE HOODS going
    through boxes of stolen orange and blue cardigan sweaters.
    HENRY waits at TUDDY'S side until TODDY finishes making a
    notation on a slip of paper. TODDY holds the paper bag in
    his hands and

    TODDY
    (to Henry, with a
    smile)
    Okay.

    EXT. CABSTAND

    WE SEE HENRY running out the cabstand door carrying the
    paper bag. He runs past HALF A DOZEN HOODS, lounging outside
    on wooden chairs, wearing orange and blue sweaters.

    HENRY
    People like my father could never
    understand, but I was a part of
    something. I belonged. I was
    treated like a grown-up. Every day
    I was learning to score.

    INT. KITCHEN - HENRY'S HOUSE

    FATHER
    (in mock concern)
    Did you study hard in school today?
    Did you learn a lot? Huh?

    HENRY is silent and begins backing away.

    FATHER
    I can't hear you, you little liar.
    (waving the letter)
    I got this from the school. They
    say you haven't been there in
    months.

    HENRY tries to dart past his FATHER, but he cannot escape.
    HENRY gets a blow on the back of his head. HENRY'S MOTHER
    starts to interfere, but is pushed back.

    FATHER
    (beating Henry, but
    glaring at Carmella)
    Little lying bastard.

    CARMELLA screams. HENRY doubles up. HENRY'S FATHER keeps
    pounding away.

    CLOSE ON HENRY'S FACE

    FREEZE IN ACTION ON HENRY'S FATHER'S FACE

    HENRY (V.O.)
    My father was always pissed off.
    He was pissed that he had to work
    so hard. He was pissed that he
    made such lousy money. Be was pissed
    that there were seven of us living
    in a tiny house. But after a while,
    he was mostly pissed that I hung
    around the cabstand. He said they
    were bums and that I was a bum.
    He said I was going to get into
    trouble. I used to say I was only
    running errands after school, but
    he knew better. He knew what went
    on at the cabstand and, every once
    in a while, usually after he got
    his load on, I had to take a
    beating. But by then, I didn't
    care. No matter how many beatings
    I took, I wouldn't listen to what
    he said. I don't think I even
    heard him. The way I saw it,
    everybody has to take a beating
    some time.

    UNFREEZE and continue the beating.

    CUT TO:

    HENRY'S SWOLLEN AND BEATEN FACE

    INT. CABSTAND BACKROOM

    TODDY
    What happened to you?

    HENRY
    I can't make any more deliveries.

    TODDY
    Whadda you mean, you can't make
    any more deliveries? You're going
    to fuck up everything?

    HENRY
    My father got a letter from the
    school. He said the next time he'll
    kill me.

    CUT TO:

    INT. AUTOMOBILE

    THREE HOODS and HENRY in parked car outside the post office.

    HOOD #1
    (pointing to one
    postman)
    Is that the one?

    HENRY
    NO.

    HOOD »2
    (pointing at another)
    Him?

    HENRY
    No.
    (pause)
    There. That's him. That's the guy.

    HOOD #1 and HOOD #2 get out of the car and grab the stunned
    MAILMAN. He loses his hat and spills some mail as they
    shove him into the car's rear seat.

    INT. A NEIGHBORHOOD PIZZERIA

    TODDY VARIO is standing in front of a pizza oven. HENRY
    watches the HOODS shove the MAILMAN against the side of
    the oven. WE SEE PAUL VARIO in the BG.

    TODDY
    (pointing to Henry)
    You know this kid?

    MAILMAN
    (barely able to
    speak)
    Yes.

    TUDDY
    You know where he lives?

    MAILMAN nods.

    TODDY
    You deliver mail to his house?

    MAILMAN nods again.

    TODDY
    From now on, any letters to the
    kid from his school come directly
    here. Do you understand? One more
    letter from the school to the kid's
    house and ...

    TODDY looks at PAUL VARIO, who nods, and the HOODS pull
    down the door or the pizza oven and shove the MAILMAN up
    close.

    TODDY
    ... you're going in the oven head-
    first.

    FREEZE ON MAILMAN'S face, smeared against the hot stove.

    RENKY (V.O.)
    That was it. No more letters from
    truant officers. No more letters
    from school. In fact, no more
    letters from anybody. How could I
    go back to school after that and
    pledge allegiance to the flag and
    sit through good government
    bullshit.

