"DIRTY HARRY" (1971)

• 'l{ecefvidfrorri Stenographic .Dept.·

H.J. Fink Dean Riesner

We are CLOSE on the golden star~ a replica of a San Fran-· ciaco police badge, on the memorial plaque in the""--.~oooy-- ·o-r the San Francisco Hall of .Justice. We PULL BACK to in~lude the inscription which reads: •

IN TRIBUTE TO THE POLICE OFFICERS OF SAN FRANCISCO WHO GAVE THEIR LIVES IN THE LINE OF DUTY.

We are PULLING BACK FUR°THER to include the additional ~laques inscribed with the names of ~ead policemen, .b~•- I ginnirig with John Coats, killed in 1878 and ending with Harold L. Hamilton, one of four killed in 1970. We HOLD ) for a moment as two uniform~d. POLICEMEN crossj thenjl . X

• ,It is a warm morning in early summer. We are CLOSE and ANGLED SLIGHTLY DOWNWARD at-a marvelous look;Lng GIRL in a X bikini who is sunning herself beside a swimming pool. Somewhere Musak is playing unobtrusively. She takes off her sunglasses, swings ·off the deck chair and moves down to the end of the pool. She is qQite alone. She poises a _moment by a sign which warns guests that they use the pool at their own risk, then she dives into the water.

(FROM BLDG. #2) {TELEPHOTO SHOT)

from the same angle. ··The girl ts body knifes into the pool, ·then as she surfaces·and starts swimming slowly toward the far -end we begin to ZOOM BACK. Now we discover that the • pool area is on top of a high-rise Hotel building (The Holiday Inn) in downtown San Francisco. The pool quickly shrinks to a tiny turquoise oblong, then suddenly the ZOOM 'BACK stops. We realize that we are on the rooftop of a second build'ing several blocks away and some .twenty-- five stories higher than the first. In the foreground is the figure of a ·MAN, his back to us. He is aiming a high· X powered hunting rifle at the swimming girl in the pool below.

The KILLER we still can't see. his face -- has his eye

C cowrnm1<.,....'

CHANGE w.12111 -

· 4. (Cont o)

p:ressed to the rubber eyep:tece of a·telescopic sighto· He is ?:'esting his left elbow against the rooftop ledgeo · The tip of his rifle.-ba:rrel moves almost· imperceptibly as he tracks the slowly swimming figureo The rifle has a silencer. The Killer is wearing gloves.

(FROM BLDG., #2) THE SWIMMING GIRL - {TELEPHOTO SHOT}

as·she reaches the end of the pool, turns and starts slowly stroking back.

THE RIFLE BARREL AND SILENCER

We are looking into the enormous tunnel of the rifle barrel as it moves very slowly across the screen.

:

·as he squeezes slowly.

a. EXT. BLDG. #1 - SWIMMING POOL AND SUN DECK - DAY B.

as the sw:!.rnming g:!.rl is.hit. A splash o~·.scarlet appears at her right sho1llder ble.de. She thrashes, gasps~ Her eyes are wide, blank with shock. She rolls in the water 9 starts to sink. Blood is pou~ing frcm an exit wouhd on her left side. •

CLOSE - THE GIRL 1 S FACE 9o

tlll'ned upward as she sinks. The blood-red water billows above her and she disappears from sight. The screen is clouded in a swirl of ·crimson. We HOLD £or a moment, then:

\ ,\_\-__) • X

\:[e are SHOOTING DOWN from the pool s·ta:ps.to a heavy metel door which opens ouD onto the rooftopa The door slams·

• V

CHANGE 4/12/71 2Ao

10 (Conto). ,. lOo

X opon and HARRY CALLAHAN appearso He. is ta.11 9 lean~ methodical 9 u..~dramatic 9 .carelessly dressedp dry. He is an Insoectcr i~ the San Francisco Pol~ce Dspgrt- ment, one ofrour'teen attached to Homicide Detail. He moves in a couple of long steps up the stairs to the pool a.rea e.nd stqps in a B.:G-·ffAAD~ looking off past us 9 his eye:! squinting against the sunlighto Over this we SUPERIMPOSE STAR 1S CREDIT.

