"CARLITO'S WAY" (1993)

Everything is crazy -- faces and bits of ceiling and white fluorescent tubes streaking by overhead. The sounds we hear, too, are chaotic -- metal CLANKING against metal, SHOUTS of confusion, wheels SQUEAKING. Over the noise, there is a voice, tired and weak.

A FACE leans into the screen, a MED-TECH's face, staring down at us with grave concern as we move, fast, through this crowded place.

CARLITO BRIGANTE, mid-forties, Puerto Rican-American, lies on his back on a gurney, drifting on the edge of consciousness as he's hustled down this very long corridor, wherever it is. Carlito's whole body lurches suddenly as the gurney jerks to a stop, the wheels stuck in a deep metal groove in the floor.

The MED-TECHS SHOUT at each other, working to get the gurney up and moving again.

As they work, Carlito's head lolls off to the side weakly. He's staring at a mural, painted along one wall. It's a beach scene, deserted, idyllic, nothing but waves and sand and palm trees. A legend over it seems incongruous:

NEW YORK, 1975

Carlito's VOICE continues as the mural seems to come alive ever so slightly, the palm tree swaying just a tiny bit, the water shimmering and lapping.

2. 14th Rev. 6/1/93 (Blue)

CONTINUED: 1

The bright white of the beach scene becomes even brighter, harsher, and finally is bleached out entirely by --

--_the hard, flat fluorescents of a New York City. courtroom. | CARLITO, maybe only six months younger but much healthier, ; stands in front of JUDGE FEINSTEIN, sixtyish, in a downtown courtroom. The place is packed with DEFENDANTS, LAWYERS, and other interested parties. Rain pours down outside the huge windows.

It’s a full day, and Feinstein has his head in his hands as he listens to Carlito. Apparently this has been going on for some time.

Carlito’s lawyer stands up next to him. DAVID KLEINFELD is in his mid to late thirties, expensively dressed and groomed. He’s made a lot of money, recently, and by himself.

He is flanked by two young, well-dressed AIDES.

3. 18th rev. 6/25/93 (green)

FEINSTEIN.

There’s no vindication here, counselor. Or absolution, or benediction, or anything other than an incredible convergence of circumstances which you have exploited to your client’s benefit.

He glances at WILLIAM NORWALK, the prosecutor, fortyish, who is listening to all of this with a look of absolute contempt.

Your honor, with all due respect, past and present, and without further to-do, let me insure this court that I am through walking on the wild side. I been tryin’ to tell you I been sick with the social ills known in the ghetto. But my time in the correctional facilities of Atlanta (X) and Lewisburg has not been in vain. I been cured. Born again, like the Watergaters. I know you heard this rap before, but I mean it. I changed. And it didn’t take no thirty years, like your honor thought, but only five. Only five years since you sent me up, and look at me.

(MORE)

3A. 14th Rev. 6/1/93 (Blue)

He gestures to the prosecutor.

4. 14th Rev. 6/1/93 (Blue)

CONTINUED: 3 2

He sighs and turns to the file in front of him, Carlito’s paperwork.

FEINSTEIN (cont/d)

The Court of Appeals’ decision -—- (pointedly, to Norwalk)

-- and the District Attorney’s unfortunate investigative techniques -- now devolve upon me the painful duty of unleashing upon society a reputed assassin and convicted purveyor of narcotics --

Once again, your honor, thank you for your patience and forbearance --

He BANGS the gavel in disgust. Kleinfeld packs up quickly and heads for the door. :

Carlito’s right behind him, but as he passes Norwalk’s table, he stops and holds out his hand to the Prosecutor, to shake. °

Norwalk doesn’t shake, just continues to pack up his papers, staring at Carlito long and hard.

5. 15th Rev. 6/7/93 (Pink)

CONTINUED: 4 2

There is an awkward moment while Norwalk holds his gaze on Carlito, but Kleinfeld ends it by grabbing Carlito’s arm and hustling him out of the courtroom.

As they leave, Carlito looks back, over his shoulder. Norwalk is still staring at him, and does so until he is out the door of the courtroom.

CARLITO and KLEINFELD hustle out of the courtroom and down the

corridor, flanked by Kleinfeld’s ASSISTANTS. They walk fast, Kleinfeld in a hurry, Carlito giddy with freedom.

KLEINFELD

Jesus, that’s some line of shit you

handed him. (X) CARLITO

It was no line, Dave. I meant what (X)

I said.

They pass a couple of uniformed COPS who are waiting in the hallway and Carlito practically SHOUTS to them.

Carlito turns abruptly to Kleinfeld, grabs his face, and kisses him loudly on the cheek. The Cops just stare at Kleinfeld, unamused. Kleinfeld smiles awkwardly at them and drags Carlito off down the corridor.

Carlito throws his head back and WHOOPS with joy as they head off down the hall.

cuT TO:

A SINGER SCREAMS on stage as a Brazilian band strikes up a hot samba. This place is full of life, lots of foliage, horns, and energy. Everyone is dancing, drunk, wild. CARLITO and KLEINFELD are on the dance floor, looking sharp as

hell. Carlito has changed, he’s in a suit just as expensive as Kleinfeld’s. They’re dancing with two WOMEN, very hot.

6. 10/7/92

4 CONTINUED:

Carlito dances freely, but Kleinfeld’s style is more buttoned-down.

Carlito turns back to her and they dance together, close. But after a moment Kleinfeld is back, next to him.

The First Woman stops dancing, puts her hands on her hips, and stares at Carlito.

Carlito, not missing a beat, sambas with his lawyer.

Later, and now CARLITO and KLEINFELD are at a table that is covered with empties. They are noticeably drunker. The WOMEN are out on the dance floor, dancing with each other.

CARLITO

Look at you, man. You really made somethin’ of your life.

Le

Fie 9th Rev. 5/6/93 (Salmon)

CONTINUED: 5

KLEINFELD

Fuck you! I pulled a rabbit outta the hat on that one too and you know it!

The Women, who are at the edge of the dance floor, gesture and SHOUT for them to come out and dance. Kleinfeld and Carlito look at them for a moment, admiringly, then Kleinfeld turns back to Carlito.

The Women give up and head back out onto the dance floor.

7A. 9th Rev. 5/6/93 (Salmon)

8. 10/7/92

CONTINUED: 2 §

Several hours later, the crowd is thinning out, and KLEINFELD and CARLITO have moved over to the bar. They’re really plowed now, their jackets off, their ties undone, and they’re knocking back another shot. The WOMEN sit on either side of them, ignored, bored out of their skulls.

The Second Woman LAUGHS.

Carlito shifts in his seat, uncomfortable. He looks at the Women, who are getting up.

. FIRST WOMAN We’re going to the little girls’ room.

As they leave, Carlito seems more at ease, but he still speaks quietly, like it’s a secret.

D's 7th Rev. 4/14/93 (Goldenrod)

Kleinfeld doesn’t say anything, just stares at Carlito. Finally, he bursts into laughter.

CARLITO

Yeah. He laughs harder.

Kleinfeld finds this even funnier.

Kleinfeld bursts into laughter again. He lifts his drink, toasting Carlito.

10-11A. 18th rev. 6/25/93 (green)

CONTINUED: 2 6

Cor TO: OMITTED 7

PEOPLE swarm over the streets in Spanish Harlem, around 111th Street and Fifth Avenue. It’s a block party, but the weather didn’t cooperate -- it’s gray, dark, it either rained or is about to. PEOPLE crowd fire escapes and windows or stand around garbage cans filled with ice and beer.

CARLITO walks through it all, PEOPLE greeting him. GUAJIRO, a younger Puerto Rican, eighteen or nineteen years old, walks with him, grinning, clearly enjoying being seen with Carlito.

12. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 2 8

They come across a stickball game. MEN play hard, bandanas wrapped around their heads Apache-style and pant legs rolled up. A GUY hits a double and rips his pants sliding on a sewer cap. ‘

The Guy gets up and sees Carlito.

Carlito turns and looks at the guy. PACHANGA is a short, volatile Puerto Rican in his thirties, very much of the street. He leaves second base without a second thought.

Pachanga hurries up to Carlito excitedly. A nasty argument ensues at second base, which he ignores.

They embrace, hard.

They walk off, through the crowd, leaving the argument over the game behind. Guajiro follows. A couple KIDS, late teens, notice Carlito and fall in next to Guajiro.

13. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 3 8

The Kids fall in- behind as well; Carlito develops a little entourage as he moves through the crowd. At the front, Pachanga has his arm securely around Carlito’s shoulders.

; PACHANGA Three times. State-time, fed-time, and --

CARLITO & PACHANGA -- dead-time.

Carlito looks around and shakes his head.

Pachanga sees somebody across the crowd and YELLS.

Another guy comes up, WALBERTO YEAMPIERRE, also in his late thirties, ridiculously overdressed, jewelry dripping from every conceivable appendage. A BODYGUARD hovers behind him.

Walberto screams "money" and Carlito notices.

He hugs Carlito, but with less real affection than Pachanga.

14. 7th Rev. 4/14/93 (Goldenrod)

8 CONTINUED: 4 8

WALBERTO (cont’d)

Been lookin’ all over for you! Shoulda figured I’d find you walkin’ around up here, doin’ a memory lane. Rolando wants to talk to you.

He starts to drag Carlito away from Pachanga.

. PACHANGA Eh, Carlito, I gotta get back to the game, I’m on base. You need (X)

somethin’, you call me, okay? Bodyguard, anything, okay?

Walberto pulls Carlito away, leaving Pachanga behind. Guajiro starts to follow, but Carlito turns back to him.

Carlito follows Walberto. Walberto throws a look over his shoulder to Guajiro, who lingers behind.

9 AROUND THE CORNER, 9

they see ROLANDO RIVAS-BARCELO, mid-forties, a big Cuban in a white suit, white hat, and black sunglasses. He sits ina ' chair in front of a bodega, under an umbrella, BODYGUARDS on all sides, watching the festival with detached amusement. He sees Carlito coming and raises his arms halfway in greeting, like the pope or something.

He stands as Carlito draws up to him and folds him in an embrace. Carlito is the first to pull out. Rolando holds Carlito’s face in his hands.

Rolando sits. Carlito sits

15. 7th Rev. 4/14/93 (Goldenrod)

; ROLANDO I said a prayer for you while you were inside, Carlito. That harm would come to him who harmed you.

One of his Bodyguards produces another chair and next to him. Rolando signals for drinks.

ROLANDO

Business is good. CARLITO

Smack? . (X) ROLANDO

(shakes his head _ no) The coca business, hermano. That’s all there is now. Heroin is dead. We made our bones in it, but times have changed. There’s only cocaine. (X)

One of the Bodyguards comes out of the bodega with two drinks and puts them on the table.

After you got sent up, I went down to Bogota, made a few connections, and set up a route. Now we service Baltimore, Detroit, Washington, Philly -- but you know all this, right?

Rolando takes off his sunglasses and stares at Carlito.

16. 7th Rev. 4/14/93 (Goldenrod)

9 CONTINUED: 2 9

you. CARLITO I don’t want anything from you, Rolando. ROLANDO

Who are you working with?

Rolando sits back and laughs at what he assumes is a joke. Walberto joins in. Carlito does not.

Walberto steps forward.

Brigante?

WALBERTO

What is this? Carlito, you a player. You heavy duty. Uptown, downtown, very heavy duty. I seen you totala Cadillac on a pillar on the West Side Highway in the mornin’ and be drivin’ a new Lincoln down 96th Street by nighttime.

Carlito shrugs and looks away. A moment goes by. Rolando and Walberto exchange a look.

17. 2nd Rev. 2/16/93 (Pink)

CONTINUED: 3 9 — CARLITO Religion, yeah, I'm gonna study to be a priest. ROLANDO

Tell you what, Father. I'11 make your first charity contribution.

He reaches into his pocket and pulls out a thick wad of hundreds. He counts out ten and tosses them on the table in front of Carlito. Carlito eyes the money. Everyone else eyes Carlito. This is clearly an insult, and they're waiting to see what he'll do.

Carlito just looks at Rolando, straight in the eye. He stands, leaving the money where it is.

He turns and walks away, Guajiro falling in behind him. Rolando and Walberto watch him go.

As Carlito and Guajiro blend into the crowd, Carlito looks back over his shoulder. He sees Rolando throw his head back and laugh at something Walberto says.

The sun has just gone down and it's dark already. CARLITO rides, GUAJIRO drives an old Monte Carlo across town on 110th Street. i

CARLITO

Pablo Cabrales? Ah, don't get involved with that shit.

a1

18. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 10

He opens his jacket, showing Carlito a thick envelope stuffed in the inside pocket.

see who my backup is, they’11 shit their pants.

Carlito checks his watch.

Guajiro turns down Central Park West, heading down into the low 100s.

