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com Hyderabad Scripts Collected: AMERICAN GANGSTER:
Written by Steven Zaillian
FINAL SHOOTING SCRIPT 2006 July 27,
EXT. JAZZ CLUB - DAY A tall, handsome man in a dark suit emerges from a Lincoln Towncar and enters a small, basement R&B/Jazz club.
INT. JAZZ CLUB - DAY He approaches a booth, says something in the din to the men there, then calmly shoots them and exits. AMERICAN GANGSTER
EXT. HARLEM STREET - DAY (NOVEMBER) Bumpy Johnson, an elderly but still sturdy black man, elegantly dressed - cashmere overcoat, gloves, Homburg stands in falling snow atop a flatbed truck - as he does every Thanksgiving - tossing down turkeys to the poor like a benign king.
A younger man, the gunman from the club - Frank Lucas Bumpy's driver/bodyguard/collector/protege - watches from below. 4 4 INT/EXT. STREET / DISCOUNT EMPORIUM - DAY (NOVEMBER) Whispering gunfire from a television set veiled by foreground snow: Soldiers in the jungles of Vietnam in 1970. A rich, cultured, authoritative voice offers: BUMPY O/S This is the problem. This is what's wrong with America. The war footage multiplies by twenty: a stack of TVs with price tags dangling from the knobs behind a display window. BUMPY O/S It's gotten so big you can't find your way. People on the sidewalk, out of respect or fear, part to let Frank and Bumpy and Bumpy's German shepherd pass. BUMPY The corner grocery's a supermarket. Candy store's a MacDonald's. And this place. (MORE) T) (CON 2. 4 4 CONTINUED: BUMPY (CONT'D) Where's the pride of ownership here? Where's the personal service? Does anybody work here? Inside, the emporium is vast, with aisles that seem to stretch off into infinity. The TVs give way to a display window full of Japanese stereo componentry. BUMPY What right do they have cutting out the suppliers, pushing all the middlemen out, buying direct from the manufacturer Sony this, Toshiba that, all them Chinks putting Americans out of work? He's not really asking Frank, so Frank doesn't answer.
BUMPY What am I supposed to do with a place like this, Frank? Who am I supposed to ask for, the assistant manager? (pause) This is the problem. This is the way it is now: You can't find the heart of anything to stick the knife. Bumpy stops before a display of cameras and stares in. They're all pointed at him as a pain grips his chest and he sinks to his knees. Frank kneels down. What is it? FRANK
Bumpy seems unable to speak, looks to Frank confused. FRANK Somebody call an ambulance! But the store suddenly seems empty. Frank yells into the emporium but can't be heard above the Muzak and the cash registers ringing up sales Bumpy will never see a piece of. Looking up at Frank, Bumpy manages weakly BUMPY Forget it, Frank. No one's in charge. 5 5 EXT. BUMPY'S APARTMENT - DAY Limousines from the funeral disgorge mourners: family, friends, celebrities, politicians. Cops on horseback move through the enormous crowd that has gathered to watch. FBI agents in cars snap pictures with long lenses of Italian mobsters like Albert Tosca. NT) (CO 3. 5 CONTINUED: REPORTER - whose passing has brought together a who's who of mourners on this chilly afternoon. The Governor has come down. The mayor of New York - its Chief of Police and Commissioner - sports and entertainment luminaries A white Bentley pulls up, disgorging Jackie Fox - the original Superfly - and his entourage. With his trademark tinted Gucci glasses on, he happily poses for anyone with a 5
camera - including the Feds - before going inside. 6 INT. BUMPY'S APARTMENT - LATER The report continues on a TV no one's really watching here: a March of Time-like history of Bumpy Johnson, famed Harlem gangster, Robin Hood and killer. REPORTER ON TV He was a Great Man, according to the eulogies. A giving man. A man of the people. No one chose to include in their remembrances the word most often associated with Ellsworth Bumpy Johnson: Gangster. Sitting off by himself in Bumpy's elegant garden apartment, heretofore his private sanctuary, Frank surveys the mourners circling the place like vultures: Tango Black, a huge brute, scavenging the catered food and tended bar ... Jackie Fox, surrounded by his ever-present coterie of sycophants ... Albert Tosca, an elegant Italian capo, and an underling, Rossi, at the bar. TOSCA White wine, please. A white man who looks like a banker - and is - sits down next to Frank. BANKER How you doing, Frank? FRANK All right. BANKER What a loss. (Frank nods) How are you otherwise? financially? T) 4. 6 CONTINUED: Frank doesn't say. It feels unseemly to him to be talking about money here. He watches Tango carelessly set a watery glass of ice on an antique inlaid chess table. BANKER Bumpy set something up for you? 6 6
Things okay (CON
Frank excuses himself without an answer, crosses to where Tango left the glass, and sets it on a coaster. TANGO Hey, Frank, get me an ashtray while you're at it. Bumpy's German shepherd watches as Frank reaches into his jacket, revealing a gun nestled in its shoulder holster. He takes out a handkerchief, wipes the condensation dry, opens a drawer and removes an ashtray. He holds it out to Tango who isn't sure it's not a dare and decides to wander off. CHARLIE I know you're hurting, Frank. So am I.
Frank sits back down with Charlie Williams, an older dope man. CHARLIE You going to be all right? Yeah. FRANK
CHARLIE I'm sure Bumpy never told you, but he made me promise, anything ever happened to him, I'd make sure you didn't go without. FRANK I'll be fine, Charlie. Half the people here owed Bumpy money when he died. A lot of money. If they think I'm going to forget to collect, they're wrong. CHARLIE That's the spirit. Go get them. On the TV, over archive film and photographs of crime figures from the 1940's and `50's, the opinion is offered that Bumpy's death "marks the end of an era ..." 5.
INT. CLASSROOM - NIGHT A figure, his back to us, walks slowly toward a blackboard like a man to the gallows.
RICHIE V.O. I live in fear of hearing my name called. PROFESSOR Mr. Roberts, Give us U.S. vs. Meade RICHIE V.O. Of walking up there, turning around, knowing every one of them knows more than I do PROFESSOR Subject, issues, what the determination was and what it means to us today. Richie Roberts turns and faces his classmates, all of them a decade or more younger than him. 7 7 EXT. MOTEL - NEW JERSEY - DAY Harlem's jagged teeth skyline juts across the river at the other end of the George Washington Bridge. On this side - a sledgehammer gripped in Richie's fist, on the move, suddenly fills the frame. RICHIE You know the Number 1 fear of most people isn't dying; it's public speaking. They get physically ill. They throw up. RIVERA And that's what you want to do for a living. RICHIE I don't like being like that. beat it. I want to
Armed with the sledgehammer, Richie and his partner - Javy Rivera - come past a seedy motel office where a TV shows another report about Bumpy Johnson. Legend: New Jersey
A motel clerk looks up, glimpses the sledgehammer (CON 6. 7 CONTINUED: 7
Rivera flashes a New Jersey detective's shield without breaking stride. Takes a subpoena out of another pocket. RIVERA Who's going to do this? RICHIE He knows me, he'll take it from me. I've known him since high school. RIVERA Just throw it in, he doesn't take it. That's good service. They reach a particular motel room door. Rivera knocks. The door opens the length of a chain, revealing a wise guy in an undershirt, who, when he sees the subpoena, start to close the door Throw it RIVERA
As Richie flings the subpoena in, the door slams on his hand. He wails in agony, tries to shoulder it open, hears the dead bolt lock on the other side, feels Campizi's teeth bite into his fingers, watches his blood run down the frame. Down RIVERA
Richie hangs down from his hand as the sledgehammer swings past his head shattering the door 8 INT/EXT. MOTEL ROOM - CONTINUOUS The door rips from its hinges and the detectives crash in. The wise guy - Campizi - hurries for the bathroom, slams the door. This one's hollow and the detectives more easily break through it Campizi tries to climb out the bathroom window. Richie grabs him, throws him into the shower stall, taking the plastic curtain down with them, smearing it with blood as Richie beats at him before Rivera can pull him off. 9 INT. AMBULANCE - MOVING - DAY A male paramedic attends to Campizi's bloodied face while a female paramedic cleans Richie's bloodied hand. (CON T) 9 8
7. 9 CONTINUED: CAMPIZI I swear to God, Richie, I didn't know it was you. I would never slam a door on your hand. Knowingly. RICHIE You bit my fuckin hand Richie lunges at him, hits him again with his injured hand which hurts Richie more than it does Campizi. The paramedics manage to pull him away. CAMPIZI What can we do, Richie? You don't want to do this. For old times sake, what can we do? Who do you want? Who can I give you? You want Big Sal's bookie? You want his accountant? I'll give him to you. Richie regards him a moment. A policy ring's accountant wouldn't be bad. He glances back to his paramedic dabbing at his bloody hand, and notices she's not bad-looking. She smiles back. 10 INT. NY POLICE HQ - ENTRANCE/STAIRS - DAY Four men in long black leather coats stride toward like they own the city. It's impossible to tell if they're cops or gangsters. Legend: 11 New York City 11 10 9
INT. NEW YORK POLICE ANNEX - PROPERTY ROOM - DAY One of the same undercover cops - Detective Trupo scribbles a signature and badge number different from the one on his gold shield lying next to the voucher requesting evidence needed in court. He pushes the voucher under a sign - "All Handguns and Narcotics Before 10am Next Window" - to a clerk who takes it past floor-to-ceiling shelves covered with files, plastic bags bulging with handguns, knives and gambling receipts. Bulkier items - like shotguns and baseball bats - lie unwrapped with dangling tags. The clerk reaches a chain-link cage where the most valuable items are locked up - narcotics, pornography, cash - checks the voucher against tags, takes down an old green suitcase.
EXT. WAREHOUSE - DAY Trupo's car - a Shelby Mustang - roars up. He climbs out, crosses to a warehouse with the suitcase as the other three SIU Princes of the City follow from another car, cradling grocery bags.
INT. WAREHOUSE - DAY Trupo snaps the suitcase open revealing five half-kilo bags of uncut heroin in clear plastic bags. The other cops pull from the grocery bags: a Pyrex mixing bowl, flour sifter, boxes of milk-sugar, latex kitchen gloves, a medical scale, and yellow baggies. Hands peel back the distinctive black and green "evidence" tape on the clear plastic bags. Dump the heroin into twenty yellow baggies. A half-kilo of lactose is poured into each of the now-empty property room bags. TRUPO Now just enough for the reagent test. He removes one tablespoon of heroin from each of the baggies, and the now-almost-heroin-free powder is mixed through the flour sifter, poured back into the clear bags, the tape resealed, the bags returned to the suitcase.
INT. NY COURTROOM - DAY The suitcase and "heroin," and some weapons and money, have been arranged on an evidence table with the care of a Macy's display window. Trupo - the officer in charge of the case watches the jury files in EXT. UNDER EXPRESSWAY - DAY A Lincoln Continental pulls up. Trupo climbs out of his Shelby with a sports bag, crosses to the Lincoln, climbs in back where an Italian wise guy - Rossi - sits. Trupo unzips the bag revealing the recut heroin - in the yellow plastic. ROSSI V/O This is the French Connection dope. The same dope Popeye Doyle and Sonny Grasso took from us.
16 OMIT OMIT .
INT. ITALIAN BAR - NY - DAY Frank comes into an empty bar, chairs up on tables. A middle-aged man mopping up glances up at him as he crosses to a back room. ROSSI V/O They seize it, arrest everybody, whack it up and sell it back to us. Our dope. They been living off it for years, these New York cops.
INT. ITALIAN BAR - BACK ROOM - NY - DAY Several ounces of the dope sits in foreground on a table. ROSSI They basically control the market with it. What the fuck has happened to the world, Frank? FRANK Fuckin crooks. Rossi, who looks more like a middle-aged accountant than the Italian dope supplier he is, makes two espressos. ROSSI Sad about Bumpy. Behind Frank, a TV airs a report by Walter Cronkite on the heroin problem among GIs in Vietnam. ROSSI Things are never going to be the same in Harlem. The girls, the clubs, the music walk down the street, nobody bothers you because Bumpy's making sure of it. (hands Frank one of the espressos) How bad is it there now?
FLASHCUTS TO HARLEM
Guys barge into a room, steal money from a crap game at gunpoint - Cops push guys against a bar, empty their pockets - A dealer shoots another dealer in an alley 18pt 18pt BACK TO THE HOTEL ROOM FRANK Every gorilla for himself. (C
It's chaos. ONT) 10. 18pt 18pt CONTINUED:
ROSSI Who can live like that? There has to be order. That would never happen with Italians. More important than any one man's life - is order. 19 19 EXT. HARLEM - DAY A street sign on a corner: 20 20 INT. DINER - HARLEM - DAY As is his custom, Frank eats breakfast alone. A middleaged waitress appears when he's done, picks up his plate and refills his coffee. FRANK Thank you, Charlene. Last one. 116th and 8th Avenue.
CHARLENE It's all right with me, Frank, you can stay all day if you want, but I wouldn't. It's nice outside. FRANK Then maybe I'll have to go for a walk. Just cause you said so. She smiles and leaves. Frank pours some sugar in his coffee. Someone taps on the window and he looks up, sees two servicemen - one in uniform - one he recognizes. 21 INT. REDTOP'S APARTMENT BUILDING - DAY
21 Frank leads the servicemen up the stairs of a building. 22 22 INT. REDTOP'S APARTMENT - DAY Corner apartment above the street. A girl sits smoking at a work table covered with drug-cutting apparatus. Another Frank's cutter and sometimes-girlfriend, Red Top - sets a couple of packets of heroin in front of the servicemen. RED TOP On the house for our men in uniform. SERVICEMAN 1 Why, thank you, sugar, that's very kind. Thank Frank. RED TOP
(CONT) 11. 22 22 CONTINUED:
Frank nods, you're welcome before the man can thank him. The servicemen start cooking up the dope. How's Nate? FRANK You seen him?
SERVICEMAN 1 All the time. Nate is everywhere. He's good. Got himself a club now. FRANK Where, Saigon? SERVICEMAN 1 Bangkok. SERVICEMAN 2 I don't think he's ever coming home. Regarding the dope as the servicemen shoot it up FRANK You're gonna have to boot it a couple times. Cops keep cutting it, selling it, cutting it -
SERVICEMAN 1 I don't want to say anything cause the price is right - but the shit in Nam is way, way, way, way, way He begins to nod out before he can finish the sentence. 23 OMIT 23 OMIT 24 24
EXT. SOCIAL CLUB - NEWARK - LATE AFTERNOON Across the river, Richie, Rivera and Campizi sit in the car parked across from a closed social club. A man carrying a grocery bag comes out and Campizi ducks lower in the seat. That's him. CAMPIZI
Newsboy Moriarty's mob accountant puts the grocery bag in the trunk of a car, climbs in behind the wheel. 25 25 EXT. NEWARK - SCRAP METAL YARD - LATE AFTERNOON From the parked car they observe the accountant putting another bag in his trunk. 12.
EXT. STREET - NEWARK - LATE AFTERNOON He comes out of another place with another bag. All right. RICHIE Get lost. Get out.
26 To Campizi -
Campizi slinks out of the car. Richie and Rivera follow after Newsboy Moriarty's accountant's car. 27 EXT. PARKING LOT - LATE AFTERNOON They tail the car into a lot, park and watch the accountant leave his car and get into another car that's parked there. RIVERA We gonna stay with him or the car? Whatever they do, they'll have to decide quick. RICHIE 27
Let's see who comes for the car. 28 EXT. PARKING LOT - NEWARK - NIGHT All the other cars are gone. Rivera climbs into Richie's with coffee and a Coke in a bag, hands him the can. RIVERA Think he made us? Richie doesn't know. Glances at his watch. Cranes in his seat to look behind them. RICHIE You called for the warrant? Where are they? RIVERA I just called. I called and walked back here and ten seconds has gone by. Richie watches an attendant lock up, listens to the street lamps buzz, grows impatient. Indicating the other car: RICHIE We saw him with the slips, Javy. RIVERA You saw policy slips? You saw grocery bags. You don't know what's in them. (CONT) . 28 28 CONTINUED: 13 28
RICHIE Yes, I do, and so do you, don't give me that bullshit RIVERA What's the rush? Half an hour the warrant'll be here RICHIE I got night school. RIVERA Guess you're going to miss it. (Rivera sips at his coffee; then:) You know, what you were saying before
- about throwing up in front of people money will take that feeling away. RICHIE Not when it's less. RIVERA Less than what. RICHIE Than what I make now. RIVERA No lawyer on earth makes less than a cop. RICHIE They do in the Prosecutor's Office. Three thousand less. RIVERA You're fuckin kidding me. Richie isn't kidding. Rivera stares at him like he's crazy. Richie checks his watch. He's waited long enough. RICHIE Fuck this Richie RIVERA
Richie gets out, opens the trunk, grabs a Slimjim and bolt cutters, cuts through a gate chain and strides to the accountant's car, Rivera following. Richie trips the passenger door lock and pulls at the trunk release, and, as he comes around back to search it (C ONT) 14. 28 CONTINUED: RICHIE Check inside. Rivera may as well; the damage to the case, if there is one anymore, is done. He crawls inside the car to look under the seats and in the glove compartment. Gravely Javy ... RICHIE 28
Richie's staring into the trunk like there's a body inside. Rivera comes over, takes a look, sees it's money: stacks of
it rubber-banded together, spilling from grocery bags - more than either of them has ever seen. As the trunk closes 29 EXT. PARKING LOT / RICHIE'S CAR - LATER - NIGHT Richie and Rivera sit in their car in silence, staring out at the car with the money in it. Eventually RICHIE This isn't a couple of bucks. RIVERA It's the same thing. In principle. 29
RICHIE We're talking about principle? RIVERA Richie, a cop who turns in this kind of money says one thing: He'll turn in cops who take money. We'll be pariahs. RICHIE We're fucked either way. RIVERA Not if we keep it. Only if we don't. Then we're fucked, you're right. But not if we keep it. RICHIE (more to himself) Yes, we are. RIVERA Goddamn it, did we ask for this? Did we put a gun to someone's head and say, Give us your money? Cops kill cops they can't trust. We can't turn it in. They regard each other again in silence ... 15.
INT. NEWARK POLICE STATION - LATER - NIGHT As a police captain counts the stacks of money, Lou Toback, Richie's superior from the prosecutors office, walks in, his night out interrupted by this emergency. He crossed to where Richie and Rivera sit alone in a corner. Quietly: TOBACK How much.
RICHIE Nine hundred and eighty thousand. TOBACK What happened to the rest? It's a joke but isn't funny, not even to Toback. He regards his men who turned it in, then the other cops in the place who are watching them and the money being counted. Toback walks over to the captain, and, quietly: TOBACK What're you doing counting this in front of everybody? Are you out of your fuckin mind? Take it into a room. Now. Richie's glance to Rivera says, You're right, we're fucked. 31 INT/EXT. NEWARK POLICE STATION - PRE-DAWN As Richie leaves alone, he's aware of all the eyes on him knowing the other cops' looks don't signify awe or respect, but contempt and fear, like Rivera predicted. Neither will ever be trusted again. He climbs into his car, drives off. INT. DINER - HARLEM - DAY Tango and his bodyguard come in and approach Frank's table where he reads the morning paper as he eats breakfast. TANGO Didn't you see the jar, Frank? I think you walked right past it. Frank ignores him, forks at his eggs, eats. TANGO The money jar. On the corner. got to do, put a sign on it? Tango sits. What I 31
Frank indicates that he would answer if his mouth wasn't full. He swallows finally, but then only reaches for his coffee cup to take a sip, further irritating Tango. (CONT) 16. 32 32 CONTINUED:
TANGO Bumpy don't own 116th Street no more, Frank. Bumpy don't own no real estate in Harlem no more. I'm the landlord now and the lease is twenty-percent.
Frank dabs at his mouth with a napkin and gives Tango a look that says that won't be happening. TANGO Then don't sell dope, Frank. Get a fuckin job. You need a job? You can be my driver, drive me around, open my door, yes, sir, no sir, where to, sir, right away, Massa Johnson, sir. Right now Tango is dead. No doubt about it. surface, though, Frank remains cool. FRANK Twenty percent? TANGO Of every dollar. Every VIG, every truckload, every girl, every ounce. the jar. FRANK Twenty percent's my profit. If I'm giving it to you then what am I doing? Twenty percent puts me, and everyone you know, out of business, which puts you out of business. (reaches for his breakfast check) There are ways to make money legitimately, and then there's this way. Not even Bumpy took twenty percent. TANGO Bumpy's fuckin dead. Frank regards Tango a moment, gets up, takes out his money clip, covers the check on the table with a five, peels off a $1 bill from the clip, tosses it down in front of Tango. There. FRANK That's twenty-percent. On the
As he turns and leaves, Tango watches after him ... 17.
INT. RICHIE'S APARTMENT - NIGHT Stitched-up, black and blue hands dump a can of soup in a pot, put it on the stove.
INT. FRANK'S APARTMENT - NIGHT - INTERCUT A pencil clutched by long fingers scribbles figures. But no matter how many times Frank does the arithmetic, there's not much left, he calculates, after he pays the Italian suppliers and, if he were to, Tango.
INT. RICHIE'S APARTMENT - NIGHT - CONTINUED Richie has moved to a small desk cluttered with law textbooks. He cracks one open to study for the New Jersey Bar exam as he eats the soup out of the pot he heated it in. Above him on the wall is a framed photograph of Joe Louis standing over a sprawled-on-the-mat Billy Conn.
EXT. CONEY ISLAND - BEACH - DAY - INTERCUT A bleak day. Seagulls fighting over scraps on the sand as others hover overhead, flapping and cawing. Alone near the water, Frank tosses a stick for the German shepherd he inherited.
INT. RICHIE'S APARTMENT - NIGHT - INTERCUT Richie opens a small wooden box in his bleak apartment, revealing an ounce of marijuana, rolling papers and clips. As he rolls a joint BUMPY V/O A leader is like a shepherd -
EXT. CONEY ISLAND - BEACH - DAY - CONTINUED The sounds of the gulls and surf and roller coaster begin to fade as Frank throws the stick again. BUMPY V/O Sends the fast nimble sheep out front, and the others follow as the shepherd walks quietly behind The dog retrieves the stick, but this time - somehow - it's to Bumpy's hand he returns it. Frank listens attentively. BUMPY He's got the stick - the cane - and he'll use if he has to. (MORE)
(CONT) 18. 38 CONTINUED: BUMPY (CONT'D) But most of the time he doesn't have to. 38
He moves the whole herd - quietly. Bumpy smiles and tosses the stick. 39 INT. RICHIE'S APARTMENT - NIGHT - INTERCUT The smoke from the joint rises to the ceiling as Richie studies. 40 EXT. CONEY ISLAND - BEACH - DAY - CONTINUED The dog trots back to Bumpy and Frank with the stick. 41 EXT. BOARDWALK - CONEY ISLAND - LATER Hot dog stand. Bumpy hands a hot dog to Frank, holds out another to the shepherd. To camera: BUMPY What right do they have cutting out the suppliers, the middlemen, buying direct, putting Americans out of work ... This is the way it is now, Frank. Frank nods. The vender hands him a napkin. The shepherd is still with him, but Bumpy is gone, and the gulls and the people on the roller coaster squeal as Frank comes out of his meditative trance with an idea. 42 CLOSE-UP: (DOCTOR'S OFFICE) A needle pierces the crook of Frank's arm. A cotton ball is pushed onto the puncture. CLOSE-UP: (PHOTOGRAPHY SHOP) A strobe lights up Frank's face: 44 CLOSE-UP: (POST OFFICE) The photo and a duplicate are stapled to a passport application. 45 INT. CHEMICAL BANK - SAFETY-DEPOSIT ROOM - DAY Keys turn the locks of a safety-deposit box. The lid lifts revealing decks of cash. Frank takes it all out, slips one slender packet into Bumpy's banker's jacket pocket. FRANK Get yourself a new suit. . 19 45 Slight grimace. Malaria shot. 43 42 41 40 39
a passport photo. 44
INT. CHEMICAL BANK - VICE PRESIDENT'S OFFICE - DAY Under portraits of bank Vice Presidents before him, the man types out a Chemical Bank check for Frank for $400,000.
47 - 48 OMIT 49 49 EXT. PARK - NEWARK - DAY - SAME TIME
47 - 48 OMIT
The sound of the plane growls and fades overhead as Richie's ex-wife keeps an eye on their son playing on a grassy area. RICHIE I'm sorry. LAURIE I don't know, Richie. RICHIE It couldn't be avoided. Next weekend I'll be able to take him. She regards him with a weary look, but he's looking over at one of the other - better-looking - moms in the park. I'm moving. LAURIE
He looks back, not sure he heard right. RICHIE What? Where? LAURIE To the St. Regis, what do you care. (pause) My sister's. RICHIE Your sister's. In Vegas? He glances away to a sound: shattering glass. agers breaking bottles on the ground. RICHIE You can't move to Vegas. Michael anyway. Not with Some teen-
LAURIE What am I supposed to do with him? him with you? There's a picture.
ONT) 0. 49 49 CONTINUED:
RICHIE (to the vandals) Hey, you want to shut up over there? The teenagers ignore him. He tries to ignore them, but it's hard with the constant noise. RICHIE No court will allow it for one thing. I won't allow it. LAURIE You? RICHIE When am I supposed to see my son? LAURIE Last weekend! Their son glances over at them. Richie looks over at the teenagers again breaking bottles, then back to Laurie. RICHIE Laurie, you can't raise a kid in Las Vegas. LAURIE Oh, like this is a good environment. Around your friends. There are less creeps in Vegas. RICHIE What's he going to grow up to be in a mobbed up place like that? What are you thinking? LAURIE I'm thinking - Richie - of him! Goddamn it RICHIE
The noise of the glass is driving him crazy. He strides over to the teenagers, who look at him like, What are you
gonna do, old man, it's four against one. RICHIE I told you nice to shut the fuck up. Now I'm gonna kill you. He pulls out his gun and aims it at one of them, then the others. All instinctively try to cover their heads. CONT) 1. 49 49 CONTINUED: 2
RICHIE Pick up the fuckin glass! As they dive to their knees to do what they're told, Laurie walks away with her son, who looks back over his shoulder at his father with his gun out. 50 50 EXT. BANGKOK - NIGHT Frank sits in the back of a motor samlor. around it like flies. 51 - 52 OMIT OMIT 53 53 INT. SOUL BROTHERS BAR - NIGHT The clientele is almost exclusively black servicemen on R&R and Asian women. A trio of ex-GI's plays authentic Southern blues on a small stage. Ham hocks and collard greens come out of the kitchen. Smoke chokes the place. Frank, one of the few men not in uniform, and not drunk or stoned, sits alone at a table with a Coca-Cola and surveys the activity: Dope being rolled. Dope being smoked. Dope being shot. GI's and prostitutes climbing a staircase. His eyes follow an Army Master Sergeant, moving among the tables as if checking on the GI's well being. But at some, his hand takes money, leaves in its place packets of powder. The Sergeant feels eyes on him and glances up, catching Frank watching him from across the room. He squints through the smoke at the figure at the table in the shadows, and, in a kind of shock, more to himself NATE Bicycles dart 51 - 52
Frank - ? Frank half-lifts his glass to wave, and Nate beams. 54 54 INT. SOUL BROTHERS BAR - NIGHT Frank has guests at his table now: his cousin Nate the Sergeant, and two young Asian wise guys. They talk about him in Thai (subtitled): THAI He say how much he wants? NATE He said "a lot." What that means, I don't know. Four or five keys? ( CONT) 22. 54 CONTINUED: The Thais regard Frank a moment, size him up. THAI He's your cousin. NATE My cousin-in-law. My ex-wife's cousin. 54
THAI Ask him how much he wants. NATE How much you gonna want, Frank? FRANK A hundred kilos. Nate blinks like there's something in his eye ... 55 EXT. BANGKOK - STREET VENDER - DAY Steam and neon. Frank and Nate at a crowded stand. 55
NATE No one I know can get that much. It'd have to be pieced together from several suppliers and none of it's gonna be 100percent pure. FRANK
That's not what I want. NATE I know that. But that means dealing with the Chiu-Chou syndicates in Cholon or Saigon - if they'll deal with you FRANK No, even then it's too late. It's been chopped. I want to get it where they get it. From the source. Nate stares at him ... then laughs. NATE You're gonna go get it. Why not. FRANK Frank doesn't.
NATE You're gonna go into the fuckin jungle T) . 55 55 CONTINUED: (CON 23
FRANK I've lived in jungles all my (life) NATE No. This is the jungle. Tigers. Vietcong. The fuckin snakes alone will kill you. AA56 AA56 INT. NEW JERSEY BOARD OF BAR EXAMINERS - DAY A room of student-type desks and no character. Richie, and fifty others, have been here for hours taking the exam less than half of them will pass. A56 A56 EXT. JUNGLE - DAY A motley bunch of Thai thugs and black American soldiers with automatic weapons ride mules through the dense jungle with Nate and Frank, who - armed with a pistol, a rifle and ammo bandolier like Pancho Villa - is enjoying himself. From his POV, the jungle canopy suddenly opens up on a poppy
field the size of Manhattan. Frank stares down at it. B56 B56 EXT. JUNGLE RISE / OPIUM FARM - DAY On the ground now with their small private army, Nate speaks with one of the Thais, then translates for Frank. NATE He says this whole area's controlled by the Kuomintang - Chiang Kai-Shek's defeated army. Some of whom they can see down below on the opium farm Chinese soldiers with outdated weapons. Frank tips his head to Nate at some other figures below FRANK They ain't Chinese. A handful of better-armed American sentries at the perimeter of the farm. CIA. Frank, Nate and the others hang back as one of the Thais steps ahead to speak to the guerillas. C56 C56 EXT. OPIUM FARM - LATER The processing center for the entire region. The Thai translator is with Frank to negotiate with a vanquished Chinese general. Other Americans and Thais guard them while the Chinese with their CIA advisors guard them. 24.
INT. BAMBOO DWELLING - LATER - DAY The Chinese general examines Frank's papers - passport, visa, bank receipts - and lots of cash - then studies Frank. GENERAL How would you get it into the States? FRANK What do you care? GENERAL Who do you work for in there? FRANK What do you care? GENERAL
Who are you really? FRANK It says right there. Frank Lucas.
GENERAL I mean, who you represent? FRANK Me. The man doesn't believe it, but lets it go. GENERAL You think you're going to take a hundred kilos of heroin into the US and you don't work for anyone? Someone is going to allow that? Frank shrugs. The general regards one of his men. Chinese, subtitled: GENERAL I don't believe a word of this. The general regards the cash and paperwork again for a moment. And, to Frank: GENERAL After this first purchase, if you're not killed by Marseilles importers - or their people in the States - then what? In
CONTINUED: FRANK Then there'd be more. On a regular basis. Though I'd rather not have to drag my ass all the way up here every time. The man regards Frank for a long moment. the cash and paperwork again. Finally GENERAL Of course not. Glances back to
EXT. JUNGLE ARMY LZ - VIETNAM - DAY
Torrential monsoon rains. Dripping camouflage. Nate and Frank climb down from the Huey. Frank no longer wears the bandolier. Now a press card dangles from his neck. F56 F56 INT/EXT. TENT / JUNGLE ARMY LZ - LATER - DAY Stripes on the uniform of a black colonel with Nate under a canopy. Outside, in the distance, in the rain, Frank hangs out with some other black servicemen. COLONEL Where's it now? NATE Bangkok. I can bring it here or anywhere in between. COLONEL A hundred kilos. (Nate nods) I never seen that much dope in one place. NATE It's bigger than an Amana refrigeratorfreezer. G56 G56 INT/EXT. JUNGLE ARMY LZ - LATER - DAY Nate and Frank watch the colonel emerge from the tent and cross through the rain on duck-boards to another tent to speak with a white officer, a 2-star general. NATE Fifty grand. In advance. That'll cover them, the pilots and the guys on the other end. FRANK Give them a hundred. (CO NT) 6. G56 G56 CONTINUED: 2
NATE Fifty, to cover them all. FRANK
A hundred. And it's all I got left. So if that dope doesn't arrive, for whatever reason (embraces Nate and whispers) Cousin or no cousin - don't let me down. He holds out a business envelope fat with money. Nate hesitates, knowing Frank has just said he'll kill him if things don't go right, then takes it. NATE I'll let you know when it's in the air. 56 56 INT. RICHIE'S APARTMENT - NEWARK - DAWN The nurse/paramedic who stitched up his hand is in Richie's bed making so much noise he's worried someone will call the cops. The phone rings. And won't stop. Neither will the nurse as Richie answers it RIVERA V/O Richie? Richie, I'm in trouble. This fuckin guy "made" me - I don't know how but he did. He went for his gun. I had to do it, I swear to God. Now they're going to kill me. Richie can hear in Sander's voice how serious it is and manages to disentangle himself from the woman. RICHIE Who. RIVERA V/O There's a hundred people out there heard the shots. You gotta help me. You gotta do something. RICHIE Is he dead? He's dead. me. RIVERA V/O I'm dead. They're gonna kill
RICHIE Where are you? Javy, where are you? ( 27. 56 56 CONTINUED:
RIVERA V/O That's the problem. A57 A57 INT. RICHIE'S CAR - MOVING - EARLY MORNING Richie on his police radio, which cuts in and out DISPATCHER There are no cars in that area, Detective Roberts. RICHIE Bullshit. I got a man in trouble and I need back-up. DISPATCHER I missed that - you're breaking up RICHIE I said, put the fucking call out again DISPATCHER I just did. No one responded. again, but RICHIE Fuck you, too. He slams the mic down. 57 57 EXT. STEPHEN CRANE PROJECTS - MORNING As Richie's car turns a corner, the Stephen Crane Projects the most foreboding place on earth - rises up: three dark 30-floor towers planted on war-torn grounds where a long-ago torched and abandoned patrol car sits like a monument. He parks and moves through an agitated all-black crowd, past an ambulance outside one of the towers, through oppressive heat. It's riot weather. 58 58 INT. STEPHEN CRANE PROJECTS - MORNING Drugs on a coffee table. Body on the floor. Rivera, despondent, on the couch. The male paramedics, scared. Richie on the phone RICHIE Sergeant, I'm not asking, I'm fuckin telling you: Get some patrolmen over here now. I'll try
(CO NT) 8. 58 58 CONTINUED: 2
Dial tone: the police sergeant has hung up on him. Richie throws the phone. The paramedics stare at him. PARAMEDIC You got no back-up? Why is that? The only other person who would know the answer to that is Rivera, who just shakes his head in despair. RICHIE Bandage his head. PARAMEDIC Detective ... he's dead. RICHIE I know he's fucking dead. Bandage his head, clean him up, put him on a gurney and prop it up so he's sitting. And open his eyes. 59 59 EXT. STEPHEN CRANE PROJECTS - MORNING Richie comes out ahead of the gurney, moving quickly like it's a matter of life and death (which it is), motioning at the crowd to allow a path to the ambulance. RICHIE Step back, injured man coming out. Let them do their job and he'll be all right. Ma'am. Excuse me. Step back. Sir. Please. The people step back when they see the victim on the gurney: tubes in his nostrils, IV in his arm, eyes open. Before they can look any closer, he's put in the ambulance. As it pulls out, siren wailing, Richie leads Rivera safely away A60 A60 EXT. ALLEY NEAR STEPHEN CRANE PROJECTS - MORNING They cross through an alley near the Projects and Rivera
finally breathes a sigh of relief. RIVERA Thank you The words aren't out of his mouth before Richie shoves him up against a car. RICHIE You robbed him, didn't you. ( CONT) 9. A60 A60 CONTINUED: 2
RIVERA What are you talking about? Money spills out.