llo ANOTHER ANGLE - THE POOL 11~

X as Harry moves toward the other end or th~ pool wher~ we see two uniformed SAN FRANCISCO POLICEHEN, a CHINESE BELLBOY, HOTEL DOCTOR, and a young ASSISTANT MANAGER gathere·d around the qody of the dead girl which has been ta.ken from the pool. Also present is a YOUNG MA!l in a terrycloth bathrobe and rubber sandals!, his expression shocked·s;, bewilderedr .unbelievingq As Harry move·s up to the

sep~rates as Harry kneels 1 looks at the dead girlo

CLOSE - HARRY 120 X as he looks up from dead girl to skyscraper overlooking area.

ANOTHER ANGLE 130 X as Harry crosses and looks UP. at Building #2 in.. bogo

REVERSE ON HARRY 140 X Makes up his mind, a-pins around and exits quickly f1--om rooftopo

CUT TO~

X We are HOLDING on Ha:::-ry as he long-strides up the 5treet toward us<> We SPI1l with him as he passes and dis cove~ ·· that we a!'e near. the base or Building #2. As Harry mo·n,a tm,1e:rd 1 t, we PAN UPWARD.

I completely up the length of the building. A pinpoint dot -- Harry's head -- appear~ at the top of the eirs~aft. We'ZOOM UP.

We· are·- SHOOTING DOWN the a irshaft as Harry looks down it~: Now we PULL BACK as Harry moves toward the fan housing on the rooftop. ,_I

we· are PANNING.with Harry as hand-over-hand he climbs the··1adder outside the housing which ·encloses th~ •giant air conditioning fans. He climbs past the open side door. We can see the interior o~ the unit. Harry reaches the top of the housing •

19. ANOTHER ANGLE - 19.

,re··are •ANGLED UPWARD through the fen housing toward the grate on top. Harry -- shoe soles with·a foreshortened Harry tapering above them -- can be seen above us; crossing the grate.

We are on the very highest area of·. the roof as Harry comes off the top of the tan housing structure and .starts around

_.l

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20 (Cont.) 20.

the catwalko As we FOLLOW Harry around the top of the building, we get a panoramic view of San Francisco. The Bay. The. Bridge. The Fe:r>ry Building. '.Ihe Embarcadero. And, as he moves to the north_side of the building with

he stops.

(FROM BLDG. #2) (ZOOM IN TO BLDG. #1) I

Harry is looking down at the swimming pool on top of Build- ing #1 from the exact .spot where the Killer .fired his shot. We ZOOM IN to the swimming pool area where we see that a

I

couple of ambulance attendants have placed the dead girl's body on· a stretcher and ar•e moving off .the rooftop with it.

We are CLOSE on Harry 1 s face as he watches them carry the girl's body away. We-PULL BACK as he turns, then stops~ looking down·at something on the walkway. He crosses and kneels by it.

23. ANOTHER ANGLE

We.SEE that the object Harry is looking at is a bright metal shell casing. Harry takes ar:! envelope and pencil i'rom his pocket. lie picks up the shell casing by inse:r-t~ ing the pencil into its hollow end, then shakes the shell casing into the envelope. Harry seals the envelope, puts,. it in his pocket, and rises. c~0~: •__c~~:.: :. _'. •

CLOSER - HARRY 25.·

as he caref11lly takes the note from the antenna, unfolds it and looks at it •. After a moment, quietly:

HARRY: Jesus~

X

The office has been .darkened, curtains drawn. The note which is being projected on a portable screen, reads: "To the City of San Francisco. I will enjoy killing one ·person every day until you pay me one hundred thousand dollars ($100$000). If you agree say so tomorrow morning in Persona:!. Column San Francisco Chronicle and I will set up meeting. If I do not he·ar f'ro~ you it will be my next pleasu~e to kill a Catholic priest or a nigger. Scorpio."