An OLD BARBER cuts a YOUNGER BARBER’s hair in a smallish barber shop as CARLITO and GUAJIRO come in. The Old Barber looks up

at them and nods to Guajiro as they head ana the shop and into the back.

19 4th Rev. 3/22/93 (Yellow)

The back room of the barber shop is a small, dingy place, one bulb, barred windows, a door to a tiny bathroon. FOUR DOMINICANS, eighteen or nineteen years old, good-looking, expensively dressed, are playing pool with TWO NEIGHBORHOOD GIRLS, a little younger, sexy.

CARLITO and GUAJIRO come in. Carlito looks around at the dingy surroundings and smiles to himself, like a professional sizing up minor leaguers.

They all look up. Guajiro turns to QUISQUEYA, also Dominican, a little older than the other three, who is already looking at (xX) Carlito, suspicious.

Quisqueya looks at the other Dominicans and they BhakS their heads.

came along for the ride. Quisqueya still looks at him suspiciously.

Now their eyes light up with recognition.

20. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 2 12

Carlito shrugs modestly as the other four Dominicans crowd around him, near the pool table.

Quisqueya puts an arm around Guajiro, who takes the money out of his pocket and hands it to him. Quisqueya takes it and leads him over to the bar.

AT THE POOL TABLE,

the game resumes. One of the Dominican’s Girlfriends smiles at Carlito. He smiles back. Her Boyfriend doesn’t like it, and puts his arm around her possessively.

Carlito’s eyes are darting around the room, taking in everything. He looks across the way, to a small door that probably leads to a bathroom. The door is just slightly ajar, the light on inside.

ahead of Carlito and cuts him off before the bathroom.

Carlito finds the Dominican’s response odd. He nods and heads (X) back to the pool table.

pack of cigarettes. We see there is a pack of matches Staak tA the plastic wrapper of the pack.

20A. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 3 12

Carlito looks over at Guajiro and Quisqueya, who are huddled at the bar, deep in conversation.

He looks back at the Dominican Kid, who avoids his gaze. Carlito thinks. He turns the pack, hiding the matches from the Dominican Kid.

The Kid pushes back his jacket to reach into his pocket for matches. As he does, Carlito notices the glint of the butt end of a gun tucked into his belt.

One of the four Dominicans playing pool wanders over to the jukebox, drops a dime in, and picks a song.

21. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 4 12 AT THE POOL TABLE,

Carlito sneaks a look over to the bathroom door again. There is a shaft of light coming. under it, just a sliver, but it’s enough so Carlito can see shadows moving inside, a pair of feet. Waiting.

Carlito looks away, stiffening, mind racing. He shoots another look over to the jukebox. The Second Dominican reaches behind it and adjusts something, turning up the volume.

Loud. Like to cover something. AT THE BAR,

Quisqueya is counting the money, very slowly. He looks up at Guajiro and nods over to a soda cooler at the end of the bar.

Guajiro nods and heads down the bar. Quisqueya keeps counting the money, with hawk’s eyes.

AT THE POOL TABLE,

beads of sweat have popped out on Carlito’s forehead. Making a decision --

-- he steps forward and cuts in front of one of the Dominicans, who is about to rack up the pool balls for another game.

(X)

(X)

(X)

(X)

21A. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 5 12 AT THE BAR,

Quisqueya is still counting the money, nearing the end of the stack.

Guajiro is at the cooler, his arm in up to the elbow as he searches for a beer.

Sure, way down in. (to the Dominican at the jukebox)

Help him find one.

AT THE POOL TABLE,

Carlito’s moving the balls around on the table, arranging them in an odd combination.

22. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 6 12

The Dominican in the mirror shades looks up. (X

AT THE BAR, Quisqueya is counting the last few bills. QUISQUEYA You mean, you didn’t hear the news about him?

‘AT THE POOL TABLE,

Carlito puts the cue ball on top of a piece of chalk and (X} another ball, near the side pocket, on top of another piece = chalk. He’s giving the Dominican in the mirror shades instructions.

The Kid nods I think so, bending down, holding his finger on. (X) top of the ball. Carlito turns to another Dominican, on his’ left.

The Dominican nods. They’re both where he wants them to be, (X) and Carlito now has a perfect view of the bathroom door, reflected in the mirror shades. Carlito looks up and smiles.

22a. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 7 12

AT THE BAR, Quisqueya counts the last bill.

Everything happens at. once. The Dominican at the soda cooler SLAMS the sliding silver door shut, CRUNCHING Guajiro’s elbow and trapping his arm there --

-- Guajiro SCREAMS in pain --

-- the door to the bathroom flies open and the KNIFE MAN who was hiding inside flies out --

-- Carlito WHAPS the ball, digging under it, sending it flying into the forehead of the Dominican in the sunglasses =

-- the Knife Man cuts Guajiro once across the throat and buries the knife in his back --

-- Carlito WHAPS the pool cue across the face of the Dominican next to him, stripping him of his gun as they both hit the floor --

-- the Girls SCREAM and bolt from the room ~~

-- and Carlito FIRES. He SLAMS a shot into the Knife Man before he can turn, sending him flying against the wall, and another shot through Quisqueya’s teeth, killing him. The money drops to the floor and Quisqueya drops on top of it.

Carlito scrambles across the floor, along the length of the pool table. The Dominican he smashed with the cue is out cold, but the other two Dominicans that were playing pool,’ including the one he hit with pool ball, have their guns out and are after him. Carlito FIRES four shots at them as he crabwalks for the bathroom.

23. 4th Rev. 3/22/93 (Yellow)

12 CONTINUED: 8 12 Huge chunks of splintered pool table fly up, somebody SCREAMS and goes down, and a SHOT ZIPS across Carlito’s back, grazing him, cutting a line through his jacket. He reacts to it but continues on, diving over the body of the Knife Man and into the bathroom.

13. IN THE BATHROOM, 13 Ger itte kills the light and scrambles across the floor, into a stall.

A few more SHOTS are fired in the general direction of the bathroom, but nobody seems about ready to charge into the darkened room. Carlito flips open the gun he got from the Dominican and dumps the spent shell casings, which PING across the tile floor. CARLITO (shouting) Maricones! You little fuckin’ (X} maricones! I’m reloaded, come on in and get me! He looks down at the gun. The cylinder is still empty. He flips it shut as noisily as possible and closes his eyes. He takes a deep breath and works himself up into a rage, like a lion roaring. CARLITO (cont/d) You don’t wanna come in, mother fuckers? Then I’m comin’ out! I/m gonna blow your fuckin’ brains out! You up against it now, mother (X} fuckers, you leavin’ your balls on the fuckin’ barbed wire this time! You thing you’re bigtime?! You/’re gonna fuckin’ die bigtime! He stops abruptly, listening, to hear if they’re still there. Silence. He touches his back, comes up with blood on his hand. CARLITO (cont/’d) (screaming again) Okay! You ready out there?! You (X) all gonna die here now, maricones, now, NOW, Now! Still nothing from outside. After a few seconds, he crawls to the door of the bathroom and looks out. He can’t see anything. He waits a few seconds, then crawls out into the dark room. 14 14 THRU OMITTED THRU

23A-24,. 2nd Rev. 2/16/93 (Pink)

IN THE MAIN ROOM, 18

Carlito edges out the door, waving his empty weapon here and there frantically. Nobody there.

He peers out into the barber shop. Empty.

Satisfied they're gone, he hurries over to Guajiro's body. He is clearly dead.

A SOUND from the street startles him. He looks up, realizing he's still not safe here.

He gets up, goes to Quisqueya's body, and kicks him over roughly onto his back. The money is on the floor, spotted with blood. Carlito turns back to Guajiro, looking at him sadly, reluctantly.

He scoops up the money, stuffs it in his pocket and hurries out the door.

CARLITO comes out of the barber shop, trying to look as nonchalant as possible. SIRENS WAIL a few blocks away as he hurries down the street, head bobbing this way and that.

A GUY races past him, toward the barber shop, and he bumps Carlito as he passes. Carlito turns, ready for conflict, but the Guy doesn't turn back, just keeps on.

Lo

25. 10/7/92

CONTINUED: 19

Carlito turns and hurries on, tense, hands in pockets, every face that passes him unfamiliar and threatening.

He turns another corner, surreptitiously wipes the handle and trigger of the revolver on his shirt, and chucks it ina dumpster.

David Kleinfeld’s office overlooks a rainy Columbus Circle. KLEINFELD sits behind a large desk that is on a sort of pedestal, to properly elevate the Lawyer above the Client. The office itself is expensively furnished, jammed with Spanish furniture and assorted nautical artifacts.

CARLITO sits in a low-slung leather chair across from Kleinfeld.

He sits back

He BANGS the

26. 16th Rev. 6/18/93

in his chair and looks at Carlito.

desk, changing the subject.

(Yellow)

(X)

(X)

27» 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 2 . 20

"El Barco," the nightclub, is up on 125th Street. CARLITO walks past two BOUNCERS at the door and goes inside.

CARLITO comes into the place. It’s very 1975 -- square shaped bar with knockout BARMAIDS behind it, spinning lights, glass and metal fake walls, pink smoke, the works. Crowded.

Popular. Stairs to an upstairs area are guarded by even bigger BOUNCERS.

A man makes his way across the place toward Carlito. SASO is a big guy, sixtyish, Argentine, spotless white tropical suit.

He wraps Carlito in a bear hug.

28. 9th Rev. 5/6/93 (Salmon)

make --

{recoiling from a smell) "Ooooh, what’s that smell?" "Saso, man, that’s Saso!" Won’t be no

"Ron" shit then.

Saso swallows, thinking of the picture Carlito has painted.

(X)

(X)

(X)

(X)

29-< 7th Rev. 4/14/93 (Goldenrod)

The club is packed. CARLITO’s VOICE comes over as he moves through the crowd. PACHANGA, the Puerto Rican he met on the street up in Spanish Harlem, dogs his footsteps in a brand new suit, impressed with himself and with Carlito, whom he apparently works for now.

CARLITO

Kleinfeld. I hope you do a better job with him than you do with me.

He stops abruptly, his face hard. Pachanga stops, surprised.

30% ist Rev. 2/10/93 (Blue)

CONTINUED: 23 CARLITO Well, don't fuck around. Keep your

eyes open. There's people stealin' money off the bar.

PACHANGA

I try, man, but it's too fockin' dark in here.

RUDY, a waiter, comes up to them, distraught.

RUDY

Hey, Carlito, guy over there says he don't have to pay.

Rudy leads Carlito to a table in the corner. Pachanga follows.

They come to a table in the corner. There are three MEN and (X)

three WOMEN at the table, the men with long roll collars, heavy Cuban gold bracelets.

BENNY BLANCO, mid-twenties, Hispanic, sitting in the middle, is seemingly in charge. He's dressed, head to toe, in gray, except for his starched white shirt. Gray suit, gray shoes, gray stick pin through his gray tie.

for hin. (as if we should know) I'm Benny Blanco, from the Bronx.

You're Carlito Brigante, man!

30A. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 2 23

The Guy fumbles to come up with a stack of cash that he shoves at Carlito. Carlito just looks at it.

The Guy jumps out of the booth and starts counting off the money to Rudy.

The Guy scampers off for a chair while Blanco looks at Carlito admiringly.

The Guy returns with a chair. BLANCO (cont/’d) Here! Sit down, Mr. Brigante, sit down.

23A

Bikey 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 3 23

He turns and walks away, leaving Blanco perplexed. Pachanga follows. Carlito MUTTERS as he crosses the club.

cur TO:

It’s late, or early, and the crowd has thinned considerably.

CARLITO is at the bar, going over the books as two WAITERS (X) unload a few crates of booze. They work from a small, low door behind the bar that opens up onto a narrow staircase down into

the alley. Carlito looks up and catches sight of something in

the mirror over the bar and turns around.

On the dance floor, he sees a pretty YOUNG WOMAN dancing alone. She’s a little drunk, but she’s a good dancer, free and uninhibited, using most of the empty dance floor to show her stuff.

A memory crosses Carlito’s face. He smiles, just watching the Woman dance.

AB voice breaks in.

Carlito turns around. STEFFIE, the barmaid, early twenties and sexy as hell, is refilling his drink. She’s friendly, flirty.

23A

THRU

- 31A-34. 2nd Rev. 2/16/93 (Pink)

CONTINUED: , 23A CARLITO I guess I'm what you call a workaholic. STEFFIE

What's the matter? Didn't you ever see nobody you like in here?

She smiles at him. Steffie's not subtle.

She laughs and moves off, down the bar, sparkling. Carlito smiles and shakes his head. He looks back up into the mirror, over the bar, and sees the reflection of the Dancing Woman.

OMITTED THRU

This is a gorgeous tropical beach, very much like the one we saw at the beginning of the movie. Everything's almost too vivid -- the blinding white sand, the azure sea, the perfect palm tree.