Richie rips Rivera's jacket pockets. This. RICHIE Where'd this come from?
RIVERA What. That's my money. I've never taken dirty money in my life. RICHIE You lying piece of shit RIVERA Maybe the occasional gratuity. Like anybody else. You're going to tell me that's wrong? RICHIE Yeah. RIVERA No, it isn't. It's part of the salary for getting shot at. For that, certain courtesies are shown. In gratitude Richie, disgusted with him, lets go of him. embarrassed, almost crying, pleading Rivera is
RIVERA A discount on a TV, a Doughboy in the backyard, a new dress for your girlfriend
maybe once a year. I'm talking about not living in fucking poverty. You want to call that wrong, call it wrong. RICHIE It's wrong. RIVERA Then goddamn it, pay me fifty grand a year, you son of a bitch. Pay me what I deserve for getting shot at. No? Fine. Next time four guys come into your place with sawed-off shotguns, you take care of it. RICHIE You robbed him, and then you shot him, and I helped you get out of there. How many more you shot? CONT) 0. A60 A60 CONTINUED: ( 3
Rivera suddenly tries to get tough RIVERA You know what, Richie? Fuck you, you make that kind of accusation against your own kind. And you know why. He takes out his car keys, turns to leave. Comes past Richie who grabs his arm and pushes the sleeve up exposing a line of puncture scabs and scars. RICHIE You're a disgrace. RIVERA I'm a leper. Because I listened to you and turned in a million fucking dollars. You know who'll work with me after that? Same as you. No one. Richie squeezes Rivera's hand around the car key. RICHIE Don't look down there. Look here. (at Richie's eyes) You ever fuckin threaten me again, I'll kill you.
Richie squeezes Sander's hand so hard the car key cuts through the skin, drawing blood. 60 - 69 OMIT OMIT 70 70 EXT. ARMY BASE, NEW JERSEY - DUSK Silence. Marshland. A beat-up Chevy parked alongside a perimeter fence. Frank waits by the car as a military Jeep with its lights out comes across a firing range. It slows, stops. In it, the silhouettes of three servicemen, black, armed with M-16's. Silence again, before: ARMY CAPTAIN Open the trunk. Frank does it, then stands aside as the other servicemen drag four large taped-up duffel bags from the Jeep to his car, lift them into his trunk and slam it shut. 71 71 INT. FRANK'S APARTMENT - LATER - NIGHT The duffel bags, still closed, on a table. Frank regards them, nursing a drink, putting off the moment of discovery that he has perhaps spent his life's savings on nothing. CONT) 31. 71 71 CONTINUED: 60 - 69
The German shepherd watches as Frank removes the tape from one of the bags. He pulls it open - has almost no reaction except to breathe again - then opens the next, and the next. And we see: Several brick-like packages of No. 4 heroin wrapped in paper marked with Chinese writing, stamped with a label: two lions on their hind legs, paws on a globe, and, in English: DOUBLE UOGLOBE BRAND 100%. A72 A72 INT. FRANK'S APARTMENT - LATER - DAWN The duffel bags are elsewhere. The only evidence of any drugs is the small amount Frank has given a chemist - who looks like a Harvard student - to test. It responds instantly. The young man looks at Frank. CHEMIST Typically what I see is 25 to 45
percent pure. I've never seen anything like this. No alkaloids, no adulterants, no dilutents. It's a hundred percent. May I? The chemist opens a leather travel syringe kit to shoot up, but Frank gives him some to take home instead. FRANK Take it with you. I don't want to have to call the coroner. The chemist gathers his things to leave, offering a last piece of advice CHEMIST Store it in a cool, dark place. 72 72 EXT. GREENSBORO, NORTH CAROLINA - DUSK A clapboard house set down on a piece of land that was probably once worked by sharecroppers. An elderly woman framed in a lit kitchen window, doing dishes. Dark yew trees and scavenged, discarded cars and car parts like patches of rusty snow. Crickets and bullfrogs. From a mound of dirt, a young man hurls a baseball to another with a catcher's mitt exactly sixty feet away. The kid's got a major league arm. Legend: Greensboro, North Carolina
A glow spills out from a detached shed where a short man in his early 30's works on a stock car. (CO NT) . 72 72 CONTINUED: A greasy phone on the workbench rings and another disreputable-looking man, thumbing through a magazine, answers. JIMMY Yeah ... for you. TEDDY Who is it? Jimmy doesn't know, sets it down. Teddy comes over wiping 32
his hands on a rag, takes the phone. TEDDY Yeah. Teddy. Who's this? Frank. Frank who? FRANK V/0 Frank your brother. 73 73 INT. COURTROOM - DAY Divorced couples in custody battles wait with their attorneys in a packed courthouse. An lawyer carrying papers clipped with a $10 bill, comes past Richie, who's sitting with his lawyer, a woman he's probably slept with. SHEILA I'm not talking about your proclivities, Richie. Those I only know too well. I'm talking about being a cop. RICHIE About taking money? I don't care about money. I don't do that. SHEILA Because it'll come out. You're going to have to sit down with shrinks and social workers, her lawyers, the judge, lots of questions. (C ONT) . 73 73 CONTINUED: 33 FRANK V/O TEDDY FRANK V/O TEDDY
RICHIE What's going on there?
The judge's assistant rearranging the pre-trial cases in order of the amount of gratuity clipped to each - $5, $10, $20 bills. Scheduling. SHEILA
RICHIE No, the money. SHEILA Scheduling. What about your friends from the neighborhood? You still hang out with them? RICHIE I play softball on Sundays with some guys. Wise guys. SHEILA That's going to look good.
RICHIE I grew up with them, big deal. SHEILA What about Anthony Zaca? RICHIE What about him? SHEILA Richie, I'm just trying to understand things your wife has said. If they're not true, tell me. RICHIE Yeah, Tony's one of them. SHEILA Is he also your son's godfather? Richie nods. Sheila glances over to where Richie's ex-wife sits with her own lawyer across the room. SHEILA Do you really care about this? Or do you just not want her to win - ever. How often do you see your son as it is? (C ONT) . 34
Not enough. never.
RICHIE But she wants to make it
SHEILA Yeah, all right. Give me a twenty. (Richie doesn't reach for his wallet) Well, I'm not going to sit here all day. She takes a twenty from her purse and carries it up to the judge's assistant clipped to their paperwork. All rise 74 74 BAILIFF
EXT. HOUSE - TEANECK, NEW JERSEY - DAY Frank and the dog in the back yard of a suburban house. His neighbors - those he can see - are white. He hears a sound - cars arriving - and crosses toward the house where a sold "For Sale" sign leans against a half-built kennel. Out front, a caravan of cars and pickup trucks - North Carolina plates - loaded with boxes and suitcases - has just arrived. Exhausted from the drive but excited to be here, the travelers climb out: Frank's five brothers, their wives and kids, and their mother. Teddy thinks it's the right place. The others aren't as sure. The house is too nice. There's a new Lincoln Towncar parked outside the garage. They'll probably be shot for trespassing. The front door opens and Frank comes out, trailed by his dog. He first gathers his mother in an embrace, then each of his startled brothers.
INT. FRANK'S TEANECK HOUSE - LATER - DAY The house is alive with the noise of family and scent of home-cooked food as the extended Lucas clan - there's more than twenty of them - sits around a big dining room table passing the platters around. Frank, at the head of the table, clearly loves having them all here. TURNER He got an arm on him. ain't that right. Major League arm,
Everyone agrees as Turner's son - Frank's nephew - the 18-
year-old boy seen pitching in the North Carolina back yard tries to shrug. ONT) . 75 75 CONTINUED:
FRANK You show me after supper. TURNER You can't catch him. He'll take your head off. We're talking 95-mile-an-hour. You know how fast that is? You see the ball leave his hand, and that's the last you see it before it knocks you down. FRANK (smiling; happy) Is that right. 76 76 INT. FRANK'S TEANECK HOUSE - LATER - DAY The wonderful noise continues downstairs as Frank leads his mother on a tour of the upstairs. The place is a showroom of traditional Americana. FRANK This is your room. Mrs. Lucas is furnishings. not Graceland an old vanity in awe of the splendor of the bedroom and its It's unlike anything she's used ever seen exactly - but not far off. Her eyes settle on dotted with French perfume bottles. MRS. LUCAS How did you ... FRANK I had it made. From memory. MRS. LUCAS You were five when they took it away. How could you remember it? FRANK I remember. She's stunned. Touches the reproduction of the vanity her son last saw more than thirty years ago.
MRS. LUCAS It's perfect. (looks at the room) It's all perfect. (she looks at him) I'm so proud of you. 36.
EXT. HUDSON RIVER - DAY The Statue of Liberty against the New York skyline. FRANK V/O The man I worked for ran one of the biggest companies in New York City for almost fifty years.
EXT. HARLEM - DAY As Frank leads his brothers down the sidewalk, the Towncar that was parked at the Teaneck house, driven by Frank's bodyguard, Doc, follows alongside at the same pace they walk. FRANK I was with him every day for fifteen of them, looking after him, taking care of things, protecting him, learning from him. The brothers can't help but notice the storekeepers who wave to Frank, the women who smile, the men who step out of his path like there's a red carpet under his polished shoes. FRANK Bumpy was rich, but never white Why? Because he didn't own the He thought he did. He didn't. managed it. Someone else owned they owned him. man rich. company. He only it. So
INT/EXT. REDTOP'S APARTMENT BUILDING - HARLEM - DAY Frank leads his brothers up the stairs and down the hall. FRANK Nobody owns me. Because I own my company. INTERCUT: Feminine hands stamp small packets of blue cellophane with the words `Blue Magic' FRANK
And my company sells a product that's better than the competition's at a price that's lower. Frank stops outside an apartment door. TEDDY What are we selling, Frank? (CONT) 37. 79 79 CONTINUED:
Frank pushes the door open, revealing 80 80 INT. REDTOP'S APARTMENT - CONTINUOUS - DAY Five naked women at work tables, their faces veiled by surgical masks, cutting heroin with lactose and quinine in a precise mixture of controlled purity. The Lucas brothers stare as the supervisor of the activity - clothed, with red hair - comes over. REDTOP Hi, Frank. FRANK Honey, these are my brothers. 81 81 EXT. HARLEM - LATER - DAY Tango strolls down the street like he's the Godfather of Harlem, girl on his arm, bodyguard at his side. 82 82 INT. DINER - SAME TIME As his brothers eat lunch, Frank - who can see Tango outside - uncaps a glass sugar container. FRANK What matters in business is honesty, integrity, hard work, loyalty, and never forgetting where you came from. For reasons his brothers can't imagine, Frank empties all sugar from the container onto his plate. FRANK You are what you are and that's one of two things. You're nothing ... or you're
something. Understand what I'm saying? The brothers nod tentatively, stare at the now-empty glass container. Frank wipes his mouth with a napkin, gets up. FRANK I'll be right back. 83 83 EXT/INT. DINER - MOMENTS LATER He comes out of the diner, crosses the street toward Tango, who's buying fruit. Greets him cheerfully FRANK Hey, Tango, what's up. thinking about you. (MORE) NT) 38. 83 CONTINUED: FRANK (CONT'D) I was looking at the jar and you know what? I didn't see nothing in it. TANGO The fuck you want, Frank Before the last word is out of Tango's mouth, Frank's got a gun pressed against his forehead. Silence. Everyone backs away - the bodyguard, too. Tango's girl pulls her arm from his and takes off. Eventually TANGO What're you going to do, boy? Shoot me in broad daylight? In front of everyone? It's as if life on the street has stopped. No one moves; everyone is looking at Frank; maybe that's what he wants. As Tango laughs at the thought FRANK Yeah, that's right. Frank pulls the trigger and the big man falls back like someone hit with a board. Frank stands over him and empties the gun in his chest, the shots echoing down the street. Then it's quiet again. Everyone's still looking him, but Frank doesn't run. Instead, he calmly reaches into Tango's suit pocket, takes out a money clip thick with cash, drops it in the "jar" and sets it next to the body. 83 I was just (CO
FRANK For the cops. Should be enough. Frank returns to the diner and sits back down, ignoring the astonished stares from his brothers and everyone else in the place. Tries to remember where he was in his lecture as he tucks the napkin back in his shirt collar. FRANK That basically's the whole picture right there. 84 INT. MORGUE - NIGHT A cadaver drawer slides open revealing - not Tango - but Rivera, staring up lifeless, his arms, stomach, legs and toes dotted with the scabs of a longtime addict. DETECTIVE Did you know his girlfriend? Goodlooking girl. One of his informants. (CON 39. 84 CONTINUED: RICHIE 84 84
The medical examiner slides open another cadaver drawer containing her body. Richie stares at it. DETECTIVE Should've seen their place. lived there. RICHIE I have seen it. DETECTIVE (to the examiner) Chose a good night, huh? Station in here. Like animals
MEDICAL EXAMINER It's been like this. I'm lucky I get home before midnight; lots of carelessness. Richie regards Rivera's personal effects resting on his chest in a plastic bag: few bucks, the Corvette key, a half-
empty packet of heroin in blue cellophane. Richie takes the blue cellophane from the bag and, as the drawer closes entombing Sanders, holds it in his hand ... REPORTER V/O Heroin addiction is no longer exclusive to big city neighborhoods; it's epidemic 85 TIME CUT. A TELEVISION: The reports shows lawmakers on Capitol Hill juxtaposed against images of inner-cities, junkies, homicide victims and, perhaps most telling, white suburbia. REPORTER ON TV Since 1965, law enforcement has watched its steady increase and with it a rise in violent crime. Now unaccountably, it has exploded, reaching into cities as a whole - our suburbs and towns - our schools. INT. POLICE GYM - DAY The TV is in a small police gym where Richie lifts weights, very much aware of his pariah status as out-of-shape cops come in, only to leave again when they see him. (CON 40. CONTINUED: REPORTER ON TV Someone is finally saying: enough. Federal authorities have announced their intention to establish special narcotics bureaus in Washington, New York, Los Angeles, Chicago, Boston, Newark and other major cities Toback comes in, watches Richie, alone, working out. RICHIE V/O It's a dog and pony show. TOBACK V/O It's not being advertised as one. 86 INT. POLICE GYM - LATER - DAY Richie's changing into his street clothes. RICHIE 86 85
But it's federal. I'd have to answer to who? FBI? TOBACK Me and the U.S. Attorney. No one else. No FBI. Hoover knows better than to mix his men with dope. Too much temptation for the feeble-minded. Though he's not in much of a position to refuse the assignment, Richie still isn't convinced it's a good idea. Toback levels with him TOBACK Richie, a detective who doesn't have the cooperation of his fellow detectives can't be effective. RICHIE You know why I don't have it. TOBACK Doesn't matter. RICHIE No, they're all on the take and I'm not and it doesn't matter to anyone. Instead of giving you a medal for turning in money, they bury you.
CONTINUED: TOBACK It's fucked up. You're right. Maybe this's an opportunity away from all that. They regard each other. Eventually -
RICHIE I'll do it, but only like this: I don't set foot in a police station again. I work out of a place of my own. And I pick my own guys. Guys I know wouldn't take a nickel off the sidewalk. TOBACK Done. 87 EXT. NARCOTICS SQUAD HQ - NEWARK - DAY 87
An old building that was once an Episcopal church. 88 INT. NARCOTICS SQUAD HQ - NEWARK - DAY The place has been long abandoned. The city maintenance worker who let Richie in watches him move through the debrisstrewn church. 89 INT. PENTHOUSE - NEW YORK - DAY A real estate broker watches Frank consider the highceilinged spaciousness of a grand, unfurnished 50's modern Upper East Side penthouse 90 INT. BASEMENT - NARCOTICS SQUAD HQ - DAY Richie regards the colored light thrown down by the stained glass windows INT. PENTHOUSE - NEW YORK - DAY Frank regards light streaming in from the garden terrace 92 INT. MAIN FLOOR - NARCOTICS SQUAD HQ - DAY Richie picks up a faded photograph of a priest in a broken frame. To the maintenance man: RICHIE This is the only floor we'll be using. 93 INT. PENTHOUSE - NEW YORK - DAY Frank distractedly opens and closes a 12' high curtain in one of the rooms T) (CON 42. 93 CONTINUED: FRANK No loan, no contingencies. 94 EXT. SMALL'S PARADISE - NIGHT Wet streets and neon. Well-dressed crowd behind a velvet rope outside the club. The Apollo in the background: James Brown on the marquee. 95 INT. SMALL'S PARADISE - NIGHT A still-powerful older man in a nice suit rises from his chair to wild applause. From the stage 95 93 93 92 90 89 88
Cash sale. 94
SINGER Mr. Joe Louis, ladies and gentlemen. Joe bows graciously, gives a little wave to the crowd, and sits back down as the band starts up again. At another table, Frank sits with Charlie Williams and Rossi, slightly older dope men. Like Frank, they favor expensive tailored suits. Their dates, too, are nicely dressed - not too much make-up or jewelry. Frank's glance moves from Joe Louis and his wife to a beautiful young woman at the table. FRANK Who's the beauty queen? CHARLIE She is a beauty queen. No kidding. Miss Puerto Rico. Her glance crosses Frank's briefly but is yanked to the entrance of the club when Frank's brothers come in with their wives and girlfriends. Teddy's in a parrot green suit, gold chains, hat, acting like he owns the place. 96 INT. BACK ROOM - SMALL'S PARADISE - LATER Frank hustles Teddy into an empty back room. What is this? FRANK 96
He turns Teddy so he's facing a mirror. TEDDY What. These are clothes. nice (suit) This is a very
CONTINUED: FRANK I'm wearing clothes. These are clothes. Those (Teddy's in the mirror) - are a costume. With a sign on it that says Arrest me. You look like fuckin Jackie Fox. TEDDY
What's wrong with Jackie.
I like Jackie.
FRANK You like Jackie? You want to be Superfly? Go work for him, end up in a cell with him. Teddy pulls himself from Frank's grasp. Smooths his shirt, adjusts his hat. Frank tries to explain to him: FRANK The guy making all the noise in the room is the weak one. That's not who you want to be. TEDDY He wants to talk to you by the way. told him I'd tell you. I
Frank stares at his brother's reflection in the mirror. FRANK You and Jackie were talking about me? TEDDY Not about you. We were talking. He said he wanted to talk to you about something. Frank clearly wants nothing to do with Jackie Fox. FRANK I'm taking you shopping tomorrow. TEDDY I went shopping today. FRANK You go shopping every day. 97 EXT. SMALL'S PARADISE - LATER - NIGHT A creme Bentley pulls up and out pour Jackie Fox and his entourage. (CON T) 44. 97 97 CONTINUED: He's got an armful of New York Times Magazines -with him on the cover, flaunting Gangster Chic. He starts handing them out to the crowd on his way into the club. Like a girl. 97
INT. SMALL'S PARADISE - CONTINUOUS - NIGHT Joe Louis has come over to speak to Frank at his table. JOE LOUIS It's a tax thing. It's a mistake my lawyers will straighten out, but for the time being it's a headache FRANK How much you owe? JOE LOUIS It's nothing, like - fifty grand. Frank isn't sure if it's an honor or a curse to have a celebrity like Joe Louis asking to borrow money, but nods. Sure. FRANK Don't worry about it. JOE LOUIS I'll pay you back soon as You
FRANK Joe. It's a gift. Not a loan. don't owe me nothing.
Jackie glides into the club with his magazines and entourage. Frank watches him make the rounds, lingering at Miss Puerto Rico's table and holding her hand longer than he should with his girlfriend on his arm. Frank glances to Teddy wearily, then to Doc, alone at the next table like a sentry. Frank doesn't have to say he's ready to leave. Doc knows the look. Gets up. 99 99 INT. SMALL'S PARADISE - LATER - NIGHT Frank comes into the coat check area where Doc waits with his overcoat. As Frank slips into it, Miss Puerto Rico returning from the ladies room - comes through. ANA Hi. I'm Ana. FRANK
(CO NT) 45.
ANA You're Frank and this is your place. (he doesn't say whether it is or not) Why's it called Small's? Why don't you call it Frank's? FRANK Because I don't have to. He smiles, and it's hard to tell which is more enchanted with the other. 100 100 INT. NIGHTCLUB - NEWARK - SAME TIME - NIGHT A club across the river. Not nearly as nice as Small's much louder - but like Small's, almost all black. Richie shares a booth with a black undercover detective. RICHIE I'm reluctant to bring anyone in I don't personally know. SPEARMAN You know me, and I vouch for them. Richie nods, Yeah, he knows that, but remains unconvinced. SPEARMAN Richie, we work together. You want me, you got to take them, too. RICHIE Where are they? Spearman looks out across the crowded dance floor. SPEARMAN That's Jones. With the skinny white woman. Richie's glance finds a young black man dancing wildly with his skinny white date. SPEARMAN That's Abruzzo, with the fat black one. Richie sees a young Italian with tatoos - the only other white man in the place - dancing with a heavy black woman. Both Jones and Abruzzo look more like criminals than cops.
(CO NT) . 100 100 CONTINUED: 46
SPEARMAN Both are good with wires. Have good informants. They're honest. And they're fearless. They'll do anything. They're insane, Richie, like you. 101 101 INT. FRANK'S CAR - MOVING - NEW YORK - DAY Frank sits in back alone. Peers ahead through the windshield. His face relaxes as he sees 102 102 EXT. RIVERSIDE - DAY The
Ana waiting on a corner, dressed nice, handbag. Towncar pulls to the curb. I got it. FRANK
Frank gets out before Doc can, and escorts Ana to the car. FRANK I hope you weren't waiting long. A woman as beautiful as you shouldn't have to wait for anything. He opens the door for her like a perfect gentleman, slides in after her. 103 103 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Outside the house, Doc sits in the car reading a newspaper. 104 104 INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Ana considers some family photographs on a mantle. ANA This is your father?
Frank shakes his head no.
It's a picture of Bumpy.
FRANK You really don't know who that is? (she doesn't) It's Martin Luther King. It is not. ANA
FRANK You're right. He was as important as Dr. King, though. ONT) (C 47. 104 CONTINUED: ANA 104
What'd he do?
FRANK A lot of things. He had a lot of friends. He served New York and it served him. ANA What was he to you? Frank has to think. Teacher. ANA What'd he teach you? FRANK How to take my time ... how if you're going to do something, do it with care ... do it with love. And it's working here. It's seductive. Bumpy was more than his employer. FRANK
ANA Anything else? FLASHCUTS Sudden bursts of violence - guys beat up - others shot - one being poured with gasoline as Bumpy looks on calmly BACK TO FRANK'S LIVING ROOM
The same calm, benign face in the photograph. FRANK How be a gentleman. ANA That's what you are?
Ana smiles like she knows better. Any second now, like every other guy she's ever met, she's sure he'll try to take her upstairs. FRANK I got five different apartments in the city I could've taken you to. I brought you here instead NT) 48. CONTINUED: Ana glances to the stairs which Frank's mother is coming down. FRANK To meet my mother. MRS. LUCAS Is this her? Oh, she's beautiful, Frank. Look at her. She's an angel come down from heaven. Mrs. Lucas embraces Ana like family. 105 OMIT OMIT 106 106 INT. NARCOTICS SQUAD HQ - NEWARK - DAY A single, half-empty packet of heroin, the same one from the morgue, in distinctive blue cellophane, tacked to a bulletin board. Richie, perched on a desk in front of it. RICHIE Our mandate is to make major arrests. No street guys - we want the suppliers the distributors. Spearman, Jones and Abruzzo sit in the back, looking like delinquent students. Of everyone in the open ground-floor 105 (CO
that's been only slightly renovated - and there are about fifteen of them - they're the most disreputable-looking. RICHIE Heroin, cocaine, amphetamines. No grass under a thousand pounds. Less than that, someone else can waste their time. Jones nudges Abruzzo to pay attention. Abruzzo elbows him back. Richie just waits like a teacher for their attention. RICHIE We'll be handling big shipments, big money, big temptation. (Jones raises his hand) Yeah. JONES There's a story about you. About turning in some money. A lot of money. Is it true? Jones isn't the only one here curious to know. Simply:
(CONT) 49. 106 CONTINUED: RICHIE It's not true. 107 107 INT/EXT. CAR / STREET - NEWARK - DAY Abruzzo, looking like a junkie, dirty jeans, wool cap, approaches a dealer on the corner. The perspective shifts to Richie, Spearman and Jones in a car, watching as Abruzzo chats briefly with the dealer before the exchange takes place: $10 for a blue-cellophane packet. 108 108 INT. NARCOTICS SQUAD HQ - NEWARK - LATER - DAY Richie and the others watch Jones tests the heroin. JONES Stuff's ten percent pure. Strong enough to smoke for all those suburban white kids afraid of needles. The other detectives are exchange a glance. None has ever 106
heard of anything on the street that pure. RICHIE You paid ten bucks for it? JONES And it's all that's out there. RICHIE Now, how is that possible? Who can afford to sell shit twice as good for half as much? Richie glances to a Table of Organization: Surveillance photos haphazardly thumb-tacked to a bulletin board - known dope men in the hierarchies of their individual crime families - almost all of them Italian. WOMB TO TOMB SEQUENCE: An R & B song begins and continues over 109 109 CLOSE-UPS: A poppy bulb being pierced, the white liquid oozing, changing into filthy liquids in wooden bowls, and finally a gray paste ... 110 INT. BANK VICE PRESIDENT'S OFFICE - CHEMICAL BANK - DAY 110 Frank sits with the bank Vice President who wires a transfer to: 50.
INT. BANGKOK BANK - DAY Where Nate sits with the same Thai bank president as before who converts the transfer to cash.
INT. SOUL BROTHERS BAR - BANGKOK - DAY Nate slides cash across a table to a couple of Chinese gangsters.
EXT. JUNGLE ARMY BASE - VIETNAM - DAY A tent: Nate hands more cash - the military brass's cut to the 2-star general from before. An airstrip: Slicing propellers. Wounded soldiers on stretchers, helped onto a transport plane. Nearby, four
large crates - Japanese TVs - under cargo netting. The pilot stuffs more cash in a pouch and salutes Nate. 114 TV IMAGE: General Westmoreland returns a salute (archive). 115 EXT. ARMY BASE - NORTH CAROLINA - DUSK The same plane on the tarmac here, taxiing. A pile of discarded TV boxes outside a supply warehouse. At the perimeter of the base, black servicemen transfer heavy taped-up duffel bags from an Army Jeep to a station wagon, hoisting those that won't fit inside onto a roof rack. Two Lucas brothers tie them down with twine. INT/EXT. CAR / HIGHWAY - NEAR WASHINGTON DC - DUSK The station wagon heading north on a rain-slicked highway, the canvas tarpaulin on top flapping. In the distance, the spire of the Washington monument glows. 117 EXT. DISCOUNT DRUGSTORE - HARLEM - DAY A black woman pushes a shopping cart containing a baby, Pampers, and cases of milk sugar across a parking lot. 118 INT. RED TOP'S APARTMENT - HARLEM - DAY Empty milk sugar boxes. Redtop and her five table workers - clothed now, the surgical masks dangling from their necks wiping down table surfaces, scales and apparatus. Tens of thousands of blue-cellophane packets of heroin neatly cover two of the folding tables. 51. 118 117 115 114
EXT. HARLEM STREET - DAY August. Hot. Kids wrench open a fire hydrant and with an empty soda can direct the water into a fountain. The water sprays down onto the windshield of a beat-up Chevy coming slowly through, revealing when it clears, Frank behind the wheel. He parks. Glances at his watch.
INT. NYPD 23RD PRECINCT - LOCKER ROOM - DAY Clock on the wall of a locker area: 3:58. Shift change. Cops in t-shirts. Fans blowing the humid air around.
INT/EXT. NYPD 23RD PRECINCT GARAGE - DAY
Blue and whites arriving and leaving, shirts coming off as the cops alight. 122 INT. BUS - MOVING ON 116TH STREET - DAY The driver checks his watch: bus up 8th Avenue. 123 3:59. Turns his almost-empty 123 122
INT/EXT. FRANK'S PARKED CHEVY - HARLEM - DAY Air conditioner full blast. Radio announcing the time: 4 o'clock. Frank glances out the wet windshield of the Chevy and watches 116th Street transform: It's as if an outdoor market has just opened its stalls. Junkies and dealers emerging from the alleys, storefronts, tenements and side streets - from the street itself it seems - snarling the cars and delivery trucks caught unaware. Small blue cellophane packets - and only blue - are pulled from pockets and change hands. In alleyways it's cooked up and sucked into syringes, and in dank, grim, indescribably filthy rooms, plunged into veins -
AND THE REVERSE: 10 and 20 dollar bills changing hands - decks of cash rubber-banded together - put into envelopes and delivered to the Lucas brothers, to:
125 126 127 128
LESTER at his metal door shop. EUGENE at his dry cleaners. TURNER at his tire service shop. EARL at his electrical shop.
125 126 127 128 (CONT)
. 123 123 129 129 130 130 CONTINUED:
TEDDY at his body shop. INT. REDTOP'S APARTMENT - DAY Piles of cash. just too much. The brothers try counting it all, but it's It's actually tiring. TEDDY
We're going to be here all night if we count every bill. TIME CUT: A money-counting machine flips through the bills, its counter flying. The brothers rubberband it all in $100,000 decks. Jot down the numbers. Put the money in newly-assembled file boxes. Tape them shut. 131 131 INT. CHEMICAL BANK - SAFETY-DEPOSIT ROOM - DAY Alone in the room, Frank transfers stacks of $100's from the file boxes into several open safety-deposit boxes. 132 132 INT. FRANK'S PENTHOUSE APARTMENT - NIGHT The penthouse is now richly decorated. The R & B music playing through a state-of-the-art stereo system. It's a kind of office party for Frank's brothers, cousins, wives and girlfriends, distributors like Rossi and other East Harlem guys, Charlie Williams, couple of cops on Frank's payroll, and the Chemical Bank Vice President. BANKER You got a stockbroker, Frank? FRANK I deal with enough crooks as it is. The banker jots down a name and phone number on the back of one of his business cards. BANKER This one couldn't be more honest. Ask around. He's got a lot of clients in the business. You can't leave all your money in safety deposit boxes; give him a call. The banker hands him the card and moves on. Frank's trying to have a good time, but the level of noise and revelry is beginning to make him uncomfortable. Frank. CHARLIE This is Mike Sibota. (C 5 3. 132 132 CONTINUED:
Sibota tries not to look as nervous as he feels. ONT)
FRANK What can I get you?
SIBOTA A left-hander from what Charlie tells me. Your nephew? Frank points to his nephew, Stevie, across the room. FRANK It's been his dream all his life to play for the Yankees - and he's good enough. SIBOTA So I hear. You have him come see me. We'll give him a try-out. As the scout hands his card to Frank, we whip over to where Teddy, his driver Jimmy Racine and their girlfriends, coked up, are laughing as a black cop, flashing his detective's shield, pretends to frisk Jimmy. DETECTIVE What's this? (taking a .45 from Jimmy's pocket) Oh, that's it, I'm taking you in. JIMMY (joking) You can't take me in for that, I got license for that, motherfucker. DETECTIVE (gives the gun back) This then (the pile of coke on the coffee table) But first The cop sucks up a line before pretending to cuff Jimmy. DETECTIVE All right, now I'm arresting you. Everybody laughs. Teddy peels $100's from a money clip. TEDDY This is for you. Oh, now you're (
Let him go.
DETECTIVE What is that, a bribe? all under arrest. CONT)
54. 132 CONTINUED: The cop pretends to arrest them all, but what he doesn't pretend is the hand he puts on Jimmy's girlfriend's breast as he frisks her. JIMMY What is that? It was quick but Jimmy saw it, even though his girlfriend didn't react. The cop, oblivious, is cuffing Teddy now. DETECTIVE I'm taking you all in. JIMMY I said, what the fuck was that? DETECTIVE What was what? The room explodes with a boom and the detective crumples to the floor, clutching at his leg, blood running through his fingers onto the carpet. Frank stares. JIMMY Oh, he's all right. I just shot him in the leg. You got a health plan, what are you complaining about. He's fine. Here (peels off some money) Five hundred all right? Six? Look, he's feeling better all the time. Suddenly, Frank grabs Jimmy and throws him against the wall. 133 133 INT. FRANK'S PENTHOUSE APARTMENT - NIGHT As Ana tries to clean the blood stain on the rug with salt and soda water, Frank sits with his five brothers in the debris-strewn aftermath of the party. Silence before: FRANK I can't have this kind of stupidity. TEDDY It was an accident. about it. He feels terrible 132
FRANK He doesn't feel shit, coked up all the time. Get rid of him.
NT) 55. 133 133 CONTINUED:
TEDDY Frank. He's your cousin. What's he gonna do? Go back home? I'll talk to him. I'll straighten him out. Frank looks at Teddy in his tinted Jackie Fox-like goggle glasses - like he's going to straighten anybody out. FRANK Gimme those glasses. TEDDY What? Why? Frank pulls them from Teddy's face and crushes them. 134 134 INT. NARCOTICS SQUAD HQ - NEWARK - DAY Richie sifts through the morning mail at his desk. Stops on an envelope from the New Jersey Bar Association. As he works up the nerve to open it, Spearman, Jones and Abruzzo organize the Italian wise guys' photos on the T.O. JONES Ice Pick Paul goes here ABRUZZO No, he's under Benny Two-Socks JONES No, you're thinking of Benny the Bishop. Benny Two-Socks is Tosca's deadbeat sonin-law. SPEARMAN Jonesy's right. Richie comes over, studies the Table of Organization a moment, then begins untacking the photos from the top down JONES What're you doing? We just -
RICHIE For a cop the uppermost thing is the arrest. For a prosecutor, the arrest is nothing without the evidence to convict. We don't have any real evidence on anyone on this board, so they're coming down. We're starting over from the street.