    EXT. MOB SOCIAL CLUB - DAY

    WE SEE HENRY entering a mob social club, nodding to a
    friendly COP lounging outside, past WISEGUYS in sleeveless
    underwear sunning themselves in front of the club. WE SEE
    A COUPLE OF MENACING HOODS smile and nod hello at HENRY.

    REAR YARD OF SOCIAL CLUB

    HOODS are cooking sausages and peppers on grill. There are
    bottles of homemade wine and keg of beer.

    WE SEE PAUL VAHIO holding court while eating a sausage
    sandwich. There are HOODS standing around him at a
    respectful distance. Only TODDY approaches him with ease.

    WE SEE A HOOD talk to TODDY. WE SEE TODDY relay the message
    to PAUL. WE SEE PAUL say something to TODDY, who nods back
    to the HOOD and then motions to HENRY to come over. WE
    SEE TODDY bend down a little and whisper in HENRY's ear.

    DOLLY IN ON PAUL's face.

    HENRY (V.O.)
    Hundreds of guys depended on Paulie
    and he got a piece of everything
    they made. It was tribute, just
    like the old country, except they
    were doing it in America. All
    they got from Paulie was protection
    from other guys looking to rip
    them off. That's what it's all
    about. That's what the FBI can
    never understand -- that what Paulie
    and the organization does is offer
    protection for people who can't go
    to the cops. They're like the police
    department for wiseguys.

    EXT. USED CAR LOT - NIGHT

    WE SEE TUDDY in his car, hand HENRY a hammer, some rags, -
    and a five-gallon can of gasoline.

    TODDY
    (driving away)
    I'll be up at the corner.

    WE SEE HENRY break the windows of about six cars parked
    facing the sidewalk.

    HENRY (V.O.)
    People locked at me differently.
    They knew I was with somebody.

    HE SEE HENRY shove the gas-soaked rags through the broken
    car windows. HENRY looks up the block where TODDY has
    parked. HE SEE TODDY (from HENRY'S LOT) look around and
    nod. HENRY immediately begins tossing lighted matchbooks
    through the smashed car windows.

    HENRY (V.O.)
    I didn't have to wait on line at
    the bakery on Sunday morning anymore
    for fresh bread. The owner knew
    who I was with, and he'd come from
    around the counter, no matter how
    many people were waiting. I was
    taken care of first.

    Suddenly the night explodes in orange brightness. WE SEE
    HENRY begin to run toward TUDDY"s car as the cars he has
    ignited begin to explode behind him.

    HENRY (V.O.)
    Our neighbors didn't park in our
    driveway anymore, even though we
    didn't have a car. At thirteen, I
    was making more money than most of
    the grownups in the neighborhood.
    I had more money than I could spend.
    I had it all.

    FREEZE ON HENRY'S a silhouette against the darkness like a
    man in hell.

    HENRY (V.O.)
    One day some of the kids from the
    neighborhood carried my mother's
    groceries all the way home for
    her. It was out of respect.

    CUT TO:

    EXT. HENRY'S HOUSE - DAY

    HENRY'S MOTHER opens door of house, bright daylight.

    MOTHER'S POV

    She sees grey lizard shoes, grey pinstriped trousers, grey
    silk shirt, Billy Eckstein collar, yellow silk tie, and
    double-breasted jacket. She looks up and sees HENRY'S
    smiling face.

    MOTHER
    (aghast)
    My God! You look like a gangster.

    CUT TO:

    SCREAMING MAN

    Running toward the pizzeria, holding his hand.

    EXT.: PIZZERIA - DAY

    WE SEE HENRY standing near front of store.

    MAN
    (screaming)
    I've been shot! Help! Help!

    TUDDY
    (from rear of store,
    to Henry)
    Close the door. Don't let him in.

    HENRY grabs a chair, takes it outside for the MAN to sit
    on and closes the pizzeria door.

    The MAS collapses in the seat and HENRY immediately starts
    wrapping the MAN'S shredded and bleeding hand in his apron.
    The MAN is turning white and praying.

    HENRY
    (soothing the man)
    It's okay. It's okay. They're
    getting an ambulance.

    WE SEE HENRY prop the MAN in his chair and race into the
    pizzeria for more aprons which he takes outside and wraps
    around the MAN'S bleeding hand, just as an ambulance pulls
    up.

    WE SEE TODDY come up behind HENRY as the MAN is rushed
    away.

    HENRY (V.O.)
    It was the first time I had ever
    seen anyone shot.

    TODDY
    (angry)
    You're some fucking jerk.