And GAIL. She's in her mid-twenties, with an unspoiled prettiness and a kind, open face. She's dancing on the beach,’ like the dancing woman in the club, just spinning in circles, kicking up sand and water.

Gail likes the beach.

CARLITO, looking younger, tan, healthy in shorts and a big shirt, stands a short distance away from Gail, watching her.

(X)

35. lst Rev. 2/10/93 (Blue)

CONTINUED: 27

He's almost transfixed, eyes for no one but this Dancing Girl on the Beach.

He approaches her.

CARLITO (v.o.)

She was from New York, moved there from Pittsburgh 'cause she was gonna be a superstar modern dancer artistic ballet-type.

Carlito reaches her and says something. She stops to talk, friendly. Something he says makes her laugh, a full, genuine laugh.

CARLITO and GAIL are at a table on the edge of the sand, having a drink.

The WAITER, black, tired and hostile, unloads two drinks from a tray and walks off. Gail watches him, concern in her face.

a9

36. lst Rev. 2/10/93 (Blue)

CONTINUED: 28

themselves. Feel good about things. You know, stop killing each other.

She has taken a joint from her purse, lit it, and taken a puff. She offers it to Carlito. He shakes his head.

She starts to stub out the joint, but Carlito rescues it, takes a hit, and then stubs it out. While he holds the hit:

It's nighttime outside a resort hotel somewhere on the island. CARLITO and GAIL walk, arm in arm, looking good. They're tanned, obviously happy, Carlito as relaxed as we'll ever see him.

37. ist Rev. 2/10/93 (Blue)

CARLITO and GAIL are at a crowded craps table, winning.

LALIN, a floor man, Carlito's age, Puerto Rican-American, a real good-looking bastard, is on a nearby dance floor, dancing (X) aos ae beautiful local WOMEN. He sees Carlito and his eyes

ight up.

Carlito sees Lalin approaching at the last second and steps in (X) front of Gail, trying to prevent an introduction.

And with such a beautiful lady. How do you do, miss, I --

situation here. Walberto and Monchin -- you know them, from 103rd Street? Over there, at the roulette table.

Carlito looks. WALBERTO YEAMPIERRE, Rolando's bodyguard from

the block party in Spanish Harlem, is at a roulette table (X) across the casino. He's six years younger, but still ina

tacky suit. MONCHIN, twenty-five year old muscle, is with him. They see Carlito and break into smiles.

37A. 2nd Rev. 2/16/93 (Pink)

CONTINUED: : 30

me. Maybe you can talk to 'em. I'd (X) appreciate it. (to Gail)

Miss? It'll just take him a minute.

Carlito looks at Gail. Her facial expression has changed completely. She really looks like a kid, wide-eyed at all this unfamiliar talk, and scared.

here that I gotta take care of. She doesn't say anything.

38. 2nd Rev. 2/16/93 (Pink)

CONTINUED: 2 30

But she still won't move, she just keeps looking from Carlito to Lalin, as if putting a lot of pieces together in her head.

They comin' over here now, Carlito. By the time Carlito turns, Walberto and Monchin are there.

Almost automatically, Carlito, Lalin, Walberto and Monchin

square off. Carlito tries to turn his body to biock Gail out

of it, but the confrontation is upon him and he has to keep an

eye on Walberto, whose hand keeps twitching toward his jacket

and the gun tucked into his belt. Carlito speaks fast and

hard, to get this over with. (He speaks in Spanish, which is subtitled. See appendix A.) (X)

CARLITO

No, I'm gonna straighten you out, Walberto. Don't you know there are heavy people into this casino? And you gonna come in here with some rice-and-beans shakedown? What are you, crazy?. Back off, motherfucker, and tell your man not to be bad-eyein' me, 'cause if he makes a move you gonna get the first shot in the face and my people here will take care of the rest. Okay?

(no answer) Okay?

There is a tense moment. Walberto and Monchin look from Carlito to each other to Carlito, taken aback.

39. lst Rev. 2/10/93 (Blue)

30 CONTINUED: 3 30 Carlito puts his arm around Lalin's shoulders.

Lalin, it looks to me like this was

all a misunderstanding. But from now

on, when you see these boys in this

establishment, you're gonna send over

a bottle of champagne right away. Do

the right thing, okay?

CARLITO hurries out the door of the casino and catches up to Gail. She's not shocked any more, just pissed.

She turns and walks away. He follows her, persuasive. (X)

31 CONTINUED:

39A. Ist Rev. 2/10/93 (Blue)

3h

31 CONTINUED:

40. 10/7/92

at.

A faint smile crosses her face. He knows he’s getting to her, so he plays on with the same tune.

Here. Tonight. A working man was being abused by two hoodlums, I jump in and prevent a problem. I can’t believe you’d even think of walking out on me without giving me a chance to explain. - You gotta understand what it’s like to come up ina jungle.

Now Gail is really beginning to be swayed, and Carlito just fixes his big brown eyes on her. His VOICE OVER sneaks in:

Gail just stares at him, smiling. Carlito backs down, smiling

back.

He puts his hands on her face and looks her straight in the

eyes.

cur TO:

41. 7th Rev. 4/14/93 (Goldenrod)

Back in the club, CARLITO is still at the bar, still watching the WOMAN on the dance floor, still lost in his memory.

The song ends and the Woman makes her way back to a booth where her BOYFRIEND waits. She slides in and kisses him, very much in love, eyes only for each other. Steffie brings a bottle of champagne in a bucket over to them. They look up, surprised, and Steffie points across the room to Carlito.

Carlito raises his drink to them in a toast. They grin broadly and wave their thanks.

‘CUT TO:

A Mercedes Benz drives slowly across the bridge to Riker’s Island, over the choppy, murky waters below. Several huge prison barges are moored around the island’s shoreline, floating like garbage permanently stuck to the rocky shore.

TWO GUARDS wave DAVE KLEINFELD, who’s at the wheel of the Mercedes, through the checkpoint and into the prison parking area.

The counsel room of the prison is a low-ceilinged, partitioned place with a half dozen glass cubicles along the side walls. There is a UNIFORMED OFFICER behind a desk in the right-hand corner, but no other guards.

KLEINFELD enters and takes a seat in one of the cubicles. The visitor and prisoner sides are not separated by anything.

A door at the far end of the room opens and a CORRECTIONS OFFICER, black, leads a prisoner in.

TONY TAGLIALUCCI, mid-fifties, is of medium height, powerfully (xX) built, intimidating.

He sees Kleinfeld and shakes his head in disgust.

42. 7th Rev. 4/14/93 (Goldenrod)

Okay, Jackson, beat it.

; OFFICER Yes, sir, Mr. Taglialucci.

The Officer leaves. Taglialucci walks across the room and sits down opposite Kleinfeld.

He goes into handkerchief. livid.

minute. KLEINFELD (writing) Tony -- TAGLIALUCCILI Shut up.

a violent coughing spasm, finally spitting into a When he regains, his eyes are watering, his face

. TAGLIALUCCI (cont/’d) Kleinfeld. Never liked you. It’s not ‘cause you’/re a Jew. I’ve had Jew lawyers before. It’s ‘cause you’re a lying piece of shit. I give you a million bucks to make a simple payoff and it don’t happen.

Kleinfeld looks down at Taglialucci’s hands. They’re like

catcher’s mitts. He shuts up.

(X)

(X)

(X)

(X)

43. 14th Rev. 6/1/93 (Blue)

35 CONTINUED: 2 35

Kleinfeld swallows. He’s terrified, but tries not to show it. KLEINFELD

(almost a whisper) What do you want from me?

of the court, I can’t --—

44, 14th Rev. 6/1/93 (Blue)

35 CONTINUED: 3 35

up. KLEINFELD

You’11 drown in the East River. TAGLIALUCCI

I learned how to swim in the East

River! Kleinfeld shifts in his seat, hesitant.

Taglialucci leans forward.

He reaches out and presses his right forefinger into the table in front of Kleinfeld.

Kleinfeld looks up at him; looks his own death in the face. He nods quickly, agreeing.

He sits back and shakes his head with something close to admiration.

(X)

45. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 4 35

; KLEINFELD (reading from the pad) 555-5888. (X)

; TAGLIALUCCI Beautiful.

KLEINFELD drives out of the prison and out, onto the bridge again.

He doesn’t go far before he pulls over and gets out of the car.

He’s frantic, panicky, crying. He goes to the railing and grips it hard, trying to compose himself, but his cries are becoming terrified SOBS now. Down below, the water SLAPS against the pilings.

Back in his office, there’s a huge stack of paperwork on Kleinfeld’s desk. KLEINFELD himself, however, is ignoring it. He’s bent over a little mirror on top of the stack, snorting a line of coke.

He finishes it and tilts his head back, letting the drug drip down his throat, feeling it. It seems to help calm him, but he’s a frazzled mess, still in his overcoat. He leans down quickly and does another line, the other nostril. His desk intercom BUZZES. RECEPTIONIST (0.s.) Mr. Norwalk, from the district attorney’s office. KLEINFELD (clearing his throat) I said no calls.

He starts to lay out another line.

46. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 37

Kleinfeld freezes, the razor blade in midair. He runs his hands through his hair.

; RECEPTIONIST (0.s.) Mr. Kleinfeld?

Kleinfeld thinks for a moment, chewing his lip.

. KLEINFELD Give me a second.

He opens the bottom right drawer of his desk and stashes the mirror and the coke.

He wipes frantically at his upper lip, making sure no trace of the drug is visible.

Kleinfeld takes a deep breath and speaks with as much professionalism as possible.

He gets up, making sure one last time that there’s no evidence

of cocaine on him or his desk. He takes off his overcoat,

shoots his cuffs, and is almost to the door when it opens and WILLIAM NORWALK, the prosecuting attorney we saw at Carlito’s (X) hearing, walks in.

Norwalk smiles, not believing that for a second, and sits opposite the desk. Kleinfeld sits behind it.

There is a very long pause as Norwalk just stares at Kleinfeld. Finally:

47. 10/7/92

CONTINUED: 2 7 |

CARLITO walks alone, down the street. He’s looking up,

checking addresses. He slows, sees what he was looking for. It’s a block of slightly seedy brownstones. He goes to the door of one, checks the names scribbled next to the buzzers.

He runs his finger down the list of unfamiliar names. At first he goes past it, but then his finger stops, retraces its path, and runs slowly across one name.

"G. Brimfield."

Carlito pulls his finger back, to press the buzzer. But he doesn’t.

Tries again. Can’t.

CARLITO drops a cigarette butt and stubs it out with his shoe, next to three or four others.

He’s been sitting on some steps across the street, staring up at the building across the street. He looks up sharply as its door opens and someone comes out.

It’s GAIL. She’s only five or six years older than when he last saw her, but the years have taken their toll, and everything about her is different. She’s more weathered, a woman now, no trace of girl left about her.

She starts down the street, a bag over her shoulder. Carlito follows her, at a safe distance.

A few blocks further on, CARLITO watches as GAIL hurries up the steps of a converted brownstone. He wanders across the street, to get a look into the second floor, where lights are on and faint MUSIC can be heard.

But he can’t see enough. He turns and walks to the alley that runs along the side of the building.

He can see shadows moving up on the ceiling of the second floor now, but not much else.

There’s a fire escape on the adjoining building. He climbs it.

48. 10/7/92

41 UP ON THE FIRE ESCAPE, 41

Carlito gets to the second floor and looks across the alley, into the second floor of the building Gail went into.

It’s a rehearsal room, wooden floor, big mirror along one wall with a rail fastened to it.

Through the windows, Carlito can see a dance class in progress. It’s a small group, ballet. He watches for a few moments, but sees no sign of Gail.

The music stops, the group that was dancing sits, and another dancer goes to the middle of the floor, by herself.

It’s GAIL. The music starts, faintly heard out here, and Carlito sits down to watch her. She’s good. Not great, but her dance is full of heart and life.

As Carlito watches her, he can only faintly hear the music, but the sounds of the city seem to get louder around him -- cars HONK, A SIREN wails, somebody SHOUTS at somebody, a subway THUNDERS by underneath.

Carlito watches Gail, dancing her heart out. He’s enraptured.

GAIL comes out of the brownstone, after class, and flies down the steps. She walks briskly away, Serious City Face on.

She passes CARLITO, who’s leaning against the wall, but she doesn’t look twice.

She keeps walking. Carlito follows, playing with her.

Gail stops in her tracks. She turns to face him. Carlito smiles.

49. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 42

Gail breaks into a broad smile, and her face is transformed. She’s like a different person, a kid again.

CARLITO and GAIL are at a table in a restaurant, drinks in front of them.

GAIL

I was in the road company of "Songbird" last year, I played the governor’s daughter. It wasn’t a lead, but it was a great part. And I did a musical book show in Vegas for almost a year. Hated the weather. You ever been there?