(CONT) 56. 134 CONTINUED: ABRUZZO What are you, a prosecutor all of a sudden? Richie tacks his exam results onto the T.O. 135 135 EXT. STREET - NEWARK - DAY Richie and the Amigos observe a buy from a parked car, the blue cellophane changing hands. Ignoring the buyer as he walks away, they keep watching the seller. 136 136 EXT. GAS STATION / CAR WASH - NEWARK - DAY The seller is observed coming out of a mechanics garage. Richie ignores him as he walks away, watching instead the garage. Eventually, a mechanic wiping his hands on a rag steps out, and Richie raises a camera. The image of the mechanic - a supplier - freezes 137 137 INT. NARCOTICS SQUAD HQ - NEWARK - DAY A slightly-blurred photo of the mechanic goes up on a new, almost bare Table of Organization. 138 138 EXT. GAS STATION / CAR WASH - NEWARK - DAY Atop of a telephone pole, Abruzzo, dripping with lineman equipment, works to attach a `slave' to the lines 139 139 INT. STOREFRONT APARTMENT - DAY Bare room. Richie, Jones and Spearman eating take-out food He passed. 134
as tape recorder reels turn. PHONE VOICE Those snow tires you give me last time come in yet? I'm going to want some more of them, gimme one and a half more of them. The detectives laugh. 140 140 INT. PROSECUTOR'S OFFICE - DAY Toback has Richie sign a voucher for $20,000 cash. TOBACK This is more than a year's salary, Richie. If it disappears, I won't be able to get it for you again. (CO NT) 57. 140 CONTINUED: RICHIE It'll never be out of my sight. 141 141 INT. NARCOTICS SQUAD HQ - NEWARK - DAY Jones tapes a tape recorder the size of a pack of cigarettes to Richie's bare chest. 142 142 INT. GAS STATION GARAGE - DAY Undercover in a wise guy's cashmere sweater and slacks, Richie watches the mechanic count the $10,000 he's given him. RICHIE It's got to be `Blue Magic.' MECHANIC Yeah, yeah, it's `Blue.' You can pick it up here tomorrow. Where's the rest of the money? RICHIE That's half. I'll give you the other half tomorrow when you give 140
MECHANIC No, no, no, I don't do that. yourself.
Richie rather reluctantly hands over the rest of the 20K. 143 INT/EXT. SPEARMAN'S CAR - MOVING - NEAR GW BRIDGE - DAY 143 Spearman watches the pickup truck driven by the mechanic change lanes up ahead - heading for the George Washington Bridge - and glances over concerned to Richie, who is changing the cashmere sweater for an old t-shirt. SPEARMAN He's going into New York. Are we?
RICHIE What are they going to do, arrest us? SPEARMAN They could. New York cops. do worse than that. RICHIE We're not losing that money. They can
NT) 58. 143 CONTINUED: As Spearman follows the truck, the George Washington Bridge, linking Jersey to Manhattan, looms in the windshield ... 144 144 EXT. EAST HARLEM STREET - DAY The pickup pulls to the curb outside a Pleasant Avenue grocery store. As the guy enters the place, Spearman's car stops long enough for Richie to climb out, and continues on. Richie crosses the street, tries to see who the guy is talking to inside, but he's just buying a cup of coffee to go. Spearman's car turns the corner to circle around the block. As soon as it's gone, the man emerges from the restaurant with the coffee and walks straight at Richie who has to double back quickly not to be seen Richie sees a delivery truck double-parked, guys unloading crates. Hears a horn and knows it's must be Spearman stuck on the side street. The mechanic starts his truck. Desperate not to lose him (and his money), Richie hurries over to a taxi stopped at a light, flashes his badge. 143
Get out. What?
RICHIE TAXI DRIVER
RICHIE Get the fuck out of the car! The driver realizes the man outside his taxi is crazy and tries to get his window rolled up. Reaching in, Richie gets his arm stuck, pulls at the lock, yanks the door open, drags the driver out, breaking the cabbie's arm, and jumps in. He swings the cab into opposing lanes to get around traffic, screeches around the corner, glimpses the truck far up ahead - guns the engine, flies through a red light, glances at his mirror at the cars that just missed him almost colliding The truck turns up ahead, and Richie barrels through another red light, turns the corner and keeps the truck, a couple car-lengths ahead - in sight. 145 145 EXT. EAST HARLEM - DAY Richie curbs the cab as the guy goes into a dingy pizza parlor. Richie climbs out, crosses the street. Coming past the place, he tries to look inside without breaking stride.
NT) . 145 145 CONTINUED:
From around a corner, striding toward him, come four men looking like Gestapo thugs in leather coats, manicured hair the Princes of the City. Richie detours into an alley as they enter the restaurant. Richie peers in at the restaurant kitchen through a grimy basement window. Watches Trupo and his SIU detectives burst in, guns drawn. They rough everybody up, get some down on the floor. One detective gathers the money and stuffs it in a bag. Another gathers the dope. The mechanic tries to protest and Trupo slaps him down with his pistol. Richie keeps watching as the NY cops arrest no one - but
take the dope and the money (Richie's money) - and stride out as abruptly as they appeared, like bandits. As they come past Richie RICHIE That's my money. SIU DET 1 The fuck are you. What money? Richie shows them his Bureau of Narcotics ID. RICHIE The bills are sequenced and registered with the Essex County Prosecutors Office. All begin with CF3500. Take a look. One of them checks some of the bills and sees he's right. SIU DET. 2 Goddamn it, I thought we had a score. I thought I had a fucking Chris-Craft sitting in my driveway. RICHIE Honest mistake. Just give it back to me. This time. SIU DET. 1
Three of the four cops laugh. It's an affable gang of thieves. The one who doesn't laugh hangs back as the others start off. He examines Richie's New Jersey ID. TRUPO When's the last time I was in Jersey? Let me think. Never. What're you doing coming over here without letting anybody know? You don't know you can get hurt doing that? (MORE) ONT) 0. 145 145 CONTINUED: TRUPO (CONT'D) (Trupo smiles; Richie smiles) You got your money. Now, never, ever, come into the city again unannounced. You come in to see a fuckin Broadway show you call ahead first to see if it's okay with me. (C 6
Trupo pats him on the back and leaves with the others. TOBACK V.O. What do we hate most? Isn't it the transgressions of others we fear we're capable of ourselves? 147 - 148 OMIT 149 149 INT. NARCOTICS SQUAD HQ - NEWARK - LATER - NIGHT It's very late. Richie and Toback are alone. Eventually 147 - 148 OMIT
TOBACK Richie - cops are like RICHIE Yeah, I know, like everyone else. Some of them will steal no matter what. There can be a camera on them they'll do it. Some'll never do it. The rest are capable of either, depending how their department leans ... Only theirs isn't leaning, it's fallen over. The patrol cars don't even stop in Harlem, just roll down the window so the dealers can throw the money in. I saw drops made on precinct steps. TOBACK What were you doing there? RICHIE It's where this dope is coming from. Blue Magic. Out of New York. What am I supposed to do, ignore it? TOBACK The cab driver's filed aggravated assault and grand theft charges RICHIE He wouldn't stop. Motherfucker almost ran me over.
CONT) 61. 149 CONTINUED:
149 TOBACK - which he may reconsider depending on the amount the State of New Jersey offers to settle RICHIE I told him I was a cop. identification. I showed him my
TOBACK You stole his cab and broke his arm. RICHIE I was chasing your 20 thousand dollars. TOBACK I don't want to hear about you going into New York anymore. RICHIE Then my investigation's over. TOBACK You're not listening to me. I said: I don't want to hear about it ... You do whatever you have to do, go wherever you have to go to find out who's bringing this shit into the country ... Just don't tell me. (turns to leave) Get some sleep. A150 - 152 OMIT
A150 - 152 OMIT AA153 AA153
INT. RICHIE'S APARTMENT - MORNING Richie - in robe and underwear - opens the door to find a woman in the hall holding a briefcase. Mr. Roberts? appointment. VIDA I'm here for our
He has no idea who the black woman is. An old girlfriend he's forgotten maybe. Behind him, Vida can see a stewardess buttoning up her uniform by a little travel case on wheels. The apartment itself, she can also see, is a mess. VIDA From Child Social Services? A153 - 155 OMIT OMIT A153 - 155
EXT/INT. TONY ZACA'S BACKYARD & POOL HOUSE - DAY Barbecue after their Sunday softball game. Richie and his O.C. friends - wise guys - still in their brown and orange Weequahie jerseys, drinking beer, cooking hamburgers. TONY When you asked me to be your son's godfather, I took it very seriously. RICHIE I know. Richie and Tony Zaca relax in the den-like pool house. TONY I said yes, I'd take on this responsibility, take care of your son, God forbid something happened to you RICHIE Tony, the things she's telling Child Social Services make me look very bad: Out all night. Lowlife informants hanging around. Women TONY Old friends like me. Richie feels horrible doing this. Silence. Then:
TONY It's all right. I understand. They ask me, I'll tell them what you want me to tell them. I'll lie for you. RICHIE Thank you. Tony nods, You're welcome. on Richie's mind. TONY What. RICHIE You don't have to talk about it, you don't want. What do you hear about Blue Magic? Anything? Can tell there's something else
TONY A lot of sorrow and misery from guys being put out of business. That's all. ) (CONT 63. 156 CONTINUED: RICHIE Nothing about who's bringing it in? TONY Guys down south is all I heard. RICHIE Down south, Florida? Cubans? What. 156
TONY I don't know. All I can tell you is whoever it is, they're upsetting the natural order of things. Among the framed family photos around them, is a picture of Tony's uncle, Albert Tosca. 157 157 EXT. LIVINGSTON, NEW JERSEY - DAY A Napoleonic statue of the same man on horseback in a fountain outside a castle-like mansion. Next to it "ride" three others on marble horses - a woman and two children. Pull TOSCA manicured garden. A with the gun - Albert Frank sets to shoot, Ana wife in the opulent
A clay pigeon sails out across the shotgun blast shatters it. The man Tosca - hands another to Frank. As can seen behind them, with Tosca's house, looking uncomfortable.
MRS. TOSCA The whole place was imported brick by brick from Gloucestershire. ANA It's very nice. Mrs. Tosca nods. Ana nods. A strained silence thicker than the tapestries settles over them until FRANK Pull -
The shotgun booms 158 158 INT. TOSCA'S MANSION - LATER - DAY As servants stand by, Tosca and his wife and their only guests - Frank and Ana - finished with lunch, get up from the table in the formal Formal dining room. (CO NT) . 158 158 CONTINUED: As Mrs. Tosca leads Ana off to give her a tour of the house, the men head off the other way. TOSCA She's a lovely girl. her. You should marry 64
FRANK Too many things to look after right now to think about that. TOSCA Frank. That's a mistake. If I may say. Don't take her for granted, girl like that. They enter a rich, wood-paneled study lined with books. TOSCA You interested in history, Frank? The events that have brought us to where we are today? You know who was? Bumpy. FRANK Bumpy was interested in a lot of things. TOSCA I always wonder if people know when history's being made. And what they're doing at the time. This, for instance, could be a historic moment, and you're sipping a glass of ice water. Droplets snake down Frank's glass. He senses Tosca has finally gotten around to why he was invited here. TOSCA Bumpy and I did a lot of business
together, as you know. Whatever he needed, he'd come to me and I'd do my best to provide it. He came to me, I didn't go to him, is the point I'm trying to make. You know why? FRANK He didn't have what you needed. You had what he needed. We've always had to come to you. Yes. TOSCA Until now.
Tosca studies Frank, who is a study in inscrutability. (C ONT) 65. 158 CONTINUED: TOSCA Monopolies are illegal in this country, Frank, because no one can compete with a monopoly. If they let the dairy farmers do that, half of them would go out of business tomorrow. FRANK I'm just trying to make a living. TOSCA Which is your right. Because this is America. But not at the unreasonable expense of others. That's un-American. (he studies Frank) You know the price you pay for a gallon of milk doesn't represent its true cost of production. It's controlled. Set. FRANK I set a price I think is fair. TOSCA It's very unfair, in fact. Your customers are happy, but what about your fellow dairy farmers? You're not thinking of them. FRANK (very calmly) I'm thinking of them as much as they ever thought of me. 158
TOSCA All right. I can see you're getting excited. Don't get excited. That's not why I invited you to my home. To get excited. Frank doesn't look excited at all. He's the picture of calm. Tosca smiles benignly and gets up. TOSCA Here, I got something for you. 159 159 INT. TOSCA'S SMOKING ROOM - LATER - DAY
Tosca opens a humidor, takes out a couple of Cuban cigars. TOSCA Now what if - I'm just thinking out loud you sold some of your inventory wholesale and I helped with the distribution. NT) 66. 159 CONTINUED: FRANK I don't need it. I already got everything from 110th Street to Yankee Stadium, river to river. TOSCA Which is a little mom and pop store compared to what I'm talking about. I could make you bigger than K-Mart. L.A., Chicago, Detroit, Vegas. I'm speaking nationwide. And I'd guarantee you peace of mind. You know what I mean by that. Frank does. It's a backhanded threat. cigars with a gold guillotine Tosca clips the 159
TOSCA Frank. You can see I'm a Renaissance man. Unfortunately not all my people are as enlightened. Ask them, What is civil rights, they don't know. They're not as open to change from the way things are done and who's doing it. But I can talk to them so there won't be any misunderstanding. That's what I mean by peace of mind.
Frank knows, in truth, he's not being given any choice in this matter. Still, maybe it's not so bad. FRANK You pay what a kilo now, 75, 80? I'd consider 50. And I can get you as much as you want. Tosca slips on his best poker face. Fifty thousand a kilo would be an extraordinary coup for him. TOSCA You see, I was right. This is a historic moment. You're going to be bigger than Bumpy himself. He hands Frank one of the cigars, expertly prepared. TOSCA Can't smoke it here, unfortunately. Grace doesn't like it. Take it with you. 67.
INT/EXT. TOSCA'S MANSION - LATER - DAY Doc waits by the car as Frank and Ana walk toward him. The Toscas wave goodbye from the front step of the mansion. Frank slips the cigar into his top pocket as they climb in. ANA Why would you trust these people, the way they look at you? FRANK They look at me like it's Christmas and I'm Santa Claus. ANA They looked at us like we're the help. FRANK (kisses her cheek) They're working for me now.
INT. NARCOTICS SQUAD HQ - NEWARK - DAY A TV: Muhammad Ali, the black man's black man, and Joe Frazier, the white man's black man, at their 1971 Madison Square Garden press conference where Ali says as much. Most of the guys watching it. Richie isn't. He comes
over to Table of Organization. Tacks his Bar Association notice to it. Regards the photographs, like tentacles of octopus yet to have a head. Only the lowest section is made up of blacks (including Charlie Williams and Jackie Fox, but not Frank Lucas). The rest of the faces are white and stop about midway up. They've hit a wall they can't get past. 162 INT. FRANK'S PENTHOUSE - DUSK Another TV here: Howard Cosell, ringside at the Garden as the first early fans arrive, pointing out that the fight, because of the political stand Ali's taken, is less about boxers than war versus anti-war. Frank chooses a linen jacket from his extensive colorcoordinated racks of Phil Cromfeld suits as Ana, in her lingerie, puts on make-up at a vanity. He comes up behind her and sets down a small jewelry box. 163 INT. NARCOTICS SQUAD HQ - NEWARK - SAME TIME The TV in the background as Richie puts a camera with a long lens in a sports bag and reaches for his coat ) 68. 163 163 164 OMIT 164 OMIT 165 165 INT. FRANK'S PENTHOUSE - CONTINUED Ana's reflection in the vanity mirror as Frank slips the engagement ring on her finger. She wipes at a tear, then gets up and hugs him. Yes. She kisses him. ANA Admires the ring. And CONTINUED: (CONT 163 162
ANA I bought you something, too. She crosses past the TV, takes a garment bag down from her side of the closet, lays it on the bed next to Frank's suit jacket. She takes hold of the zipper but doesn't
immediately pull it, hoping perhaps to create some dramatic tension. What is it? FRANK
She unzips the bag like she's unveiling great art. But instead of seeing what's inside, we're allowed only Frank's reaction: his smile of anticipation slowly changing to chagrin. 166 166 INT/EXT. MADISON SQUARE GARDEN - BACK ENTRANCE - NIGHT Richie observes celebrities and gangsters arriving in limousines - Sammy Davis Jr. and his wife, Joe Louis and his, Tosca and some of his guys - then enters the arena as another limo pulls up. Ana climbs out. ANA Come on. You look great. (no one else emerges) You want to miss the fight? Come on. Finally, a patent leather shoe pokes out, sets down on the curb. Then its mate beside it. The shoes step away from the limo and 167 167 INT. MADISON SQUARE GARDEN - NIGHT Pre-fight. Richie, blended in with the a group of press photographers, regards the organized crime figures ringside. He takes a few pictures with the long lens camera as -
(CONT) 9. 167 167 CONTINUED: 6
The owner of the gleaming patent leather shoes is shown to his second row ringside seat just behind the sports writers, and we move up the full-length chinchilla coat to Frank's uneasy expression Richie's camera roams the faces of the prime ticket holders ringside: organized crime figures, celebrities, politicians, women with plunging necklines and platinum hair JOE LOUIS
Excuse me Richie can't believe it's Joe Louis brushing past him RICHIE Mr. Louis Joe looks back as Richie approaches him RICHIE I'm sorry, but I just have to tell you, sir, you were a hero to me growing up. I still push elevator buttons eight times for the rounds you beat Billy Conn in. For luck. Louis acknowledges Richie only slightly more than not at all. Turns away to join his friends. Richie watches after him, stung by Louis's disregard. He snaps a picture of an Italian wise guy he doesn't recognize ... sifts the camera's view past Frank in the chinchilla coat ... then returns to him, watches as Tosca and his guys sit down behind Frank. Richie can't hear but can see - their good-natured exchange TOSCA Hey, Frank, you keep that hat on, I'm gonna miss the fight The odd thing to Richie is, Chinchilla's seat is better than all the Italians'. Detective Trupo notices this, too. Richie focuses on the Chincilla's date, a stunning girl, a beauty queen, then shifts back to her boyfriend who's now shaking the proffered hands of other Italians, then Don King. Joe Louis himself - who barely acknowledged Richie's existence - comes over and playfully exchanges "punches" with the man in the chinchilla coat. A sudden roar from the crowd as the lights go out except for the spot on the ring. Ali and Frazier are coming down the steps through the crush of fans and reporters, preceded by soldiers carrying flags CONT) ( 70. 167 CONTINUED: Richie tries to find the guy in the chinchilla coat, but he's hidden by a flag. Then he glimpses him again just as Ali shakes his hand before climbing into the ring Flashbulbs pop throughout the arena as Robert Goulet 167
begins the National Anthem. Ali pointedly doesn't sing along. Richie frames the shadowy figure in the chinchilla coat, focuses as sharp as he can in the bad light, and snaps the shutter 168 168 INT. NARCOTICS SQUAD HQ - NEWARK - DAY Richie tacks the photograph of the man in the chinchilla coat to his Table of Organization - low and off to the side by other pieces of the puzzle that don't fit, other new faces with no names. Spearman holds a scrap of paper RICHIE That's is the plate number on the limo. Check with the company, who rented it. SPEARMAN He's a supplier at most. Or just a pimp. We'd've heard of him otherwise. RICHIE No, he's bigger than that. His seats were phenomenal; better than Al Tosca's. Joe Louis and Ali shook his fuckin hand. They look from Tosca's high position on the board to Frank's low one, and a wedding march played in traditional fashion on organ begins and carries over: INT. BAPTIST CHURCH - DAY From above, a sea of ladies' hats, all coral and pink. Below, Frank stands at the altar, waiting for his bride. RICHIE V/O His name is Frank Lucas ... 170 170 INT. NARCOTICS SQUAD HQ - NEWARK - DAY Toback sifts through documents Richie has gathered: limousine company records, Frank's thin arrest record, mug shots of him years younger, the photograph from the fights and some more from subsequent surveillances. RICHIE Originally from Greensboro, North Carolina. Couple of arrests years ago. Gambling, robbery, unlicensed firearm. (MORE) NT) (CO 71.
CONTINUED: RICHIE (CONT'D) For fifteen years he was Bumpy Johnson's collector, bodyguard and driver. He was with him when he died.
INT. BAPTIST CHURCH - CONTINUED Ana's family and friends on one side of the aisle, the extended Lucas family - on the other. Frank's mother looks at her eldest son at the altar with pride.
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Five brothers, he's the oldest, lots of cousins, all living here now, spread out around the boroughs and Jersey. The brothers are -
INT. DRY CLEANERS - DAY A Lucas brother hands some dry cleaning to Spearman RICHIE V/O Eugene Lucas in Brooklyn -
INT. ELECTRICAL SHOP - DAY Another Lucas brother examines a lamp with a frayed cord brought in by Jones. RICHIE V/O Earl Lucas in Newark -
INT. METAL DOOR SHOP - DAY Another brother at the register, hands Abruzzo a receipt RICHIE V/O Lester Lucas in Queens -
EXT. TIRE SERVICE SHOP - DAY Another brother is photographed by Spearman from a parked car as he changes tires on a car up on a hoist. RICHIE V/O Turner Lucas, the Bronx -
EXT. STREET - NEWARK - DAY
177 Richie kicks a dent into the fender of his old car. 7 2.
EXT/INT. BODY SHOP - DAY As an appraiser writes up an estimate, Richie observes Teddy, attending to paperwork inside. RICHIE V/O And Teddy Lucas, in Bergen County.
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED A photograph of Teddy goes up on the T.O. next to Frank and the other brothers and some cousins RICHIE Except for the chinchilla coat, which no one can explain, Frank's life seems orderly and legitimate.
INT. BAPTIST CHURCH - CONTINUED - DAY Best Man Teddy standing next to Frank at the altar as the bride is escorted down the aisle by her father. Tight on Frank in a beautiful tuxedo -
EXT. FRANK'S PENTHOUSE BUILDING - DAWN A light goes on in a penthouse window. Down below, by his parked car, Richie shivers in the early morning cold. RICHIE V/O He gets up early. Five a.m.
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Has breakfast at a Midtown place, usually alone.
INT/EXT. DINER - MORNING
Richie tosses a glance inside a restaurant as he passes the window to where Frank sits eating at a table, Doc nearby. 184 184 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Then goes to work. Meeting with his accountant, or lawyer, dropping in on one of the several office buildings he owns. 185 OMIT OMIT 3. 185 7
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Nights, he usually stays home. When he does go out, it's to a club or dinner with his new wife - friends, celebrities, sports figures - never O.C. guys.
EXT. SMALL'S PARADISE - NIGHT Richie sits in his car across from Small's where bouncers keep out people like him. Frank, Ana, Wilt Chamberlain and his wife emerge from the restaurant together.
188 OMIT OMIT 189 189 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Sundays he takes his mother to church. Then drives out to change the flowers on Bumpy's grave. Every Sunday, no matter what. 190 190 INT. BAPTIST CHURCH - CONTINUED - DAY
Frank's mother tearfully watches her son slip a ring onto Ana's finger next to the fat engagement diamond - before Ana, in turn, puts a gold band on Frank's. The minister pronounces them husband and wife, the veil is lifted, and
they kiss to great applause 191 191 EXT. BAPTIST CHURCH - DAY As a photographer takes the official photograph of the wedding party on the steps of the church INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED Lou Toback looks from a surveillance photo of the wedding party in his hands, to Richie's Table of Organization: The Lucas brothers and cousins - in the streets of New York and New Jersey, arranged in some imagined hierarchy. TOBACK Not your typical day in the life of a dope man, Richie. RICHIE Neither was Bumpy Johnson's and he owned Harlem. ( CONT) . 192 192 CONTINUED: 74
TOBACK You think Frank Lucas took over for Bumpy Johnson? His driver? That's a little far-fetched. Is it? Bumpy. RICHIE Everything he does, he does like
TOBACK Bumpy never wore a chinchilla coat in his life. RICHIE We haven't seen that again. That apparently has been retired to the closet. 193 193 EXT. BAPTIST CHURCH - DAY Frank and Charlie look on as Ana throws the bouquet.
CHARLIE She's the most beautiful bride I ever saw, Frank. FRANK I wish Bumpy could've met her. she could've met him. 194 194 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED Looking at the Lucas Table of Organization TOBACK What do you got on him you can use in court? Because this isn't it. You try this without informants and powder, no one's going to jail. RICHIE Won't get any informants. Not inside. It's like a Sicilian family. Like he's structured his own family the same way to protect himself. 195 195 EXT. BAPTIST CHURCH - CONTINUED Exactly like one, like a scene from The Godfather as Frank dances with Ana before the reception guests. 75. I wish
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE Being with Bumpy long as he was, he would have been around Italians a lot. Enough to learn that much.
EXT. BAPTIST CHURCH - CONTINUED Rice rains down on the bride and groom as they climb into the back of the Towncar. Doc comes around to the driver's side, gets in and slowly pushes through the crush of guests waving and throwing kisses.
INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED RICHIE But it's not even Frank Lucas I want. I want to know who he's working for: Which
Italians are bringing the heroin in. 199 INT/EXT. TOWNCAR / NEW YORK - TWILIGHT Flanked front and rear by Frank's security, the marriage car moves along a rain-slick street. The newlyweds cuddle in back. Another car pulls up alongside - Trupo's Shelby and Doc's right hand instinctively comes off the steering wheel to settle on his holstered gun. Trupo smiles and shakes his head, no. 200 EXT. CENTRAL PARK - LATER - TWILIGHT The Lincoln and security cars and Trupo's Shelby parked. FRANK (to Ana) Stay in the car As Frank and Doc climb out, Frank motions to his other security men to remain calm, he'll handle this. Hello, Frank. TRUPO 200 199
If Frank is surprised Trupo knows his name, he doesn't show it, or anything else except an air of professional courtesy. Detective. FRANK
Trupo looks in at Ana in the back seat, smiles at her. She turns her head away and closes the door. Trupo leads Frank away for a private conversation ) 6. 200 200 CONTINUED: (CONT 7
TRUPO You sure you done the right thing? She's a beautiful girl - there's no question - but she's got an attitude on (her) Listen word you're fuckin FRANK to me. Before you say another about her - or me - remember that saying it on the most important day of my life. TRUPO
Man walks around in a fifty thousand dollar chinchilla coat and he never even bought me a cup of coffee? Something wrong there. FRANK I don't know what you're talking about. TRUPO You pay your bills, Frank? FRANK You want to keep talking, talk to my lawyer, here's his card. You call him, because we're done here TRUPO Do you pay your bills, I asked you. FRANK If you're not getting your share, it's not my fault, go ask the chief of police. TRUPO What's my share? You don't even know me. Maybe I'm special. FRANK No, you're all the fuckin same. TRUPO (shows his shield) What does that say? (Frank ignores him) Special - Investigations - Unit. See that word there? "Special." (he takes out a restaurant business card) Ten grand, first of each month, delivered here. CONT) 77. 200 200 CONTINUED:
Frank ignores the card, stares at Trupo like he's a fool. FRANK Detective ... There are some things you don't do. This is one of them. Not on a man's wedding day.
Frank's resolve throws Trupo off his rhythm. TRUPO Have a nice honeymoon. 201 201 INT. FRANK'S PENTHOUSE - LATER - NIGHT
Frank doesn't carry Ana across the threshold. He strides in leaving her at the front door, throws a match in the gas fireplace, comes back from the bedroom a moment later with the $50,000 chinchilla coat and throws it on the flames. 202 202 TELEVISION IMAGE: A march on Washington, protesting the war (archive). INT. JIMMY RACINE'S APARTMENT - NIGHT The report continues on a TV here as Teddy's driver, Jimmy Racine, yells at his girlfriend JIMMY Where is it? DARYLYNN Fuck you, I'm not telling you. She comes past the TV and into the kitchen past a table covered with dope paraphernalia. JIMMY Where is my fuckin dope? You and your girlfriends take it again? I'll fuckin kill you. She yanks open a drawer, grabs a knife and slashes it at him. He grabs a gun and she runs for the stairs 203 203 EXT. JIMMY RACINE'S - APARTMENT - NIGHT He chases her into the street, yelling, raises the gun and fires, and she goes down, clutching at her butt, moaning 78.
INT. RICHIE'S APARTMENT - SAME NIGHT Moaning here, too. with him. Richie's lawyer-ex-girlfriend, in bed
SHEILA Richie, yes, fuck me like a cop, not a lawyer (the phone rings) Oh, God, Richie, no - don't answer it (he reaches to pick it up) No, no, no Yeah RICHIE
SPEARMAN V/O PHONE Richie. Newark just picked up one of the celebrities on our Wall of Fame: Teddy's driver. For attempted murder. 205 INT. NARCOTICS SQUAD HQ - NEWARK - NIGHT Richie's had Jimmy Racine brought over. Sits with him as the Three Amigos watch from the shadows. Just coming off his high, and the attempted murder, Jimmy looks disoriented as he sits in cuffs in the dungeon-like basement. RICHIE Because it's an attempted homicide, that's Grand Jury. Now, that Grand Jury could come in very favorably. Might turn out to be Attempted Manslaughter. Self Defense even. She had a knife. Depends on how I want to deal with you. You see where this is going. Jimmy looks around at the basement dungeon with concern. JIMMY The fuck is this place? RICHIE Let's say you beat it somehow. What do you think Cousin Frank'll think of that? He knows you had to sit here listening to something like this. And then you beat an attempted murder? Is he stupid? He'll assume you talked. Jimmy can easily imagine that scenario and it frightens him. (CONT 79 . 205 CONTINUED: 205
205 RICHIE You fucked up, Jimmy. But nobody knows. Frank doesn't know. Yet. Do you want him to read about it in the paper? Or do you want to walk out of here - no bail, no trial - just walk out, now. 206 206 EXT. NARCOTICS SQUAD HQ - NEWARK - DAWN Jimmy has thought about it all night and walks out of the building into the chilly morning air. Jimmy? RICHIE V/O Look at me -
Jimmy looks over his shoulder as if Richie just called to him from it, which he didn't. There's no one in sight RICHIE V/O Any time I want to change my mind? I don't like the quality of your work? I can find a witness saw you shoot your girlfriend. It just took me a while. I even know what he'll look like. He'll look just like you. 207 207 EXT. MEAT PACKING DISTRICT - DAY Teddy's car comes around a corner and down the street. 208 208 INT. TEDDY'S CAR - MOVING - DAY Jimmy Racine, wired, looks in the rear view mirror at Teddy in the back seat, and, behind him, Richie's car following. INT. RICHIE'S CAR - SAME TIME Richie keeps Teddy's car in view ahead. Glances in his mirror at the cars following him. His detectives. 210 210 EXT. MEAT PACKING DISTRICT - LATER - DAY The detectives' cars parked behind a warehouse. Richie peers into binoculars at: Teddy's car parked by Frank's outside another warehouse loading dock. Frank gets out, discusses something with his brother, comes past Jimmy to some men in bloody white coats. He talks to them, returns to his car, takes a valise from
the trunk. He snaps it open revealing stacks of cash, hands it over and walks to a semi-truck, glancing once in Richie's direction. Though he can't see anyone there he gives a wave to them - or is it to the truck driver to pull out 80.
EXT. HARLEM STREET - DAY Like Bumpy used to do every Thanksgiving, Frank and his brothers, from the back of the truck, hand out hundreds of freshly-butchered turkeys to the poor.
INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Frank, in an apron, carries in a huge cooked turkey as the extended Lucas family gathers around the table. It's like Norman Rockwell painting -
INT/EXT. ALLEY / ROOMS HARLEM - SAME TIME - DAY Another Thanksgiving picture: addicts shooting up and nodding out in alleys and dingy rooms. Tight on needles, veins, spoons, filth -
INT. RICHIE'S APARTMENT - SAME TIME - DAY Richie alone at his kitchen table with a sandwich and a beer. The Macy's parade plays silently on his TV.
INT/EXT. TRUPO'S HOUSE - SAME TIME - DAY A doorbell summons Trupo. He comes through his entry. Opens the front door. Finds no one there - except a large live turkey on the doorstep. He stares at it nonplussed, then looks up to a sound - a whoosh - as flames engulf the interior and spit out the windows of his Shelby Mustang ...
INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY The big knife in Frank's hand slices into the turkey and lifts meat onto a plate that's passed from hand to hand, the family engaged in several conversations at once, laughing -
INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Bathroom. Jimmy Racine, shirt off, wired, changes the batteries of the little tape recorder.
EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Jimmy comes out, tries to take a chair not too far from
Frank who's watching his nephew toss pop-up flies for the younger kids to catch. FRANK Stevie. Come over here. (the nephew comes over) I heard you didn't show up. (MORE) ) 1. 216 216 CONTINUED: You're Martin? FRANK (CONT'D) too busy to meet with Billy After I set it up? 8
Stevie shifts around, not wanting to make Frank mad ... STEVIE I don't want to play pro ball, I decided. What're you dream since (the Maybe I can FRANK talking about? This is your you were their age younger kids) set it up again. Finally -
Stevie just stands there, uncomfortable.
STEVIE It's not what I want. I want to do what you do, Uncle Frank. I want to be you. Frank stares at him unhappily. barely notices. TEDDY We got a problem. 217 217 INT. TEDDY'S CAR - MOVING - LATE AFTERNOON Jimmy Racine behind the wheel. speaking quietly. Frank and Teddy in back, Teddy comes over but Frank
TEDDY He's been cutting it so much it's down to two, three percent pure. FRANK You tested it. You're sure. Teddy nods. Frank notices Jimmy looking at them in the rear
view mirror. FRANK The fuck you looking at? 218 218 EXT. JACKIE FOX'S CLUB - NEW YORK - DUSK The car pulls up in front of a building in the clothing district. Jimmy stays while Teddy and Frank go inside. 82.
INT. JACKIE FOX'S CLUB - DUSK Jackie's club looks like a set from a blaxploitation film. Frank and Teddy, led by a bodyguard, come past some turkey carcasses and other remnants of Thanksgiving to where Jackie and a couple friends cavort with some naked girls. Frank. JACKIE Welcome.
FRANK We need to talk. Great. JACKIE Girls, get out.