MAYOR'S VOICE: {reading) . •.To the City- of San Francisco. I will enjoy killing one person every day, until you_pay me one hundred thousand dollars. If' you agree say so tomorrow morning in personal colunm San Francisco Chronicle and I will set up meeting. If I do n~t hear f'rom you it will be my next pleastll'e to kill a Catholic priest or -- • (breaks off» then) Scorpio. 1

We are PULLING BACK to include the Mayor's office. The • MAYOR is a large man, authori tatiTTe and magnetic. X

the hell does he think I'm going to get a hundred thousa~d dollars?

BRESSLER: You're not thinking about paying himt are you Mister-Mayor? X

27 (Cont.)

· MA;{OR: - Our position is that the Ci.ty of San Francisco doesn't pay criminals not to commit crimes_, Instead we pay a police departmept.

This last is with a dry glance toward the Chief, who nods back grimly.

MAYOR:· Who's in charge of this case, Chief? X

CHIEF: Inspector Callahan. He 1 s waiting but X J

(to Bressler) X Lieutenant?"

BRESSLER: X Yes, S-ir.

As Bre·ssler exits, the Mayor shoots a·look at the Chief. It 1s apparent that the name has struck a ~1_1,gh~ly off~key chord with the Mayor as he says:

- ·. ~ ..... ~ - ·-MAYOR: -_u Callahan?

28. OMITTED 28.

X -·

ANOTHER ANGLE 29a

as Lieutenant Bressler and Harry enter the Majoris office.

CHIEF: Your honor. Inspector. Callahan.·

·The Mayor turns: X

MAYOR: All right, let's have it.

HARRY: Have what?

MAYOR: X Your report. What have you been doing? • <.....:~ . .. \ . (·- • HARRY: '~J-..,

for the past three quarters of an hour ... (smiles) X waiting for you. ··, 1"1,,.,._'l.'P!"I"',, .......... .---

\,I

CHANGE 4/24/71 7o

29 (Cont.) .

BRESSLER: Damn it, Harry, that's the Mayor. you're talking too

· ~> -MAYOR: There's-a madman loosea 1 1m asking you what's. being doneo Fair enough?

HARRY: . We'~e got a dozen people working the riles in the Identification Bureauo We 1 re !'unning down extor•tionists, rifle nuts, roortop prowlers, peeperso We're checking out known racial agitatorsp para-military groupsjl especially right wing extremists~ We're arranging for maximum roof'top •• surveillance and helicopter patrolo

BRESSLER:

and churches.and in the black areaso

HARRY: Ballistics is working on the slug -- it looks like a thirty-ought six . X seven lands and grooves -- right hand twist.,. We're running a compute1'.' check on everybody in the files whose birth- day falls between October twenty-third X and November tw~nty-first o X

MAYOR: November?

HARRY: Natives of Scorpioo

30. ANOTHER ANGLE JOa

as the Mayor nods, then looks around:

MAYOR: Have any of you mentioned this note to anyone else? ;.:I". General shaking of headso Harry i_s looking at the Nayor without expressiono

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30 (Cont.) 30.

How about. you?

HARRY:. ~obody ..

MAYOR: X Your wife'? Girl Friend? Some news- paper reporter?

HARRY: Nobody. • ·• .. MAYOR: X All right. I'll put a message in the X Chronicle. We 1ll agree to pay, but X tell him we need time· to get the money X together.

HARRY: You 1re going to play games with this creep? • I MAYOR: X ' It'll get us some breathing room.

HARRY: It'll get us some dead people •

Let me meet the son-of-a-bitch~

The Mayor looks over at the Chief questioningly. X

CHIEF: I'm against it. We could end up with X a-real bloodbath. X

MAYOR: X I agree with the Chief'. We'll do ft X this wa-y.

BRESSLER: ·x Let 1 s go, Harry,

31. ANOTHER ANGLE <;31.

Bressler· and Hary,y start out, then stop and turn as: X

i I II ( CONTIND'ED) \

31 (Cont.) 31.