50. 4th Rev. 3/22/93 (Yellow)

CONTINUED: 43

Carlito’s just looking at her, smiling.

Carlito doesn’t answer, just looks away, over her shoulder.

50A. 16th Rev. 6/18/93 (Yellow)

43 CONTINUED: 2 43

She just nods, pointedly not looking at him. There’s another uncomfortable pause.

What about this club of yours?

He looks at her for a second, hesitant, then starts to talk.

51. 8th Rev. 4/27/93 (Buff)

43 CONTINUED: 3 43

Gail looks at him, a million thoughts in her mind, and she’s not sharing them.

She starts to get up. Carlito jumps up with her.

She looks at him for a long moment, thinking about it.

She moves in and they embrace, a little awkwardly. Gail pulls out quickly and whispers in his ear.

52s 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 4 43

She gives him a quick kiss on the lips, turns, and she’s out the door in a second. Carlito just watches her leave.

CARLITO is in the smallish office of the club, quickly counting through a stack of bills. A small, fortress-like wall safe sits open in front of hin.

He tosses the stack into the safe, SLAMS it, and spins the dial.

Back downstairs, CARLITO sits at the bar with a drink, going over account books.

PACHANGA hurries across the club and up to Carlito.

How is he?!

Pachanga just shrugs evasively as Carlito heads off toward the office.

52A. 7th Rev. 4/14/93 (Goldenrod)

LALIN, the good-looking neighborhood guy Carlito bailed out in the casino in the Bahamas, is now fortyish, but he is old far before his time.

53. 10/7/92

CONTINUED: 46

He sits ina wheelchair in the middle of the office, taking an occasional hit of cocaine from a small one-hit box he clutches in his right hand, darting it up to his nose every couple of minutes, like a tick. He’s wearing a good suit, but nature is ravaging him.

CARLITO pauses in the door as he gets his first look at his friend’s deteriorated condition. He waits a minute, watching Lalin take another hit.

Finally, Carlito forces a smile on his face and comes all the way into the office. Lalin looks up.

Carlito goes to him and throws his arms around him. It’s a little difficult because of the wheelchair, and there is tension because of it.

I took a few in the back. When the street’s really mad at you, she don’t put you in a box --

(hits the wheelchair) -~- she puts you in one of these things.

CARLITO is lying on a couch in the office with a drink. LALIN continues to take a hit every now and then; he’s looking wired as hell. He’s taken out a rock of coke and is cutting it up with a long switchblade, to refill his box.

They’re laughing, it seems they’ve been talking for a long time.

LALIN ; You know, I seen that chick you use to go around with.

54. 10th Rev. 5/10/93 (Cherry)

No. I ain’t. I’m retired.

Lalin laughs and takes another hit of coke.

Carlito nods, but he’s thinking something. Lalin leans over, closer to him.

55. 10th Rev. 5/10/93 (Cherry)

47 CONTINUED: 2 47

CARLITO

Italians. Pleasant Avenue? (X) LALIN

No, downtown. They got the money. ; (X)

They’11 go up to twenty-five for a key if it’s good. And they want regular street people. 01d school,

you know? CARLITO

Stand-up guys. Like us, right Lalin? LALIN

Yeah, like us, babe. What do you

say? You, me -- maybe you bring in

the people you’re with now -- (X) CARLITO

What people? I told ‘ya, TI ain’t (X)

connected any more.

In a second, Carlito rips the switchblade out of Lalin’s hand and shoves it up against his neck, the tip of it pressing into Lalin’s adam’s apple. Carlito puts a finger to his lips, gesturing for Lalin not to make a sound.

Lalin stares at him, wide-eyed.

Carlito reaches slowly into Lalin’s shirt, and with a slight TEARING sound, pulls out a tiny microphone on the end of a wire. He RIPS the wire rig from Lalin’s chest, hurls the mike to the floor, and stomps on it, SMASHING it to bits.

The door to the office CRACKS open and PACHANGA comes in, having heard the shouting.

SSA. 10th Rev. 5/10/93 (Cherry)

CONTINUED: 3 47

He stops in the middle of his sentence, seeing Lalin’s shirt torn open, the bits of tape, and the smashed microphone on the

floor.

56. 10th Rev. 5/10/93 (Cherry)

47 CONTINUED: 4 47

Enraged, he pulls his gun as if he’s about to blow Lalin right ee of the chair, but Carlito stops him and shoves him to the oor.

He shoves Pachanga out and SLAMS the door behind him. lLalin begins to cry.

He reaches under the wheelchair and pulls out a white and pink box.

He hurls the box and it hits the wall behind Carlito.

There is a long pause. Lalin holds eye contact with Carlito as long as he can, then finally looks away, hanging his head.

57. 10th Rev. 5/10/93 (Cherry)

47 CONTINUED: 5 a7

got a tip you were dealin’ again, big time, like the old days.

Carlito paces, furious, frustrated.

Carlito backs off. He paces, thinking, livid.

Carlito turns and looks at him with pity.

cut TO:

CARLITO, agitated as hell, waits in an expensive hallway.

DAVID KLEINFELD, in a bathrobe, blinks sleep out of his eyes and opens his front door.

CARLITO

Some fuck told Norwalk I was dealin’ again.

58. 2nd Rev. 2/16/93 (Pink)

CONTINUED: 48

Kleinfeld just stares at him for a second, then throws the door wide open.

KLEINFELD pours two glasses of scotch while CARLITO paces, pissed off.

Kleinfeld gives one drink to Carlito and drinks deeply from his own.

59. 7th Rev. 4/14/93 (Goldenrod)

CARLITO walks around the corner of Forty-eighth and Broadway,

past a few places, not even sure what he’s looking for. He’s

about to give up when he stops, turns around, and looks across the street --

-~- in disbelief. Whatever he’s staring at is brightly lit, neon reflecting off his face.

CARLITO steps through the curtained entrance of a club and into the main room.

The Diamond Room is an upscale midtown place with a large, horseshoe-shaped stage that occupies the center of the room. The clientele, what you’d expect, stares at the stage raptly, a deadened look in their eyes as they watch --

-- a STRIPPER in the middle of her act.

Carlito looks shocked. A HOSTESS leads him to a table near the front and he sits down, tips her, and watches the Stripper.

She finishes her act, the crowd applauds lustily, and Carlito orders a drink as they wait for the next act.

The music starts. The crowd CHEERS. And the next stripper dances on stage. She’s good, a real dancer, very erotic. The first part of her act is teasing, mostly with her back toward us, but she works her way around as she reaches the front of the stage.

In one dramatic move, she turns fully around, facing the crowd from not very far away.

It’s GAIL. She tries to hide her double take as she catches eyes with Carlito, but the reaction is there.

They hold eye contact for a second -- and she moves on, back into her act.

CARLITO sits at the bar, a drink in front of him, untouched. GAIL, dressed in street clothes now and with a bag over her shoulder, comes up behind him and kisses him on the cheek.

Carlito turns to her, forcing a smile on his face, trying to hide his discomfort.

60. 8th Rev. 4/27/93 (Buff)

52 CONTINUED:

very, uh, ve -——

She leans forward, waiting for him to finish his sentence, but he can’t seem to.

% GAIL Sexy?

. GAIL Well, that is the desired effect. (as the Bartender gives her the drink) Thanks.

Two WHITE GUYS, thirtyish, business types in suits, stop next to Gail, looking at her almost reverently.

__. WHITE GUY 2 (nodding vigorously) Really. Wonderful.

They nod some more and back away, tripping over their own feet. Carlito just sits there, awkward as hell.

She looks at him sideways for a moment. He is massively uncomfortable.

60A. 8th Rev. 4/27/93 (Buff)

CONTINUED: 2

She just stares at him, letting him dig himself in deeper. CARLITO (cont’d) I mean, hey, this place is terrific, don’t get me wrong --

That’s deep enough. She sets down her glass, her feelings hurt.

(X)

(X)

52 CONTINUED:

He stares at down.

61. 14th Rev. 6/1/93 (Blue)

3 . 52

; CARLITO Woah, wait a minute, wait a minute, I didn’t say that, I --

her for a long moment, then looks away. She looks

He looks at the stage, trying to start over.

Gail smiles, go before he

appreciating the effort, but picks up her bag to can get his foot in his mouth again.

GAIL

Let it go.

(X)

61A. 8th Rev. 4/27/93 (Buff)

She heads for the door.

CARLITO

Why not? She looks at him over her shoulder, and finally, she smiles. GAIL Because then it wouldn’t be a surprise. She leaves. Carlito watches her go -- -- then grins and THUMPS the bar once. Progress.

(X)

(X)

62. 11th Rev. 5/18/93 (Tan)

Carlito’s club is doing moderate business, not packed, but no open tables either.

Across the club, BENNY BLANCO looks upset. He’s shouting at RUDY, the waiter, and waving his arms wildly. Rudy tries to calm him, backing away, promising something.

RUDY comes into the men’s room, eyes darting both ways. He doesn’t have to look long. GRUNTING and MOANING are coming from one of the stalls. Rudy looks up.

A woman’s hands are on the top edge of the stall, on either side.

He looks down. A man’s feet are between the woman’s feet, his pants around his ankles. The MOANING gets louder, edging up on GASPING. Rudy looks horrified. He hurries out.

CARLITO is at a table, having a‘drink. RUDY hurries up to him again.

Yeah, but she’s goin’ with Benny Blanco now.

(X)

(X)

(X)

(X)

(X)

(X)

(%)

(x)

53 « 1ith Rev. 5/18/93 (Tan)

CONTINUED: 55 RUDY Yeah, well, he’s here, and he saw (X) them go in. I think he might make trouble.

He points across the room, where BENNY BLANCO stands with his BODYGUARD. Benny points one long finger at Rudy and beckons (X) to him. Rudy swallows and crosses the room to him.

As he does, Kleinfeld and Steffie come back to the table, afterglowing all over the place and very unaware of Blanco’s presence.

Kleinfeld grins, proudly. They sit at the table, their backs still to Blanco. Kleinfeld pulls out a small vial of coke and dumps some on the back of his hand.

_STEFFIE (cont/d) Plus he got himself a Mercedes, he got himself a yacht --

He extends his hand to Steffie’s nose and she snorts the coke.

Carlito doesn’t say anything, just watches over their

shoulders, to where Blanco is talking to Rudy, who is nodding (X) vehemently. They finish their conversation and Rudy comes back across the dance floor, smiling nervously.

Steffie spins around quickly, sees Blanco, and gets panicky.

Que pasa? (%)

64. 11th Rev. 5/18/93 (Tan)

CONTINUED: 2 55

Kleinfeld looks around, all bluff and bravado from booze and coke.

Send it back.

Rudy swallows and takes it away.

Charles, please. You can’t do this. Benny spends a lot of money here.

65. 12th Rev. 5/24/93 (White)

CONTINUED: 3 55

Saso turns and looks over his shoulder. Blanco is now crossing the floor toward Carlito, his Bodyguard flanking him.

He makes a gesture of washing his hands in the air, then turns and walks quickly away as Blanco draws up to the table.

He comes up behind Steffie and Kleinfeld, facing Carlito, and puts his hands on Steffie’s shoulders. She’s shaking.

Maybe you don’t remember me --

There is a long pause as Blanco reacts to Carlito’s frontal assault. The two Women at the other end of the table get up and clear out, certain that hostilities are about to follow.

Steffie is frozen in her chair. Kleinfeld’s looking up at Blanco, contemptuous, coked up.

Blanco himself looks about to explode. Carlito’s just staring him down.

65A. 7th Rev. 4/14/93 (Goldenrod)

55 CONTINUED: 5 55

55A

66. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 6 55

There is another pause, and then Blanco reaches for Steffie, pulling her up from the table.

Now things really happen. Carlito leaps up from the table and Blanco’s Bodyguard steps forward.

From behind him, Pachanga and FOUR BOUNCERS appear from where (X) they were lurking just within earshot.

The Bouncers grab Blanco and liberate Steffie.

Dave Kleinfeld is on his feet too, pulling a snubnose out of his belt and shoving it in Blanco’s face.

Put it away, Dave.

He’s looking around the club, hoping they’re not attracting too much attention, but here and there people have noticed and are heading for the exits -- or sitting back to watch.

They hustle Blanco and his Bodyguard, who are struggling and SHOUTING, across the club, out the door.

Pachanga and the Bouncers have Blanco and his Bodyguard out of the club and on the landing at the top of the stairs.

67. 7th Rev. 4/14/93 (Goldenrod)

55A CONTINUED: 5SA

5S5B 55C

; CARLITO Hold it, hold it. Stop ‘’em here.

They do. Carlito steps right up to Blanco, his face only a few inches away. Blanco stares back at him, his eyes burning, showing no sign of fear or backing down.