The girls gather their things and leave. Frank wipes at a modern leather chair with his handkerchief, throws it away, sits. Jackie lays out a couple lines, offers Frank a rolled up hundred dollar straw. Frank shakes his head, no thanks. JACKIE You talked to Charlie. You want to hear more about my Black Coalition. Let me explain it to you But first, let me suck up a line of coke FRANK That's not why I'm here. (Jackie glances up from the powder. No?) Everybody's happy, Jackie. Charlie, Baz, the cops, the Italians, everybody. Everybody except you. I'm happy. JACKIE
FRANK Then I don't understand. Why do you have to take something that's perfectly good the way it is, and wreck it? Jackie doesn't seem to understand. FRANK Brand names mean something, Jackie. Consumers rely on them to know what they're getting. They know the company isn't going to try to fool them with an inferior product. They buy a Ford, they know they're gonna get a Ford. (MORE) ) (CONT 83. 219 CONTINUED: FRANK (CONT'D) Not a fuckin Datsun. (his look says, right?) Blue Magic is a brand name; as much a brand name as Pepsi. I own it. I stand behind it. I guarantee it and people know that even if they don't know me any more than they know the chairman of General Foods. JACKIE What the fuck are you talking about, Frank? FRANK What you're doing, as far as I'm concerned, when you chop my dope down to five percent, is trademark infringement. That. That's what this is about. Jackie nods, but 219
JACKIE With all due respect, Frank, if I buy something, I can do whatever I want with it. FRANK That's not true. That's where you're wrong. JACKIE If I buy a car, I can paint it, God damn it. FRANK
Jackie, you don't need to. You don't need to make more money than you can with Blue the way it is. No one does. At a certain point it's just greed. JACKIE What do you want, Frank? call it something else? You want me to
FRANK I have to insist. You call it Blue Magic, that's misrepresentation. JACKIE Fine. I'll call it Red Magic, even though it doesn't sound as good. FRANK That's all I'm saying. cellophane and NT) 4. 219 219 CONTINUED: 8 Wrap it in red (CO
JACKIE Black Magic -
FRANK Whack it down to nothing, tie a bow around it and call it Blue Dogshit if you want, just don't let me catch you doing this again. Jackie regards Frank for a long moment ... JACKIE Catch me? Insist? Infringement? I don't like these words as much as please thank you - sorry to bother you, Jackie. These are better words to use you come into my place without an invitation. Jackie waits to hear a kinder word but Frank doesn't offer one. Jackie nods, Fine, okay, but it's more like a warning. 220 220 INT. JACKIE'S CLUB - DUSK Frank pulls a girl off Teddy's lap and points him toward the door. Jackie watches them leave.
EXT. JACKIE'S CLUB - DUSK They emerge from the building to where Jimmy waits. TEDDY Give me the keys; take a cab home.
INT. TEDDY'S CAR - MOVING - NIGHT Frank and Teddy driving in silence. Eventually -
FRANK You don't go over there any more. Teddy doesn't like it, but nods. Suddenly his face is illuminated by light reflecting in the rear view mirror, an unmarked police car behind them, flashing its brights. FRANK It's all right, pull over, what are they going to do? Give us a ticket? But Teddy isn't as calm as he begins to pull over. 85.
EXT. GARMENT WAREHOUSE DISTRICT - NY - LATE AFTERNOON As Trupo and his partner climb out of their car and approach Teddy's Frank? TEDDY Some of it's in the trunk.
Frank regards him with utter disbelief. Teddy shies as if he expects to get hit. The SIU detectives arrive. TRUPO Hello, Frank. FRANK Detective. How's it going? nice Thanksgiving? TRUPO I did not, as a matter of fact. of the car. The Lucases climb out. You have a
FRANK Where's the Shelby? TRUPO The Shelby's gone, Frank. Trupo reaches in the driver's side window, takes the keys from the ignition and comes around to the trunk. Frank and Teddy exchange a glance as it opens. Silence. Then TRUPO Want to come over here a minute, Frank? Six kilos of heroin are illuminated by the trunk light. Frank and Trupo regard it in silence. Then TRUPO Now what are we gonna do about this? FRANK We're gonna shut the trunk and say good night, forget you pulled us over. TRUPO I got a better idea. Trupo reaches into the trunk, picks up two of the heroin bricks, tucks them under his arm and looks at Frank NT) 86. 223 223 CONTINUED: (CO
TRUPO Or would you rather I took it all and threw you and your brother in the fuckin river? FRANK I don't know, would you rather it's your fuckin house blows up next time? They hold each others' stare for a long moment. TRUPO I loved that car. I know. FRANK
Trupo closes the trunk and walks away with his cut of the heroin, calling to his partner Let's go. TRUPO
As the SIU cops walk to their car, the perspective shifts, through binoculars: Richie watching. A224 A224 INT. TEDDY'S CAR / STREET - LATER - NIGHT From outside the driver's side, Teddy's head, inside the car, suddenly smashes against the window, cracking it. His groan is interrupted by Frank's muffled voice FRANK Don't you ever put me in a car with dope in it. 224 224 INT. RICHIE'S APARTMENT - NIGHT Richie comes in, opens the fridge and stares in, his mind elsewhere. A ringing phone pulls him out of it. Yeah. 225 225 Tony. RICHIE How's it going?
INT/EXT. TONY ZACA'S HOUSE - DAY Tony's wife and daughters can be seen in the suburban backyard. Here in the kitchen Tony and Richie watch kernels of popcorn bounce off the inside walls of the first Amana microwave oven. It's noisier than modern ones. RICHIE The fuck is a `micro' wave?
(CONT) 8 7. 225 225 CONTINUED:
TONY It's a scientific force like atomic energy. It rearranges the molecules. Of what. RICHIE
TONY Of anything. Of popcorn. You don't want to put your head in there. Tony rakes out the plain, `pre-microwaveable' popcorn, using his hand. Gives some to Richie. Half of it's burnt. TONY I can get you one of these. Just like this, brand new. I'll have it delivered. No, thanks. RICHIE I don't want one.
Tony hands Richie some snapshots: The Zaca family on the slopes of a resort, and in and outside a beautiful snowdotted cabin. RICHIE This is nice, where's this? Aspen. TONY Just got back. Had a great time.
RICHIE I'd like to ski Aspen some day. TONY Know who we met? Burt Reynolds. I'm not kidding. Lot of people from Hollywood go up there now, buying up everything. RICHIE This is your place? TONY Are you kidding? You know what it's worth? Ski-in-ski-out, five bedrooms, sauna, everything. We were guests. (pause) No ... No, that's your place. Everything seems to stop. Richie becomes aware of the sounds around them, the girls splashing around outside ... ( 8 8. 225 225 CONTINUED:
Isn't there something we can do - about leaving the big guy alone? You know who I mean. What Richie knows is that no matter what he does or says at this point he's got a problem. RICHIE If I don't report what you just said to me, you know I could be in a lot of trouble. If I do, then it's you. TONY I'm hoping you won't do that. Richie considers the room itself, measuring the odds of microphones and a recorder being in it somewhere. TONY I'm not taping it. How do you know? Because we're friends and I'm telling you. This is a real offer. RICHIE From who, your uncle? (Tony doesn't say) Why would you do this? Why would you risk our friendship? TONY Because I care what happens to you. RICHIE You shouldn't have done it. TONY I had to. I had no choice. Neither do you. Leave Frank Lucas alone. RICHIE He's not important enough for you to do this. Yes, he is. TONY
Richie stares at Tony, then puts the pictures in his hand. RICHIE Tell Marie I'm sorry I had to leave. You can tell her why. 89.
INT. NARCOTICS SQUAD HQ - LATER - NIGHT Alone in the empty building, he stares at the T.O.: The higher echelon Italians like Tosca; lower echelon Harlem guys like Charlie Williams and Frank Lucas. He gets up then, untacks Frank's photograph from its lowly position and moves it to a place no black has ever occupied to the top of the pyramid - above the mafia.
227 - 230 OMIT A231 A231 INT. NARCOTICS SQUAD HQ - DAY
227 - 230 OMIT
Toback regards Frank's picture at top of the Lucas T.O. RICHIE INS, FBI, IRS - I can't get anything out of them. Nothing on his travel, his bank accounts, property holdings - nothing. TOBACK That's because they all think you're on the take and you think they are. RICHIE They don't want this to stop. It employs too many people. Cops, lawyers, judges, probation officers, prison guards. The day dope stops coming into this country, a hundred thousand people lose their jobs. Toback isn't as sure the corruption of the official world is that complete. Richie. SPEARMAN Excuse me.
Spearman gestures to a couple of men in suits who want to talk to him. B231 B231 INT. NARCOTICS SQUAD HQ - LATER - DAY Richie and Tobacke regard the two stone-faced FBI agents RICHIE Who took it out? (nothing from the agents) If there's a contract on me, it would be
nice to know who took it out. NT) 90. B231 B231 CONTINUED: (CO
FBI AGENT We can't say without compromising our source. You understand. No. RICHIE I don't. Not when it's my life.
FBI AGENT If you want, we can assign someone to you. Who? In C231 C231 FBI? RICHIE You're going to protect me?
Richie almost laughs at the thought, looks to Toback. fact, none of this is funny. EXT. STREET - NEWARK - NIGHT Walking toward his apartment down its dark street, bag of groceries in arm, Richie becomes aware someone is following him. He slows to let the figure get closer, closer, then turns fast, drops the guy and puts a gun to his head. Don't shoot! MAN For God's sake.
Richie keeps the gun pressed against the guy's forehead. RICHIE Talk. MAN Are you Richard Roberts? subpoena. 231 231 INT. COURTROOM - NEWARK - DAY Richie and Laurie sit with their respective lawyers, waiting for the judge to appear. He leans over RICHIE I got a
Laurie. I'm sorry I couldn't give you the kind of life you wanted. I'm sorry it was never enough. But don't punish me for being honest. Don't take my son away. She stares at him in disbelief. voice than his Then responds in a louder
(CONT) 91 . 231 231 CONTINUED:
LAURIE What are you saying? That because you were "honest" and didn't take money like every other cop, I left you? The bailiff looks over, but she doesn't care. LAURIE You don't take money for one reason: to buy being dishonest about everything else. And that's worse than taking money nobody gives a shit about - drug money, gambling money nobody's gonna miss. (more people look over) I'd rather you took it and been honest with me. Or don't take it, I don't care. But don't then go cheat on me. Don't cheat on your kid by never being around. Don't go out and get laid by your snitches and secretaries and strippers. I can tell just by looking, she's one of them. His lawyer. Which is true. Everyone's watching them now.
LAURIE You think you're going to heaven because your "honest." You're not. You're going to the same hell as the crooked cops you can't stand. BAILIFF All rise INT. COURTROOM - LATER - DAY
The same judge who sends a collection plate around sits before Richie and Laurie and their attorneys. SHEILA Your honor, a lot has been said here today about how unsavory Mr. Roberts' environment is for a child. How dangerous it is. I'm sorry, but this is our world. This is where we live and we tell him, Protect us. We give him that responsibility, and then say, Oh, but we don't trust you to raise a child. We don't think you're fit for that. I'm not. ONT) 92. 232 232 CONTINUED: RICHIE (C
Silence. Sheila looks at him, but he's looking at Laurie, and speaks to her like they're alone in the room: RICHIE You're right. This is no place for him. Around me. Take him. The further away the better. For him. 233 OMIT OMIT 234 234 TV IMAGE (ARCHIVE): The lights on the Rockefeller Christmas tree blink on to applause. A carol begins and continues over: A235 OMIT OMIT 235 235 INT/EXT. FRANK'S CAR / FRANK'S PENTHOUSE - NIGHT Seats covered with Christmas presents. Doc, driving, sees Trupo's car parked out front Frank's penthouse. DOC Frank A235 233
FRANK Yeah, I see them. Doc pulls to the curb outside Frank's building. As the doorman helps Doc with the big Christmas tree tied to the roof of the car, Frank crosses to Trupo's car with a couple of bottles of Crystal tied with holiday bows. FRANK Here you go, boys. 236 OMIT OMIT 237 237 INT. FRANK'S PENTHOUSE - NIGHT Charlie has come to visit. A Christmas carol plays as Frank strings the tree with some lights. FRANK Paying cops is one thing, I understand that. I been paying them since I was ten - put more of their kids through college than the National Merit Award. This is different, this Special Investigations Unit. They think they are special. Merry Christmas. 236
(CONT) 93. 237 CONTINUED: CHARLIE They're fucking crooks. ethics. 237
No code of
Frank plugs the cord in and the tree lights up. FRANK Someone's been following me. Besides cops. I see cars where they shouldn't be. Guys I don't know CHARLIE Me, too. They regard each other. 238 The carol continues over:
INT. FRANK'S PENTHOUSE - LATER - NIGHT
238 Ana hangs tinsel on the tree as Frank gives the shepherd some dog toy presents he's bought. More to himself: FRANK Bumpy hardly ever went out at a certain point. He stayed in - read - watched TV played chess. I thought he chose to lead a quiet life. He didn't. He couldn't go out without something happening. ANA We can still go out. FRANK Where? With who? Everyone I know is under surveillance. I can't even be with my family at Christmas anymore. He gets up, pets the dog, and looks out the window at Christmas angels stretched across the street, at people on the sidewalk, wondering perhaps which of them are undercover cops, at Trupo's car, still parked outside. ANA Why don't you just pay who you have to pay? FRANK I do pay them, I pay them all. Cops, accountants, lawyers, who don't I pay? Everybody. I pay them a fortune, it doesn't matter. It doesn't satisfy them. The more you pay, the more they expect. (MORE) NT) 94. 238 238 CONTINUED: FRANK (CONT'D) You can't start with them because they can't stop. It's like dope. They always want more. Ana looks vulnerable. Frank almost feels bad that it's his life and problems that have put them here. Eventually, to try to turn it around FRANK Put on something nice, we're going out. (CO
INT/EXT. FRANK'S PENTHOUSE BUILDING - NIGHT
Frank and Ana emerge from a service elevator, come down a dark hall and out the back door to an alley to where Doc waits with the car in the falling snow. 240 OMIT 240 OMIT 241 241 EXT. SMALL'S PARADISE - LATER - NIGHT Frank's car approaches Small's just as Jackie, with a Santa Claus hat on, climbs out of a sky blue Bentley with his entourage. Frank groans to Doc FRANK Keep going. Around back? DOC
FRANK Fuck that. I'm not going to sneak into my own club. Just drive. 242 OMIT 242 OMIT 243 243
INT. CHINESE TAKE-OUT PLACE - NIGHT Waiting for a take-out order under harsh fluorescent lights ANA I'm going to wait in the car. DOC Go ahead, Frank. FRANK You can carry it all? I'll wait for it. We ordered a lot.
Doc nods, go on, go with Ana. Frank hands him a couple twenties. Ana's already outside.
(CONT) 95. 243 243 CONTINUED:
FRANK Don't forget the yellow sauce. 244 OMIT OMIT 245 245 EXT. STREET - CHINATOWN - NIGHT Ana's half a block ahead, waiting outside the locked car by the time Frank arrives and realizes FRANK Doc's got the keys. Let's go back. 244
ANA The lights give me a headache, you go. FRANK I'm not leaving you on the street. ANA Get the keys, Frank, it's cold. He starts back through cascading snow. coming 246 246 slowly down the street INT. CHINESE PLACE - CONTINUED The cook dumps sizzling vegetables into a take-out container and puts it in a bag 247 247 EXT. STREET - CHINATOWN - CONTINUED Notices a car
The car passes, continues to the end of the block, turns the corner. 248 OMIT 248 OMIT 249 INT. CHINESE PLACE - CONTINUED 249 Doc hands over money, waits for his change DOC Gimme some of that yellow sauce. 250 250 EXT. STREET - MIDTOWN - CONTINUED Frank sees the car again, coming around the corner, walks briskly back to where Ana waits. The car is almost upon them as he grabs her by the wrist and pulls her hard along the sidewalk. The car guns its engine -
251 OMIT OMIT 6.
INT/EXT. CHINESE PLACE - CONTINUED As Frank pushes in past the doors with Ana, the windows explode. They dive to the floor, bullets ripping through the place. Doc draws his two guns and fires back at the car, hitting it a couple times as it screeches off. He gathers Ana and Frank off the floor like a presidential bodyguard, hustles them out to the car. Frank's shoulder is bleeding. DOC You hit? FRANK What the fuck was that? They pile in and Doc screeches away from the curb.
253 OMIT OMIT 254 254 INT. FRANK'S PENTHOUSE - NIGHT
Heavy security in the hallways: Frank's own men and some cops he's got on the payroll. Ana steps from the elevator and hurries past, early edition New York paper in hand. 255 255 INT. FRANK'S PENTHOUSE - NIGHT The brothers watch as a private doctor attends Frank's wounds. He seems all right fine except for the fact that someone had the fucking nerve to take a shot at him - and Charlie he sees in the newspaper - gunned down, dead, lurid Weegee-like photo of him on the front page. TEDDY Was it Jackie? (Frank doesn't say) I'll fuckin kill him whether it was or not, you tell me to. (nothing from Frank) What do you want us to do, Frank? We can't just sit here and -
FRANK Who didn't like Charlie? Charlie ...
ANA Who shot at us? (Frank can't tell her) It doesn't matter. We're leaving. ( CONT) 97. 255 255 CONTINUED:
She pulls a drawer open. Takes out their passports. Begins packing. The brothers watch, not sure what to do, or say. To them Go home. FRANK Go see your kids.
He obviously wants to talk to Ana alone. Pulls away from the doctor. They all leave. Ana keeps packing. FRANK What are you doing? ANA We're leaving from here. the car. What money? FRANK Where've you been? Money's in
ANA Everything from your mother's house. In your car? Yes. FRANK Where's the car? ANA Out front. FRANK With ten million dollars in it? FRANK ANA
ANA I didn't count it. FRANK Are you crazy? Take it back to Teaneck. What are you doing driving around without security? Doc'll take you back. ANA We're not going there, we're going to the airport. We're leaving the country. To go where? (CONT) 98. 255 255 CONTINUED: FRANK No, we're not.
ANA Frank, Charlie's dead. They tried to kill us. What else has to happen - ? He grabs her and holds her to calm her down. Shhh. FRANK Come on, now. Shhh.
He holds her close, waits for her breathing to slow before: FRANK Where are we going to go? Spain? China? Which fuckin place is it going to be? ANA We can go anywhere we want. anywhere. We can live
FRANK We can run and hide is what you're saying. He slowly shakes his head: that's something he'll never do. FRANK This is where I'm from. This is where my family is. My business. My mother. This is my place. This is my country.
This is America. 256 - 263 OMIT OMIT 264 EXT. HUDSON RIVER - MORNING 264 256 - 263
The Statue of Liberty in morning light and mist rises from the waters of the Hudson River. A265 A265 INT. NARCOTICS SQUAD HQ - NEWARK - MORNING Richie, at his desk, looks up to see Trupo walking through the squad room, followed by Spearman. SPEARMAN Said he'll only talk to you. B265 B265 INT. NARCOTICS SQUAD HQ - NEWARK - LATER - MORNING Trupo's attitude has completely changed from the first time they met. He talks to Richie now like a fellow conspirator -
(CONT) 9. B265 B265 CONTINUED: 9
TRUPO From what I hear, it was the Corsicans. The French Connection, Fernando Rey, the exporters Frank has put out of business. Now, I can take care of him in New York, but I don't want to have to worry every time he drives across the bridge to Jersey someone's gonna take another shot at him. Richie gives nothing away even as it stuns him that Trupo would speak to him this blatantly. TRUPO We need to start working together. We need to step up our efforts. Next time their aim could be better. We need to keep this cash cow alive. Jimmy Racine comes in - sees Trupo - and leaves - but not
before Trupo has seen him. And now he sees the Lucas Table of Organization he didn't notice when he came in. Gets up and walks over to it now and takes a closer look. Sees Frank's picture at the top, like Enemy Number 1. TRUPO Jesus. What the fuck you doing here? You actually going to arrest Frank Lucas? What's the matter with you? RICHIE I'm crazy. Can't you tell that? I'm crazy enough to shoot someone and make it look like an accident next time he comes over the bridge without my permission. Get the fuck out of New Jersey. They regard each other a moment before Trupo turns to leave. C265 C265 INT. FRANK'S PENTHOUSE - DAY A large TV shows chaotic scenes in Saigon. The US is pulling out of Vietnam. Tosca has come to see how Frank is recovering, and finds him, agitated, too long in bed even though it's only been a day, changing into a nice shirt, putting on his shoes FRANK "I can guarantee you peace of mind," you said. Do I look like a man with peace of mind to you? They shot at my wife. Who does that? (MORE) ONT) 00. C265 C265 CONTINUED: FRANK (CONT'D) Who was it, which one of your people? I'll take that gun away and shove it up their ass. TOSCA I don't know that it was any of them, Frank. Neither do you. FRANK Then maybe I'll kill them all just to make a fuckin point. Tosca seems more philosophical about it - like Bumpy might 1
have been - but it wasn't him who was shot at. TOSCA You want to know who it was? I can tell you. It was a junkie. Or a rival. Or some dumb ass kid trying to make a name for himself. Or someone you forgot to pay off. Or slighted without realizing it. Or someone you put out of business by being too successful. (pause) Success has a lot of enemies. Your success is who took a shot at you. How you gonna kill it? By being unsuccessful? You can be successful and have enemies, or unsuccessful and have friends. It's the choice we make. 265 265 INT. MASSAGE ROOM - SOUL BROTHERS BAR - NIGHT A call has interrupted Nate's massage (and later activities) with a bevy of Thai girls. He wraps himself in a robe, takes the phone. Hello? 266 266 NATE
INT. REGENCY HOTEL - SAME TIME - DAY Frank on a pay phone in a comfortable alcove with a stack of quarters. Other guests are gathered around a TV in the lounge that shows images of helicopters plucking diplomats off the roof of the American Embassy in Saigon. FRANK I'm watching the news. everyone going? Home. NATE The war's over. ( 10 Where the hell's
CONT) 1. 266 266 CONTINUED:
FRANK Just like that? We're going to leave the fuckin country to the communists?
NATE We been here since 1961, Frank. FRANK I haven't! HARD CUT TO: 267 267 EXT. JUNGLE - DAY Frank and Nate and their "army" of black servicemen and Thai thugs wind through the jungle with pack mules. 268 268 INT. BAMBOO DWELLING - OPIUM FARM - DAY The same farm and hut as before. Frank and the Chinese General sip tea. The four million dollars in cash Frank brought sits on the table. GENERAL Opium plants are hearty enough to outlive any war. They'll still be here long after the troops are gone. But what are you going to do for transportation when the last US plane goes home? FRANK I'll figure something out. You'll see me again. The General seems fond of Frank, and not only because of all the money on the table. GENERAL It's not in my best interest to say this, Frank ... but quitting while you're ahead is not the same as quitting. FRANK That's what my wife thinks. GENERAL But you don't think she's right. Frank doesn't say. 102 .
EXT. OPIUM FARM - DAY
269 Mules are loaded up with burlap bags containing 3,000 kilos of heroin. A270 A270 EXT. OPIUM FARM / JUNGLE - DAY The mule train approaches the jungle that surrounds the opium farm. Nate's Thai thugs, left behind in sniper positions in the trees, stand ready to open fire if they have to as Frank, Nate, the soldiers and mules pass below. B270 B270 EXT. JUNGLE - LATER - DAY They seem to have made it, winding back down through the jungle with the mules. Suddenly a barrage of gunfire erupts from the trees - a couple of Nate's men are hit as the rest dive for cover, shouting "Vietcong," and returning the fire. Frank drops down from his mule, gets a pistol out and shoots into the trees. Bullet-severed palm fronds rain down. FRANK Give them half! Nate, pinned down by the mules, can't hear him over the noise. FRANK Cut half of them loose! The mules!
Nate cuts the mule-train tether in the middle, slaps at the animals. As the freed mules disappear into a wall of trees the shooting subsides, then stops altogether. Smoke from all the gunfire rises like mist around the half dozen Thais and Americans lying dead on the ground. 270 270 EXT. STREET - NIGHT Teddy makes out with a girl in the back seat of his car. The pay phone just outside on the corner rings, and he gets out, steps past Jimmy, answers it 271 271 INT. SOUL BROTHERS BAR - BANGKOK - INTERCUT - DAY A Thai singer attempts Otis Redding on the little stage. Frank, at a table here, with a drink and a phone. Newark. FRANK Short Term Parking Lot 3.
TEDDY V/O When you need it? Today?
CONTINUED: FRANK Tomorrow will be fine.
EXT. STREET - CONTINUED Jimmy loiters close enough to the open pay phone, to hear Teddy's side of the conversation. TEDDY Short Term Lot 3. This the Mustang were talking about ... Camero? ... What's the plate number? (writes on a napkin) Yeah, I got it ... I got it, Frank ... (sighs; reads from the napkin:) KA 760.
INT. NARCOTICS SQUAD HQ - NEWARK - DAY Jimmy's come over to share his news with the detectives. But Richie isn't pleased with it - or with Jimmy. ABRUZZO There's no Short Term Lot 3 at Newark. They're lettered, A, B, C, D JIMMY I'm just telling you what I heard ABRUZZO Then you heard wrong! Jimmy shies back a step in case Abruzzo takes a swing. SPEARMAN Maybe he means the time? 3 o'clock? JONES And this isn't a Jersey plate. Or New York. Not with just two letters. It's three and three, not two and three JIMMY It's what he said JONES Then what the fuck is it -
JIMMY The fuck should I know (CON
T) 104. 273 273 CONTINUED:
ABRUZZO You're fuckin lying JIMMY It's what he said. KA 760 Yes! Silence. They all look at each other. After a moment SPEARMAN JIMMY I'm sure.
RICHIE None of you ever been in the service? It's an Air Force tail number. 274 274 EXT. SKY - DAY The plane, with that tail number, descends through clouds. 275 275 EXT. NEWARK AIRPORT - DAY Richie's entire staff of detectives, along with Toback, the DA and several customs agents, stand on the tarmac, watching the military plane taxiing toward them 276 276 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Quiet sounds of suburban domesticity - chirping birds, a distant lawn mower 277 277 EXT. NEWARK AIRPORT - CONTINUED The cabin door slides up, the passengers begin emerging: Military officers, embassy personnel and families. Richie's
detectives and Toback watch him with concern as the official passengers, met by a bevy of assistants, file past 278 278 INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED The kitchen. Frank's mother shows Ana some old photographs of Frank as a boy as they sip coffee. There's a tap on the glass French door. The women look up and see Trupo just outside it, and other police moving past. He waves. 279 OMIT OMIT 280 280 EXT. NEWARK AIRPORT - CONTINUED An Army captain approaches Richie's law enforcement group. (CONT) 105. 280 CONTINUED: RICHIE Captain, I'm Richard Roberts, Director of the Essex County Narcotics Bureau. 281 INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED Front door. Trupo sort of waves a search warrant at Julie as invites himself in. The NY cops follow, fan out. Trupo and his detectives head upstairs 282 INT. AIRPORT HANGAR - LATER The plane has been brought into a hangar where it's being taken apart like a car stripped by thieves. Inside the cabin, seats are removed and inspected, carpeting pulled up, panels unscrewed, lavatories dismantled. 283 INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED Downstairs - Ana and Frank's mother, guarded, can hear Trupo and his detectives, upstairs, ransacking a bedroom. Upstairs - the SIU detectives pull open drawers, throw clothes from the closets. Trupo picks up an invitation to a United Nations ball, tosses it down again. Finds a safetydeposit box key in a sock drawer, puts it in his pocket. 284 INT. AIRPORT HANGAR - CONTINUED 284 283 282 281 280 279
The engines and landing gear are disassembled, the tires opened up and searched. A nozzle plunges into a toilet and pumps out the contents into barrels detectives fish through with gloved hands INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - LATER - DAY Ana is taken upstairs, brought before the SIU detectives who wait for the NYPD cops to leave the room. The place has been torn apart. TRUPO Your husband's illustrious career is over. The Feds are going to come in and take it all. Everything. But not before I get my gratuity. Where's the money? ANA There was some on that dresser, but it's gone now so I guess you (took it) TRUPO The money! The getaway money Frank and every other gangster keeps in his house!
T) 6. 285 285 CONTINUED:
ANA If you leave now, there's a chance Frank might not kill you Trupo slaps her hard across the face 286 286 INT. AIRPORT HANGAR - LATER Richie, off by himself, watches with a growing sense of panic as the mechanics, detectives and customs agents begin removing the metal skin from the plane. Coffins are being off-loaded. 287 287 INT. MAMA LUCAS'S TEANECK, N.J. HOUSE - LATER Downstairs, Mama Lucas puts washcloth on Ana's swollen cheek. They can hear the search continuing upstairs: things being ripped from the walls, the walls themselves splintered apart with sledgehammers, glass breaking. To Mama Lucas ANA
I'm sorry. 288 288 INT. AIRPORT HANGAR - LATER They've looked everywhere and found nothing. The plane, in fact, hardly resembles a plane anymore - no panel left that hasn't been removed, no cavity not probed - except Richie's glance settles on the military caskets as they're loaded onto a truck, armed soldiers standing guard 289 289 INT/EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Frank's bedroom has been destroyed. Trupo, standing at a window glances out at the sound of a barking of a dog to see Frank's German shepherd down in its kennel. INT. AIRPORT HANGAR - CONTINUED Richie gets up slowly and approaches the coffins as 291 291 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY Trupo crosses the lawn toward the kennel and barking dog 292 292 INT. AIRPORT HANGAR - CONTINUED Richie stands over the nearest coffin Open it. ONT) 107. 292 CONTINUED: The army captain regards the detective for a long moment. RICHIE The warrant permits me to search the plane and its cargo. The captain doesn't comply. Richie moves to open the coffin himself and every soldier's shouldered rifle immediately comes into firing position, aimed at him. ARMY CAPTAIN But you don't have my permission. 292 RICHIE (C
Richie stares at the weapons and the uniformed men holding them, safeties off, fingers on the triggers; all they're waiting for is their commander's order to fire. RICHIE I don't need it. 293 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED Trupo regards the shepherd snarling at him from behind the kennel fence. Comes around back. Pushes at the frame. It moves a little, like it's levered 294 INT. AIRPORT HANGAR - CONTINUED With the rifles still pointed at him, Richie kneels down, pulls the latches of the coffins, half expecting to hear an accompanying barrage of gunfire. He lifts the lid. Sees a long black body bag inside 295 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED Trupo comes around to the front of the kennel again with his gun out and aims it at the dog. As he fires INT. AIRPORT HANGAR - CONTINUED Richie pulls at the zipper, parting the plastic body bag, revealing the remains of a young soldier US ATTORNEY That's enough. 297 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - CONTINUED The dead dog slides against the fencing as Trupo overturns the kennel to reveal Frank's stash of cash. 108. 297 295 294 293
INT. AIRPORT HANGER OFFICE - MINUTES LATER - DAY Richie and Toback sit before the Federal Attorneys and customs agents. The US Attorney hangs up a phone ... then: US ATTORNEY That was a military transport plane. If there was heroin on board then someone in the military would have to be involved. Which means that even as it fights a war that's claimed 50,000 Americans lives, the military is smuggling narcotics.
Richie's in serious trouble and knows it.
As does Toback.
US ATTORNEY That's how these events are being interpreted by General Easton in that call to me. That someone employed by the this office believes the United States Army is in the drug trafficking business and is trying to prove it by desecrating the remains of young men who've given their lives in the defence of democracy. RICHIE There are drugs on that plane US ATTORNEY Shut the fuck up. Richie does, but can't conceal the contempt he feels for these men who've never spent a minute on the street but act as if know more than him, and who are, in the unfortunate organization of his world, his superiors. US ATTORNEY Is it any wonder then, because of your actions, the entire federal narcotics program is now in jeopardy of being dismantled as completely and enthusiastically as that fucking transport plane? That's what you've accomplished Mr. Roberts. Single-handedly. RICHIE I had good information the target of my investigation was bringing dope in on that plane. US ATTORNEY And that target is? (CONT) 109. 298 CONTINUED: RICHIE Frank Lucas. No one in the room, except Richie and Toback, has ever heard the name. The federal men regard one another blankly. Who? US ATTORNEY Who's Frank Lucas? 298
(no one seems to know) Who's he work for? Which family? RICHIE He's not Italian. He's black. Now there's a longer, even deeper silence, before US ATTORNEY Is that supposed to be some kind of joke? You're this close to the end of your career in law enforcement, you're making jokes? RICHIE I believe Frank Lucas is above the mafia in the dope business. I believe he buys direct from the source in Southeast Asia, cuts out all the middlemen, and uses US military planes and personnel to bring pure No. 4 heroin into United States. Richie is looking at faces that are still trying to make sense out of his ridiculous theory. Toback tries to come to his defense TOBACK Richie has a lot of experience US ATTORNEY Does he. And how many arrests has he made in his so-called investigation? RICHIE I was promised when I took this job, it was about real arrests. US ATTORNEY Does that mean `none?' RICHIE I have cases against most of Frank's organization. Not him (CON T) 110. 298 298 CONTINUED:
US ATTORNEY (more to the others)
Frank's organization RICHIE That's right. US ATTORNEY No fucking nigger has accomplished what the American Mafia hasn't in a hundred years! RICHIE Yeah, you'd know, sitting here, having never been on the (street) US ATTORNEY Lou, get this fucking kike out of here Richie goes for him and lands several punches before Toback and the others can pull him off. 299 OMIT 299 OMIT 300 300 INT/EXT. AIRPORT HANGAR OFFICE - DAY Richie and Toback walk briskly across the lobby TOBACK He was out of line, Richie. Richie isn't really listening. Strides past his detectives on his way out of the building. To Spearman TOBACK It's over. You're shut down. Toback watches as the detectives follow after Richie striding toward his car. 301 - 302 OMIT OMIT A303 A303 INT/EXT. AIRPORT TERMINAL - NIGHT Frank comes out with an airline representative to find Doc waiting for him. He can tell immediately something's wrong. B303 B303 INT. FRANK'S PENTHOUSE - NIGHT Frank slaps a cartridge into the butt of a pistol. FRANK Ten million dollars means nothing to me. 301 - 302
(CONT) 11 1. B303 B303 CONTINUED:
Ana stares at the floor. It all just seems to get worse and worse. They had their chance to get out and missed it. FRANK This - is his death warrant. He lightly touches his wife's bruised face and walks out. C303 C303 INT. FRANK'S PENTHOUSE - NIGHT He comes down the stairs to where Doc waits. for the door Frankie MRS. LUCAS As they head
Frank glances to where his mother sits in the living room. Nods to Doc to say, Get the car, I'll be out in a minute. Goes over to his mother. MRS. LUCAS Sit down. He sits. She studies him in a way she hasn't since he was little. Eventually MRS. LUCAS If you'd have been a preacher, your brothers would be preachers. If you'd been a soldier, they'd be soldiers. Do you know that? (he doesn't say) They all came here because of you. You called and they came running. They look up to you. They expect you to always know what's best. (pause) But even they know you don't shoot cops. Even I know that. Ana knows it. You seem to be the only one who doesn't. FRANK Is that where I'm going? MRS. LUCAS I never asked you where all this came
from because I didn't want to hear you lie to me. Don't lie to me. Don't do that, too. She's not pleading, she's telling. Silence. Then (C 11 2. C303 C303 CONTINUED:
MRS. LUCAS Do you really want to make things so bad for your family they'll leave you? Because they will. She will (points upstairs) I know I will. Frank has some trouble looking at her. But then gets up. Walks toward the front door to leave. Hesitates near it a long moment. Then turns and walks upstairs. Trupo will live, at least for now, because of her. D303 D303 INT. ARMY HOSPITAL - NIGHT Down in the basement, the body bags are lifted from the wooden coffins. Set down on tables. The bags unzipped and the bodies removed. A rack of clean uniforms is brought in. The morticians begin dressing the corpses and applying make-up on the dry gray skin. New white military caskets are trundled in. Gold handles lifted. The bodies, clothed and painted now, are deposited on the silk linings. The lids of the coffins come down and cellophane bags containing folded flags are taped on top. 303 - 309 OMIT 310 310 EXT. ARMY HOSPITAL - NIGHT The white caskets are taken to a loading dock, put in a military truck. Papers are signed, copies exchanged. As the truck drives off INT. ARMY HOSPITAL - NIGHT 303 - 309 OMIT
Two black privates on janitorial duty come into the room where the original plain wooden coffins have been discarded. They remove the lids, then the finely-crafted false bottoms, revealing in 4-inch cavities of each, tightly-packed bricks of Double UO Globe heroin. As they take them out, a gospel choir begins and continues over: 312 312 EXT. ARMY HOSPITAL - MORNING A laundry truck idles. Stevie, the Lucas nephew who could have played for Yankees, jumps down, helps the two privates toss several laundry bags into the back of the truck. 113.