MAYOR: X Callahan'? (then} X I don't want any more trouble like you had last year i:1 the Fillmore District. That's my policy.

HARRY: (politely) If an adult ma·le is chasing_ a woman with intent to com.'11it rap.e, I shoot him. That' s my policy.

MAYOR: x. Intent? (cones up) How did you establish that? You read X minds? •.

HARRY: Mot exactly.

MAYOR: X

··.: .. What then? : -~

Ge

(smiles dryly) Well, Sir, when I see a naked man running down the alley wi. th a butcher knife and a hard on I don't figure he's out collecting for the Red Cross.

The Mayor flushes, maintains his control with difficulty.

32. FEATURING BRESSLER 32.

The L_ieutenant can't believe what he's hearing.

BRESSLER: Come on, Callahan. . ·.

He storms out of the room followed by Harry.·

It ··1s about ten till_ three as Harry comes up the sj_dewalkg towards a car oarked, in front of the bapk, with its motor running. The exhaust is exuding acrid blue smoke; not great billowing clouds, but enough to be noticeable. Harry cuts behind the car to cross the street, coughs as he passes through the carbon monoxide. ·He apparently pays no a tten- J' :tion to the car or its s:i.ngle occupant as Harry exits shot •....~--.:

SIDE CLOSER ANGLE - fEATURING DRIVER 34.

sitting behin~ the ~heel. He is a young man in sunglasses ana a hat of some kind. His attention is on the front entrance of the bank.

36. ANGLE KWIK-LUN CH : 36.

as Harry crosses the street to· a small eating place catty- corner across from the bank. He opens the _door, enters.

as Harry comes in, he sits oh a vacant stool his back to the plate glass window which fronts the street. MR. JAFFEZ, in a white apron, comes up,.

JAFFEE:. Mr. Callahan.

Harry nods.

X X . X

HARRY: The usual.·

JAFFEE: So the usual lunch or the usual dinner?.

(beat, then) So dinner.,

JA1'FEE: Right~ X

-11.

38. ANOTHER ANGLE 38.

as Mr. Jaffee turns a hot dog burner -- maybe one of those grjlls revolving around a filam$nt -- and starts to build a pair of hot dogs with proper proi'essional care. As he i_s doing so:

HARRY: X Is there a bl-ue Chevy .outside •. the bank?

JAFFEE: (looks past Harry) Yes. X

HARRY: Motor still running? .

·· JAFFEE: How can I tell?

HARRY: The tail pipe. Exhaust smoke.

JAFFE: Yeah. That's awful. Look .at that pollution!

Jaffee puts the two hot dogs on a plate and slides them X in front of Harry, he takes one, spins around on his stool and looks out of the plate glass window toward the bank across the street. Harry bites into the dog then takes out his wallet and withdraws a card which he hands to Jaffee. X

HARRY: The number on the card. Call• it ..

Ja£tee reads the card, then:

- JAFFEE: The Police Department?

HARRY:. Tell them Inspector Callahan thinks X there's a two eleven in progress at X ·· .. the bank across the street.. Got 1 t? X

OMITTED 39. X

40.. ANOTHER ANGLE

as the old.man's expression becomes both frightened and determined.

i I JAFFEE:·... • •

Got ~t. Y~s, sir.

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I. • HARRY: i 11

Be·sure and say in progress."· \

I \ As.Jaffee turns and disappears into the back of the lunch

counter, Harry turns to his seco_nd ·hot ·dog, mumbling to himse.lf:

HARRY: Now, if they'll just wait X till the cavalry gets here, I'll ---

He breaks off as, from across the street, we HEAR sounds or·an alarm bell. This is followed immediately by the boom o.f a shotgun. As Harry rises from his ·stool to mqve into the fray:

HARRY: Oh shit.

as Harry bursts out of the lunchroom; tugging his pistol from its holster. It is a big., non-reg, Magnum forty- fou·r.

The FIRST ROBBER, carrying a sawed~of.f. shotgun rushes out of'door of bank.