(snaps his fingers)

You got that, kid?

You just don’t say these things. Carlito’ s arm flashes out, like a reflex, and his palm jams Blanco in the face. Blanco tumbles backwards, down the stairs, head over heels. It’s a long, hard, painful fall, and he lands in a heap at the bottom.

Kleinfeld HOOTS, loving this.

OMITTED 55B

The Bouncers slam BENNY BLANCO and his BODYGUARD up against the wall in the alley behind the bar. CARLITO moves right up to Blanco and gets in his face.

They do, finding a Derringer in a holster on his ankle. ; Pachanga pockets it. cCarlito’s still staring at Blanco, right into his eyes. Blanco gives it right back, even though he’s bloody, bruised, and breathing hard.

(X)

(X)

(X)

(X)

(X)

(X)

(X)

67A. 7th Rev. 4/14/93 (Goldenrod)

55C CONTINUED: 55Cc PACHANGA Let’s fuck him up, put him in the (X) trunk of his car, and drive him off the pier.

Blanco and Carlito just stare at each other.

Carlito and Blanco still stare at each other. PACHANGA (cont/d)

Carlito? It’ll be fun, man. Like the old days.

Carlito turns and walks quickly out of the alley. Behind him, Pachanga and the Bouncers throw Blanco and his Bodyguard to (X) the ground and start to kick the shit out of them. Carlito

just keeps walking. His face is concerned, vulnerable again as

his VOICE OVER returns: ,

Carlito stops at the mouth of the alley and looks back, over his shoulder. Pachanga and the Bouncers are staring at him, conferring silently among themselves.

Inv CLUB OFFICE NIGHT 56

CARLITO comes into the office, still coming down from the confrontation in the alley.

67B. 7th Rev. 4/14/93 (Goldenrod)

56 CONTINUED:

KLEINFELD follows, closing the door behind him. (X%) CARLITO Give me the piece, Dave. KLEINFELD What? CARLITO

Give me the fuckin’ gun. Since when are you such a tough guy? You/’re gonna get yourself killed.

68. 17th Rev. 6/21/93 (Green)

56 CONTINUED: 2 56

Kleinfeld looks at him, shakes his head, and gives Carlito the

gun. He slips his arm around his shoulders as Carlito puts the gun in a desk drawer.

something. CARLITO Talk to me now. KLEINFELD Saturday. I need visual aids. curt TO:

Dave Kleinfeld’s boat is a forty-five footer docked at a private pier at King’s Point, on the north shore of Long Island.

There’s a party going on in the yard along the shore, PEOPLE scattered everywhere, older MEN, much younger WOMEN.

There’s a pile of coke in the middle of a glass-topped table in the yard which everyone samples from time to time. COUPLES make out here and there, modesty not really an issue.

One Couple, on a chaise lounge, is particularly into it.

CARLITO is sitting on a stool at a bar that’s been set up on the grass, his back to it all, in the crowd but not of the crowd. STEFFIE comes up to him.

69. 17th Rev. 6/21/93 (Green)

KLEINFELD appears and sits down on the other side of Carlito. He’s wired.

KLEINFELD

What are you two talking about? STEFFIE

Fucking. KLEINFELD

Yeah, speaking of fucking, Steffie, look at those friends of yours. They’re embarrassing, for Christ’s sake.

(shouting to the Couple) Hey! Louie! Your chick’s giving you a handjob right in front of everybody! I got guests here! People are eating, for God’s sake!

The Guy and Girl rearrange their clothes and move happily into the house. Steffie laughs and heads into the party.

He does a hit of coke and pours himself a drink. He’s restless, upset. Carlito just stares at him.

69A. 17th Rev. 6/21/93 (Green)

CONTINUED: 2 By

Kleinfeld looks around, to make sure no one’s listening. He shakes his head, like this is a subject he can’t even bring

himself to discuss.

There is a very long pause.

57 CONTINUED:

70. 17th Rev. 6/21/93

KLEINFELD

No, he won’t. Not if you and I pick him up --

(pointing to his boat) -- in that. Tony’s got a guy inside who’1l get him in the water. I’ve been cruising the Sound for years, I know those channels like the back of my hand. We cross Little Neck Bay into the river, then pick him up near the north corner. There’s a buoy about a hundred yards offshore. That’s where he’s gonna be. In and out. Take us half an hour.

(Green)

(X)

(X)

(X)

Ti. 17th Rev. 6/21/93 (Green)

CONTINUED: 4 57

Losing control of his emotions, he looks away.

Kleinfeld looks back. There are tears in his eyes.

CARLITO

What are you talking about? (X) KLEINFELD

How do I know they’re not gonna kill (X)

me? He hates my guts. I am in trouble, Carlito, and I got nobody else I can trust.

Carlito just looks at him. Kleinfeld looks away again, unable to look him in the eye.

Kleinfeld smiles in relief. He gets up and embraces Carlito. KLEINFELD Thanks. I/’11 let you know when it’s comin’ up.

He heads back into the party. He turns back to Carlito as he walks away.

ST

71A. 17th Rev. 6/21/93 (Green)

CONTINUED: 5 57

He finds Steffie and grabs her lewdly from behind. Carlito just watches him, sadly.

curt TO: OMITTED 58

CARLITO is outside Gail’s apartment door, a little drunk. She opens it, but keeps the chain on.

72. 16th Rev. 6/18/93 (Yellow)

73s 16th Rev. 6/18/93 (Yellow)

CONTINUED: 2 59

She smiles and turns away from the door, leaning against the wall next to it.

Silence. After a moment it’s obvious Gail won’t budge, so Carlito sighs and SMACKS his shoulder against the door, hard, but not hard enough to break the chain.

Through the crack in the door, he sees her drop her bathrobe onto the floor and walk toward the bedroom, naked.

Carlito moves forward suddenly, SMACKING the door hard, ripping the chain bracket out of the frame and sending the door BANGING open. ;

IN THE APARTMENT,

he moves quickly across the room, turns her around and kisses her.

CARLITO

Bad place. I’m here now.

74. 10/7/92

‘CONTINUED: 2 59

She steps up, onto his feet, kissing back. He walks backwards, with her on his feet, into the bedroom.

IN THE BEDROOM, 60

they come in, kissing hard, aggressively. Gail shoves Carlito back and undoes his pants, impatiently, tugging them down. He helps, pulling them inside out over his feet as she turns and pulls the covers off the bed, all of them, not even noticing she gets the mattress pad too.

Now they fall back onto the bed, together, neither one of them willing or even able to slow down, and as soon as they can they’re making love.

Now they slow, stop, just looking at each other. Gail WHISPERS to Carlito, her eyes brimming.

CARLITO and GAIL are in bed, after, in that dreamy place right before sleep. She props herself up on one elbow and whispers to him. ;

GAIL

Can I ask you a personal question? CARLITO

Anything. GAIL

Did you ever kill anybody, Charlie?

He just looks at her for a second, not expecting quite so heavy-duty a question. -

61 CONTINUED:

75. 7th Rev. 4/14/93 (Goldenrod)

61 CONTINUED:

Gail laughs,

She looks up

76. 8th Rev. 4/27/93

in spite of herself.

; CARLITO

(laughing too) What’s wrong with renting cars that everybody laughs? It’s a dream. You never had a dream?

at him, wondering whether to confide.

GAIL (cont/’d)

Sometimes I hear myself talking about new agents and auditions and trying to be optimistic and I just wonder -- why should I be optimistic? I mean, if I look in the mirror and I’m honest with myself, isn’t it obvious I’ve gone about as far as I’m gonna go with dancing? Ten years from now, am I still going to be --

(pause, she gathers

herself) Yes. I had a dream, but I’m awake now and I hate my dream. Maybe it’s time I thought about doing something else.

Carlito moves closer to her and holds her.

He just smiles and kisses her.

(Buf£)

(X)

(X)

(X)

(X)

(x)

cut TO:

76A. 8th Rev. 4/27/93 (Buff)

A SALSA BAND plays on the stage at the Copacabana, tearing it up, WILD DANCERS in front of the bandstand, a dozen MUSICIANS in red satin shirts and backbeats behind. It’s loud, it’s crowded, it’s a lot of fun. Carlito’s VOICE OVER:

77. 10/7/92

CONTINUED: 62

CARLITO and GAIL are there, dancing, and seem to be having a hell of a time. It’s a giddy, wild crowd, and Carlito can hardly keep up with her.

Carlito retreats to the edge of the dance floor to catch his breath, but Gail keeps on dancing. An ITALIAN GUY, very wiseguy-looking but just having a good time, starts to dance with her.

KLEINFELD has already shrugged out of his tie and looks three sheets to the wind. He’s staring at the Italian Guy dancing with Gail, a sneer on his face.

_ CARLITO Why don’t you tell him what you think, Dave?

78. 10/7/92

CONTINUED: 2 62 ; KLEINFELD I will. . CARLITO I think you should. KLEINFELD I will. CARLITO Go ahead, I’m sure he’d be real interested. KLEINFELD (shouting) -

HEY!! HEY, YOU FUCKIN’ WOP!

The Italian Guy on the dance floor looks around, hearing something. Gail sees immediately who’s doing it and covers her face.

Kleinfeld steps forward, really shouting out at the dance floor, spilling champagne everywhere.

Just as the Italian Guy begins to suspect this is meant for him, Carlito grabs Kleinfeld by the neck, yanks him away from the dance floor, and shoves a finger in his face.

Kleinfeld dissolves into helpless laughter. Gail stalks off the dance floor, pissed off, right past the two of then.

UPSTAIRS, 63

Gail, Carlito, STEFFIE, PACHANGA and his DATE are at a table, with enough champagne for a week.

As Carlito comes back, he notices a big, bulky BODYGUARD hovering near the table. He leans over to Pachanga as he sits down with Gail.

PACHANGA

The Bronx Zoo.

Kleinfeld, downstairs one-hitter.

79. 14th Rev. 6/1/93 (Blue)

still laughing, proud of himself, comes up from and sits next to Steffie, doing a hit of coke froma

Carlito looks at Gail and makes an "in a few minutes" face.

Kleinfeld leans over to Carlito, his voice low, but not nearly

low enough.

No. KLEINFELD Good.

Gail looks at Carlito, curious, but willing to let it go. She turns back to the stage, to watch the band. Kleinfeld turns to Carlito again.

Carlito doesn’t answer.

79OA. 14th Rev. 6/1/93 (Blue)

63 CONTINUED: 2 . 63

Gail turns to Carlito.

80. 10/7/92

CONTINUED: 2 63

; GAIL Are you going somewhere?

wheteeely, jumps in, thinking he’s smooth, but he’s anything UT. N

; KLEINFELD Yeah, just a little boat trip, no big deal. CARLITO

Let it go, Dave.

No answer.

Carlito just looks at her, frustrated and helpless.

She looks from Kleinfeld to Carlito, embarrassed and angry. She grabs her purse, gets up from the table, and walks away.

But she keeps walking. Carlito gets up to follow her, stopping to whisper in Kleinfeld’s ear.

81. © 7th Rev. 4/14/93 (Goldenrod)

GAIL steams in the door to her apartment, furious. She rips her jacket off as she crosses the living room, SLAMS it on the couch, and continues into the bedroom. :

oe right behind her, closes the front door and follows er.

IN THE BEDROOM, 65

Gail pulls her dress off over her head and puts on a tee-shirt, for sleeping. :

She balls the dress up and throws it onto the bed, but overshoots, hitting a night table, taking out a framed picture that’s on it. It hits the wood floor and SMASHES.

hang around with that guy! He/’s sick! He’s going to get you killed, or sent back to prison!

_CARLITO He saved my life.

it?! Jesus, you give this whole song and dance about being out of that shit, but you’re not! You’re not!

She stalks into the bathroom.

IN THE BATHROOM, 66 Gail stands in front of the mirror, taking off her makeup angrily. Carlito follows her, his anger building too, but he’s

swallowing it, and it’s a little frightening, wondering what his explosion will be like when it comes.

81A. 7th Rev. 4/14/93 (Goldenrod)

82. 8th Rev. 4/27/93 (Buff)

; CARLITO (quietly) ; You’re not listening to me.

(X)

Carlito SMASHES his hand into the mirror, spiderwebbing it.

He stands there, heaving, trying to regain control. down at his hand, which is bloody.

Gail’s shaking now, in the corner of the bathroom. quietly, almost a whisper.

He looks

She speaks

83. 10/7/92

CONTINUED: 2 ; 66

He doesn’t answer. She goes to him. They don’t speak as she takes a towel from a bar, wets it, wipes the blood from his hand, and wraps the towel around it. She leaves him to hola the towel on the cut as she heads for the bedroom.

She goes into the bedroom and gets in bed, leaving the lights ea: Carlito turns, walks out of the bathroom, and through the edroom.