EXT. BAPTIST CHURCH - MORNING A minister on the steps welcomes the congregation which includes Frank, his mother, and Ana -
EXT. PERIMETER OF THE ARMY BASE - MORNING The laundry truck comes past a guard gate, leaves the base, drives past a stand of trees. As it passes, Richie, parked by his detectives' cars, recognizes the young driver - who's wearing the same Yankee baseball cap in his T.O. photo. As Richie and his detectives climb into their cars, two Lucas cars fold in behind the laundry truck. The detectives follow at a distance -
A314 OMIT OMIT 314 314 INT. BAPTIST CHURCH - MORNING
The sea of ladies' hats from above move in time with the gospel choir. As always, no matter what else is going on in his complicated life, Frank sits with his mother and Ana in their usual pew. The gospel music continues over: A315 A315 EXT. BAPTIST CHURCH - MORNING Frank emerges from the church, kisses his mother and Ana and put them in a car with a driver. He climbs into Doc's alone. His mother watches, wondering perhaps if he intends
to go kill Trupo after all. As Doc's car leaves, so does another. 315 - 318 OMIT 315 - 318 OMIT 319 INT/EXT. RICHIE'S CAR - MOVING - NEAR GW BRIDGE - MORNING19 3 The laundry truck approaches a ramp leading to the George Washington Bridge. Richie, a couple of car lengths behind, follows. The truck continues straight. 320 OMIT OMIT 321 321 EXT. NEWARK - MORNING From overhead, the laundry truck, the gun car and the van and the detectives' cars following them all - converge from different directions 114. 320
EXT. NEWARK - NEAR STEPHEN CRANE PROJECTS - MORNING Red Top's van makes a turn. As Abruzzo's makes the same turn behind it, the infamous Stephen Crane Projects rise up in his windshield. His foot comes off the gas. As the gun car passes, he sees Jones's car slow. Teddy's car approaches from another direction into the Projects, and Abruzzo sees Spearman pull over. Then the laundry truck turns in, and Richie's slows to a stop, like Abruzzo's, outside the grounds of the foreboding towers. The gospel music ends.
EXT. CEMETERY - MORNING Doc waits in the car while Frank buys some flowers at a cemetery flower stand. The surveillance car cruises past.
INT. TOBACK'S HOUSE - MORNING Toback, in his bathrobe, glass of milk in one hand, phone in the other ... Where is it? TOBACK
RICHIE V/O Somewhere in the South tower.
TOBACK You know that it's there. RICHIE V/O Positive. EXT. STEPHEN CRANE PROJECTS - SAME TIME
Richie, on a pay phone across down the street from the Projects, looks up at the dark South tower. RICHIE Lou. We're ready to go in there knowing there's a good chance we won't all come out. That's what we're willing to do. All I'm asking you to do get me a warrant. Silence on the other end of the line ... RICHIE We don't have a lot of time to fuck around (CONT ) . 324 324 CONTINUED: 115
TOBACK V/O I'll call in the warrant. And some backup. Don't go in before either gets there. This call disconnects. 325 325 INT. APARTMENT, THE PROJECTS - MORNING The girls spread and tape plastic sheeting to tabletops, then begin changing for work, which means undressing. 326 326 EXT. STEPHEN CRANE PROJECTS - MORNING Richie and his guys wait for the warrant by their cars. JONES How long we gonna wait for it? 327 INT. APARTMENT, THE PROJECTS - MORNING
327 Pharmaceutical scales balance to their counterweights as the five naked, masked women cut the heroin with quinine to Frank's exacting standards. Red Top puts on some coffee. 328 328 EXT. STEPHEN CRANE PROJECTS - MORNING Richie stares down the street, waiting for whatever it is they're waiting for. Spearman looks at his watch. RICHIE It'll be here. 329 329 INT. APARTMENT, THE PROJECTS - MORNING A paper-cutter blade slices a sheet of blue cellophane. The girls at the tables, with the expertise of Cuban cigar makers, wrap pieces of the cellophane like tobacco leaves around precisely-measured 1/4-ounce drifts of Black Magic. A330 A330 EXT. CEMETERY - MORNING Frank's car winds up the road of the cemetery. The surveillance car comes through the main gate and parks. 330 330 EXT. STEPHEN CRANE PROJECTS - MORNING Several black and white and undercover cars approach, sirens off. Toback himself climbs out of one of the cars and hands Richie the search warrant. 116.
EXT. STEPHEN CRANE PROJECTS - MORNING The tall buildings cast long shadows of dread on every activity below, no matter how routine: A woman pushing a stroller, guys shooting hoops, a couple arguing, kids on bikes, old men resting on a graffiti-covered bench. The unmarked cars drive slowly through it all. The place teeters on the brink of violence you can feel as gangs move under the shadow of the towers.
INT. GROUND FLOOR, SOUTH TOWER, THE PROJECTS - DAY Richie removes the cover plate of an elevator, cuts the wires, disengaging it, then leads the Amigos, followed by
more detectives to a stairwell. The place is like Beirut. Debris-strewn, graffiti-covered. A333 EXT. CEMETERY - CONTINUED - DAY Frank walks past graves to Bumpy's. Replaces some dried flowers with fresh ones. Looks around for something to sit on. Sees some wooden folding chairs around a fresher grave nearby. Doc waits by the car in the distance. 333 INT. STAIRWELL - FLOORS - SOUTH TOWER - DAY Floor by floor, they work their way up the tower like commandos, the squalor and decay and hopelessness somehow intensifying the higher up they go. Reaching the 17th floor, they listen to a strange sound before easing the fire door open enough to see a kid on a Big Wheels pedalling straight at them. He passes and the sound fades. 334 INT. 17TH FLOOR HALLWAY - DAY Half the apartment doors are gone. TVs and radios echo, voices argue, infants wail. The detectives come around a corner and see at the end of it: a couple of guys with a sawed-off shotguns sitting outside a closed door. They step back. Consider one other. Spearman volunteers with a nod, continues on alone as the others wait. He walks up to the guys with the guns. SPEARMAN I got to talk to Teddy. GUY WITH GUN Get the fuck out of here. (CONT) 117. 334 CONTINUED: SPEARMAN What the fuck is that? I got business with Teddy and it's none of your fuckin business except to knock on the fuckin door and get him. As the guy stands, pumping the shotgun, Spearman yanks it hard against his throat like a garrote, forcing him to the floor. The shotgun explodes, showering plaster and pellets. Jones and Abruzzo are instantly all over the other guy as Richie swings the sledgehammer into the door 334 334 333 A333
INT. APARTMENT, THE PROJECTS - CONTINUOUS The door splinters - the room already in chaos - Teddy, panicked, runs for the bedroom - the detectives crash in yelling at the girls to get down - a shot from somewhere inside wings Abruzzo - Jones and Spearman firing back crawling across the floor like an infantrymen Richie comes into the darkened bedroom leading with his pistol. But Teddy's gone. He sees a tapestry of a tiger on a wall. Pulls at it, finds a big hole knocked into another dark apartment, climbs through, sees an open door -
INT. THE PROJECTS BUILDING - CONTINUOUS As Richie rushes out to the hallway he can hear footfalls echoing in the stairwell. He starts down, taking the stairs five at a time, chases Teddy down two flights Teddy yanks open a door, runs down a corridor, bangs into an apartment. Richie reaches the apartment just as Teddy is goes out onto an exterior balcony Richie continues along the interior corridor, running parallel to Teddy on the balcony, who trips over some debris and garbage, looking over his shoulder for Richie Richie cuts through another apartment to head him off, but the door to the balcony is nailed shut. So are the windows. Richie looks around, grabs a small portable television and, just as Teddy runs past, hurls it through a window at him, hitting him in the head. He falls hard, dazed. Richie hurries through the broken window. Teddy comes to and fights back, until Richie breaks his femur with his bare hands. Teddy howls in excruciating pain -
INT/EXT. DRY CLEANERS - DAY Police cars outside. Eugene Lucas is cuffed and led away.
EXT. METAL DOOR SHOP - DAY More police outside Lester's place. They cuff him.
EXT. TIRE SERVICE SHOP - DAY
New Jersey troopers cuff Turner Lucas and lead him away. 340 340 EXT. ELECTRICAL SHOP - DAY Cuffed, Earl Lucas is put in the back of a patrol car. 341 341 EXT. CEMETERY - CONTINUED - DAY Frank, on a wooden folding chair at Bumpy's grave, hears the gunning of engines and barking of cops. He turns to see Doc being handcuffed on the ground by the Towncar. Glances to a lone figure walking toward him over a rise. Richie. Richie arrives at the grave. Regards the monument to Ellsworth Johnson, and Frank sitting calmly regarding him. Richie glances around the peaceful surroundings ... RICHIE What kind of trees are these? Frank looks at the trees, then at Richie, with equal serenity. FRANK You think you got Frank Lucas. got nothing. A342 A342 INT. RICHIE'S APARTMENT - DAY Richie cuts the tags off a new, inexpensive suit. Slips the jacket on, which seemed somehow to fit a little better at the store. Cuts the tags off a tie. B342 B342 INT. COURTHOUSE MENS ROOM - DAY Someone throwing up in a stall. The toilet flushes, the door opens and Richie steps up to a sink, regards his face in the mirror. Under the fluorescent lights - maybe under any kind - his skin is a shade of death. He splashes water on it and tries to gather himself. 342 342 INT. COURTROOM - DAY At the prosecutors table, Richie steals glances at the battery of expensive attorneys over at the defense table. (CON 119. You
CONTINUED: The courtroom doors swing open and Richie sees Frank Lucas, in a tailored suit, escorted in without cuffs by an amiablelooking federal marshal. As Frank moves through the gallery, Richie sees it's full of the gangster's friends, many of them celebrities, who smile and greet and fawn as if the Pope has arrived. Richie has evidence tables covered with cash, weapons, stocks, bonds, property deeds, pictures of Frank's holdings, heroin in blue cellophane. Frank has celebrities, community leaders, Joe Louis himself who will testify to Frank's benevolent character. The Champ hugs the heroin trafficker warmly in front of everyone and Richie wonders if he should just give up now. Richie sees it in slow motion: the hands reaching out to Frank, the pats on his back, lipsticked mouths of beautiful women offering kisses and words of encouragement, his old mother giving him a hug. He watches Frank's head turn slowly, his eyes passing his phalanx of attorneys, the jury, finally settling on Richie in his cheap suit seated at the prosecutors table. Frank's eyes smile as they regard Richie, and seem to ask, Can you see this - can you see what you're up against - can you see how insignificant you are? Reaching the end of the welcoming line finally, Frank brushes by Richie and disappears from view somewhere within the protective husk of his multi-million-dollar legal team. JUDGE Mr. Roberts Richie slowly lifts himself from his chair, steps forward, turns to look at the jury that's studying him, finally finds his voice: RICHIE Thank you, your Honor. gentlemen Ladies and
INT. COUNTY JAIL - INTERVIEW ROOM - DAY Wire mesh separates Frank from his battalion of lawyers. He glances over them to Richie being led through the large Visiting Room. FRANK Here he is, let me talk to him alone.
T) 1 20. 343 343 CONTINUED:
The attorneys get up and leave. Richie takes their place. Frank regards him a moment, offering the same knowing smile from the courtroom. Richie offers nothing. FRANK I just heard something. I said it couldn't be true. You didn't really turn in a million dollars you found in the trunk of a car, did you? Richie doesn't say. Frank searches his face for some clue to where on earth he's from. FRANK Want me to tell you what happened to it? It ended up in cops' pockets. RICHIE Maybe. FRANK Maybe? No. It did. All you did was give it to them for nothing in return. Not nothing: You got their contempt. Frank studies him. FRANK Why'd you do that? What're you trying to prove, you're better than them? You're not better than them. You are them. RICHIE I don't have the time or interest to listen to (this) FRANK You did it because it was right. That's all. Why's that hard to say? The question is would you do it again? That was a long time ago. It'd be very easy to find out. Tell me you want to find out, tell me the address, and a car will be there, the trunk loaded. Richie knows Frank isn't kidding ...
RICHIE No, thanks. Frank suddenly explodes ( CONT) . 343 343 CONTINUED: 121
FRANK Who the fuck are you to say no to that? You think that impresses me? Guards look over, then glance away once it's clear the outburst is through. Richie remains serene. Eventually FRANK Let me ask you something. You think by putting me in jail, you're going to stop even one junkie from dying? Because you won't. If it isn't me, it'll be someone else. With me or without me, nothing's going to change. RICHIE Then that's the way it is. FRANK You have any sort of case? Or just that idiot drives for my brother. Is he your case? Because if it's just him and the powder, it's not enough. RICHIE Then you got nothing to worry about. But Frank is worried, most of all by this cop who doesn't take money sitting placidly in front of him. FRANK My brothers won't talk to you. My cousins. None of my family. No one but that mother fucking driver. RICHIE I got more than that. I got a line of people wanting to testify that stretches out the door and around the block. FRANK
Bullshit. RICHIE Is it? Tony the Bug. Carmine Camanetti. Benny Two-Socks.
FRANK Who the fuck are they? I don't know them and they don't know me.
(CO NT) 122. 343 CONTINUED: RICHIE They sell dope for the Mazzano crime family. Which you all but put out of business. FRANK This is who you're going to put on the stand? Guys who don't know me? Who got nothing to do with me? RICHIE They have everything to do with you. And the only thing they hate more than you is what you represent. FRANK I don't represent nothing. RICHIE You don't? Black businessman like you? Of course you do. But once you're gone, things can return to normal. FRANK Look at me. You looking? Can you tell by looking it would mean nothing to me if tomorrow you turned up dead? RICHIE Get in line. That one stretches around the block, too. Frank has never been so frustrated by anyone in his life. He wants to work something out with Richie obviously, but he can't figure out how. Frank studies him. 343
FRANK What can we do? RICHIE You know what you have to do. Frank does, but doesn't like it, and doesn't know if he can do it. FRANK I could give you cops, but that's not who you want, is it. You want organized crime names. RICHIE I'll take them, too. T) I want them all. (CON 123. 343 CONTINUED: Frank isn't sure he heard right. FRANK You'll take them, too? You'd go after cops? Are you serious? You'd do that? Lock up your own kind? RICHIE They're not. Not the ones in business with you. They're not my kind any more than the Italians are yours. They regard one another in silence. sees daylight. FRANK What can you promise me? RICHIE I can promise you if you lie to me about one name, you'll never get out of prison. Lie about one dollar in one offshore account, you'll never get out. You can live rich in jail the rest of your life, or poor outside it, that's what I can promise. Frank is silent for several moments. Finally Richie can tell Frank 343
FRANK You know, I don't care if the feds take
all my buildings, my stocks, my off-shore accounts. They can take it all, I don't care - use it to build battleships, paint bridges, whatever the fuck they want. Fight another war. But those other motherfuckers - the cops - put my money in their pockets. Millions. RICHIE I believe it. Frank debates with himself the step he's about to take ... RICHIE I want to know everyone the last twenty years. to. Every cop you ever one who ever stole from you remember. you've met for Everyone you sold paid off. Every you. Every one
(CON T) 124. 343 CONTINUED: FRANK Oh, I remember them all. problem. RICHIE What is? FRANK The jail's aren't big enough. 344 INT. COUNTY JAIL CELL / STREETS OF NEW YORK - DAY Surveillance photographs of cops seen earlier taking envelopes of money on 116th Street and other drops go up on a new, elaborate Table of Organization - of cops. 345 INT. NARCOTICS SQUAD HQ - NEWARK - DAY Richie dismantles the Lucas Table of Organization here, taking down the photographs. As it collapses 346 INT. COUNTY JAIL CELL - CONTINUED Frank puts up photographs of detectives 347 QUICK CUTS of the same detectives, in handcuffs, led through 346 345 344 343
That's not the
347 police stations past other cops watching with dread like maybe they're next A surveillance photograph of the four Princes of the City striding down a sidewalk goes up on the cell wall 348 349 FLASHCUT as three of the four SIU cops are led away in cuffs 348 from a golf course A surveillance photograph of Trupo in a black hand FRANK You go up here. Your "special." As Frank tapes the picture of Trupo at the top of the pyramid of corruption 350 INT/EXT. TRUPO'S GARAGE - MORNING Trupo, coffee in hand, comes into his garage from his kitchen. Opens the garage door and sees two squad cars parked outside ... 351 A TV: A report on the indictments handed down by the 351 Manhattan DA's office against 53 NYPD and SIU detectives 125. 350
INT. PRISON CELL - DAY (YEARS LATER) Frank gathers his few personal belongings and puts them in a box. Stands with the box and waits for the cell door to open. The Table of Organization and files are gone. Legend: Frank Lucas was convicted of Conspiracy to Distribute Narcotics and sentenced to 70 years. He served 15 of them. Federal authorities confiscated over 250 million dollars from him in real estate, equities and cash in US and foreign banks.
INT. NARCOTICS SQUAD HQ - NEWARK - DAY Richie, too, is packing, putting personal items into boxes. Legend: The day after he convicted Frank Lucas and 30 of his Country Boy relatives, Richard Roberts borrowed $400 from his credit union to help pay for a 3-day vacation to the Bahamas.
Richie, carrying the box, switches off the lights and closes the door behind him on his way out. Legend: Six months later, he quit the Prosecutors Office to become a defense attorney. His first client was Frank Lucas. 354
EXT. PRISON - DAY (1990) Frank steps out into sunlight, free but owning nothing but the cardboard box in his arms. Looks out across the parking lot to see if anyone has come to pick him up. Sees Richie by his car, hand raised above his head like a flag.
EXT. 116TH STREET, HARLEM - DAY The two of them stand outside Richie's car on the same corner Frank shot Tango. Frank looks up at the street signs that used to say 116th Street and 8th Avenue. Now they say 116th Street and Frederick Douglass Boulevard. FRANK Frederick Douglass Boulevard? What was wrong with just plain 8th Avenue? He considers the street itself. It too has changed. The corner groceries, as Bumpy prophesied, really are gone now.
(CONT) 126 . 355 355 CONTINUED:
FRANK I used to sit here with Ana in my old car. She hated it. Now I don't even have a car. Or her. Frank glances to where his favorite diner used to be, and across the street to where he shot Tango. It isn't a fruit stand any more. FRANK Just do what? What? RICHIE
FRANK The fuck is that? Just do what?
It's a Nike store with huge paintings of Michael Jordan and the admonition "Just Do It." Sneakers. RICHIE Expensive ones.
FRANK Who the fuck would buy those? A car equipped with sub-woofer bass comes booming past. Frank stares at it with the same pained look Bumpy had at the discount emporium. RICHIE Your brothers know you're out? FRANK I haven't talked to them in years. It's better that way. For them. I don't know where they are. Went back to Greensboro when they got out, I guess. Richie nods. Frank looks back at the new storefronts. FRANK What am I going to do now, be a janitor? What do I know how to do? How am I going to live? RICHIE I told you I wouldn't let you starve. FRANK You told me but you can barely take care of yourself. (MORE) NT) . 355 355 CONTINUED: FRANK (CONT'D) (glances to a pay phone on the corner) You know, one phone call, Richie, I could be back in business. The look Richie gives him calmly assures Frank if he did that it'd be the last phone he made outside prison - ever. I won't. FRANK I'm just saying I could. 127
He buttons the cuffs of the fake Members Only windbreaker Richie bought him off the street. FRANK Thanks for the clothes. RICHIE You're welcome. Frank glances away to three young hoods coming toward them like they own the sidewalk and everything around it - baggy pants, bandanas tied around their heads. FRANK Uh-oh. Look out. Here come the gangsters. Frank's right in their path but doesn't move, forcing one of them to squeeze between him and a parking meter. The gangsta looks back, is about to say something, or do something, but, examining the expression of quiet menace on Frank's face, thinks better of it. The others stop. What. GANGSTA 2
The first one is still staring at Frank, but finally has the good sense to let it go. Nothing. They move on. GANGSTA 1
Frank glances to Richie. FRANK Every idiot gets to be young once.
Frank zips up his Members Only jacket, props up the collar and points himself in the other direction. FRANK Let's get out of here.
Writers : Steven Zaillian Mark Jacobson Genres : Crime Drama User Comments
BAD DAY AT BLACK ROCK:
BAD DAY AT BLACK ROCK
Written by Don McGuire and Millard Kaufman
Based on the story "Bad Day At Hondo"
by Howard Breslin
FADE IN BEFORE MAIN TITLE BAD DAY AT BLACK ROCK ESTABLISHING SHOT - BLACK ROCK - PART OF TOWN: FOCAL POINT: RAILROAD STATION abandoned, in an extreme state of dilapidation. The structure warped. long, time, the a is blistered by the resolute sun, the roof is weatherDry rot and mildew wage a relentless battle against the foundation. Between the building and the tracks is a somewhat narrow platform, its floorboards twisted by termites and the elements. The match-board overhang of building, throwing some little shade to a portion of the platform, sags and bellies. From the overhang is appended rectangular panel on which, in flaky paint, the town is identified: BLACK ROCK the One of the broken wires holding the panel is longer than other, cocking the sign irregularly. Past with each bruise The railroad tracks reach endlessly into the horizon. the town on each side stretches the ocean-like prairie, sand dunes rising and falling monotonously, shouldering other toward infinity. The morning sun lays over this wasteland of the American Southwest, a gigantic yellow from which heat waves like bloodshot arteries spread themselves over the poisoned sky. A small shack stands next to the station, separated from by a narrow alleyway and leaning toward the larger
building, across reinforced corner He as if for support. The words POSTAL TELEGRAPH are arced its dusty vitrine. An old straight-backed chair, with twisted wire, is tilted against the north-west of the shack. In it is Mr. Hastings, the postal telegraph agent, a man of middle years and exorbitant mediocrity. sits there spinelessly, fingering a wart on his receding chin and, once in a while, for variety, rubbing a knuckle under his watery nose. FULL SHOT - BLACK ROCK The town is minute, dismal and forgotten, crouching in isolation where the single line of railroad track a secondary dirt road. The twin strips of steel glisten the fierce sunlight, fencing the dreary plain from the fronts of the town. In b.g. is the bluff of a black stony mountain. Against this ancient mass the houses of Black Rock's peeled single street*** (See map, P.2A) are scanty in number and insignificant in architecture, a conglomerate paintmodern trussed together with rusty nails and battered tin strips torn from signs. The town and the terrain surrounding it have, if nothing else, the quality of inertia and immutibility -- nothing moves, not even an insect; nothing breathes, not even the wind. Town and terrain seem to be trapped, caught and forever in the sullen, abrasive earth. OUT Sequence omitted from original script. STRAIGHT SHOT - STREAMLINER jarring in its power as it ramrods across the desert, its diesel engines pounding. Its horn "WONKS" twice, blasting the shatterable air. FULL SHOT - BLACK ROCK - ANOTHER ANGLE and lazily Nothing is changed, nothing is altered. But look close you will see a small shallow current of wind sweeping across the dirt and dust of the single street. HOLD for a
intersects in false
beat, then MAIN TITLE appears. Between the ensuing credits INTERCUT a series of sharp LONG SHOTS. The composition of each shot has that hard, sun-beaten texture of American primitive painting -- pressurized in its simplicity -exemplified, perhaps, by the work of Grant Wood. EXT. SAM'S SANITARY BAR AND GRILL - ANGLE ON DOC VELIE assayer and notary public, mortician to the citizens of Black veterinarian gentleman, them glances Rock who have departed to a better place, and to its lesser animals. An elderly, somewhat untidy he sits nonchalantly on a chair outside the Bar & Grill. Idling with him are three or four other loafers, among Sam, the middle-aged proprietor of the restaurant. Doc casually at his watch; no one else moves. The hot wind continues listlessly down the empty street. OUT Sequence omitted from original script. EXT. GARAGE - LIZ BROOKS A tall, attractive girl of twenty in dungarees and cotton shirt. She stands just outside the open barn-like door of the garage, staring, from the compulsive force of habit, at gustiness the endlessly receding tracks. The sultry wind, its slightly increased, blows through her fine dark hair. OUT Sequence omitted from original script. EXT. PORCH OF HOTEL - COLEY TRIMBLE AND HECTOR DAVID two enormous men. HECTOR is tall, and there is about him a type -nasty, raw-boned tautness; COLEY is more the anthropoid long thick arms and a round, iron casing of a belly. They glance down the street, watching incuriously a dust devil swirling in the wind. Now the CAMERA has completed its probe of the town and its denizens. MAIN TITLE and CREDITS are completed...
CLOSE SHOT - MR. HASTINGS still spineless in his chair, the chair still tilted against the (engine oncoming the shack. From o.s. and far away, we hear the horn of streamliner -- two long "WONKS", a short and a long whistle signal for approach to bridge crossing). Hastings straightens up ever so slightly as he reacts to the train. STRAIGHT SHOT - STREAMLINER moving at tremendous speed. BRIDGE with train barrelling toward it. The horn BLASTS -- three short WONKS (engine whistle signal for stopping at next station). CLOSE SHOT - HASTINGS galvanic throws arm getting jerkily to his feet, as though charged by a current. The uncharacteristic speed of his movements the tilted chair to the station platform. He raises an to shield his watery eyes from the sun... HASTINGS (almost inaudible, as if to himself) Stopping...? SHOT - TRAIN heading toward CAMERA, churning across the desert like a juggernaut. It PANS past CAMERA in a blur of speed. SWINGS UP on a level with the great iron wheels as the are applied. The wheels shriek agonizingly against the kicking up cinders and a wild flurry of dust. She cuts brakes hissing, and starts to slow down. LONG SHOT MAIN STREET - BLACK ROCK The SHOOTING from rear of town, toward the railroad tracks. townspeople step out, frowning, cautious, disturbed. The
CAMERA brakes rails, speed,
secure ritual of the train passing through, never stopping, has somehow, for some unknown reason, been violated. CLOSE SHOT - DOC VELIE as his mouth tightens. His air of placidity vanishes, leaving his features disturbed. CLOSE SHOT - LIZ BROOKS Her fine young face stiffens almost imperceptibly. Her eyes she are coated with a vague emptiness. She seems confused as halfturns toward the hotel. REVERSE SHOT - WHAT SHE SEES Coley Trimble and Hector David, standing on the porch of the might glob rapidly. hotel. They seem tense, responding variously to what be fear. Coley's nostrils flare, his flat ugly mouth compresses. He looks profoundly serious. Hector wipes a of dusty sweat from the socket of an eye and blinks CLOSE SHOT - HASTINGS as he stands in surprise, nervously alert, watching the train as it comes to a complete stop. His jaw droops with the slackness of fear. OUT Sequence omitted from original script. EXT. STATION PLATFORM of a haired associate graniteabout but with the train stationary before it. A sleek steel door pullman clangs open. A colored porter carrying a suitcase walks down the wrought-iron steps. He is stately, grayand lean, with the almost finical tidiness travelers with trainmen. The man behind him is big-shouldered, a like wedge of a man with calm, piercing eyes. There is him an air of monumental dependability and quiet humor,
his eyes are those of a man who has lately lived in somber shoulder is familiarity with pain. His left arm hangs from his with that lifeless rigidity of paralysis, while the hand hidden in his pocket. ANOTHER ANGLE - MACREEDY AND PORTER The porter puts the suitcase on the platform. In the distance a the the town and its people are seen staring silently, motionlessly. The big man glances toward them. He smiles sad, distasteful greeting to the town, its wretched dust. its mean, modest buildings. The porter disappears into train as the conductor enters scene. He turns slowly, following Macreedy's gaze... CONDUCTOR (softly, staring at the towns people) Man. They look woebegone and far away. MACREEDY (looking around) I'll only be here twenty-four hours. CONDUCTOR In a place like this, it could be a lifetime. (turning to face Macreedy) Good luck, Mr. Macreedy. Macreedy nods his thanks. The conductor signals the engineer begins quite of free the cardboard with (o.s.) and steps on the train. The diesel's claxon blasts the torrid air ominously. The train slowly, smoothly, to move, picking up speed. The cars slip past until, suddenly, the Streamliner is gone. For a moment Macreedy watches it. Then, quite unconsciously, he takes a package cigarettes from his left hand pocket, taps the last one of the pack, sticks it between his lips and, crumpling empty pack, drops it beside the tracks. He takes a book of matches, flicks it open, bends a match in half
agile fingers, and with a sure frictional motion scrapes the turns grapples it head against the sandpaper guard. The match flares, the cigarette is lit. Macreedy inhales, exhales deeply, and to pick up his suitcase. Then he sees Hastings, who walks slowly, almost painfully, to him. His Adam's apple protestingly with his collar. After a moment he controls sufficiently to talk... HASTINGS You for Black Rock? MACREEDY (easily) That's right. HASTINGS (uneasily) There must be some mistake. I'm Hastings, the telegraph agent. Nobody told me the train was stopping. MACREEDY (with a ghost of a grin) They didn't? HASTINGS (upset) I just said they didn't, and they ought to. What I -- want to know, why didn't they? MACREEDY (shrugging) Probably didn't think it was important. HASTINGS Important?! It's the first time the streamliner stopped here in four years. (swallowing nervously) You being met? You visiting folks or something? I mean, whatd'ya want? MACREEDY I want to go to Adobe Flat. Any cabs available? HASTINGS (as if he hadn't heard right; as if he wanted
everyone in town to know) Adobe Flat?! (he gulps, recovers slightly) No cabs. MACREEDY Where's the hotel? Hastings looks at him blankly. The thousand-yard stare of a hypnotic glazes his features. MACREEDY (patiently) I asked where's the hotel? Hastings points. MACREEDY Thanks. into With his suitcase, he cuts across a weedy path, running Black Rock's single street. For a moment, Hastings stares after him; then he breaks hurriedly, entering telegraph agent's shack. INT. POSTAL TELEGRAPH OFFICE as Hastings, fumbling, picks up the phone... HASTINGS (into mouthpiece) Hello, Pete? Now, listen... REVERSE SHOT - MAIN STREET - BLACK ROCK the SHOOTING down the street as Macreedy slowly walks toward hotel. Not a person has moved, each eye is glued on the stranger. The hollow rasp of Macreedy's tread on the wooden platform enveloping of the "pavement" seems shatteringly loud in the silence... CLOSE SHOT - LIZ as she follows the man's movement. OUT
Sequence omitted from original script. CLOSE ANGLE - ON MACREEDY as he walks along. He feels the eyes of everyone following townspeople or peeling, drunk's him, glaring at him. He halts, looks around. The continue to eye him brazenly, yet with an almost animal incuriosity. He grins and walks on past a cluster of five six RFD mail boxes and a road sign , its paint its face punctured by three or four bullets from a pistol long ago. SHOT - MACREEDY farm the office. heading toward the hotel. In b.g. is a relatively small equipment yard compressed between a general store (which Macreedy has just passed) and the hotel just ahead. In yard are a few tractors, and among them huddles a tiny It is empty; the front window is thick with dust. On it, etched by an anonymous, childish finger, is a skull and crossbones. Running diagonally across is the printed T.J. HATES J.S. bemusement. hotel. engulfing whirlpool. Macreedy notes the inscription with a sort of wry He walks on, reaching the facade of the weather-beaten A gust of wind swirls down the street, momentarily Macreedy and the entire area in a sudden eddying As it subsides... ANOTHER ANGLE - MACREEDY has Macreedy Trimble battleship. the As he peers through the dust toward the dingy hotel. It a narrow stoop and outsize bay windows on each side. mounts the hotel steps. At the top of the steps Coley and Hector David watch him silently. Hector is large and leanly muscular, yet Coley looms over him like a He is a gross behemoth of a man, with sharp flinty eyes
one thick elaborately those distinguished the
size of glistening pinpoints and a slack, oversized jaw. Both men wear modern Western work clothes, but there is incongruous accessory which Hector affects. Around his wrist is a watch with a large flat face and an tooled leather strap -- a cheap reproduction of one of expensive Swiss timepieces which, among many accomplishments, tells the day of the week, the month of year, the phase of the moon, etc., etc. MACREEDY (slowing up) 'Afternoon. No reaction from Hector. COLEY (blocking doorway) Anything I can do for you? MACREEDY You run this hotel? COLEY No. MACREEDY (pleasantly) Then there's nothing you can do for me. He brushes past Coley and enters. HECTOR (turning to Coley) Find Smith! Coley nods and heads down the street. Hector enters the
hotel. OUT Sequence omitted from original script. INT. HOTEL tiny strolls It is a typical small town hotel, but crummier, with a lobby. Macreedy is waiting at the empty desk as Hector in, flopping his enormous bulk into a nicked and mothy
chair. He picks up a newspaper, but his eyes remain on Macreedy. Macreedy waits patiently for the absent clerk. For a moment, from those The he studies the open registration ledger; his eyes rove the ink-splotched blotter up over the desk to one of World War II banners, the imitation silk now stained and faded. It depicts a shrieking eagle rampant, clutching Flag in a claw. Under it, the legend: "GOD BLESS AMERICA" Near it, a tacky placard proclaims: DO BY IN AT TO AS ALL THE ALL THE ALL THE ALL THE ALL THE LONG AS GOOD YOU CAN, MEANS YOU CAN, WAYS YOU CAN, TIMES YOU CAN, PEOPLE YOU CAN, EVER YOU CAN.