    WE SEE that HENRY is stunned.

    TODDY
    I You wasted eight fucking aprons
    on that guy. :

    HENRY (V.O.)
    I remember feeling bad about the
    guy. But I remember feeling that
    maybe Tuddy was right. I knew
    Paulie didn't want anybody dying
    in the building.

    CUT TO:

    INT. CABSTAND - NIGHT

    HENRY is making a ham and cheese sandwich.

    CAMERA TRACKING through room full of PEOPLE playing cards,
    through professional CARD DEALERS skittering cards across
    green felt tables, through BODYGUARDS watching the door,
    through TUDDY VARIO walking around the tables, through
    PAUL VARIO standing quietly on the side, through HENRY
    giving the sandwich to ONE of the PLAYERS.

    HENRY (V.O.)
    It was a glorious time. Wiseguys
    were all over the place. It was
    before Apalachin and before Crazy
    Joey decided to take on a boss and
    start a war. It was when I met the
    world. It was when I first met
    Jimmy Burke.

    CAMERA COMES TO REST when JIMMY BROKE walks in the door.

    CUT TO:

    HENRY

    Looking at JIMMY

    HENRY (V.O.)
    He couldn't have been more than
    twenty-four or twenty-five at the
    time, but he was already a legend.
    He'd walk in the door and everybody
    who worked the room went wild.
    He'd give the doorman a hundred
    just for opening the door. He
    shoved hundreds in the pockets of
    the dealers and who ran the games.
    The bartender got a hundred just
    for keeping the ice cubes cold.

    HENRY sees VARIO give BURKE a hug around the shoulder.
    HENRY sees JIMMY handing money to the DOORMAN. HENRY
    watches PLAYERS timidly move their chairs slightly to make
    room for JIMMY. HENRY sees JIMMY pull out a wad of bills
    and sit down.

    JIMMY
    (to Henry, who is
    standing near the
    bar)
    Hey, kid! Get me a seven and seven.

    WE SEE HENRY make the drink and bring it to JIMMY.

    VARIO is standing next to JIMMY.

    VARIO
    (his arm around
    Henry's shoulder)
    Henry. Say hello to Jimmy Burke.

    WE SEE JIMMY slip a $20 bill in Henry's shirt pocket.

    JIMMY
    (lifting his drink
    to Henry)
    Keep 'em coming.

    FREEZE FRAME OH JIMMY.

    HENRY (V.O.)
    Jimmy was one of the most feared
    gays in the city. He was first
    locked up at eleven and was doing
    hits for mob bosses when he was
    sixteen. Hits never bothered him.
    It was business. But what he really
    loved to do was steal. I mean, he
    actually enjoyed it. Jimmy was
    the kind of guy who rooted for the
    bad guys in the movies. He was
    one of the city's biggest hijackers.
    Clothes. Razor blades. Booze.
    Cigarettes. Shrimp and lobsters.
    Shrimp and lobsters were the best.
    They went fast.

    EXT. TRAILER TRUCK - NEAR IDLEWILD AIRPORT - NIGHT

    The trailer truck is stopped at a light in a deserted area
    near JFK Airport. WE SEE the DRIVER being quietly led to a
    car where JIMMY BURKE is standing. WE SEE JIMMY routinely
    take the DRIVER'S wallet. There is absolutely no resistance.

    HENRY (V.O.)
    And almost all of them were
    gimmie's.

    CUT TO:

    CLOSE UP - WALLET

    WE SEE JIMMY put a $50 bill in the DRIVER'S wallet.

    HENRY
    They called him Jimmy the Gent.
    The drivers loved him. They used
    to tip him off about the really
    good loads. Of course, everybody
    got a piece. And when the cops
    assigned a whole army to stop him,
    (pause)
    Jimmy made them partners.

    CUT TO:

    EXT. CABSTAND PACKING LOT - DAY

    CLOSE UP - ROWS OF CIGARETTE CARTONS

    piled inside a large trailer truck.

    JIMMY and TOMMY DESIMONE, a youngster about HENRY's age,
    are moving large cigarette cartons toward truck tailgate.
    While JIMMY is dressed like a truck driver, TOMMY is -
    very nattily dressed in a sharply-cut suit and highly buffed
    shoes.

    JIMMY and TOMMY are loading the cartons into the arms of a
    WOMAN SCHOOL-CROSSING GUARD who is having difficulty
    carrying the load.

    JIMMY
    Tommy. Help the lady.