All Gail hears is the front door open and close as he leaves the apartment.

cuT TO:

King’s Point is a remote area, and the night’s fog and drizzle make it seem even more so.

CARLITO and KLEINFELD come down the dock toward the boat, Kleinfeld with a bunch of maps and charts tucked under his arm.

Carlito’s VOICE OVER:

CARLITO: (v.o.) Came the big night, and right away I didn’t like it. Kleinfeld was coked out of his mind, the flaps of his nose all red and swollen. Bad start, Jack.

An ITALIAN KID, twentyish, big, tough, and mean, is waiting for them by the boat. He doesn’t like the looks of Carlito.

KLEINFELD

Whatever.

84. 14th Rev. 6/1/93 (Blue)

Kleinfeld jumps onto the boat.

(to Carlito) Okay! Cast ’er off.

The boat plows ahead, through the fog, seemingly the only boat on the river. CARLITO huddles on the bow, near some fishing chairs, looking ahead into the gloom. The lights of La Guardia are blinking on their right, but ahead it’s only black.

FRANKIE is next to him, staring intently off the bow.

Carlito turns and looks over his shoulder, up to the flying bridge.

KLEINFELD grins broadly and waves, like they’re on a pleasure cruise.

(X)

85. 2nd Rev. 2/16/93 (Pink)

CONTINUED: 68

The boat passes under a bridge, heading into the East River. A dark shape looms off in the distance. CARLITO stands.

He GUNS the engines and the boat moves ahead.

The boat ROARS ahead, making a hell of a lot of noise. Carlito picks up a long grappling pole, goes to the rail, and looks down, but the boat is plowing through the water too fast for him to get a good view.

He should be at the buoy!

The buoy is visible now, and it's only about fifty yards ahead. Kleinfeld doesn't let up.

The boat ROARS right past the buoy, fast, and for a moment they get a glimpse of TONY TEE's terrified face, his bald head shining in the moonlight. He clings to the buoy precariously as the boat SPLASHES right past hin.

-70

86. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 69

Frankie turns and hurries up the stairs to the flying bridge. The boat slows, Kleinfeld CLUNKS it into reverse, and it starts to back up towards the buoy.

Carlito runs to the back with the grappling pole. He looks down, off the transom, at the propellers that SLASH and CHURN in the water as the boat backs up --

-- straight toward Tony Tee.

The drizzle has picked up, the rain’s really starting to fall now. Carlito gets down on his knees and extend the pole as far as he can, wrapping one arm around the post to keep from falling in himself.

The boat keeps backing up. Taglialucci’s about twenty yards away now, bobbing up and down in the water, eyes wide with fear as the boat draws closer.

The boat’s almost there, and now the pole is within Taglialucci’s reach. He throws his hands up, out of the water, and grabs hold.

Kleinfeld puts the boat in neutral and turns the wheel over to Frankie.

Frankie steps forward and takes the wheel. Kleinfeld steps back, directly behind him. He smiles.

BACK ON DECK, 71

Carlito is holding onto the pole with Taglialucci at the other end, bucking and bobbing in the waves, gargling slimy East River water.

Kleinfeld emerges from the bridge, slides down the ladder, and hurries up to the bow, grabbing hold of the grappling pole with one hand.

86A. 7th Rev. 4/14/93 (Goldenrod)

Carlito turns and hurries across the deck toward the ladder. Kleinfeld turns back to Taglialucci. |

87. 7th Rev. 4/14/93 (Goldenrod)

71 CONTINUED: 2 eds

Taglialucci, who has pulled himself the remaining distance up the length of the pole, reaches out with great effort and clamps one hand onto the boat rail.

Kleinfeld, wild-eyed, raises his free arm slowly, from where it was hanging at his side.

He’s holding a crowbar. He rears back and CRACKS Tony across the face with it.

Taglialucci SCREAMS and blood pours from the wound.

; KLEINFELD You piece of shit! Who the fuck did you think you were threatening?!

Carlito whirls and sees Kleinfeld looming over Taglialucci, raising his arm for another blow.

,; CARLITO No!!

He turns and hurries down the ladder.

Kleinfeld’s final swing strikes a CRUNCHING blow that practically caves Tony’s head in. Carlito races across the deck and knocks him away.

As Kleinfeld and Carlito tumble to the deck, Tony Tee’s body slips beneath the waves and disappears.

Kleinfeld gets up from under Carlito, walks to the edge of the deck, and tosses the crowbar into the water.

It’s quiet again, the only sound the waves PLOPPING against the side of the boat.

Carlito is still crouched on the deck, staring at the water, breathing hard. He looks up at Kleinfeld in disbelief.

87A.

ist Rev. 2/10/93 (Blue)

You killed us.

88. ist Rev. 2/10/93 (Blue)

CONTINUED: 4 71

Carlito turns and looks up at the bridge, eyes wide. IN THE FLYING BRIDGE, 72

Frankie is slumped forward against the wheel, the back of his head bashed in. Carlito races in, Kleinfeld behind him.

Sorry! Frank. Your daddy's waiting for you, Frank.

He steps past Carlito and takes hold of Frankie's feet. KLEINFELD (cont'd) (to Carlito)

Take an end, for Christ's sake.

We're almost out of position. BACK ON DECK, 73 Carlito and Kleinfeld haul Frankie's body down from the bridge and toss it overboard. It floats for a moment, then slithers between the waves.

Kleinfeld picks up an inflatable lifeboat, heaves it over the back directly over the propellers, then turns and hurries back (X) up to the bridge.

ROAR! The engines race, the propellers spin, and the raft (X) POPS and RIPS as it is slashed to ribbons.

And that's that.

Kleinfeld's boat is heading back the way it came. The rain is pouring down, but CARLITO's sitting out on the front deck, just

staring ahead, letting the water hit him in the face.

cur TO:

89. 7th Rev. 4/14/93 (Goldenrod)

The rain has stopped. The boat is back at its dock, secured. KLEINFELD and CARLITO, still soaked, are walking back up to

where their cars are parked. Carlito walks fast, and (X) Kleinfeld scurries to keep up with him. é

Carlito doesn’t answer.

KLEINFELD (cont/’d)

You’re pissed, aren’t you? Tell you what, I’11 throw in an extra ten. Send the whole sixty over in cash tomorrow.

(still nothing from

Carlito) (X) I got it figured, okay? It’s gonna, look like the kid tried to spring his old man, the boat flipped, and they drowned. Maybe got their heads split by a barge or a scow for good measure. Trust me, this’1]11 never come back to us. .

CARLITO

You ripped him off, didn’t you? KLEINFELD

Who? CARLITO

Tony Tee. You did take the «ition bucks, didn’t you?

Kleinfeld looks at him for a second, thinking. He decides “what the hell" and smiles proudly.

90. 14th Rev. 6/1/93 (Blue)

CONTINUED: 75

They reach Carlito’s car. Carlito opens the door, then turns back to Kleinfeld.

; CARLITO You ain’t a lawyer no more, Dave. You’re on the other side now. It’s (X)

a different world, and you can’t learn it in school.

The sun is coming up over Manhattan. CARLITO drives back into town, over the Triborough Bridge. He looks out his window, down, at the East River below.

He gives Tony Tee a little salute.

Closing time, and the place is nearly empty. Chairs are going up on tables, the floor is being swept.

CARLITO sits at the bar, drinking scotch, trying to settle his nerves. PACHANGA comes up to him.

LD

91. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 77

Pachanga walks off, shaking his head. Carlito doesn’t say anything, just stares ahead as this news takes it toll on him.

A cockroach walks along the bar right in front of Carlito. Carlito picks up an empty glass, turns it upside down, and puts it over the roach. He watches as it scurries around under the glass, CLICKING up against the sides, looking for a way out.

He lifts the glass the cockroach takes off, scuttling across the bar like cockroaches do until it disappears over the side.

SASO leans across the bar, into Carlito’s face, smashing his reverie. He speaks quietly, confidentially.

He finishes his drink and heads for the door.

92. 13th Rev. 5/28/93

(White)

Pachanga, who

was on the other side of the club, watching the two of them, heads him off at the door.

OMITTED

. PACHANGA Eh, Carlito, Saso say somethin’ to you? He say somethin’ ‘bout me?

cut

TO:

(X)

(X)

93.5 13th Rev. 5/28/93

(White)

DAVID KLEINFELD is behind his desk in his office, working. His

phone BUZZES.

VOICE (o.s.) Mr. Kleinfeld?

_ VOICE (o.s.) This is Patrolman Williams. We’re down here at your garage. Your license plate is DK777?

VOICE (0.s.) Somebody tried to steal your Mercedes. There was an accident.

"79

94. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 79

VOICE (o.s.) I’m afraid so.

. KLEINFELD All right, I’11 be right down.

He gets up and heads for the door.

KLEINFELD emerges from his office and heads out through his busy reception area. Kleinfeld’s bulky BODYGUARD from the club sits on one of the expensive sofas, his ill-fitting suit and Gun budge mark him as hired muscle. He gets up as Kleinfeld comes ou

His Bodyguard scrambles up and out the door ahead of Kleinfeld.

The BODYGUARD comes out of the office, looks up and down the empty hallway, and rings for the elevator that says "To Garage (X) Only." KLEINFELD comes out a few steps behind.

A MAN comes out of another office and heads for the elevators. He’s smartly dressed in a three-piece suit and short-brimmed white Panama hat, holding a New York Times under his left arm.

The Bodyguard looks at him and puts his hand halfway to his jacket, just in case this guy’s trouble.

The elevator DINGS. While the Bodyguard is still watching the Man in the Panama hat, the doors open --

-- and another GUY steps forward, this one swinging, CRACKING a baseball bat across the Bodyguard’s face.

Kleinfeld backs away as the Bodyguard slumps to the floor, but now the Man in the Panama steps forward quickly, up behind Kleinfeld, and just as Kleinfeld is turning to run --

-- the Man drops the paper and his hand flashes up, plunging a knife into Kleinfeld’s left side, just below his heart.

Kleinfeld GASPS and falls back against the wall, grasping the protruding handle of the knife with both hands.

95. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 81 MAN Vincent Taglialucci says you should hold that for him.

The Guy with the bat holds the elevator door, the Man in the Panama steps in, the doors close --

-- and they’re gone. The whole thing only took a few seconds.

The RECEPTIONIST steps out into the hallway, stares at Kleinfeld’s blood as it pools on the floor and SCREAMS.

A suspicious-looking dark sedan cruises slowly down the block in Gail’s neighborhood. CARLITO, looking anxious, hurries down the sidewalk, right past the car without noticing it, and up the steps to Gail’s building. Halfway up, he notices her down the block, walking quickly the other way.

He runs and catches up with her.

CARLITO

Look, Gail, you were right about Kleinfeld, okay? Me and him are

finished.

Carlito flicks a look over his shoulder, thinking he heard something, but the street is empty. Not even a sign of the dark sedan.

(X)

96. 14th Rev. 6/1/93 (Blue)

Gail stops abruptly, so’ short that a GUY who was walking behind them practically bumps into her.

He looks at her for a long moment.

But he never gets a chance, as things start to happen all at once. The curious dark sedan that was nearby comes ROARING out of nowhere, right up onto the sidewalk. The Guy that nearly bumped into them reappears too, as do two other unmarked police cars, flying out of nowhere.

96A. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 2 82

ID’s are flashing, radios are SQUAWKING, and before they can say anything else, Gail and Carlito are buffeted into the mouth of an alley by the stream of law enforcement.

IN THE ALLEY,

97. 10/7/92

2 82

: GAIL Charlie? Charlie, what’s -- ?!

; CARLITO (grabbing her hand) It’s okay -- it’s okay --

Carlito and Gail have been backed up against a wall and are

surrounded b

POLICE. Three PLAINCLOTHES COPS lead the assault

against Carlito.

Carlito just

_ _ CARLITO I got nothin’ to say to him unless I’m under arrest.

stares at him, trying to mask his surprise.

cur TO:

98. 7th Rev. 4/14/93 (Goldenrod)

WILLIAM NORWALK, the same prosecutor who watched Carlito (X) released from jail, sits behind an impressive desk in his

spacious office. He’s staring hard at CARLITO, who sits across from him, still holding hands with GAIL. The three

PLAINCLOTHES COPS stand behind Norwaik.

NORWALK : Kleinfeld is still alive. We’re holding him at East Side Hospital. (X) We want his ass healthy when we send it upstate.

He reaches out to a large tape recorder in the middle of his desk and pushes the play button. KLEINFELD’s VOICE comes from the speakers, muffled as over a phone.

There is a pause on the tape while Kleinfeld thinks. Carlito blinks, unable to believe what he has just heard. He takes it hard, like a shot to the stomach, but tries like hell not to show it.

speak.

Carlito reaches over and SNAPS off the tape recorder.