Feeling the eyes of Hector on him, Macreedy turns. Hector meets his gaze with bland, insolent interest. Now a young man (his name is PETE) comes out of a small room behind the sugariness uneasy registration desk and walks up to it. There is a softness about his regular features, a certain indefinable about his mouth. He seems tight-lipped, for lorn and as he faces Macreedy across the counter. MACREEDY (pleasantly) I'd like a room. PETE All filled up. MACREEDY (a beat) Got any idea where I might -PETE (stiffly, shaking his head) This is 1945, mister. There's been a war on. Macreedy looks at the young man with impeccable tolerance. Without shifting his gaze, he slowly lets fall his small suitcase. It thuds softly on the frayed carpet.
MACREEDY I thought it ended a couple of months ago. PETE Yeah, but the O.P.A. lingers on. Macreedy looks down at the open ledger on the desk before him. The clerk reaches out to close it. Gently, yet Macreedy stops him, reopening the big book. He studies finger straying unconsciously inside his collar. He [...] it to relieve the starchy stiffness. Pete begins to fidget... PETE You don't know about the O.P.A... MACREEDY (without looking up) Tell me. PETE Well, for establishments with less'n fifty rooms hotel keepers got to report regularly about... His voice fades desperately. PETE ...about tenants and... and... registration... (drawing himself up) There are penalties imposed... Again his voice trails off. MACREEDY (eyes still on the ledger) You seem to have lots of vacancies. PETE (uncomfortable) Well... as I said... Macreedy leans over the counter to a rack of keys. He runs his splayed fingers over the key rack as... MACREEDY Lots of vacancies.
firmly, it, a on
PETE They're everyone of 'em locked up. Some are show rooms... Yes...? MACREEDY
PETE (with touching sincerity) ...for cattle buyers, feed salesmen. The others -- they're spoken for, rented to cowboys, ranch hands... (Macreedy listens respectfully) They pay by the month. For when they come into town. We provide for their every wish and comfort. (weakly) You understand...? MACREEDY Not really. But while I'm pondering it, get a room ready. Just for tonight. (picking key from rack at random) This one. Pete opens his mouth but no sound comes out. [...] at Hector. CLOSE SHOT - HECTOR glowering at Pete. TWO SHOT - MACREEDY AND PETE as Macreedy signs the ledger. MACREEDY (signing) Sure could use a bath. Where is it? He picks up the key. PETE Head of the stairs. Macreedy nods, reaches for the bag at his feet. Then he hesitates, looks at Hector. MACREEDY I don't know just why you're interested -- but the name's Macreedy.
I'm... (grins) It's all in the ledger. HECTOR (slowly, his eyes glued to Macreedy's stiff arm) You look like you need a hand. Macreedy says nothing. The wales along his face harden. He picks up his bag and climbs the stairs. As he disappears, Hector lumbers to the desk and grabs the ledger. HECTOR (reading aloud) John J. Macreedy. From Los Angeles. (looking up) I wanna know everything he does, Pete. Check every call -- any mail. PETE (nodding) And in the meantime...? HECTOR (grinning harshly) In the meantime, I'll crowd him a little... (looking up the stairs) ...see if he's got any iron in his blood... As Pete bites his lower lip thoughtfully, DISSOL VE: OUT Sequence omitted from original script. INT. BATHROOM - DAY - MACREEDY He steam bath finger He in a new bathrobe, before a cracked, discolored mirror. draws a safety razor down his face, completing his shave; then he wipes a hand over the mirror, which clouds with almost as fast as he can clear it. o.s., the SOUND of water gurgling down the tub drain. He runs a tentative inside the collar of his robe, pulling loose a price tag.
drops it carefully into a wastebasket. He turns on the faucet cough the at the sink to rinse his shaving brush. The rusty pipes and rumble, roaring as a trickle of water arrives while drain sucks loudly at its departure. He dries the razor, turns off the faucet and exits. INT. HOTEL CORRIDOR - ANGLE ON MACREEDY bathrobe a He silently, As he walks down the dark, narrow hall. He wears the and slippers; a large towel is draped over his head, like prize fighter. He stops outside a door, pushes the towel from his head to his neck and puts his hand on the knob. is about to insert the key when he tenses. Slowly, he turns the knob and throws open the door. INT. HOTEL ROOM Next to the door, in the corner of the small, sparsely furnished room is Macreedy's suitcase, open, its contents askew and scattered over the dusty floor. On the bed sprawls thick He moment Hector David, his gigantic body straining the springs. He lies on his back, hands clasped easily under his head, legs crossed, his Stetson tilted over his low forehead. is completely unconcerned by Macreedy's entrance. For a Macreedy stares at him. Then... MACREEDY (slightly amused) I think you have the wrong room. HECTOR (not budging) You think so? Slowly, his eyes still on Macreedy, Hector takes off his elaborate wrist watch and slides it gently into his pants pocket. HECTOR What else you got on your mind? Macreedy pauses and takes in the situation. He refuses to be baited.
MACREEDY Nothing, I guess. HECTOR If you had a mind, boy, you'd of heard what Pete downstairs said. He said these here rooms are for us cowboys. For our every wish and comfort. MACREEDY And this, I guess, is yours? HECTOR When I'm in town. And I'm in town, as any fool can see. You see that, don't you, boy? MACREEDY I guess I do. Would you mind very much if I sort of... (he gestures toward his suitcase and clothing) ...clean up this mess and get another room? HECTOR Not at all. But if you want this room real bad... (he raises his enormous bulk to a sitting position, rubbing the knuckles of one big fist with the palm of his other hand) ...we could maybe settle your claim without all this talk. (no answer from Macreedy) If a man don't claim what's rightfully his'n, he's nuthin'. What do you think? I guess so. MACREEDY
HECTOR You guess so. But still you ain't claimin' this room? MACREEDY I guess not. HECTOR
You're all the time guessin', boy. Don't you ever know anything? MACREEDY One thing I know. Since I got off the train, I've been needled. Why? HECTOR (after a beat, slowly) I guess I don't rightly know. For a moment their eyes lock. Then Macreedy goes to his suitcase and throws his clothes in it. As he goes out the door... TO: OUT Sequence omitted from original script. INT. HOTEL LOBBY - DAY - FULL SHOT - SAM AND THE LOAFERS They sit around, each with his own thoughts. They are generally stolid; only Sam seems nervous. He looks up as Doc Velie enters the lobby. As he joins Sam... Sam walks light for a big man, Doc. DOC (straight) Who? SAM (irritated) You know who! (Doc grins impishly; Sam's anger subsides) What do you think, Doc? DOC Why ask me? He's no salesman, that's sure. (again the impish grin) Unless he's peddling dynamite. SAM (squirming visibly) Maybe he's a cop, or something... DOC Ever see a cop with a stiff arm? DISSOLVE
SAM (squinting thoughtfully) Maybe his arm's all right. Maybe he's just holding tight to something in his pocket... DOC (scoffing) Like what? A pistol? A stick of T-NT? (gleefully) To blow up this whole mangy, miserable town! (with sudden, almost naive, seriousness) Why are you so interested, Sam? Who, me? SAM
DOC I mean, if I was that interested... (his eyes look up toward the hotel stairs o.s.) ...I'd ask him. Sam follows Doc's gaze... REVERSE SHOT - WHAT THEY SEE 35X1 desk. Macreedy walks down the stairs. Pete looks up from the He is about to dart behind the partition when... MACREEDY Hey! Hold it! He walks to the desk, smiling at Pete. In b.g., Doc, Sam and the loafers watch. MACREEDY Got any cigarettes? Pete studies him, then bends under the counter, coming up with a pack. Doc leaves Sam and is slowly walking toward the stranger, eyeing him curiously. PETE This is all. Macreedy throws the money on the desk and opens the pack, dexterously using the fingers of his left hand.
PETE How long you staying? MACREEDY In my new room, you mean? (flatly) I'm staying. PETE I mean, in the hotel. MACREEDY Just about twenty-four hours. (sharply) Why? PETE (flustered) I... I was just askin'. MACREEDY (evenly) Why? You expecting a convention? PETE (doggedly) I was just askin'. Macreedy looks at him, inhales deeply on his cigarette then, and as he slowly lets the smoke out, removes the cigarette looks at it. MACREEDY Stale. starts Now Doc is at the desk not far from Macreedy. Macreedy out, then turns to Pete. MACREEDY Where can I rent a car? PETE I don't know. Macreedy smiles and sighs tiredly. Then... MACREEDY (as to a child) Let's put it this way -- if I had a car and if I wanted to put gas in it, where would I go? PETE
(refusing to cooperate) But you don't have a car. DOC (to Macreedy) You might try the garage at the end of the street. Macreedy pauses, looking at Doc, who blandly returns his stare. Thanks. Pete, MACREEDY
Doc nods. Macreedy smiles and walks toward the door; Doc et al watching him. He goes out. EXT. STREET As Macreedy walks down hotel steps, a station wagon pulls up fender weaves unmistakable one just before him. Tied with a rope to the right front is a magnificent eight-point buck. A stain of dry blood an uneven course down his glossy flank from an bullet hole in his shoulder. Two men get out of the car; of them is Coley Trimble. He sees Macreedy coming toward him. He stands motionless in the center of the narrow pavement, picking at his nose with the detachment of a The other man is broad and excessively masculine as he out from behind the wheel. He walks around the car, Coley at the curb. Macreedy comes on. The man with Coley looks at the stranger with colossal indifference, as expressionless as the soil of Black Rock. His handsome under a dusty hunting cap, is taut and hard and windNext to Coley he stands motionless, except for the wisp smoke from a black Cuban cigarette between his thin lips. b.g., the loafers who had been ensconced in the hotel move out the door and stand on the porch. They watch Coley and Reno Smith, the handsome, taut-faced man. soems to settle over everything. It is Macreedy who
child. swings joining
face, shaven. of In lobby Macreedy, Silence breaks
it... MACREEDY (grinning wearily at Coley) Here we go again. Gently he walks around Coley and Reno Smith and continues down the street. Coley's eyes follow him. Smith goes up the follows steps of the hotel and enters the lobby. Coley quickly him. The loafers on the porch go back inside. INT. HOTEL LOBBY The loafers resume their familiar places as Smith walks briskly to the clerk's desk. Pete, in anticipation, opens the hotel register, places it before Smith PETE (deferentially, gesturing toward the open register) That's all I know about him, Mr. Smith. Smith doesn't answer; he looks up thoughtfully. His eyes harden almost imperceptibly as he sees Coley, across the narrow room, looking out the window after Macreedy. SMITH (to Coley's back) Sit down. COLEY (spinning to face him) I was only... SMITH (interrupting) Sit down. resting gigantic comes Coley sits in the nearest chair. Beyond Smith, still easily against the high counter of Pete's desk, the figure of Hector appears at the top of the stairs. He down and joins Smith. HECTOR (after a pause) Pretty cool guy. SMITH
Doesn't push easy? HECTOR (frowning) That's it -- that's just it. He pushes too easy. Maybe we oughtta... He hesitates as Doc Velie sidles amiably into earshot. SMITH What do you want, Doc? DOC Nothing. (archly) I was just wondering what all you people were worrying about. (Smith looks at him coldly) Not that I have the slightest idea. SMITH You wonder too much, and you talk too much. (pauses) It's a bad parlay, Doc. DOC I hold no truck with silence. (impishly) I got nothing to hide. HECTOR (suddenly towering over Doc) What're you tryin' to say? DOC Nothing, man. It's just, you worry about the stranger only if you look at him... (slowly) ...from a certain aspect. SMITH How do you look at him, Doc? DOC (firmly) With the innocence of a fresh-laid egg. SMITH (after a pause) Keep it up, Doc. Be funny. Make bad jokes.
(he starts to walk toward the window, Doc and Hector following him) And some day I'll have Coley wash out your mouth with lye. Smith looks thoughtfully out the window. REVERSE SHOT - WHAT HE SEES to Macreedy, down the end of the block, saunters easily up Liz's garage. EXT. LIZ'S GARAGE - FULL SHOT the one laboriously skull window from back The garage, without a door, opens on the street. Against front of the building is parked a battered bicycle. On of the barnlike walls a boy of nine is drawing with a piece of chalk. He puts the last flourish to a and crossbones identical with that seen earlier on the of the equipment yard office. Macreedy stops a few feet him, waiting until the boy prints "T.J.". As he steps to admire his handiwork... Hi, T.J. MACREEDY
T.J. nods. He approaches the wall, raising his chalk. MACREEDY This your garage? Nope. T.J.
MACREEDY (a beat) Where's the man it belongs to? T.J. Ain't a man. He pauses. As Macreedy opens his mouth to interrogate further... T.J. Lady runs this garage.
Again a pause. T.J. has just completed the final letter the word "HATES". And again as Macreedy opens his T.J. She's not here. MACREEDY Where'd she go? T.J. (shrugging) I dunno. Somewhere. MACREEDY When will she be back? T.J. I dunno. Sometime. Again the pause. T.J. steps back, having completed his
which, of course, broadcasts the fact that "T.J. HATES And again as Macreedy begins to speak... T.J. In about ten minutes. MACREEDY (with a grin) Thanks.
T.J. turns, pulls the bike away from the building, a fastidious "pony express" and peddles furiously out of scene. EXT. STREET - FULL SHOT as Macreedy, after a moment's hesitation, starts down it. From the far end, at the telegraph agent's shack, a starts running toward Macreedy. It is Hastings. INTERCUT between the two men. Hastings, in his concentration,
figure doesn't down, grins Hastings,
see the stranger until he is almost upon him. He slows suddenly, awkwardly, to a self-conscious walk. Macreedy at him, passes on, shaking his head speculatively. with a parting glance, gallops up the hotel steps.
INT. HOTEL LOBBY - FULL SHOT Smith, Coley, Hector, Pete, Doc, Sam et al are still in evidence. Smith is in a tight little group at the desk Coley, Hector and Pete. Doc has taken a position at the window, looking out. Hastings bursts in and half-runs to Smith... ANGLE FAVORING SMITH AND HASTINGS as the excited telegraph agent speaks. HASTINGS I called the Circle T. He ain't got business there -- not if they don't know him. Right, Mr. Smith? Smith ignores him, thinking. Hastings breathes heavily. Finally... SMITH (to Hastings) Send a wire to Nick Gandi in Los Angeles. Tell him to find out all he can about John J. Macreedy. Tell him I want to know fast. Sign my name. Hastings nods, scribbling on a pad. HASTINGS What was that? SMITH Nick Gandi. G-A-N-D-I. Care of the Blake Hotel. Hastings nods and hurriedly exits. COLEY (after a beat) Who's Gandi? Smith looks at Coley, trying to decide if the question in any way challenges his authority. He concludes not... SMITH He's a private detective. (beat) I drive to L.A. now and then. HECTOR (slightly worried) He'll get us the dope? SMITH
He'll get us anything, for twenty bucks a day and expenses. (Hector frowns) Hector, you worry too fast and too easy. HECTOR It's just, I don't like it. COLEY Maybe he's just passing through. HECTOR Don't bet on it. He can only mean trouble. SMITH (smiles faintly) Hector, you're jumpy as a stall horse. HECTOR (doggedly) We oughtta see him... talk to him. SMITH (quietly) About what? (Hector doesn't answer) What'll we talk to him about? The birds, the bees? The weather? The crops? (pauses) You tried -- where'd it get you? HECTOR (uncomfortably) I only thought... SMITH Sure. You only thought. COLEY (after a beat) What do we do? SMITH What do you do? You wait. Like Pete here. Right, Pete? Pete nods, his brow furrowed uncomfortably in a frown. SMITH That's all you do. But while you wait... I talk to him. At this point the brittle silence is cracked by...
(o.s.) Hey! Doc.
Smith and those around him look off in the direction of DOC VELIE - AT THE WINDOW peering out. He turns in the direction of Smith and the others. DOC Now what do you know? (beaming) Mr. Macreedy seems to be heading for the jail. (impishly) Now what do you suppose he'd want to see the Sheriff about? Smith goes to the window, edging Doc to one side with a shoulder. He looks out grimly. REVERSE SHOT - WHAT HE SEES Macreedy, down the street, cuts up the steps of the jail. BACK TO SCENE
Smith staring out the window with a frown. Doc watching out of the corner of his eye, a bemused expression his puckish features. OUT Sequence omitted from original script. INT. JAIL ANGLE on Macreedy as he enters the jail. It is small and dirty, with only a tired desk, two chairs and the usual
posters on the wall. One side leads to the cell block and Macreedy heads for it. ANGLE from interior of cell block comprising two cells, of which are open. A man is asleep in the lower bunk of front cell. The keys are in the lock. Macreedy shakes his head and starts to close the creaking cell door. Sheriff
both the TIM
HORN, the man in the bunk, lifts his head, blinking his bleary eyes. He is in terrible shape. TIM Hold it, friend. He manages to crawl off the bunk and out toward Macreedy. TIM (grinning) I ain't hankerin' to get locked in my own jail. MACREEDY Sorry. I thought you were a guest. TIM As it happens, I'm the host. He walks out of the cell, Macreedy following him into the office. SHOT - OF THE TWO Tim breaks out a bottle of booze, starts to take a snort, then stops, offers it to Macreedy. TIM Snort? No, thanks. MACREEDY
TIM Don't blame you. It's awful. He falls He takes a belt that would incapacitate half the county. finishes, smacks his lips, lays the bottle down, and into a chair. He looks up at Macreedy. TIM (suddenly mean) What're you lookin' at? (easy) You tell me. MACREEDY
TIM (after a beat, relaxing) I ain't always this bad -- just that last night me and my pal Doc Velie, we did a little celebratin'. At least
I did. MACREEDY What were you celebrating? TIM (shrugs) You name it. (studies Macreedy) What do you want? MACREEDY My name's Macreedy. I came in on the Streamliner. Tim studies him, trying to focus. You what? TIM
MACREEDY I said I came in... TIM (interrupting) You ain't from around here. Up Tucson way -- Phoenix? Mesa? You ain't sellin' cattle nor seed nor nothin' like that? MACREEDY No. (sighs, then distinctly as to a child) All I want from you is a little information. I've got to get to a place called Adobe Flat. TIM (reacts; then, tightlipped) This ain't no information bureau. Macreedy starts to say something, then stops. Reconsidering... MACREEDY One thing about Black Rock -everybody's polite. Makes for gracious living. TIM Nobody asked you here. MACREEDY How do you know?
(he moves toward the door, with a rueful grin) TIM (starting after him) What about Adobe Flat? MACREEDY I'm looking for a man named Komako. The Sheriff reaches for his bottle. In his haste he drops it. Macreedy's hand moves quickly, catching the bottle before it hits the floor. MACREEDY Almost a disaster. TIM (sinking back in his chair) A fate worse'n death. (he takes the bottle from Macreedy) You move fast for a crip... for a big man. For a moment heavy silence. Finally... MACREEDY What about Komako? TIM (slowly) If there's no further questions... then shaking staring Macreedy grins harshly and exits. Tim watches him go, slowly reaches for the bottle. He pauses, looks at his hand. Then he withdraws it and just sits in the chair blindly ahead, seeing nothing. EXT. STREET Frowning, deep in thought, Macreedy walks down the dusty street. As he reaches the hotel... SMITH (o.s.) Mr. Macreedy. Macreedy stops, looks toward Smith as he walks out to meet
him. MACREEDY That's the friendliest word I've heard since I got here. As Smith joins him, he walks on. Smith falls in step beside him. GO WITH THEM. SMITH (grins boyishly) My name is Smith. I own the TripleBar ranch. (holds out his hand; Macreedy shakes it) I want to apologize for some of the folks in town. MACREEDY They act like they're sitting on a keg. SMITH A keg...? Of what? MACREEDY I don't know. Maybe diamonds. Maybe gunpowder. SMITH (disarmingly) No. Nothing like that. We're a little suspicious of strangers is all. Hangover from the old days. The old West. MACREEDY I thought the tradition of the old West was hospitality. SMITH (with a sincere smile) I'm trying to be hospitable, Mr. Macreedy. (boyishly pushes his dusty cap back on his head) Going to be around for a while? MACREEDY Could be. SMITH How would you like to go hunting tomorrow? I'd be proud to have you
as my guest. MACREEDY Thanks, but I'm afraid not. SMITH (with admirable candor) You mean, because of your arm? (slaps Macreedy's shoulder in a friendly, understanding gesture) I knew a man once, lost an arm in a threshing accident. Used to hunt all the time. (almost too blandly) But he was quite a man. He... (pauses; then, with discreet and charming gravity) I'm sorry. I... What I mean is -- if there's anything I can do while you're around... MACREEDY I'm looking for... (sighs) Never mind. Thanks, anyway. SMITH (quietly) You're looking for what, Mr. Macreedy? MACREEDY (eyeing him) A man named Komako. SMITH (no hesitation) Komako -- Sure, I remember him -Japanese farmer. Never had a chance. MACREEDY No? SMITH He got here in '41 -- just before Pearl Harbor. Three months later he was shipped to one of those relocation centers. (shaking his head) Tough. MACREEDY Which one did he go to?
SMITH Who knows? MACREEDY You think maybe if I wrote him, the letter would be forwarded? SMITH I'm sure it would. Write your letter. I'll see it gets out tonight. MACREEDY It wouldn't be too much trouble? SMITH No trouble at all. MACREEDY Funny. Because I think it would be a great deal of trouble for you. It's been a great deal of trouble for me. At this point they are in front of... EXT. LIZ'S GARAGE Macreedy stops, as does Smith. He looks keenly at Smith as letters... MACREEDY I wrote these letters to Komako. They weren't forwarded. They were returned -- address unknown. (he smiles grimly at Smith) So I guess there's nothing you can do for me, after all. Smith opens his mouth to reply when the NOISE of a jeep o.s. the silently effort, a jeep. interrupts him. The jeep comes INTO SHOT. Liz Brooks, at wheel, cuts the engine and jumps out. Smith ambles to a wall and leans against it. Liz reaches behind the driver's seat and hoists, with both hands and some five-gallon drum of axle grease from the floor of the As she rests it on the rear fender... MACREEDY (going to her) Need a little help? he takes from his inner jacket pocket a half-dozen
The girl looks at Smith, who has made no attempt to help her. LIZ I can manage. She lifts the drum to the ground. MACREEDY Well, I need a little help. (she looks at him questioningly) I'd like to rent your jeep. LIZ It'll be two dollars an hour, gas extra, and ten dollars for my time. SMITH (to Liz) Aren't you going to ask him where he wants to go? Liz looks from Smith to Macreedy, puzzled. SMITH He wants to go to Adobe Flat. seek Liz hesitates. Macreedy notes her confusion as her eyes Smith's for instructions. Quickly he moves in... MACREEDY The road's marked? LIZ (nodding) Yeah. It's about six -- seven miles down... MACREEDY Then I won't need your time. Macreedy hands her a bill. She fumbles with it, not knowing arm... LIZ (uneasily) I thought you might... need a little help. MACREEDY I can manage. what else to do. Her eyes drift to Macreedy's stiff
He steps toward the jeep as... SMITH Liz. Do you have a license to rent cars? You could get into trouble. MACREEDY It's all right. I won't mention it to the Sheriff. manipulating He steps into jeep and, with one hand expertly the controls, drives off. MED. SHOT - SMITH AND LIZ Smith turns his attention to the girl... SMITH (slowly) You shouldn't have done that. LIZ I thought it would be better if he went out there and got done with it. (Smith looks at her sharply) I mean, what could he find out? For a moment Smith doesn't answer. Instead, with a half frown, he lifts the bill Macreedy had given her from Liz's hand. SMITH (as he studies it) This is liable to be the hardest ten dollars you ever earned in your life. down He crumples it, pokes the wad in her hand and walks off the street as... DISSOLVE: OUT Sequence omitted from original script. INT. JAIL - FULL SHOT - DAY Tim sits in his chair, still staring sightlessly at the whiskey bottle. Smith enters. He looks from Tim to the on the table, then back to Tim. QUICK
SMITH (after a beat, disinterestedly) What did he want -- the stranger? TIM (abstractedly) He asked about Komako. (looking up at Smith) You think he'll kick up a storm? SMITH (easily) A storm? About what? TIM I don't know. All I know, I don't want trouble around here. (pauses awkwardly, then) Never again. SMITH Trouble? You don't know anything about Komako, now do you, Tim? TIM I do not. That's the point. SMITH The point is, what you don't know can't hurt you. TIM Maybe there's something I ought to know. Maybe I ought to ask you... before the stranger comes back and starts breathing down my neck. SMITH (a faint smile) Tim, you're a lost ball in the high weeds. I told you a long time ago, nothing happened for you to worry about. TIM (stands up, facing Smith) Thing is, I do worry. Maybe I ain't much else, but I'm sure a worrier. (beat, then with soft emphasis) And I'm still the law.
SMITH Then do your job, Tim. TIM What is my job, Mr. Smith? Maybe I'd better find out before Macreedy does it for me. SMITH (evenly) Macreedy'll do nothing, Tim. And neither will you. TIM Suppose I decide to try? SMITH That would be dangerous. You got the body of a hippo, Tim, but the brain of a rabbit. Don't overtax it. unsuccessfully He stares harshly at the Sheriff. Tim tries to meet his gaze. Then, slowly, he sits down. TIM (lowering his eyes, mumbling) Yes, Mr. Smith. Smith slowly walks behind Tim's chair and silently, patronizingly pats the Sheriff's slack shoulder... INT. TELEGRAPH AGENT'S OFFICE - FULL SHOT starts starts expression Hastings is sitting at his desk. The telegraph ticker to splutter. Hastings rushes to it. He listens, and to scribble. Then he gulps nervously, a confused on his face. As the telegraph key stops as suddenly as it had begun, Hastings jumps up frantically and, holding the sheet of paper, runs out of the shack. EXT. STREET as he runs toward hotel. EXT. HOTEL - LONG SHOT Hastings but with Doc, Sam, Coley, Hector and Pete on the porch. runs up the steps, pausing momentarily. His jaws move, CAMERA is too far away to pick up his obvious question.
Coley down gestures toward the jail; then Hastings turns and runs the steps followed by Doc et al. EXT. STREET - FULL SHOT Hastings runs down the street toward the jail followed by Doc et al. EXT. JAIL as Hastings runs up the steps with a hobnailed clatter. Smith comes out to investigate, followed by Tim. Doc, et al are congregated at the foot of the steps. Hastings slaps the sheet of paper in front of Smith. Utter quiet. Everyone at Smith, waiting for a reaction -- everyone except Tim, stares straight ahead, seeing nothing, and Doc, whose are locked sympathetically on Tim. Smith finishes reading the wire. His face is expressionless. After a moment... HECTOR (to Smith) From L.A.? Smith doesn't answer but... HASTINGS Yeah! From that private detective! HECTOR (to Smith) What does he say? Who is this guy? HASTINGS Never heard of him, that's what he says! He checked and there's no John J. Macreedy. No listing -- no record -no information. Nothing. PETE (quietly, after a beat, to Smith) Where does that leave us? COLEY I'll tell you where... SMITH Shut up! He folds the message carefully, puts it in his pocket.
stares who eyes
Abruptly Tim turns and disappears inside his office. Smith, with some restraint, walks down the steps to the street. MOVING SHOT - SMITH as he takes Coley's arm, and Pete's. The trio moves away, taking a position perhaps 15 feet from Doc. Hector, Sam Hastings move toward them. OUT Sequence omitted from original script. EXT. RAILROAD TRACKS - SMITH, COLEY AND PETE Hastings. In b.g. at a respectful distance are Hector, Sam and SHOOT parallel to tracks, which disappear far into the horizon. The following dialogue is delivered in an undertone... SMITH (turning to Coley) Now, Coley...? COLEY (takes a breath, then) I think Macreedy's a nothing. A nobody. Is he? SMITH
COLEY So there's nothing to worry about. SMITH Isn't there? (a beat) You got brains, you have. COLEY (squirming) But what can he find out? That Komako was...? (Smith glares at him) Suppose he finds out? SMITH A nobody like Macreedy can raise a pretty big stink. The point is... who would miss a nobody like Macreedy if he just, say, disappeared? Who,
Coley? Coley is terribly preoccupied, balances himself, like a child, on a steel rail. SMITH (exasperated) Coley! COLEY (galvanized from the rail) Huh? PETE Why don't we wait... SMITH Wait for what? PETE I mean, maybe he won't find anything. Maybe he'll just go away. SMITH Not Macreedy. I know those maimed guys. Their minds get twisted. They put on hair shirts and act like martyrs. They're all of 'em dogooders, trouble makers, freaks. PETE But there's no danger yet. Let's wait and see. SMITH (interrupting, appealing to Coley as an equal) No danger, he says. This guy's like a carrier of small pox. Since he arrives, there's been a fever in this town, an infection. And it's spreading. (he glances from Coley to Pete) Hastings has been in a sick sweat, running around, shooting off his face. Doc, for the first time in four years, gets snotty with me. Liz... (to Pete) ...your own sister -- acts like a fool.
PETE (hotly) She's just a kid. SMITH (scoffing) Kid! She must have strained every muscle in her head to get so stupid! Renting him a jeep! And Tim -- Tim, the rum-dum. Tim suddenly decides he's gotta act like a Sheriff. (to Coley, gesturing at Pete) And he says what's the danger. Brittle silence for a moment. Then... SMITH (easily) Of course, if you want to take the chance... Pete doesn't answer. COLEY (grimly) Not me. SMITH All right, then... PETE It's not all right! You're so mighty quick to kill -- he's not an animal! SMITH (to Coley, with mock surprise) Well, listen to little spitfire... (turning slowly on Pete) You sniveling toad! I'm saving your neck! If I don't, who will? PETE (squirming) All I said... SMITH Who will?! Doc? Tim? Your sister, with the rocks in her head? Pete is silent. SMITH One thing about your sister -- she's
got twice the guts you have. You're only fit for running away. COLEY It's too late for that. (belligerently, slowly, at Pete) He's in this, and he ain't running no place. There is a long, electric silence. Pete is defeated. SMITH (finally) All right, then... He pauses for emphasis. Then, as he starts to talk again... INT. JAIL Tim stands facing the wall, shoulders hunched, suffering. Doc comes in and watches him silently, Tim turns, facing Doc, turns again to concentrate on a faded newspaper photograph framed and hanging on the wall. ANOTHER ANGLE - TIM SHOOTING over his shoulder. Focal point: the "photograph". Tim badge heading It shows a widly grinning, moderately alert and healthy of perhaps five years ago. He is wearing, proudly, his of office, and behind him, mildly interested in the proceedings, is Reno Smith, his erstwhile sponsor. The on the photo reads: DEPUTY SHERIFF NAMED FOR BLACK ROCK. MED. SHOT - TIM AND DOC to Tim takes the photo off the wall and, holding it, turns face Doc... TIM Let Smith find himself a new boy. I can't take it another day. (pauses, looks at Doc) If you're a sheriff, they gotta respect you, otherwise you can't do your job. (shakes his head) They just laugh. DOC
I don't laugh, Tim. TIM Why don't you? DOC Cut it out, Tim. TIM You should! DOC In the name of well-adjusted manhood, snap out of it. You're going to get a complex or something. TIM Four years ago if I'd of done my job... if I'd of checked up and found out what happened. But I didn't! Just like Smith figured. DOC What could you have found out? They told you a story. You had to believe it. TIM Do you believe it? Doc squirms but doesn't answer. TIM Do you know what happened? DOC I don't know. (ironically) I lead a quiet, contemplative life. TIM Me, I didn't even try to find out. (a beat) Don't you understand? (he taps the badge on his chest) When you wear that badge, you're the Law. And when something happens, against the Law, you're supposed to do something about it. It's your job. (simply) Me... I did nothin'. And that's what's eatin' me. What kind of prescription you got for that?
DOC I don't know. I've never been able to find one for myself. Tim takes off his badge and throws it on the desk. DOC Only one thing -- don't quit, Tim. Why not? TIM
DOC Maybe this feller Macreedy has the prescription. They look at each other. Slowly Tim picks up his badge and pins it back on. OUT Sequence omitted from original script. EXT. DESERT ROAD An old marker, jutting on an angle at the side of the road, Macreedy serious reads: ADOBE FLAT. Beneath it an arrow points ahead. steers the jeep up the narrow, rutted trail between a of enormous boulders. ANOTHER ANGLE as he drives to the far end of the boulders, reaching a flat piece of land completely surrounded by rocks. Beyond the rocks is what remains of a burned-out ranch house, and an abandoned well. OUT Sequence omitted from original script. MED. SHOT - MACREEDY in the wreckage. The remains of an iron bed. The burnedout Macreedy touches shell of a pick-up truck. Part of a stove. A morass of bottles, all sizes and shapes, some of them broken. halts momentarily beside the well. Reaching out he the warped sun-beaten boards that cover the mouth. He
removes opening. HEAR a picture. square standing among one, and, picking up a pebble, drops it through the There is a long beat and then, from far, far below we faint PLUNK (o.s.). He replaces the board and walks to a broken wall. He touches the burned out frame of a The frame falls to the ground, leaving an un-scorched on the surface of the wall. He goes past a solitary stone chimney. Suddenly he halts, arrested by something the rubble, the rottenness and the ashes. REVERSE ANGLE - WHAT HE SEES Surrounded by the seared and blackened earth is a rectangular patch of lovely wild flowers. BACK TO MACREEDY studying the brightly colored flowers. His face is lined in flower in a wasteland. shielded thought. He stoops, gathers a few buds in his hand. He examines them, his brow furrowed. As he slowly twirls a between thumb and forefinger, CAMERA PANS from Macreedy long slow arc, taking in miles and miles of barren CAMERA RISES, TILTING UPWARD to a cliff far away and from Macreedy's view by the intervening rocks and ridges. EXTREME LONG SHOT - CLIFF and on it the outline of an automobile. MED. SHOT - THE CAR empty. It is parked on a narrow dirt road. On one side of the road the cliff falls abruptly to the valley far below; rise. on the other, the steep, shaly outcropping continues to For a moment CAMERA HOLDS on the car. Then it PANS SLOWLY upward about fifty feet, HOLDING this time on... PINNACLE OF CLIFF pair where a man is looking off toward Adobe Flat through a of high-powered glasses. The man is Coley Trimble.