    WE SEE TOMMY scramble down from the truck and help the
    SCHOOL-CROSSING GUARD to her own car where WE SEE she
    already bad a load of the cartons.

    WE SEE HENRY standing near her car and watching.

    SCHOOL-CROSSING GUARD
    (driving off)
    Thank you, sweetheart.

    CUT TO:

    JIMMY standing between TOMMY and HENRY.

    JIMMY
    (to Henry)
    Say hello to Tommy. You'll do good
    together.

    CUT TO:

    POLICE CAR

    pulling onto the sidewalk where HENRY, TOMMY and JIMMY are
    standing. The COPS recognize JIMMY.

    COP #1
    Anything good?

    HENRY watches JIMMY smile and toss a couple of cartons of
    cigarettes into their radio car.

    The COPS wave and drive off.

    EXT. FACTORY GATE - QUITTING TIME

    WE SEE HENRY busily selling cartons to WORKERS. TOMMY is
    getting cartons out. of the trunk of a car parked nearby.
    HENRY is so busy he can hardly keep the money and cash
    straight. Instead of the neat roll we saw on JIMMY, HENRY's
    cash is a wrinkled mess. Some of it is rolled, some folded,
    some in different pockets. WE SEE HENRY approached by TWO
    CITY DETECTIVES.

    DETECTIVE #1
    What do you think you're doing?

    DETECTIVE #2
    Where did you get these cigarettes?
    (offering them
    cartons)
    It's okay.

    DETECTIVE #l roughly grabs HENRY's arm. DETECTIVE #2 grabs
    HENRY's cigarette cartons. WE SEE HENRY pull his arm away
    and ONE of the DETECTIVES slaps him across the face.

    WE SEE that TOMMY is about to say something, but runs away
    instead.

    INT. CABSTAND - DAY

    WE SEE TOMMY talking to TUDDY and ASSORTED HOODS at the
    cabstand.

    INT. COURTROOM - "AR-1" (ARRAIGNMENT PART 1)

    HENRY is waiting along with DOZENS OF HOOKERS, nodding
    JUNKIES, MUGGERS and SHOPLIFTERS. When HENRY'S case is
    called, WE PAN to a well-dressed MOB LAWYER. HENRY, who
    has never seen the LAWYER before, walks to the

    PROSECUTOR'S, rather than the DEFENDANT'S table. A COURT
    CLERK nods him over toward his own LAWYER.

    Without acknowledging HENRY, the LAWYER nods and smiles at
    the JUDGE, who smiles and nods back.

    JUDGE
    Councilor, proceed.

    CUT TO:

    INT. COURTROOM - CENTER AISLE

    HENRY is walking out of the court. HENRY sees JIMMY BURKE
    smiling and waiting for him in the rear of the courtroom.
    JIMMY puts his arm around HENRY like a father, and tacks a
    one-hundred dollar bill into HENRY's chest pocket. They
    walk out into the court corridor in silence together and
    then, suddenly, HENRY sees PAUL VARIO, TOMMY, TUDDY, and
    the WHOLE CREW from the cabstand waiting for him. They
    start clapping and whistling and slapping his back and
    cheering. VARIO, TUDDY and BURKE embrace him.

    While bewildered COPS and LAWYERS watch!

    CHORDS OF HOODS
    You broke your cherry! You broke
    your cherry!

    LAST FREEZE.

    TITLE UP - IDLEWILD AIRPORT: 1955

    EXT. WIDE SHOT - IDLEWILD CARGO AREA

    HENRY (V.O.)
    By the time I grew up, there was
    thirty billion a year in cargo
    moving through Idlewild Airport
    and we tried to steal every bit of
    it.

    EXT. AIRPORT DINER - PARKING LOT - DAY

    ANGLE - GREY LIZARD SHOES AND SHARP GREY PANTS

    and UP TO SEE HENRY standing in parking lot, when a large
    truck pulls up. WE SEE TOMMY DESIMONE standing with him.

    HENRY (V.O.)
    You've got to understand, we grew
    up near the airport.. It belonged
    to Paulie. We had friends and
    relatives who worked all over the
    place and they tipped as off about
    what was coming in and what was
    going out.

    WE SEE DRIVES get out of track with engine still running
    and leave door open. He nods to HENRY who does not respond
    and the DRIVES casually walks toward the diner.