Carlito’s just staring out the window, unable or unwilling to Norwalk looks over his shoulder at one of the Cops. VALENTIN is Puerto Rican, maybe ten years younger than Carlito.

99. 16th Rev. 6/18/93 (Yellow)

NORWALK

Relax, we don’t believe him. Word on the street is you’ve been clean since you came out of prison. Klieinfeld’s the one we’re after. He was right, I’d never get an indictment with what I had. But now, with your help, we

2 on put this filth away for a long

ime.

99A. and Rev. 2/16/93 (Pink)

100. 7th Rev. 4/14/93 (Goldenrod)

84 CONTINUED: 3 84

Here’s the deal. If you were on that boat -~- and I know God damn well you were -- testify against Kleinfeld for first degree murder. You/’1l receive complete immunity and a couple of airline tickets to the Bahamas. You want to get even with Kleinfeld, here it is, on a silver platter.

Norwalk finally loses his temper. He leans across the desk toward Carlito, jabbing his finger in his chest.

guess you were on that boat, how long

you think it’1l be before the

Italians figure it out? What if (X) they get to Kleinfeld and twist his

arm? You think your friend won’t

talk? You think he won’t give you

up? Think again.

Valentin steps in, Good Cop.

101. 7th Rev. 4/14/93 (Goldenrod)

84 CONTINUED: 4 84

(low, dead serious) I wanna hear from you by noon tomorrow. You think you’re gonna sail off into the sunset, asshole? Think again.

GAIL and CARLITO are headed back uptown, in the back of a cab. GAIL

You’ve got to do it, Charlie. They (X) leave you no choice.

102. 7th Rev. 4/14/93 (Goldenrod)

; CARLITO

You want out? Right now? Just tell

me, you can turn, walk away, never

look back, I’1l understand. But I (X) got a plan. I got a way out of this.

She doesn’t answer.

The Driver yanks it over to the curb somewhere in midtown. CARLITO (cont/d) (to Gail) Wait five minutes? (X)

He turns and gets out of the cab, leaving her alone.

She sits for a moment, on edge. She looks up at the Driver and notices he’s staring at her in his rearview mirror. His eyes quickly dart away when they meet hers.

This does not help her mood. She shifts in her seat, trying to calm herself.

There’s a sharp CRACK behind her. Gail whirls, but it’s just a backfire as an old truck pulls out of an alley.

She rolls up her window and locks the back doors. The sounds from outside are softer now, but she’s wide-eyed, watching everyone that passes, every car that rolls by.

She takes a deep breath and leans back against the headrest. She closes her eyes for just a second --

-- BAMBAMBAM!

103. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 2 85

Gail jerks forward and whirls. Carlito is standing outside

her door, knocking on the window. She unlocks it and slides over as he climbs in. He’s clutching a fat envelope in his

hands.

to Miami. Nobody’s gonna look for us on atrain. Once we hit Miami we catch a plane to Nassau.

He puts one hand on her belly.

Gail can’t seem to answer, so he pulls her closer, puts his hands in her hair, holds her tightly. He whispers in her ear.

She just nods, trying to think. He pulls back from her. He takes one of the tickets from the envelope and gives it to her.

She just looks at him.

104. 7th Rev. 4/14/93 (Goldenrod)

CONTINUED: 3 85

cUT TO:

Night has fallen and the streets leak steam like the whole city’s about to blow. CARLITO walks quickly down the street, hands shoved in his pockets, eyes darting, mind racing.

His VOICE OVER:

Unconsciously, he has started to pick up his pace. He walks faster, his shoes CLICKING on the empty street.

His pace has gquickened so much he’s almost trotting now, but there’s a SOUND behind him and he stops, whirling in his tracks, eyes wide.

Nobody there.

(X)

(X)

Five hours. use it all.

104A. 7th Rev. 4/14/93

Gotta

(Goldenrod)

105. 1gth rev. 6/25/93 (green)

East Side Hospital, just getting busy tonight.

CARLITO stops outside the closed door to a hospital room. A uniformed POLICE OFFICER, fiftyish, is sitting in a chair outside, reading a newspaper.

CoP

Turn around.

Carlito does. The Cop stands up, frisks him thoroughly, and nods for him to go inside.

DAVE KLEINFELD is in his hospital bed, propped up against pillows, reading a stack of legal briefs. He looks fine, if a little pale. When he hears someone coming in the room, he doesn’t even look, just lunges to his side, groping for something under his pillow, but he moves slowly, bandaged and sore.

Kleinfeld looks up and sees who it is. Relieved, he puts his gun, a snubnose revolver, back under his pillow.

KLEINFELD

Jesus, you scared the shit out of me. Close the door.

(Carlito does) They call this protection? That fuckin’ cop’s not supposed to let anybody in. I mean, it’s you, it’s okay, but --

Carlito goes to the bed. He takes the revolver from under the pillow and looks at it. Kleinfeld notices, but doesn’t say anything.

(X)

(X)

(%)

Carlito just Finally:

106. 18th rev. 6/25/93 (green)

89° CARLITO (playing idly with the gun while he talks) I heard the tape.

looks at him. Kleinfeld has trouble looking back.

CARLITO

You fucked me over, Dave. (X) KLEINFELD

Fucked you over?! What are you (X)

talking about? You know they doctor those things, play them out of context. What’s the matter with you, falling for that shit? Don’t be a

schmuck. CARLITO You don’t give up your friends, (X) Dave. KLEINFELD Carlito, you sound like you stepped (X)

right out of 1950, you’re talking like you just got off the boat or something. What did you come here for? To see if I’m okay? To see if I’m going to live? No, to find out if I ratted on you. Shame on you.

I didn’t rat on you, and you should know better. You know what your trouble is, kid?

KLEINFELD | What does that mean? You don’t (X) believe me? (no answer) Carlito?

107. 18th rev. 6/25/93 (green)

CONTINUED: 2 89

Still no answer. Kleinfeld loses his composure.

He stops, regaining himself. Carlito just looks at him. After a moment:

-- and puts the gun back under Kleinfeld’s pillow. He turns and heads for the door.

Carlito doesn’t answer.

KLEINFELD (cont/’d)

Hey, I’1ll be out by the weekend. (X) I’1l give you a call, all right? Carlito?

But Carlito is out the door already. KLEINFELD (cont/d) (calling out) Carlito?! (X)

But he’s gone. Kleinfeld lays back against the pillows. He’s scared,

108. lst Rev. 2/10/93 (Blue)

CARLITO comes out of the room and heads down the hospital hallway.

Another uniformed COP is coming, a young, good-looking one, walking straight towards Carlito, carrying his lunch in a brown paper bag.

Carlito drops his eyes, holds his breath as they pass.

But the Cop doesn't stop him.

Carlito keeps walking, out of the hospital.

The Cop continues on and draws up outside of Kleinfeld's hospital room. The First Cop, still seated outside the door, lowers his newspaper.

The First Cop looks at his watch as he gets up.

The First Cop gives his paper to the Second Cop, takes his coat from the back of the chair, and heads down the corridor.

The Second Cop watches him walk off, down the hall, then starts to open his lunch.

The SECOND COP comes into the room, carrying the newspaper.

From my father and my brother. (X)

109. 5th Rev. 3/29/93 (Green)

CONTINUED: 91

The Cop drops the newspaper, revealing a pistol with a long silencer on it.

Kleinfeld’s eyes widen in fear and he moves, fast, raising the revolver from his lap, aiming it at the Cop and pulling the trigger.

\ KLEINFELD Oh ==

FFFT! FFFT! Two red spots appear on Kleinfeld’s forehead and he falls softly back against the pillows, dead.

The Cop pulls his uniform shirt off over his head, revealing a New York Yankees tee shirt underneath.

He tosses the shirt, the hat, and the gun on the bed next to Kleinfeld’s body and walks calmly out the door.

CARLITO comes out the front of the hospital. As he walks, he looks down at his right hand, which is curled into a fist. He opens it and looks at half a dozen bullets he holds there. He tosses them and they PING into a garbage can next to hin.

. CUT TO:

CARLITO walks quickly down the street near his club, hands shoved in his pockets, pulling his jacket in against the cold. As he reaches the door, PACHANGA, who’s talking to the BOUNCERS outside, looks up and sees hin.

(X)

110. 5th Rev. 3/29/93 (Green)

CONTINUED: 93

CARLITO comes up the stairs and into the club, which is only about half full. Still early. He starts for the stairs to his office, but a VOICE calls to him from a table nearby, very friendly.

VOICE (0o.s.) ‘Carlito! Hey, Brigante!

Carlito turns. An ITALIAN GUY, around Carlito’s age, sits ata table with two other GUYS, one of them a Big Guy, at least three hundred pounds, asthmatic, with an inhaler he darts up to his mouth from time to time. Carlito hesitates, shooting an anxious look at the stairs that lead up to the office.

Carlito forces a smile on his face and walks over to the table. Amadesso says. something to his two friends, who move over, making room for Carlito. They’re very solicitous, too friendly, and it makes Carlito nervous.

(X)

(X)

(X)

(%)

(%)

(*)

A1t< 9th Rev. 5/6/93 (Salmon)

Carlito sits, reluctantly, looking from face to face. There’s an odd tension at the table.

As Amadesso goes into the story, Carlito nods and smiles, but he’s not really hearing anything anymore, he’s just staring, holding a glass of ice water in his hands, TINKLING the cubes up against the side --

-- and thinking as hard as he can. The whole time Amadesso talks, the other two never stop staring at Carlito, and Carlito notices. Every other sound in the club drains away, everything except the TINKLING ice and his thoughts.

Which are:

A bead of sweat runs down Carlito’s temple. Still smiling at Amadesso’s pointless story, he reaches'up and surreptitiously wipes the sweat away, hoping no one noticed.

112: 5th Rev. 3/29/93 (Green)

CONTINUED: 2 94

The other two guys find this very funny, but not funny enough to take their eyes off Carlito. RUDY, the waiter, comes up to take a drink order.

fellas.

And before they can protest, he turns and walks away from the table, across the club, and to the stairs. At the foot of the stairs, he dares to take a look back. All three of them are staring at him. Not a word. No more smiles. Just staring.

Really hustling now and MUTTERING to himself, CARLITO bursts into the club office, goes straight to the safe, spins the dial to the right, back to the left, back to the right again, CLUNKS the handle, and pulls the safe open.

It’s completely empty.

Carlito stares in disbelief for a second, then reaches in, rubbing his hands around the smooth walls, unable to believe Lt.

But he believes it. He SLAMS the door shut as hard as he can.

hospital, comes in the door to the club, in a jacket now.

He looks both ways, sees PETE AMADESSO and the other TWO GUYS, and goes to their table.

o7

113 « 5th Rev. 3/29/93 (Green)

CONTINUED: 96

CARLITO is having a shitfit, ransacking the office, tearing it apart looking for the money. He stops and looks up suddenly, a thought crossing his face.

He opens the desk drawer, grabs something, and shoves it in his pocket.

CARLITO flies down the stairs and looks both ways. Across the club, he spots SASO, who’s laughing and joking with a table of WOMEN. Carlito marches straight across the club, toward Saso.

He grabs him by the neck, and pulls him into a corner.

Carlito pulls the switchblade he took from the desk out of his pocket and CLICKS it open. He SLAMS Saso against the wall, and holds the blade to his belly.

(X)

(X)

(X)

114. 12th Rev. 5/24/93 (White)

CONTINUED: 98

A few PATRONS have noticed the commotion and looked over, but Carlito shoots a look at them and they mind their own business.

Carlito doesn’t even listen, just drops the knife and heads for the cash register, but --

-- he walks right past Amadesso’s table.

Taglialucci doesn’t say a word, just nods, a real blood lust in his eyes. Amadesso’s face is like granite now too; no trace of good humor left about him.

They’re watching Carlito like hawks. Carlito darts a look over at the bar, where his money is. So close.

CARLITO

No shit? I ain’t seen him lately.

RUDY comes up to the table with a bottle of champagne and starts to pour right in front of Carlito. Carlito grabs the bottle, seizing the opportunity.

(X)

114A. 12th Rev. 5/24/93 (White)

CARLITO (cont’d)

Rudy, what are you givin’ these guys (X) this cheap shit for? I said the best we got!

(to Amadesso) Hang on, I’11 get it myself. Be right back.

115. 5th Rev. 3/29/93 (Green)

CONTINUED: 2 98

Without waiting a second longer, Carlito turns and heads for the bar.

He gets up to go to Carlito, but Amadesso puts a hand on his arm, telling him to take it easy.

Vinnie sits.

Over at the bar, they see Carlito searching for the bottle. He ducks down, below the bar. They wait, but don’t take their eyes off the bar.

BEHIND THE BAR,

Carlito pulls out a strongbox from under the register. He keys it open, takes out an envelope stuffed thick with cash, and shoves it in his jacket.