ADOBE WELLS - MACREEDY Grimly he walks toward the jeep, still holding the wild flowers. Now he pockets them, jumps into the vehicle and drives off. THE CLIFF - COLEY the continues to train his glasses on Macreedy far below in moving jeep. THE JEEP - MACREEDY driving steadily over rough, rocky terrain. COLEY big, climbs down from the pinnacle of the cliff and enters a powerful '36 Packard sedan. MACREEDY country. shifts to low gear as the jeep presses into hilly COLEY - IN HIS CAR turns on the ignition. MACREEDY - IN THE JEEP as it winds along a road with the cliff rising on one side and falling off steeply on the other. He rounds a curve, passes an insignificant side road, drives on. THE SIDE ROAD Macreedy. The car with Coley at the wheel pulls out, follows INTERCUT between the two cars, with the distance between them constantly diminishing. OUT Sequence omitted from original script. EXT. - FLAT ROAD both a straightaway, cutting through rocky outcroppings on sides. Macreedy's jeep roars by, pursued by the gaining
Packard. CLOSE SHOT - MACREEDY IN JEEP - (PROCESS) For the first time he is aware that he is being followed, and that the man at the wheel of the big Packard is SHOT - PACKARD picking up tremendous speed. EXT. - ROAD BED proceeding over a series of turns, inclines, declivities (according to location terrain). Engines roar, brakes tires scream, skidding on the turns. ANOTHER ANGLE - ROAD BED a the floor as Coley overtakes Macreedy. He steers the big car within foot or two of the jeep. The terrain has steepened; on right there is nothing between the road and the valley far below but a few inches of soft shoulder. come As Macreedy pulls wide on a razor turn, Coley tries to inside him. Macreedy, fighting for control of the veering jeep, succeeds in cutting him off. CURVE IN ROAD In the approach, Coley cuts sharp into the jeep. The jeep seems to roll with the blow, then leaps ahead, the turn. CLOSE SHOT COLEY IN CAR (PROCESS) seems the He ram, kicking gas Coley is flustered, his face blood-shot with fury. He to generate an atmosphere of vicious, cruel craziness; wild smile across his mouth is almost sensual, obscene. floorboards the Packard. Like some monstrous battering the heavy car smashes into the jeep's rear bumper, the smaller vehicle jerkily ahead. Coley floorboards the pedal, again. Each time he slams into the jeep with
sickening force, with the brutal abrasion of metal pounding metal. CLOSE SHOT - MACREEDY - (PROCESS) With one arm he works frantically to keep his under-sized car on the twisty road. He sees ahead a precipitous cliff falling off on an impossibly sharp curve. He makes a decision... Just ahead the gradient is comparatively gradual, however steep by normal standards. He swings the jeep off the onto the declivity. The car plunges downward, upright. Macreedy jockeys it to a whirring, shuddering in the soft sand at the bottom of a draw. with Macreedy turns slightly and looks up the mountain-side the road at its summit... WHAT HE SEES: EXTREME LONG SHOT - COLEY standing at the edge of the road, peering down at him. In b.g., the Packard. Coley turns emphatically, gets into car, drives off. BACK TO MACREEDY His face is caked with the sweat of his exertions and dust kicked up by the grinding wheels. He exhales heavily and runs a shaky hand across the side of his head. He becomes aware suddenly of a NOISE, a trickling, an unmistakable as of running water. He frowns, opens the jeep door... MEDIUM SHOT - JEEP as Macreedy unlatches the hood and throws it open. The NOISE continues. Macreedy examines the engine and finds the difficulty... INSERT - ENGINE carburetor his focal point: the nut joining the gas line with the has worked loose in the jouncing the car has taken. With hand Macreedy screws it tight. MEDIUM SHOT - JEEP
road, miraculously halt
as Macreedy lowers the hood, re-enters jeep. He turns on ignition. The engine fires. As he drives slowly out of the ravine... DISSOL VE: EXT. BLACK ROCK - MAIN STREET CLOSE SHOT - HECTOR apple with his long face even more horsey than usual, with half an in his mouth. He stands in front of the grocery store, the baskets of fruit on the sidewalk. He looks up, stops crunching. CLOSE SHOT - SAM at the window of the Bar & Grill, cleaning an ear with a toothpick. He looks out. The toothpick is motionless. CLOSE SHOT - HASTINGS apple fidgeting outside his shack. He looks up. His Adam's turns completely over. OUT Sequence omitted from original script. REVERSE SHOT - WHAT THEY SEE Macreedy slowly driving the jeep toward Liz's garage. He looks neither to the right nor left. GROUP SHOT - FAVORING SMITH AND COLEY Standing on the porch of the hotel, watching. Smith's face cold, compresses, and his eyes swivel to rest on Coley's with contemptuous anger. Coley licks his lips uneasily. Smith turns and enters the hotel. Coley meekly follows. FULL SHOT - MACREEDY He brakes the jeep before the garage. No one is there. He parks the vehicle, gets out and heads down the street. EXT. HOTEL Macreedy is about to go up the steps when he sees Coley's car at the curb. Both right fenders are creased. An ugly,
jagged break has split the front bumper almost in half, one in hotel. so... part angling crazily toward the sky, the other drooping the dust of the road. Smith and Coley come out of the They stand on the porch, watching Macreedy as he in turn watches the car. They exchange a glance. Smith nods, COLEY Well, if it's not Macreedy - the world's champion road hog. He walks down the steps to the street, joining Macreedy. Smith remains on the porch. MACREEDY Yeah. It's a small world. COLEY But such an unfriendly one. Now why did you want to crowd me off the road? MACREEDY (with a slow grin) I'm kind of sorry if I've incurred your displeasure. COLEY Look what you did to my car. MACREEDY If there's anything I can do to make up for it... COLEY You ought to be careful, man -- all that one-arm driving. MACREEDY I'd be glad to pay the damages. COLEY It's a threat to life and limb. MACREEDY Fortunately no one was hurt. COLEY You could get yourself killed that way -- nosin' all over the countryside. MACREEDY
That's the real danger, I can see that. COLEY Why that's pretty smart of you. How long you intend to keep it up? MACREEDY I'm getting out of here, right now. He walks up the steps, past Smith, and into the hotel. Coley like a of glances up at Smith, grinning with self-satisfaction, small boy who has carried out perfectly the instructions his teacher. INT. HOTEL The lobby empty except for Pete behind the desk. Macreedy goes to him. Pete seems elaborately occupied arranging re-arranging a few file cards. Smith enters the lobby. He stands in b.g. watching Macreedy and the desk clerk. MACREEDY (to Pete) Still expecting that convention? PETE (looking up) What...? MACREEDY If you're expecting any extra cowboys, my room is available. PETE You're checking out? MACREEDY (nodding) Is there a train through here tonight? PETE Nothing till tomorrow morning. The streamliner. MACREEDY I know that. How about freights? (Pete shakes his head) Milk train? PETE Tomorrow. After the streamliner.
PETE Closest stop is Sand City -- thirtytwo miles away. (a beat) You're in such a hurry, you should have never got off here. MACREEDY I'm inclined to agree with you. He turns, walks toward porch. Pete looks at Smith. Smith's eyes follow Macreedy. OUT Sequence omitted from original script. INT. LIZ'S GARAGE - FULL SHOT In the gloom of the lube pit, Liz's mechanic, a dirty old man, is draining the oil out of the crankcase of the car the rack. The girl stands beside the pit, silently the old man. Now she pauses, looks o.s. toward the open doors... WHAT SHE SEES - MACREEDY in behind entering the scene, stopping to look at Liz's jeep parked front of the wide doors. He turns his eyes vaguely in the direction of Liz, but he doesn't see her in the shadows the car on the rack, He advances a step, pausing... MACREEDY Anybody home? OUT Sequence omitted from original script. EXT. LUBE PIT - LIZ She does not answer. Instead, she silently twists the crankcase petcock, stopping the flow of oil. She watches Macreedy closely. INT. GARAGE
on watching garage
Macreedy again shifts his eyes to the jeep, then, with decision, he goes to a work bench, opening the drawers and rummaging among the contents. LIZ (o.s.) If you're looking for the jeep key... Macreedy turns as Liz comes toward him. She gestures toward the open drawers. LIZ ...it's not there... Macreedy waits for her to go on. She doesn't. She stands there, staring at him. MACREEDY (after a beat) In that case, where do you suggest I look? She turns, walks back toward the lube pit. LIZ (over her shoulders) The jeep's not for rent. MACREEDY It was, just a few hours ago. LIZ (flatly) Things change. MACREEDY (with grim amusement) Sure. And Smith is the kid who changes 'em. She doesn't answer. Macreedy goes to her. MACREEDY Miss Brooks. (softly) What's the matter with this town of yours? LIZ Nothing. It's none of your concern. MACREEDY Then why are they all so concerned
about me? LIZ Am I concerned? MACREEDY No, you're not. But... LIZ But what? MACREEDY (easily) But it strikes me you're a little too unconcerned. So unconcerned you won't even rent me a jeep. LIZ (flaring) I don't run a taxi service. I don't have a license. MACREEDY I wish others in this town were as scrupulously devoted to law and order as you are. LIZ (hotly) Why don't you lay off! If you don't like it here, go back where you came from! MACREEDY Funny thing. They try to kill me, and you feel persecuted. LIZ I don't want to get involved. MACREEDY Involved in what? LIZ (retreating) Whatever you're up to. Whatever happens, I've got to go on living here. These people are my neighbors, my friends. MACREEDY All of them? LIZ (slowly) This is my town, Mr. Macreedy, like
it or not. Whatever happened here, it was long ago, now it's... it's... MACREEDY (evenly) Dead and buried? (a beat) Whatever did happen, you don't seem to like it. Why do you stick around? LIZ (after a beat) Because of my brother. Pete. He'd never leave. MACREEDY Didn't you ever think of going without him. You're sort of independent and he's... he's... LIZ Weak. I know. That's why I couldn't leave him. MACREEDY (softly) What did your brother do? LIZ He... I... (flaring again) What do you care? What do you care about Black Rock? MACREEDY Nothing much. Only, there're not many places like this in America -but even one is too many. Because I think something sort of bad happened here. (frowning) Something I can't find the handle to... LIZ You just think so. You don't know. MACREEDY This much I know -- the rule of law has been suspended in this town. The gorillas have taken over. LIZ You're a fine one to talk! You come in here, sneaking around, trying to steal the key to my jeep.
MACREEDY I kind of had a notion that was the only way I could get it. to She opens her mouth to answer, but she doesn't know what say. MACREEDY (simply) Was I wrong, Miss Brooks? a He waits as she tries to answer, and again she can't. For moment he watches her struggle in anguished silence with herself. Then he turns and goes out. EXT. MAIN STREET - MACREEDY walks thoughtfully down street. He comes abreast of hotel. EXT. PORCH OF HOTEL Macreedy where Smith is still sitting. For a moment he watches speculatively, then... SMITH (calling) Mr. Macreedy. (reasonably, as Macreedy turns toward him) I'd like to ask you a few questions... as long as you're around... MACREEDY (walking up steps) I'm around all right. He stands facing Smith on the porch, then... MACREEDY (with just a touch of wryness) You probably know that Miss Brooks is no longer in the car rental business? SMITH (solemnly) Good. I wouldn't want to see that girl get into trouble...
MACREEDY You wouldn't? SMITH ...what with rental permits, gas rationing... you know what I mean. MACREEDY Sure. I admire your sturdy sense of responsibility. SMITH (dismissively) It's just, a girl like that has a future. MACREEDY Let's talk about my future. SMITH (almost slyly) Do you have the time? MACREEDY I don't seem to be going any place. He takes the other chair. SMITH (after a pause) I hear you handle a jeep real well. MACREEDY I have a way with jeeps. A certain familiarity. SMITH I think I understand. You're an Army man. (looking at Macreedy's stiff arm) Where'd you get it? Italy. MACREEDY
SMITH (sincerely) Tough. I tried to get in myself, the day after those rats bombed Pearl Harbor. MACREEDY What stopped you? SMITH
The physical. They wouldn't take me. The morning after Pearl, I was the first man in line at Marine recruiting in Sand City. And they wouldn't take me. MACREEDY (flatly) Tough. SMITH What do you do in Los Angeles, Mr. Macreedy? MACREEDY I'm retired. SMITH You're a pretty young man... MACREEDY You might say I was forced into retirement. SMITH What were you looking for in Adobe Flat? MACREEDY Komako, like I told you. Like you told me, he wasn't there. Smith laughs quietly. MACREEDY What's so funny? SMITH Nothing. It's just -- I don't believe you. I believe a man is as big as what he seeks. I believe you're a big man, Mr. Macreedy. MACREEDY Flattery will get you nowhere. SMITH Why would a man like you be looking for a lousy Jap farmer? MACREEDY Maybe I'm not so big. SMITH Yes, you are. (a beat; looking hard
at Macreedy) I believe that a man is as big as the things that make him mad. Nobody around here has been big enough to make you mad. MACREEDY What makes you mad, Mr. Smith? SMITH Me...? Nothing in particular. MACREEDY (bemused) I see. You're a big man, too. Only... (calmly) ...the Japanese make you mad... SMITH That's different. After the sneak attack on Pearl Harbor... after Bataan... MACREEDY ...and Komako made you mad. SMITH It's the same thing. (scoffing) Loyal Japanese-Americans -- that's a laugh. They're mad dogs. Look at Corregidor, the death march. MACREEDY What did Komako have to do with Corregidor? SMITH Wasn't he a Jap? Look, Macreedy, there's a law in this county against shooting dogs. But if I see a mad dog loose, I don't wait for him to bite me. (exhales sharply, shaking his head with irritation) I swear, you're beginning to make me mad. MACREEDY (calmly) All strangers do. SMITH Not all. Some of 'em. When they come here snooping.
MACREEDY Snooping for what? SMITH I mean, outsiders coming around, looking for something. MACREEDY (pressing) For what? SMITH I don't know. People are always looking for something in this part of the West. To the historian, it's the "Old West." To the book writers, it's the "Wild West." To the businessmen, it's the "Undeveloped West." They all say we're backward and poor, and I guess we are. (snorts) We don't even have enough water. (a beat) But this place, to us, is our West. (heatedly) I just wish they'd leave us alone. MACREEDY Leave you alone to do what? SMITH (coldly) I don't know what you mean. MACREEDY What happened to Komako? SMITH He went away, I told you. Shortly after he left, a bunch of kids got fooling around out his place. They burned it down. It was one of those things -- you know how kids are. Macreedy laughs quietly. SMITH What's funny? MACREEDY Nothing. Only -- I don't believe you. Any more than I believed you about the letters. SMITH
(smiling) You don't seem to believe anything I say. MACREEDY (vaguely) Yes, I do -- about businessmen, for instance. I think a businessman would be interested in Adobe Flat. SMITH Why? MACREEDY All that land lying fallow. Could be put to some use. Like a graveyard. (Smith opens his mouth to speak but Macreedy goes on) A historian might be interested, too. Because of the strange customs around here, such as burying cattle... SMITH Burying cattle...? MACREEDY (calmly) Something's buried out there. He takes the wild flowers from his pocket, holding them in front of Smith. MACREEDY See these wild flowers? That means a grave. I've seen it overseas. I figure it isn't a man's grave or someone would have marked it. Sort of a mystery, isn't it? SMITH Sort of. Maybe you can figure it out. Macreedy gets up, half turns to Smith. Maybe. MACREEDY
He starts down the steps. SMITH Why not give it a whirl? (Macreedy turns) It'll help you pass the time...
(continued; meaningfully) ...for a while. MACREEDY Not interested. I got other things to do. He turns and walks down the street. EXT. MAIN STREET - MACREEDY headed towards Doc's establishment. The building, which serves pane Doc as home, office and laboratory, has centered on a of glass: T.R. VELIE, JR. UNDERTAKER AND VETERINARY And in the lower right hand corner: ASSAYER NOTARY PUBLIC A few of the peeled gold and black letters are completely missing. by his spits The building is separated from the structure next to it an alleyway. Filling the narrow passage is Hector David, long massive body wedged against the wall like an unkempt monument. His little pig eyes meet Macreedy's. Hector in the dust with bland insolence. EXT. DOC'S OFFICE - MACREEDY walks up the steps and enters. INT. DOC'S OFFICE Dark and shadowy. At the far end of a hallway an insipid light bulb burns. Macreedy goes toward it, entering... INT. DOC'S LAB Departed. stained occasion bookcases devoted to the care and preservation of the Dear In the center of the room is a long rectangular slab with the juices of those unfortunates who have had to rest thereon. The walls are lined with rickety jammed, not with volumes, but with the jugs and jars, the
chemicals and unguents of Doc's multiple callings. In a corner other. goldfish enters. Doc sits at a cluttered desk feeding a large bowl of and sipping a glass of milk. He looks up as Macreedy DOC Hi. Pull up a chair. MACREEDY (nodding) Can I use your phone? DOC Help yourself. (chuckles) You know, you're one of the few people who's ever been back here I can say that to. Macreedy reaches for the phone book. DOC It's 4-2-4. MACREEDY (pausing) What's 4-2-4? DOC If I've got you pegged -- and I think I have -- you're calling the State Police. But if I was you -- and I'm purely glad I'm not -- I'd look it up myself. (emphatically) I wouldn't trust anybody around here, including me. Macreedy thinks it over and comes to a swift decision. He checks the phone book. Then, picking up phone... MACREEDY (to Doc) Thanks. (into receiver) 4-2-4. INT. TELEPHONE OPERATOR'S OFFICE a cubbyhole behind the hotel clerk's desk in the lobby. At three or four neat pine boxes are stacked one on the
the switchboard is Pete, and above him tacked on the wall is the sign: SMILE PETE (into phone) 4-2-4...? (he looks up) The CAMERA PULLS BACK revealing Smith standing beside him. two men exchange a nod. PETE (into phone) Lines 're busy. (he clicks off the instrument) INT. DOC'S LAB all Macreedy slowly puts down the phone. Doc sips his milk, the while staring queasily over the glass at Macreedy. He puts it down, his gaze still fixed on the stranger... DOC (sing-song) I know -- don't tell me -- lines all busy. They'll be busy all day. MACREEDY (after a beat, grimacing) Don't look at me like that. DOC Like what? MACREEDY Like I'm a potential customer. DOC Everybody is -- and I get 'em coming and going. He goes to a topographic map hanging on the wall -- a large, sections. DOC (gesturing toward it) First I sell 'em a piece of land. impressive map -- faded, fly-blown and divided into
Think they farm it? Nope. They dig for gold. large, He moves to photograph beside the map on the wall -- a impressive photograph of a placer mine in operation. DOC They rip off the top soil of ten winding hills. They sprint in here, fog-heaved with excitement, lugging nuggets, big and bright and shiny. stone, He moves to his desk, picks up a glistening blob of resting next to an assayer's scales, and examines it... DOC (rhetorically) Is it gold? He bangs the rock down next to the scales. DOC It is not! Do they quit? They do not! reproduction, produce above He moves to a third illustration -- a colored large and impressive -- of acres upon green acres of in bloom; the kind of picture Southern Pacific places its calendars. DOC (with theatrical gesture toward reproduction) Then they decide to farm. Farm! In country so dry you have to prime a man before he can spit, and before you can say "Fat Sam" they're stalled, stranded and starving. They get weevilbrained and buttsprung... He moves to the coffins piled in a corner and runs his hand down the smooth pine sides with loving tenderness. DOC (simply) So I bury 'em. (a beat, as he rejoins Macreedy in the center of the room)
But why should I bore you with my triumphs? MACREEDY Yeah. I've got a problem of my own. Doc nods; he points vaguely toward the street... DOC (like an old testament prophet) They're going to kill you with no hard feelings. MACREEDY (nastily) And you'll just sit on your hands and let them. DOC Don't get waspish with me, young feller. Sorry. MACREEDY
DOC I feel for you, but I'm consumed with apathy. Why should I mix in? MACREEDY To save a life. DOC I got enough trouble saving my own. (he refills his glass from a milk bottle on the desk) I try to live right and drink my orange juice every day. But mostly I try to mind my own business. Which is something I'd advise you to do. MACREEDY It's a little late for that... DOC You can still get out of town. And you'd better get out like a whisper. MACREEDY How can I? DOC (taking a key ring from his pocket)
I got sort of a limousine at your disposal. Where is it? MACREEDY
DOC (tossing him the key) Out back. Macreedy snares the key and walks out. Doc gets up to follow him. EXT. REAR OF DOC'S OFFICE An old-fashioned hearse, with plate glass sides and elaborate steps lead candelabra -- Doc's "limousine" -- is parked a few from the door. Macreedy climbs in behind the wheel as Doc comes out and stands on the small back porch. Macreedy turns on the ignition switch. His foot kicks the starter, but the spark doesn't catch. He tries again, then again. He pauses, frowns, as Doc comes down from the porch and joins him. MACREEDY (concentrating on the dashboard) Won't start. DOC (nervously, to Macreedy) Something wrong? MACREEDY Just won't start... suddenly, His Again he presses the ignition switch. Nothing. And in b.g., the great bulk of Hector David looms up, leaning against the porch pillar at the corner of the alleyway. expression is almost dreamy. For a moment he stands there while Macreedy toys with the ignition and the sick engine wheezes and grinds. Then he ambles up to the hearse... HECTOR (gratuitously) Could be the wirin'. Why don't you look under the hood? MACREEDY
For that I thank you. (pause) How much time you think I've got before...? DOC They'll wait at least till dark. (angrily) They'd be afraid to see each other's faces. MACREEDY (slapping Doc's shoulder lightly) Well, so long, Doc. I can't say it's been charming but... DOC Where are you going? MACREEDY I don't know. But I'm going on foot. DOC That's no good. You stray ten yards off Main Street, and you'll be stone, cold dead. (offers Macreedy a cigarette) That's the situation, in a nut. hand. He Macreedy takes the cigarette, lighting a match with one He puts the fire to Doc's smoke and then lights his own. inhales, exhales, thinking. Finally... the study Macreedy gets out of the car. Hector has already opened hood. Doc peers nervously over his shoulder. As they the engine, Hector's horsey face appears behind them. He gestures toward the engine. INSERT - THE ENGINE Focal point: a hopeless snarl of ignition wires. BACK TO SCENE HECTOR It's the wirin', like I said. Now wasn't that a good guess? Slowly he takes off his wrist watch and puts it in his pants
pocket. MACREEDY (quietly) It can be fixed. Ignoring Hector, he bends over the engine, controlling his obvious awareness that Hector has fouled up the ignition. HECTOR Easy. Unless, of course, this here wire... (reaching inside the hood, pointing) ...got broke or something. DOC (suddenly, heatedly, turning on Hector) Do the nice little things, like keep your big fat nose out of my business. Hector's eyes go hard. He reaches out suddenly, one great hand closing over the distributor cap. He yanks, ripping the feed wires out of their sockets. HECTOR (triumphantly, holding up the wires) Yep. It's the wirin'. He slowly Still gripping the wires, he walks off. Doc simmers down. turns to face Macreedy, who hasn't moved. Now Macreedy lowers the hood of the car. DOC (softly, after a beat) I'm sorry, son. You got to admit, I tried. MACREEDY (as if to himself) Maybe... DOC Maybe what? MACREEDY If I can't get out of town, maybe I can get the state cops in. DOC
(irritably) You tried the phone, didn't you? You know what happened, don't you? MACREEDY There's another way. I'll be seeing you, Doc. He walks off. Doc looks after him grimly. DOC (calling) I hope you'll be seeing me. QUICK DISSOLVE: INT. TELEGRAPH AGENT'S OFFICE Macreedy stands at the high counter, writing on a Postal Telegraph blank. Behind the counter, watching him nervously, dew His takes message the glazed is Hastings. At the agent's elbow is a big pitcher with on the glass. It holds a pale liquid and a chunk of ice. eyes on Macreedy, Hastings refills a glass tumbler. He a gulp as Macreedy puts down the pencil and pushes the toward him. Now Hastings puts down his glass, picks up form and scans it hurriedly. He looks at Macreedy, eyes with anxiety... HASTINGS You notifyin' the state po-lice? MACREEDY (putting a bill on the counter) That's what it says. Hastings again refills his glass, slopping the liquid over it on the counter. He picks up the glass, hesitates, offers awkwardly to Macreedy. HASTINGS (plaintively) Lemonade? Macreedy shakes his head. No.
HASTINGS (mopping his forehead) It's hot as Billy-be-durned. He drinks, puts down the glass. Macreedy pushes the bill across the counter toward him. Hastings picks it up then pauses... HASTINGS Don't you like lemonade? MACREEDY I never thought much about it. HASTINGS It don't have the muzzle velocity of some other drinks drunk around here, but it's good for what ails you. MACREEDY (after a beat) What ails you, Mr. Hastings? HASTINGS Me...? MACREEDY Why are you so upset about... (points) ...this wire? HASTINGS Me...? MACREEDY Are you afraid, Mr. Hastings? HASTINGS Me...? (a beat, then softly) I guess I am. (awkwardly he puts Macreedy's bill back on the counter) But what's the use talkin'...? (with grudging respect) You don't know what it's like, being scared. MACREEDY (not unsympathetically) You want me to describe the symptoms? Right this minute I'm scared half to death.
HASTINGS (simply) You should be. MACREEDY Yeah. But not of the state police. HASTINGS (stonily) Neither am I. MACREEDY Then what are you afraid of? The grave at Adobe Flat? A grave nobody marked, nobody knows anything about. HASTINGS That ain't it, either. MACREEDY Is it Smith? (no answer) Is it?! HASTINGS (squirming) Look, Mr. Macreedy. I'm just a good neighbor... MACREEDY To Smith you are. How about to Komako? HASTINGS (meeting Macreedy's eyes) I never seen Komako in my life. Honest. MACREEDY (again pushes the bill toward Hastings) Then send that wire, and bring me the answer. You'll do that, won't you? HASTINGS (pauses, then worriedly picking up the bill) Yes, sir. Macreedy turns and walks out. Hastings stands sweating, staring hard at the message in his hand as... DISSOLVE: QUICK
OUT Sequence omitted from original script. INT. SAM'S BAR & GRILL A few loafers are at the bar, draped bonelessly on high stools. There is the usual array of bottles and glasses aligned before a cracked, discolored mirror. In the corner stools place. grill toothpick. STERLING is a jukebox. Along the opposite wall is a line of low facing a counter covered with oil-cloth thumb-tacked in Behind it is a greasy hot plate and a couple of soiled displays -- breakfast food, soft drinks, etc. At the counter is Sam, cleaning his finger-nails with a At the bar, engaged in a worrisome conversation, are four loafers, FRANKLIN KROOL, WALT MURTRY, RON BENTHAM and LENARD. KROOL I tell you, I won't have anything to do with it. MURTRY (nodding emphatically) Live and let live, that's what I say. BENTHAM (frowning) I don't know. I just don't know. LENARD (to Bentham) You gonna brood about it? Or you want another beer? BENTHAM A beer, I guess. Only... He looks up, and something makes him hesitate... WHAT HE SEES -- EXT. BAR & GRILL - MACREEDY stopping in front of the restaurant. On the window large, rough capital letters in water paint proclaim: SAM'S SANITARY BAR & GRILL Macreedy pauses, shrugs and then enters.
INT. BAR & GRILL Sam is still working on his finger nails. He evidences little loafers interest in the stranger, but at the bar in b.g. the stiffen. Macreedy takes a stool in front of Sam. SAM What'll you have? MACREEDY What have you got? SAM Chili wit' beans. MACREEDY Anything else? SAM Chili wit'out beans. Macreedy winces. SAM You don't like the taste, that's what they make ketchup for. MACREEDY In that case, I'll have it. And a cup of coffee. The door of the Bar & Grill opens. Smith and Coley enter. They walk to Macreedy, stopping just a few feet behind him. COLEY (to Macreedy, with menacing friendliness) You still around? I thought you didn't like this place. MACREEDY (pleasantly) Going to, or coming from? Staying put. No comment. in He turns again as Sam plops an unseasonable mess of chili front of him. COLEY MACREEDY
COLEY (to Smith, gesturing a thumb toward Macreedy) No comment, he says. No comment, and all the time he's got my chair. Macreedy smiles tiredly. He half turns toward Coley. MACREEDY I always seem to be taking somebody's place around here. He gets up, with his chili, and sits down three stools away. squirms Smith. COLEY This seat ain't comfortable. MACREEDY I was afraid of that. COLEY I think I'd like the seat you're on. SMITH (to Macreedy, mildly) He's as changeable as a prairie fire. MACREEDY (to Coley) Suppose you tell me where to sit. Coley opens his mouth but, realizing he has been outmaneuvered, closes it again. The loafers in b.g. are silent, watching. Sam, seemingly oblivious to Coley's pressure on Macreedy, places a bottle of ketchup in front of the stranger. Coley gets up slowly and walks stiff-legged to Macreedy. He takes the bottle of ketchup and, without the cap, upends it over Macreedy's plate. The cap is in a deluge of ketchup which overflows the plate and runs onto the counter. COLEY (to Macreedy) I hope that ain't too much. MACREEDY Coley straddles the stool Macreedy has vacated. He on it, his movements exaggerated. Now he spins to face
(to Smith, gesturing toward Coley) Your friend's a very [...] fellow. SMITH (nodding) Sort of unpredictable, too. Got a temper like a rattlesnake. COLEY That's me all over. I'm half hoss, half alligator. Mess with me, I'll kick a lung outta you. What do you think of that? No comment. MACREEDY
COLEY Talking to you is like pulling teeth. You wear me out. (loudly, after a beat) You're a yellow-bellied Jap lover. Am I right or wrong? MACREEDY You're not only wrong -- you're wrong at the top of your voice. COLEY You don't like my voice? MACREEDY (again turning to Smith) I think your friend's trying to start something. SMITH Now why-ever would he want to do that? MACREEDY I don't know. Maybe he figures, needle me enough and I'll crack. Maybe I'll even fight back. Then he or Hector -your other ape -- would beat me to death and cop a plea of self-defense. SMITH I don't think that'll be necessary. You're so scared now you'll probably drown in your own sweat. COLEY Before that happens, couldn't I pick
a fight with you if I tied one hand behind me...? Macreedy rises to go out. As he passes Coley, Coley takes his limp left arm and spins him slowly but firmly around. The two men face each other. COLEY If I tied both hands...? Macreedy shakes free of Coley's grasp. Coley lunges. His big ducks, right fist streaks toward Macreedy's face. Macreedy weaving with the punch. He grabs Coley's belt, twisting Coley's body. The momentum of the swing throws Coley off balance. As he goes past Macreedy, the stranger tugs at belt, twisting him to one side. He plants his left foot on the toes of Coley's left boot, for a split second Coley in place. He chops the under side of his open hand a short, vicious arc that lands solidly under Coley's With the same motion, he brings the heel of his hand hard against and slightly under the tip of Coley's nose. The cartilage shatters. Blood spills down his face. Following through, Macreedy's elbow smashes beneath Coley's Macreedy's arm goes past the astonished, wind-burned finding Coley's right wrist. He jerks the wrist out and backward. It snaps. Coley whimpers, his face twisted in pain back. lift. limber face, of and perplexity. His body lolls forward. Macreedy steps He raises his right shoulder a few inches. His bent right arm drives up like a piston attached to the shoulder's Fist and arm seem all one rigid piece with only the shoulder giving them motion. The fist strikes Coley's covering for a moment one side of his chin and a corner his mouth between cheekbone and jawbone. Coley shuts his eyes and falls unconscious. Smith, a puzzled expression on his face, watches Coley fall. He takes half a step toward him. Macreedy looks at Smith. Smith stops. Macreedy's face is wooden, with a trace of sullenness around the hard lines of his mouth. Working methodically, Macreedy frisks Coley. He takes from a
his firmly anchoring in ear.
pocket a long, ugly knife. He snaps the spring and the four-inch blade leaps into place. He looks at the knife in his hand and then at Smith. He smiles gently, even dreamily. MACREEDY (to Smith) Wouldn't it be easier if you just waited till I turned my back? (looking toward the loafers at the bar, then back at Smith) Or are there too many witnesses present? are closes Macreedy door of Macreedy walks slowly toward him, holding the knife. The only three feet apart. Smith's hand goes to a pocket, inside over the outline of a pistol. Sam glances from to Smith to the unconscious Coley. He sidles toward the and runs out fast. (NOTE: From this point to end of scene INTERCUT from Macreedy and Smith to exploit the reactions the loafers at the bar.) SMITH (with effortless ferocity) You're still in trouble. MACREEDY So are you. (Smith snorts) Whatever happens -- you're lost. SMITH You got things a bit twisted... MACREEDY You killed Komako. Sooner or later you'll go up for it. Not because you killed him -- in this town you probably could have gotten away with it -- but because you didn't even have the guts to do it alone. You put your trust in guys like him... (gesturing toward the unconscious Coley) ...and Hector -- they're not the most dependable of God's creatures. Sooner or later they'll get the idea you're playing them for saps. What'll you do then -- peel them off, one by
one? And in the meantime if any one of them breaks, you'll go down hard. Because they got something on you. Something to use when things get tough. With a quick motion, he tosses the knife to Smith. Smith catches it. MACREEDY And they're getting tougher every minute. consciously like Coley. He walks past Smith and goes out the door. Selfholding the knife, Smith turns to face the loafers at the bar. They say nothing; they stare at him, through him, a panel of ghouls. The door opens, admitting Sam and Doc, who carries his little black medical bag. Doc looks at DOC (softly, full of awe) Man... man-oh-man. He goes to Coley, bending down over him. Smith has remained in Coley, motionless as a monument. Now he doubles shut the knife his hand. He pockets it, and without even glancing at turns quickly and goes out. QUICK DISSOLVE: INT. HOTEL LOBBY chairs. the change Doc sits deep in the battered upholstery of one of the He stares fiercely across the room at Smith who is on the couch, reading a neatly folded newspaper. Behind him at clerk's desk, Pete is fitfully involved in a game of solitaire. At the foot of the stairs Hector is pouring into a slot machine. It whines, grinds, and clicks with rhythmic monotony, but it never seems to pay off. In the chair nearest Doc is Tim, with one of his boots off. He hard and with some concentration, removing the other. he places them neatly at the foot of his chair. He his toes -- watching them with some interest.
works Then wiggles
The wheeze and whir of the slot machine stops. The sudden silence turns the eyes of the men toward Hector and the onearm bandit. They follow his gaze up the steps. STAIRWAY - MACREEDY walks down, carrying his suitcase. He goes to Pete at the clerk's desk. MACREEDY Anything for me? PETE Nothing. MACREEDY Any message -- a telegram? PETE (returning to his cards) Nothing. As Macreedy turns from the desk, Doc joins him. DOC (to Macreedy, shrilly, gruffly) In case you're interested, Coley'll live. (glaring at Smith and Hector) I'm truly sorry to say. Smith coolly continues to read his paper. It is Hector who turns toward Doc... HECTOR (to Doc, jerking a fat hand toward Macreedy) Your friend's pretty tough. DOC Yeah. He's wicked. He defends himself when he's attacked. Macreedy ignores the exchange of words. He walks across the Doc, a frayed carpet to the nearest chair and drops into it. who has followed him, stands looking down at Macreedy for
long moment. Then... DOC (with some irritation) Well...? You going to just sit here and let time run out? MACREEDY I'm waiting for a wire. From the state cops. DOC You sent it through Hastings? (an audible sigh) Just don't expect an answer, if that's the way you sent it. MACREEDY (looking toward the door) (he rises) looks rigidly Doc follows his gaze as Hastings enters the lobby and around. He sees Macreedy coming toward him. He walks in an arc past Macreedy to Smith. He holds out a Postal Telegraph form. Smith puts down his paper and takes it. Macreedy, followed by Doc, goes over to Smith. Tim in his stockinged feet joins them. Smith scans the message. He looks up to meet Macreedy's gaze. Smith rises. Hector swaggers over from the slot machine. Hastings slips around the back of the couch, protected by the barricade of Hector's great body. MACREEDY (evenly, to Smith) I think that's for me. (he takes the message from Smith's hand and quickly glances at it. Looking up at Hastings) Where's the answer? Hastings is silent. A brittle expression of bemusement crosses Smith's features. SMITH You expect an answer -- to a wire that's never sent?