    HENRY (V.O.)
    If any of the truckers or airlines
    gave as trouble, Paulie had his
    people scare then with a little
    strike. It was beautiful. It was
    an even bigger money-major than
    numbers, and Jimmy was in charge.
    Whenever we needed money, we'd rob
    the airport. To us, it was better
    than Citibank.

    INT. TABLE IN DINER

    WE SEE DRIVER rise from debris of breakfast dishes, leave
    a tip and pay the CASHIER. Be walks out the door toward
    his truck in the parking lot.

    HOLD ON the door.

    DRIVER rushes back in through the door toward the CASHIER.

    DRIVER
    (flushed and agitated)
    Hurry, gimme the phone. Two niggers
    just stole my track.

    INT. SONNY'S BAMBOO LOUNGE - DUSK

    A cavernous room within earshot of the airport that looks
    like a movie nightclub. No matter when you walk into the
    Bamboo Lounge it's always the middle of the night.

    CAMERA TRACKS past the zebra-striped banquettes and bar
    stools, past sharpy BUSINESSMEN, BOOKMAKERS and HOODS.

    HENRY (V.O.)
    There was Jimmy and Tommy and me.
    And there was Anthony Stabile,
    Angelo Sepe, Fat Andy, Frankie the
    Wop, Freddy No Nose, Pete the
    Killer, Nicky Blanda, Mikey
    Franzese, and Johnny Echoes, who
    got that nickname because he said
    everything twice. Like*, "You
    wanna get the papers, get the
    papers."

    CAMERA TRACKS to the backroom which WE SEE is filled with
    racks of clothes, boxed television sets, new toaster ovens
    and stereos. WE SEE MAN rolling racks of fur coats into
    the room which looks like a discount store warehouse.

    MAN
    (to Sonny)
    Sonny, we got the coats.

    SONNY
    (ignoring the man,
    and to Henry)
    You got any suits?

    HENRY
    Not till Thursday.

    SONNY
    (closing door to
    backroom)
    I need suits.

    CUT TO:

    HENRY, JIMMY, TOMMY, AND ASSORTED HOODS AND THEIR
    GIRLFRIENDS

    are having a party. There are champagne buckets around the
    table which is littered with steak and lobster dishes. The
    table is a mess and everyone is laughing. WE SEE HENRY
    look at his watch and look at the lounge's entrance.

    HENRY (V.O.)
    For us to live any other way was
    nuts. To us, those goody-good people
    who worked shitty jobs for bum
    paychecks, who took the subway to
    work every day and worried about
    their bills, were dead. They were
    suckers. They had no balls. If we
    wanted something, we just took it.
    If anyone complained twice, they
    got hit so bad they never complained
    again. It was routine. You didn't
    even think about it.

    CUT TO:

    DOORWAY or BAMBOO LOUNGE WE SEE FRENCHY MCMAHON, a beefy
    man in a leather wind-breaker, enter.

    WE SEE HENRY get up and go over to greet him.

    CUT TO:

    THE BAR

    HENRY and FRENCHY embrace.

    FRENCHY is still wearing his Air France cargo worker's -
    coveralls under his leather jacket and WE SEE the "Air
    France" logo and the name "Frenchy" in script over the
    coverall's breast pocket.

    FRENCHY
    (trying to whisper
    above the din)
    It's all there. I can get you past
    the alarms and I can get the key.

    WE SEE HENRY torn to table and wave at JIMMY to join the
    at the bar.

    CUT TO:

    THE TABLE

    WE SEE JIMMY get up and go to the bar.

    WE SEE TOMMY at the table with SONNY BAMBOO, the owner,
    hovering around. SONNY BAMBOO is holding a thick sheaf of
    bills. WE SEE SONNY timidly approach TOMMY by whispering
    in his ear. In the BG, WE ALSO SEE the face of a terrified
    WAITER.

    TOMMY
    (putting his arm
    around Sonny's
    shoulder)
    It's okay. Put it on the tab.

    SONNY
    (whispering with
    fear a11 over his
    face)
    Tommy, it's not just this. Tommy,
    please. It's seven grand here.

    WE SEE TOMMY just stare menacingly at SONNY.

    SONNY
    (he started, he
    might as well finish)
    Tommy, I need the money, Tommy,
    please. I owe the world.

    TOMMY
    (leaping from the
    table in a rage)
    You Sonofabitch fuck. Are you
    calling me a deadbeat? The money
    I spent here? Embarrassing me in
    front of my friends. You miserable
    fuck.
    (turning to his
    pals)
    Can you believe this bastard?
    (back to a terrified
    Sonny)
    Ungrateful fuck! I oughta break
    your fucking legs!