BACK AT THE TABLE,

the Italians are still waiting.

And waiting. Carlito is not reappearing from under the bar.

A horrible thought crosses Taglialucci’s mind. He leaps to his feet and hurries to the bar. He looks over the top. Carlito is gone --.

-~- and the loading door behind the bar is hanging open.

He turns to Saso, who’s just walking up.

Vinnie SHOUTS in anger. In one motion he draws his gun and CRACKS the barrel across Saso’s jaw.

(X)

(X)

(X)

(%)

(%)

* 100

116. 5th Rev. 3/29/93 (Green)

CARLITO, running, breaks out the mouth of the alley. A moment later, AMADESSO and TAGLIALUCCI blast out the front door of the club. Half a block away, they spot Carlito and SHOUT, but he doesn’t even slow down, just flies across the street and into the facing alley.

They race over to a car across the street and pile in. MANZANERO drives.

They start to take off, but the BIG GUY from in the club huffs and puffs down the stairs and staggers right in front of the car. They SCREECH to a halt and he jumps in.

CARLITO flies down the alley, through traffic at another intersection, hangs a right, turns another corner onto 125th Street, and sees what he was looking for --

-- a subway entrance, its old-fashioned light post like a beacon. He tears ass toward it, but the sedan SaUeRLe around the corner right behind him and closes fast.

Carlito cuts across the street. The car follows, but a BICYCLE MESSENGER comes out of an alley, right in front of it. The car swerves, missing the Messenger and CRASHING into a fire hydrant, CRUNCHING to a stop.

Carlito reaches the foot of the stairs and flies up them, toward the elevated platform above.

TAGLIALUCCI is the first out of the car. He bolts up the stairs after Carlito, not even waiting for the others. AMADESSO and the DRIVER (Manzanero) are next, but the BIG GUY moves more slowly, pausing for a hit from his inhaler.

CARLITO races onto the train platform, hops the turnstile, and jumps onto a train that is boarding. The doors start to

close, but a hand reaches in and stops them at the last second. Another hand wedges in next to the first, and then two more.

THREE BLACK KIDS pry the doors open again.

As an ANNOUNCEMENT on the p.a. system asks them to step away from the doors, the Kids pile onto the train, delaying it just long enough for VINNIE and his guys to reach the top of the stairs and hop the turnstiles.

Carlito’s already gone, making his way up through the cars as the Italians dash aboard and give chase.

(X)

(%)

(X)

(X)

(X)

(X)

(X) (X)

117. 5th Rev. 3/29/93 (Green)

CONTINUED: : 101

The Big Guy finally WHEEZES up the steps, puts a token in the (X) turnstile, and hurries onto the train as the doors WHOOSH shut.

OMITTED 102

A104

A1lO04A

118. 6th Rev. 4/5/93 (Goldenrod)

INSIDE THE TRAIN, 103

Carlito flies through the back doors of one car, races to the front, and hustles out the front doors. Everybody looks up.

It’s quiet in the car for a few seconds, just a few people exchanging looks, and then the Italians plow in through the back doors.

Vinnie is in the lead as he flies through the car, out the front doors, and into --

UP IN ANOTHER CAR, ‘ 104

-- the last car on the train. Vinnie smiles, expecting to corner Carlito here, and he does, but he also corners --

-~ SEVEN ROOKIE COPS, dressed in police academy uniforms, headed downtown. Carlito stands right in the middle of then.

He and Vinnie lock eyes for a moment, frozen by the Cops’ presence. The other Italians catch up, figure out the situation, and wait as well.

Finally, the Big Guy catches up again. He waits too. The train moves downtown. Carlito looks at his watch.

The big clock in the middle of Grand Central Station says it’s

eleven twenty-three. GAIL stands under the clock, waiting, dressed for the trip. She and Pachanga look around impatiently. The place is jammed, but no Carlito.

He picks up her bag and heads toward the tunnels that lead to the tracks. Gail hesitates, looking back up at the clock. Now it’s eleven twenty-four.

The train SQUEALS to a halt in the 42nd Street terminal. CARLITO, the COPS, and the ITALIANS all get off.

Carlito moves across the platform, keeping the Cops between himself and the Italians. He pauses in the entrance to another tunnel, waiting. A crowd of PASSENGERS surges off a train, momentarily blocking the Italians’ view of Carlito, and when the crowd parts --

(xX)

(X)

(X)

(X)

(X)

(X) (x)

(X)

A104A

119. 6th Rev. 4/5/93 (Goldenrod) CONTINUED: “ alo4a -- Carlito is gone. FURTHER IN THE TERMINAL, 105

Carlito races down a long, twisting corridor. He’s running as fast as he can, but it’s not that fast anymore. His breathing is labored, he stumbles now as he flies up a staircase.

He comes out of the tunnels and into a huge, open area. Two stories below him is the main terminal, where Gail stood. The (X) big clock now says eleven twenty-six.

120. 6th Rev. 4/5/93 (Goldenrod)

Four escalators lead down to the main floor, but from inside the tunnels Carlito just came out of, he can: hear SHOUTS as the Italians approach. They’re close.

Carlito thinks, frantically. He ducks behind a pillar, leaving himself a view of the escalators.

106 106 THRU OMITTED THRU 107 107 108 NEAR THE ESCALATORS, 108

the Italians SMASH through PEOPLE, reach the escalators, and fly down them. They reach the bottom and look around the main floor.

He turns and heads back to the escalators. The other two follow and start back up.

121. 6th Rev. 4/5/93 (Goldenrod)

109 BEHIND THE PILLAR, 109

Carlito leans around the pillar and sees the three Italians heading back up on the far escalator. A "down" escalator is only about ten feet away. He takes a deep breath.

He goes for it. He scampers across the tile, covering the distance fast, and slides onto the top step of the escalator, keeping his head below the railing.

For a moment, it’s perfect, Carlito going down as the Italians come up. Taglialucci is on the very next escalator to Carlito, Vinnie going up and Carlito going down, staying low and out of sight.

They get closer, and closer -- -- and go right past each other --

-- and Vinnie misses him. Carlito may actually make it to the bottom, when --

-- the BIG Guy bursts out of the tunnels, completely out of breath, catching up with everybody again. He hustles over to the railing above the escalators and looks down.

Carlito sees him, his eyes go wide, the Big Guy sees him too, their eyes lock for a second, and -~-

He draws his gun and BLASTS at Carlito, SHATTERING the glass in front of the railing. Carlito pulls his 9 mm from his jacket and SLAMS two shots into the Big Guy’s chest.

Now all hell breaks loose.

Taglialucci, now near the top, turns and OPENS FIRE on Carlito. The poor COMMUTERS caught in the crossfire SHOUT, the ones with common sense get low, but the few who lunge to get out of the way end up with souvenir bullets.

Carlito BLASTS Vinnie off his feet. Vinnie flies into the air, lands on the silver slide in the middle of the escalators and plummets to the bottom.

Amadesso leaps over a railing and onto the down escalator a few feet away. He fires but Carlito BLASTS back, more accurately, and Amadesso falls to the metal steps.

A bullet ZINGS off the railing right next to Carlito and he whirls, aiming at the Driver, who is leaping over the escalators toward Carlito, SCREAMING, FIRING.

Carlito just lets his legs drop out from under him and goes down. He FIRES four shots straight up as the Driver bounds over the railing and blows him off his feet.

109A

THRU

122s 6th Rev. 4/5/93 (Goldenrod)

CONTINUED: 109 The Driver lands with a THUD at the bottom.

And that’s all of them. Carlito struggles to his feet as his escalator finally reaches the bottom.

He’s just standing up when he hears a dry CLICKING sound from his right.

He whirls. Pete Amadesso, bloodied as hell but not dead yet, has just been deposited at the bottom by his escalator. His revolver is aimed unsteadily at Carlito, and he’s pulling the trigger, again and again.

But the gun’s empty.

Carlito just stares at Amadesso for a moment. He’s got a gun, he could kill him quickly. Amadesso stares back, knowing he’s about to die.

He shoves the gun in his belt, turns, and walks away, around the corner toward the train tracks, past the clock that says (X) it’s now eleven twenty-nine.

BYSTANDERS SCREAM and SHOUT for police. Behind Carlito, Taglialucci struggles to his feet again, bullet

notwithstanding, as FOUR or FIVE COPS converge on the

escalators from various directions. But Carlito’s gone. (X)

GAIL and PACHANGA are on the platform, next to the open doors of the train. Gail argues with the CONDUCTOR, who’s trying to (X) close the door to her car.

PACHANGA

I’11 go look for him. (X) He jogs off toward the mouth of the tunnel. ,

OMITTED THRU

123. 6th Rev. 4/5/93 (Goldenrod)

BACK IN THE TERMINAL, 112

CARLITO runs through the terminal, past track after track, heading for his. Up ahead, he sees PACHANGA, who’s looking everywhere. Pachanga’s face shows relief, and he waves to Carlito to hurry.

Near Pachanga, another PASSENGER reads a newspaper awkwardly, his arm in a cast and sling. The Passenger looks at his watch, drops his paper, and hurries on ahead of them. He’s late too.

Carlito and Pachanga hurry into a tunnel, toward a waiting train. Pachanga looks around nervously, watching Carlito’s back.

One or two other late PASSENGERS hurry along with Carlito

toward the train. GAIL looks up, sees Carlito, and breaks (X) into a broad smile.

124. 5th Rev. 3/29/93 (Green)

CONTINUED: 113

Carlito smiles back, a smile of incredible relief. He extends his arms, as if to say "I made it," closer to her now, the ground between them closing fast.

Pachanga, who was right alongside Carlito, slows down, letting Carlito go on ahead alone.

A GUNSHOT rings out, far behind Carlito. He whirls, and in (X) the distance sees VINNIE TAGLIALUCCI, determined to the: last, as he is wrestled to the ground by the police.

Carlito sighs in relief and turns back. He passes another late Passenger, on his left. The Passenger moves over close to him. It’s the guy with his arm in a sling.

Carlito turns and looks into the Passenger’s face. PASSENGER (cont’d) (a huge grin) Benny Blanco! From the Bronx! POP. POP. POP.

The shots rip right through the bandages that encase Blanco’s arm and catch Carlito square in the chest.

There’s three shots, just three quiet little POPS that no one even seems to notice.

But they’re enough.

Carlito falls, THUDDING to the terminal floor, staring up at the ceiling in disbelief.

Benny Blanco pauses long enough to SPIT down on Carlito. Pachanga looks down at him for a second too.

PACHANGA

No hard feelings, Carlito. I got my future to think about.

He grabs Blanco by the arm, hustling him toward the exit.

THRU

LL7

125. 5th Rev. 3/29/93 (Green)

CONTINUED: 2 113

He FIRES three shots at Pachanga that hit him in the chest and (X) blow him off his feet, dead before he hits the train and slithers to the ground.

Now others in the terminal notice, there are SHOUTS of alarm, a crowd gathers --

-- and Blanco disappears into it.

Gail races over to Carlito and tries to sit him up, cradling him in her arms, CRYING, panicked.

He looks at her, and they both know how bad off he is. He reaches inside his pocket and pulls out the envelope with the money in it. He shoves it in her hands.

He reaches out to her and presses one hand on her belly again.

His hand drops away, leaving a bloody print on her. She SOBS.

OMITTED THRU

Everything is crazy again, the same chaotic shot we saw in the beginning.

CARLITO lays on his back on the stretcher, being hustled out of the terminal, staring up at the faces of the MED-TECHS that (X) look down at him with such grave concern.

GAIL is hurrying along with them, too, holding Carlito’s hand, talking to him, but he can’t hear her.

126. 5th Rev. 3/29/93 (Green)

CONTINUED: 117

A gurney wheel flops and SQUEAKS as it races on.

CARLITO (v.o.)

Always knew I’d make a stop there. But a lot later than a whole gang of people thought. Hung in there, Last of the Mohicans. Well, maybe not the last. Gail’s gonna be a good mom. New, improved Carlito Brigante. Hope she uses the money to get out. No room in the city for big hearts like hers. Sorry, babe, I tried the best I could. Honest. Can’t come with me on this trip, though.

Carlito’s body lurches as the gurney hits a deep metal groove in the floor and gets stuck.

He takes one last look at Gail’s crying face and smiles, before his head lolls off to the side. He stares at the travel mural, the idyllic beach scene we saw in the beginning.

The mural becomes more than real again, the sea moving, the sand floating in the heat, the palm tree swaying.

There’s something else in the mural now, something we didn’t see before. A dancer. ,

She’s under the’ tree, spinning, her head thrown back, her hair flying wildly, dancing as if in a dream, a far-off dream.

(X)

2nd Rev. 2/16/93 (Pink)

Appendix A

Following is the monologue Carlito delivers to Walberto in Spanish in scene 30. Some of the spelling is phonetic Spanish slang.