Macreedy's mouth compresses in a harsh grin. SMITH What's so funny? MACREEDY Nothing. Just a thought -(his eyes turn to Hastings. Hastings wilts) -- a thought dazzling in its purity... Macreedy takes a step toward Hastings. The telegraph agent bounces away. MACREEDY (slowly) You're in a jam, Hastings. You gave my telegram to Smith. DOC (excitedly) You warty wretch! That's a federal offense! MACREEDY (to Smith) You're in deep, too. (grins hard) Like I said, it's getting tougher and tougher. (to Tim) Sheriff, you'd better do something about this. Tim hesitates, blinking his eyes worriedly, shifting from one stockinged foot to the other. Smith watches him as he takes the message from Macreedy and gestures with vaguely... TIM (to Smith) I reckon that's right, Mr. Smith... HECTOR Don't be a jerk, Tim. TIM (to Smith, seriously) Divulging information -- there's a law... SMITH
Tim, you're pathetic. TIM (doggedly) Could be. But I'm still Sheriff. SMITH That's the point. You're not Sheriff any more. You just lost a job, you're so pathetic. jabs He reaches out, clawing the badge from Tim's chest. He it on Hector's vest. SMITH (to Hector) All right, Sheriff. Take over. DOC You can't do that! SMITH Can't I? I put him in office. Now I take him out. Hector moves his elephantine bulk within inches of Macreedy... HECTOR Now. You want to register a complaint? Macreedy doesn't answer. Hector takes the message from Tim's limp hand and tears it into little pieces. HECTOR To register a complaint, boy, you've got to have evidence. You got evidence? Macreedy doesn't answer. HECTOR You got a big mouth, boy, makin' accusations, disturbin' the peace. There's laws in this county protectin' innocent folks from big mouths. Why, I'd just hate to... SMITH (interrupting) Hector... (wearily) Come on, Hector.
He walks out, the new Sheriff strutting beside him, with Hastings in their wake. For a moment Macreedy, Doc and stand in the center of the lobby. Pete eyes them noncommittally and goes back to his solitaire. He glances up now and then, moving the cards with a purposeful sort of slowness, as of a more natural swiftness restrained by
preoccupation with the three men in the lobby. Macreedy is deep in thought. Abstractedly he tugs at his collar and then repeats the ritual of lighting a Tim's shoulders are slumped. Humiliation has corroded flesh and soul. Even Doc is momentarily subdued; he too, feels degraded, unclean. Macreedy looks from one to the
cigarette. him, other so something for from out
of the good, ineffectual companions that circumstance has haphazardly tossed his way. He takes a few steps to his suitcase, Doc and Tim trailing him; Doc, for want of better to do; Tim, out of his deep, inexpressible need support. Macreedy takes an untapped bottle of whiskey his bag. He thumbs the cork loose and holds the bottle to Tim. Tim takes a drink.
that fierce silvery has
The light on the clerk's desk goes on, and we are aware day has gone and that night is falling. The pressing, light has drained from the lobby, leaving a shadowy, dreariness. The shadows have lengthened and the silver tarnished with the darkness. DOC (hopefully) It's all right, Tim. We're not licked yet. TIM (numbly) Ain't we? I am. DOC There comes a time, Tim, when a man's just got to do something. TIM Not me. I'm useless, and I know it.
DOC (imploring) No man is useless, if he's got a friend... Pete comes out from behind the desk, walking from one lamp in the lobby to another, turning them on. DOC I'm your friend, Tim. TIM Then let me alone. He hands Doc the whiskey bottle. DOC (jabbing at Macreedy with a thumb) He's going to need you before the night is over. He downs a snort, then looks at Pete, who approaches them. DOC (contemptuously) And all the useful men are on the other side. As Pete turns on the lamp behind Doc, he reacts ever so slightly to Doc's words. His almost imperceptible grimace not lost on Macreedy. Macreedy watches the young man as continues to light the lamps... TIM (angrily) Lemme alone, I tell ya! Doc slams the whiskey bottle down on a nearby table. DOC I can't let you alone! I can't let myself alone! Don't you understand that? (he turns from Tim to Pete, who is unable to shake his gaze. Then, sadly, fiercely) Four years ago something terrible happened here. We did nothing about it. Nothing. The whole town fell
into a sort of settled melancholy, and the people in it closed their eyes and held their tongues and failed the test with a whimper. Self-consciously Pete has backed off until now he leans against the outside of the clerk's desk. But he still can't shut his ears to what Doc is saying... DOC Now something terrible is going to happen again, and in a way we're lucky because we've been given a second chance. And this time I won't close my eyes, I won't hold my tongue, and if I'm needed I won't fail. (almost harshly, again facing Tim) And neither will you! Tim sighs, running a thick hand over his forehead... TIM I got such a headache, I'm bewildered. I hurt all over. MACREEDY I know -(unconsciously his right arm strays to massage the paralyzed left) -- pain is bewildering. I came here bewildered, full of self-pity, afraid to fight back. (gesturing with his hand to Pete) And then your friend Smith tried to kill me. (the muscles around Pete's mouth tighten) Funny, how a man clings to the earth when he feels there's a chance he may never see it again. DOC There's a difference between clinging to the earth... (eyeing Tim almost contemptuously) ...and crawling on it. You going to stand by and watch forever? TIM (flatly)
I ain't gonna watch, and I ain't gonna get into it, either. There is a moment of crashing silence. Then... TIM I'm gettin' out. I'm sorry, Mr. Macreedy. Again Slowly he lumbers out of the lobby. Doc watches him go. the benumbing silence, cut finally, unexpectedly by... PETE (to Doc) You'd be smart to get out, too. DOC (angrily turning to Pete) There's too many smart guys around here. I'm glad I'm a dummy. PETE You're a troublesome dummy. You're liable to end up on your own slab... DOC (heatedly) I expect to be in a lot more trouble before I die... PETE Go home, Doc. (he jerks his head toward Macreedy, and with mock bravado...) He's all washed up. MACREEDY (grinning harshly at him) You think so? His right hand closes over the neck of the whiskey bottle on tense, the end table. Abstractedly fingering it, he walks with deliberate steps toward Pete at the desk. MACREEDY I was washed up when I got off that train... He continues to advance inexorably toward Pete.
PETE (flatly) You shouldn' of got off. MACREEDY Had to. I had one last duty to perform before I resigned from the human race. DOC (quizzically) I thought you were going to Los Angeles, that hot-bed of pomp and vanity. Is that resigning from the human race? MACREEDY (shrugging) L.A.'s a good jumping off place -for the Islands, for Mexico, Central America. DOC Why? MACREEDY (again shrugs) I don't know. I was looking for a place to get lost, I guess. DOC Why? MACREEDY (slapping his paralyzed arm with the whisky bottle) Because of this. I thought I'd never be able to function again. (turning to Pete) Thanks to your friend Smith, I found I was wrong. He is now within a couple of yards of Pete. PETE (drily) Sure. You're a man of action. MACREEDY (slowly) I know your problem. (with mounting vigor) You'd like me to die quickly, without wasting too much of your time... (Pete opens his mouth
to say something, but Macreedy presses on) ...or silently, without making you feel too uncomfortable... or thankfully, without making your memories of the occasion too unpleasant. by For a moment Pete stares at Macreedy, terribly disturbed the incisiveness of Macreedy's analysis. Then... PETE (bitterly) My memories are so pleasant as it is... In sudden frustration, Pete grabs the deck of cards on the turns, clerk's desk and slams them down hard. They scatter. He stares blankly [...] between Doc and Macreedy. MACREEDY (quietly pressing his advantage) What happened, Pete? Pete doesn't answer. DOC Are you going to tell him -- or you want me to? (beat) Smith owns Adobe Flat. He leased it to Komako -- thought he had cheated him, thought Komako could never even run stock without water. There was never any water on Adobe Flat. Komako dug a well, by hand. He must have went down one hundred and fifty feet. PETE He got water, plenty. Smith was pretty sore. He didn't like Japs anyway. DOC That's an understatement. PETE The day after Pearl Harbor, Smith went to Sand City. MACREEDY (interrupting)
I know. To enlist. He was turned down. PETE He was sore when he got back. About ten o'clock he started drinking. MACREEDY Ten o'clock in the morning. PETE Yeah. Hector joined him, and Coley. Then Sam, and about nine p.m. -- me. We were all drunk -- patriotic drunk. We went out to Komako's for a little fun, I guess -- scare him a little. MACREEDY Did you know him? PETE We'd seen him around some, but none of us knew him. When he heard us coming, he locked the door. Smith started a fire. The Jap came running out. His clothes were burning. Smith shot him. I didn't even know Smith had a gun. MACREEDY Then you all got scared, buried him, kept quiet. looks table... Pete nods helplessly, bowing his head. Macreedy sighs, down at the bottle in his hand, slowly puts it on the MACREEDY (softly) Did Komako have any family besides his son Joe? DOC (puzzled) His son...? Nobody around here knew he had a son. MACREEDY He had one. But he's dead, too. He's buried in Italy. DOC What are you doing here, Mr. Macreedy? MACREEDY
Joe Komako died in Italy, saving my life. They gave him a medal. I came here to give it to his father. Silence. Doc, realizing the enormity of Macreedy's admission, frowns, rubs a hand across his tired eyes. Pete looks at Macreedy for a long, shocked moment. He shivers. PETE (awfully) God forgive me... shot He takes the bottle from the table and shakily pours a glass of liquor. As he raises it to his mouth... MACREEDY (to Pete, harshly guttural) It'll take a lot of whiskey to wash out your guts... lips, his Pete is motionless, holding the glass inches from his hypnotized by Macreedy's voice, as hard and as cold as eyes... MACREEDY ...And it will never help -- not even a barrel full washes away murder! Macreedy's hand shoots out, in a short, inexorable arc, smashing his palm across the shot glass. The whiskey bursts in a spray, the glass flies halfway across the room, shattering as it lands against something solid. Pete is stunned, Doc perplexed, at Macreedy's violence. They at him... Macreedy's eyes are murky. The creases between the brows over his nose are deep. His nostrils move in and out with his breathing. Pete and Doc regard him with growing uneasiness. Rage comes into Macreedy's face, turning it a painful red. MACREEDY But maybe I'm wrong. Go on -- drink. (scornfully) What else is left for you?! (mounting anger) You're as dead as Komako, only you don't know it! (roaring)
You also don't know that it's not enough to feel guilty. It's not enough to confess. It's not enough to say, "Forgive me, I've done wrong." DOC Take it easy, Macreedy. Sit down. MACREEDY (turning on him) Sit down?! Or would you rather have me kneel, to beg his pardon for raising a touchy subject? Pete squirms under Macreedy's relentless attack. PETE (shaking his head) You don't have to remind me. I've never forgotten... MACREEDY Well, that's mighty noble of you. You feel ashamed -- that's noble, too. (in mounting crescendo) And four years from now you'll probably be sitting here telling somebody else you haven't forgotten me. That's progress -- you'll still be ashamed but I'll be dead. Macreedy grabs the bottle, shoving it across the table toward Pete. MACREEDY Go on, have your drink. (with exorbitant scorn) You need it. words and plugs Pete pushes the bottle aside, too ravaged by Macreedy's and his own thoughts to drink. He shakes his head grimly then, with sudden decision, goes to the switchboard and in a line. DOC (leaning over counter, staring at him) What are you doing? PETE (into phone, ignoring
Doc) Hello, Liz. Now listen... I... 'm getting Macreedy out of town... ANOTHER ANGLE - MACREEDY AND DOC as they exchange a glance. Doc takes a long, deep breath of listen jumble relief. Macreedy frowns thoughtfully. He strains to to Liz, but all he (and we) can hear is the staccato of her words over the wire. WIDER ANGLE - FAVORING PETE he cuts Liz short... PETE (into phone) I don't care about Smith! Let him try to kill me -- I might as well be dead as... Again Liz's voice incoherent over the phone, and again... PETE (into phone, interrupting) Liz, Liz... There's not much of me left any more, but however little it is I won't waste it! (again Liz's voice briefly; then...) I'm telling you because we need your help. (again Liz's voice) ...No matter about the past -- you've got to do this! You'd be saving two lives, Liz. Macreedy's, and mine. (again Liz answers and...) All right. Yeah... I've told him everything. comes Slowly he replaces the phone on the switch-board. He around from behind the desk, joining Macreedy and Doc. PETE (flatly) She'll be here in five minutes. MACREEDY Thanks, Pete. Thanks very much.
DISSOLVE TO: INT. HOTEL LOBBY - PETE, HECTOR AND DOC - NIGHT waiting. squinting Pete and Doc are nervously alert, drained of energy, Hector is downright bored. He toys with his pistol, at it, twirling the barrel. Finding neither interest nor pleasure in the piece, he jams it back in his holster and strolls with exaggerated surety out on the porch. EXT. PORCH - NIGHT Imbued The congregation of loafers look up as Hector emerges. with his own bullying importance, he draws the pistol, maneuvers an extravagant pinwheel and a few other gaudy tricks. Then he sighs as boredom again takes over. He down the steps to catch a bit of air. INT. LOBBY - DOC AND PETE galvanizes The disappearance of Hector (o.s.) down the street them into action. They hurry out of the lobby toward the back of the hotel. EXT. ALLEY - BEHIND HOTEL - NIGHT Vague in the pallid light escaping through a few back windows. corner Hector tower. The hotel's rear door is tightly shut. Around the far of the street (extreme b.g.) comes the gangling body of David. He walks toward CAMERA. Perhaps twenty-five yards away he stops to rest against a fence like a leaning CLOSE SHOT - HECTOR His hand goes to a pocket and comes out with a crumpled half bleak pack of cigarettes. Suddenly the movement is arrested; something at the other end of the street captures his attention. WHAT HE SEES to A jeep, headlights off, slowly turns the corner, pulls up the curb and parks.
BACK TO SCENE - HECTOR pockets his cigarettes and starts slowly for the jeep, a quizzical frown on his horsy face. He approaches the back door of the hotel, oblivious to it as he continues toward the jeep. INT. REAR HALLWAY OF HOTEL - NIGHT At the far end b.g., toward the lobby, a single unshaded light bulb burns dully. A slight figure stands in f.g. To one side is a narrow U-shaped alcove blanketed in heavy shadows. The features of the man in the hall and the slim lines of his body blend vaguely in the darkness. With enormous alley reveals alley, Glued Doc. wheels nozzle care, he turns a knob and opens the door leading to the behind the hotel. Light thrown by the back windows that the figure is Pete. The same pallid light from the glancing across the alcove, momentarily illuminates it. as close to the recessed wall as is humanly possible is He is partially shielded by one of those hotel hose around which an old fire hose is wound. The heavy brass of the hose hangs from the end. Doc grips a twelve-inch length of lead pipe. Pete swallows the nervously and peers outside, first to the right, then to left. His eyes glaze with fear, and his jaw tightens with tension. EXT. ALLEY - ANOTHER ANGLE - FAVORING PETE as he stares at Hector walking toward the jeep. PETE (controlling his jangled nerves) Hector! Hector stops, turns to face Pete. He hesitates, then... HECTOR Hmmmm? Then, with a final glance at the jeep, Hector lumbers to Pete, who disappears inside the hallway.
INT. REAR HALLWAY as Hector enters and stops. Pete quickly closes the door behind him and walks toward the lobby, attempting to draw Hector toward the black alcove center screen b.g. But Hector (NOTE: is not to be sucked in. He glares at Pete, waiting. The following dialogue is delivered sotto voce.) HECTOR What you want? PETE He's still in his room. Macreedy, I mean. HECTOR So...? You want me to tuck him in? PETE I thought maybe you wanted to tell Smith. HECTOR (explaining something he feels Pete already knows) Smith said he'd be here at midnight. He don't want to be disturbed. frantically one. He jams a cigarette in his mouth. Pete watches him as he searches his pockets for a match. He can't find HECTOR You got a match? PETE Come on. I got some in the lobby. He starts to turn. Hector's pig eyes are slits of suspicion. heavy fingers book Before Pete can move, Hector reaches out, hooking two fingers inside a pocket of Pete's shirt. Slowly Hector's expression changes to one of insidious cunning. His come out of Pete's pocket, and between them is a paper of matches. HECTOR I thought you didn't have a match.
Pete is unable to answer. He is scared to death. INT. ALCOVE - DOC sweating with frustration. Hector is six feet away, and armed -pipe. a care, the too far away for Doc to risk an attack with his lead Doc looks around vaguely, wildly, for another weapon. A fraction of an inch from his nose is the hose wheel. For split second he hesitates. Then slowly, with infinite he tightens the heavy brass nozzle and begins to unwind hose. INT. REAR HALLWAY Now Hector is alert. He studies Pete's twitching face. Elaborately he tears a match from the pack and scratches it. It takes fire, cupped in the rampart of his big hands. It lights up the hall, and as Hector looks around he sees something through a mirror -- over his shoulder and six away Doc materializes out of the shadows of the alcove. Hector whirls, going for his gun, Doc swings the hose sudden deadly aim. It uncoils like a snake, and the brass nozzle crashes with a mighty thud across Hector's skull. Hector groans. He sinks unconscious to the floor. Doc there, paralyzed by his action. Pete tears toward the INT. LOBBY over turns as Pete rushes in. He moves directly to the desk, leans and presses the buzzer behind the desk three times. He and runs back toward the rear of the building. INT. REAR STAIRS as as Macreedy barrels down. He pauses briefly in the hall he sees Doc still standing with the hose and the nozzle dangling like a pendulum from his hand. Their eyes lock briefly in understanding... MACREEDY (with a half smile) I'll never forgive you, Doc...
feet As with
(he gestures toward Hector, out cold) ...for depriving me of that pleasure. He heads toward the alley. EXT. ALLEY as Macreedy rushes out. He pauses, looking quickly right, then left. He sees a jeep parked at the curb far down the street. He runs toward it. The jeep, its headlights off, starts for him. He swings onto the moving vehicle, heavily into the seat beside Liz Brooks. He slumps there, breathing heavily as the jeep, with a grinding of gears, cuts through the night, picking up speed. INT. REAR HALLWAY stare same as Pete joins Doc. Silently, motionlessly, the two men for a long moment at Hector -- particularly at the pistol lying beside him. Then they look at each other, and the thought seems to flash in their minds... QUICK DISSOLVE: EXT. ROAD - MACREEDY AND LIZ drives toward as they speed down the long empty ribbon of road. Liz hard. Macreedy turns in the bucket seat, looking back Black Rock. LIZ Sorry I can't get more out of this heap. Macreedy does not answer. LIZ (with a burst of irritation) We could make better time with a dog team. MACREEDY (calmly) You're doing the best you can. (a beat) Aren't you, Liz? LIZ
Don't expect too much from me. MACREEDY (dryly) Don't worry, I won't. LIZ (quickly) I mean, people have always expected things from me. You know why? Because I'm pretty. Well, that's not enough. MED. SHOT - JEEP with Liz and Macreedy as she cuts sharply into a crossroad. little She drives skillfully over the knotty road which is more than a trail. Her lovely features are distorted with her discontent and the ache for attention. After a moment she gives voice to her fantasy... LIZ (softly) Maybe I could have been something -a model, or something. (glancing at him) You don't believe that. Yes I do. MACREEDY
LIZ Well, I don't, really. I'm a dime a dozen. MACREEDY That I don't believe. LIZ I'm too little and too late. MACREEDY It's never too late. LIZ I lack the muscle. MACREEDY (frowning) Why is muscle so important? LIZ (cynically) Oh, you're the brainy type. (harshly)
Did it take brains to rough up Coley? Whatever you did to Hector, you didn't do it with brains. How'd you get Pete to change his mind? MACREEDY Not with muscle. LIZ And not with brains, either. He's a pushover for a muscle man. MACREEDY I'm beginning' to think it runs in the family. (looking at her hard) You think strength is in the width of a man's shoulders. He does not catch the glance she darts him; his extreme awareness is anchored not to the girl at his side but to the terrain ahead. LIZ I'd sure have liked to see you tangle with Reno Smith. MACREEDY He wasn't around when I left... Maybe I will yet. His eyes strain to sweep the country -- each boulder, each are outcropping, each stunted tree. But substance and shadow blurred and fuzzy in the dark night, black on black. OUT Sequence omitted from original script. ANOTHER ANGLE - JEEP with Macreedy and Liz as it winds to the far end of the boulders on a trail that drops off into a flat basin. forms loom up in the darkness; they are unrecognizable, Macreedy senses some tense familiarity with the He frowns. Suddenly Liz brakes the jeep -- so sharply lurches forward in the seat. MACREEDY
Solid yet terrain... Macreedy
(alert, expectant) What's this? LIZ (vamping nervously) We need water... (she turns off engine, pulling ignition key from its lock) ...radiator's overheating. She moves away from Macreedy to get out of the jeep. He reaches across quickly, gripping her arm. She turns to face him, disturbed by his hardness of jaw and eye... LIZ Leggo! Leggo of me! like Suddenly they are hit by a blinding pair of headlights [...] The beams cut jaggedly through the night, throwing into sharp immediate relief the lava rocks, the broken windmill, the gutted house, the litter-strewn, unmarked at Adobe Flat. the Liz throws away the ignition key. Macreedy bails out of jeep, still holding the girl. CLOSE TWO SHOT - LIZ AND MACREEDY in rifle as they fall to the earth. Macreedy pins her down. Then quick succession, four emphatically loud SHOTS from a squirt into the shale around them. MACREEDY (harshly, through his teeth) You're stupid, Liz. You're a fool. If he finishes me, he's got to finish you. He looks up blindly into the headlights glaring from the granitic high ground some 60 yards away. His grip on the girl's shoulder is like a steel trap. He pushes her down beside Komako's grave, hugging the side of the jeep as a SHOT rips the gravel at their feet. Pulling the girl with him, he takes cover in the slight concavity of the grave. The jeep is between them and the headlights -- between them away. and the source of the gunfire. Liz struggles to break
Suddenly bullets kick up a storm around him. A bullet smashes into the flowers, exploding tiny cruel fragments of dirt into Macreedy's face. He gasps in pain, releasing Liz. He rubs his eyes as if to convince himself that he is not Liz breaks from the grave. Now, five yards from LIZ (calling toward the headlights) Smitty! Smitty! SMITH'S VOICE (o.s.) I'm here, honey. Just head for the car. Liz half turns, facing Macreedy with a vicious smile... LIZ (an almost bantering voice) So long, Macreedy. She starts toward the headlights. GO WITH LIZ She reaches the foot of the rocky ridge, with the two enormous eyes on top. She begins to climb, up... up... SMITH (o.s.) Just a few more steps, honey. She is almost at the top; a vertically sheer rock about five his feet high separates her from it. She looks up at Smith, towering over her at the edge of the precipice. He holds rifle almost languorously. LIZ (breathlessly) Get him! Get him now! SMITH (easily) First things first, honey. The girl is frightened by the menace in Smith's voice. LIZ
(unsure, reaching out her hand) Help me up, Smitty. SMITH You were going to help me, Liz. (she looks at him quizzically) I still need your help. LIZ (confused) I did what you said... SMITH You two started out in a car. That's the way you'll end up. Over a cliff, burning. (she tries to interrupt him, but he goes on...) You can blame that on Macreedy, too. He said I had too many witnesses. LIZ (dry whisper) But why me? Why start with me? SMITH I got to start with somebody. Her crazily He brings the rifle down, aiming almost casually at Liz. eyes go wide. She steps back, spins around, running down the steep incline. LIZ (yelling wildly) Macreedy! Macreedy! the corner her A SHOT rings out. She falls forward, rolling slowly down embankment. She lies there. Blood trickles from the of her pretty mouth. A rattling noise rises from deep in throat, and then subsides. In the silence the outline of Reno Smith emerges. Holding his rifle at the ready, his silhouette illuminated sharply the in the twin beams of light, he climbs down the side of cliff. He looks toward the jeep and Macreedy, not once at the girl at his feet.
LIZ (sadly, almost reproachfully) You shouldn't have done that... Smith pays no attention to her. He advances inexorably with rifle held at his hip. He fires at Macreedy. EXT. GRAVE Macreedy wipes the last of the fragments from his eyes. His Then narrow, crawls bullet ricocheting sound. familiar face is still streaked with dirt and shale. He turns, searching for something, anything, to fight back with. he remembers... Stiffening, his body set, his eyes he moves purposefully toward the front of the jeep and under it. Again Smith opens up on him. Bullet after pours into the confined space, nicking the wall, off the jeep with a frightening, fluttery, wheezing The firing stops again and in the silence we HEAR a TRICKLE, as in running water... EXT. RANCH - SMITH the re-loads his rifle. Stiffly, he starts slowly down over rocks toward his unarmed victim... MACREEDY with a screws collar. He has unscrewed the nut and unconnected the gas line the carburator. A spurt of gasoline is running out. With quick motion he picks up an empty whisky bottle from the litter-strewn earth. He fills it with gasoline, quickly the nut back on. Now he sweeps his necktie free of his Holding it with his teeth, he tears the felt lining free from its silk face. He twists half the lining inside the bottle, knotting the other end securely around the neck, leaving a long strand dangling. EXT. RANCH - CLOSE SHOT - SMITH
moving rigidly toward the hole. He stops, levels his rifle, fires. EXT. GRAVE - MACREEDY pinned down in the direct line of fire. The burst of the rifle stops. EXT. RANCH - SMITH carefully, not more than twenty-five yards away, advancing rifle at the ready. EXT. GRAVE - MACREEDY the the and The with ignite. on lights a match, placing the flame to the dangling end of tie. It catches. He flings himself to his feet and with same motion whips the fiery bottle like a football, hard straight toward Smith. Smith fires once, fast and wild. bottle crashes against the rocks at his feet and bursts a shattering explosion. Smith screams as the razor-sharp slivers rip his flesh. In a puff of flame, his clothes He drops the rifle and goes down, squirming frantically the black ashy ground. EXT. RANCH - FULL SHOT favoring Macreedy as he tears out of the hole. He hurls himself at Smith. Wooden-faced, almost dreamy-eyed, he the ashy dirt over Smith's prone chest, putting out the Smith struggles halfway to his feet. Macreedy grabs his shoulder, helping him up. Smith looks at Macreedy through eyes bleary with fear and pain and shock. SMITH (through his teeth) Go ahead -- kill me. Now. MACREEDY I'd like to kill you now, but you caused too much pain to die quickly. (a beat) You'll be tried in a court of law. You'll be convicted by a jury. Then you'll die.
head on hard.
He drives his right fist against Smith's chin. Smith's snaps back as far as it can go and then wobbles to rest his chest. He collapses. Macreedy blows out his breath He staggers to Liz. As he bends over her...
VE: EXT. BLACK ROCK - DAY (DAWN)
Liz's jeep, driven by Macreedy, rolls slowly down the empty tarp, the inches jeep He main street of the sleeping town. Behind him, under a the body of the girl lies lifeless across the seat. On seat beside him is Smith's rifle, the balance a few from Macreedy's elbow. On the right front fender of the Smith sits precariously, his shirt scorched and ragged. wears a sullen expression of pained indifference. In b.g., as the jeep passes, isolated lights go on, first in Doc's house, then in two or three others. Macreedy is oblivious to them. EXT. JAIL - CLOSE SHOT - A MAN of to long, almost completely hidden, looks out grimly from a corner the jail window. Protruding through the bars, swiveling follow the progress of the jeep down the street, is the ugly muzzle of a rifle. EXT. MAIN STREET - JEEP as Macreedy pulls up to the curb in front of the jail and cuts the ignition. He grabs the rifle, and steps around to Smith. MACREEDY (tonelessly, prodding Smith off the fender with his rifle) Hands behind your head.
Smith complies. EXT. JAIL as Macreedy marches Smith up the steps. The jail door opens. carrying silence. rifle, A man emerges, wearing a Mackinaw over his vest and a rifle. It is Tim. For a moment Macreedy eyes him in His gun finger tightens on the rifle in his hand. Tim's too, is at the ready... MACREEDY (after a beat) Am I going to have trouble with you? TIM Nope. But I sure thought the situation was going to be like reversed. I thought I was going to have trouble... (nodding sharply in Smith's direction) ...with him. I'll take care of him. MACREEDY (still hesitating) Just as you took care of his buddies? TIM Just as I took care of his buddies. Me, an' Doc, and Pete... The SOUND of running feet padding along the dirt road increases on SOUND TRACK. Macreedy turns slightly, to see Doc huffing toward him. The older man climbs the jail steps the and comes to an abrupt halt, his eyes going from one to other of the two men in the stand-off. DOC (to Macreedy) It's all right, Macreedy... He pulls Tim's Mackinaw to one side, revealing the silverplated star pinned at the breast. DOC Old Tim here's got his badge back. his, Macreedy swings his rifle from Tim to Smith. Tim lowers stepping to one side, allowing Smith, covered by
Macreedy, to enter the jail. He goes in, Doc following. Pete sits silently at Tim's desk. INT. JAIL In one of the two cells are Coley and Hector. In the other, Sam and Hastings. MACREEDY (looking around) Well. The gang is all here. TIM I thought I'd take one last whack at my job. Even if Smith killed me for it. MACREEDY (jerking his head toward Smith) Put him in with Hastings. Tim turns his key in the cell door. Macreedy tiredly goes to Pete at the desk. MACREEDY Your sister's outside, Pete. Pete rises. Macreedy halts him momentarily, gripping his arm... MACREEDY (flatly) She's dead. Pete walks dazedly out the door. Tim grabs Smith's shoulder it harshly... VE: EXT. HOTEL - BLACK ROCK - DAY The townspeople, with Doc f.g., are gathered silently in the Doc door street, staring sadly, dumbly at the hotel before them. wears a dark business suit, neat and conservative. The DISSOL and propels him roughly through the cell door. He slams hard. As the clatter of the iron door reverberates
opens (o.s.) and the people look up, their eyes lighting with expectancy. WHAT THEY SEE For a people streamimmediately silent, Macreedy comes out of the door, carrying his suitcase. moment he pauses, looking at the uplifted faces of the in the street. In the distance we HEAR the horn of a liner. Macreedy goes down the steps, skirts the watching crowd and heads for the railroad station. Almost Doc falls in step with him. The townspeople, still trail after them MOVING SHOT - MACREEDY AND DOC in f.g., the townspeople behind them. In b.g., as we pass, entered we see the main street just as we saw it when Macreedy town a few short hours ago. MACREEDY (walking, after a beat, to Doc) Tim knows where to find me if I'm needed. Doc nods. He blinks and frowns... MACREEDY What's on your mind, Doc? DOC Nothing. Only... about that medal. Can we have it? MACREEDY "We...?" Can who have it? DOC We. (indicating the townspeople, with a vague wave of his hand) MACREEDY Why? DOC
Well, we need it, I guess. It's something we can maybe build on. This town is wrecked, just as bad as if it was bombed out. Maybe it can come back... MACREEDY Some towns come back. Some don't. It depends on the people. A NOISE o.s. attracts Macreedy's attention. He turns, as do Doc and the townsmen. WHAT THEY SEE In front of the jail, each of them handcuffed, are Smith, Coley, Hector, Sam and Hastings. Tim and four cops escort them to two State Police cars which are parked beside Tim's member HIS have arm old sedan and another car (presumably belonging to a of the press). The newspaperman (WITHOUT A PRESS CARD IN HAT) stands to one side with Pete. Pete as well as Tim changed clothes; they look clean and trim. Coley has his in a sling. Hector's hat hides the bandage on his head. BACK TO SCENE Macreedy resumes walking toward the abandoned station, with pulls Doc at his side and the people behind him. The train in. DOC (still pressing) That medal would help. Macreedy is silent. He walks on, to the platform. He pauses, Doc. the it looking at the people silently in his wake and then at He takes a black velvet-covered box from his pocket -box containing the medal -- looks at it, and slowly hands to Doc. DOC Thanks, Macreedy. Thanks for everything.
Macreedy turns and exits from SHOT. The people look after him. EXT. PLATFORM as Macreedy boards the train. EXT. STREET the The cars in front of the jail U-turn and start off with prisoners. The people move silently toward the train. EXT. TRAIN out. Macreedy is at the passageway. Slowly the train moves INT. PASSAGEWAY OF TRAIN Macreedy and a conductor stand at the doorway. The town is seen behind them and the people standing there. In the distance, Tim's car recedes. CONDUCTOR (curiously) What's the excitement? What happened? A shooting. MACREEDY
CONDUCTOR I knew it was something. First time a streamliner stopped here in four years. Second time. MACREEDY
He walks into the train. LONG SHOT - TRAIN gathering speed, diminishing, far, far into the horizon. FADE OUT: THE END NOTES type Note from page : (1) The sign should be of whatever is feasible and compatible to terrain, emphasizing the
remoteness of Black Rock. It should list three cities with arrows pointing in the proper directions: SAND CITY 32 MILES PHOENIX 156 MILES
Bad Day at Black Rock
Writers : Don McGuire Millard Kaufman Howard Breslin Genres : Drama Thriller Western User Comments
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