    WE SEE SONNY BAMBOO flee toward his office, with TOMMY
    making a half-hearted gesture to follow, but instead, he
    walks over and joins HENRY, JIMMY and FRENCHY at the bar.
    He is smiling.

    FRENCHY
    (to Tommy)
    Hey, Tommy. Have a drink.

    INT. BACKROOM - CABSTAND - DAY

    WE SEE SONNY BAMBOO meekly seated at table facing PAUL
    VARIO. HENRY is standing behind SONNY BAMBOO for support.

    VARIO
    (groaning)
    If you knew those fucking kids.
    They're nuts. Especially that Tommy.
    What am I going to do with them?

    SONNY
    (sweating)
    But I'm worried. I'm hearing all
    kinds of things. Paulie. You know
    me all my life. I've always done
    the right thing.

    VARIO
    You think that matters? You think
    they give a shit about anything?
    The little bastards.

    SONNY
    But it isn't right, Paulie.
    That Tommy, he's making trouble
    for me all over town. I can't go
    here. I can't go there.

    VARIO
    You? You think you're the only
    one? I've talked to them a million
    times, but they don't listen.

    SONNY
    (weakly)
    But, Paulie, please.

    VARIO
    (barely listening)
    Someday they'll get what's coming
    to them. That's the only way they'll
    stop.

    SONNY
    (pleading)
    Paulie, I swear, I'm afraid. The
    guy's nuts. What do I have to do?
    Whatever I gotta do, I'll do.

    VARIO
    (arms outstretched
    like a saint)
    What can I do? If I could do
    something, don't you think I would?

    SONNY looks up at HENRY for support.

    HENRY
    (to Sonny)
    Tell him. It's okay.

    VARIO
    What?

    4

    he costs 120k wtf? almost impossible to complete frost collection to get the opal reward

    2

    MANUUUUUUUUUUUUUUUTE

    2

    i find it strange that his son is only 7'2

    2

    well, his wife's height could be one factor.

    1

    Only??

    2

    SAPPHIRE MANUTE IS BACK

    1

    WE NEEDED AN AMY BOL BUT LETS FUCKING GOOOOOOOOO

    0

    How do you get this card?

    0

    Frostbite packs in the token market, or the action house. Even though the prices are like 50-100k.

    0

    frostbite packs from token market and TT online and locker codes all don't contain the sapphires.

    0

    that one dude on 2kmtcentral just peed his pants a little.

    0
    0

    [Deleted]

    0

    best card in the SET

    -1

    Who wouldve though a sapphire is one of the best in the set

    -12

    this card is ass...

    -2

    apparently since this card is 7'7 means hes good lmao yall dumb as shit

    -4

    u must be new 2 2k

    Show 1 more reply...
    -11

    7'7'' tho, weak ass Muresan who can shoot

    Show 8 replies...
    2

    imagine thinking this card is good he's 7'7 cant shoot slow ass release has 4 fucken badges yall are dumb as fuck

    1

    Have you played with this card ? I'm about to sell mine but it was tuff to put him on block and i can fill 2 teams with diamond or better cards. This card is a beast, length has to be taken into account cause he dont play like a 85.

    -2

    too bad hes slow as hell and cant play perimeter defense to save his life ill just use bam and blow by this bum

    -8

    all your recent comments are getting downvoted so much lol

    3

    yea bc im right and everyone else is dumb as hell lmao

    -5

    so you downvote me lol

    -3

    and upvote yourself with alts lmao

    -2

    wow you have a life

    -1

    @yeetbombb

    ITS BOL COUNTY!

    -1
    -1

    confused why he goes for 30k on xbox lol

    -2

    goes for the same on ps4 he just so rare and trash

    -1

    lol 30 strength for a big man 2k fix this at least 50

    3

    he only 90kg

    -1

    Yeeeeeeeeesssssss

    -1

    lol this card is trash but so expensive

    0

    just beacuse of his hieight,

    -1

    Was trying to snipe one of these and came across his pink diamond 20k cheaper ... Even though it would be cool to finish the set and get Eaton ... I had to get the better card

    -2

    https://2kmtcentral.com/20/lineups/130932/suggestions, give me suggestions for my lineup. It'd be appreciated :)

    -3

    [Deleted]

    -1

    He doesn't even seem that much slower than other centers fr

    -7

    30 strength lmaooooo