CHANGE 4/12/71 • 13.

1· ?·· 43.• HIS P.o.v. 43. ·. (.()

as Harry crashes to a halt.

HARRY: All right! Drop itl

44. FEATURING FIRST ROBBER

as he brings up the shotgun., fires it.

FEATU~ING FIRST ROBBER

·as he i.s hitl> staggers 9 rubber-legged back to one side.· The SECOND ROBBER -- charges out of bank firing his handgun.

47. ANGLE ON HARRY 47.

as bullets skid off the pavement near him.

48 .. FEATURING GETAWAY-CAR

as the Driver screams to the Seccnd Robber:"

DRIVER: Come on! For Christ sake! Come.on!

The car-lurches out as second-robber dives into back seat of car.

CLOSE . 49.

as he fires st the Second Robber. Blaml

SHOOTING THROUGH WINDSHIELD AT HARRY __

as car veers-directly at him.

SHOOTING PAST HARRY -- $1.

in the f.g. toward the getaway-car·· as it speeds down _j ori him engine in firs~ gear~ roar~n~o

ON HARRY

as he fires at the oncoming caro Blam! Bla.mt

ON THE GETAWAY=CAR 530

as it speeds directly toward Harry. Suddenly the wind- shield starss a huge bullet hole appearing in the center of the crackle-p~tterno The driver is hit!

THE CAR ,I

It spins out of control, bounces over the curb, hits a • fire hydrant, upending car in a gusher of water.

CLOSER ANGLE ON UPENDED CAR

The driver is sprawled dead over the wheel. Sudd~nly out of back seat of car hurtles the second robber. He .fires. his pistol at Harry, as he rushes past· glass .window or store on col'ner.

58A. CLOSEUP HARRY 58Ao

as he looks at dead Second Robber in·· shattered window o He lets out his breath softlyo He looks at the wrecked caro Then sudd~nly, gun up, he starts oft' quickly toward banko

WIDER AN-GLE 590

The f:i.rst robber dropped by Harry is lying j_n the street ,. ·looking at Harry unblinkingly w~th both hatred and conjecture

• '1 CONTINUED j

59 (Cont.)

in his face. One hand is out and frozen, his fjnger tips· just touching the shotgun which lies nearby on the pavement.

60. SHOOTING PAST FIRST ROBBER AT HARRY 60.

The Fir st Robber is looking at the. gun in Harry' .s hand. Harry walks toward him.

-HARRY: (soi'tly) _ The thing is you're not really stlX'e ~heth~r I £ired five or six. And if five, whether or not I keep one . under the hammer. (smiles thinly)._ _ Tell you the truth I lost count my- self. No-,., what you got to do,- con- sidering this is a forty-four Magnwn and will blow your head into· li tt-y bitty pieces~••

if it's loaded .••

Harry smiles warmly, steps closer to the Robber:

HARRY: What you've got to do is ask yourself-- - (very softly) Are you feeling lucky,·punk?

61. FEATURING FIRST ROBBER 610

as he looks up at Harry_, unable to decide. He licks his lips.

62. FEATURING HARRY 62.

he waits the Robber out .

as slowly the man moves bis hand_away .from the shotgun on the:pavement. At this point we ~egin to HEAR, faintly at first the sound of approachicg sirens. Harry crosses up, takes the Robber's shotgun,cradling it.

,.·.· ~~l."-".a....~~..._ ••• .,,,...... ,..,.-.-,···

CHANGE 4/12/71 16-18.

63A.· • ANOTHER ANGLE - THE STREET 63A.

A San Francisco police car arriv~s. Now another. Harry starts toward themo

FIRST ROBBER: Hey?

Harry turns backo

' FIRST ROBBER:

I got to know.

THRU THRU

69. OMITTED •. 69.

X

The sound of Harry's yelping melds with the sound of a helicopter engine. We are on the roof of the Hall or Jti~ti~e Building. Harry is standing by the police helicopter talking to the ·two uniformed Officers who are manning ito The rotor blades are turning over slowly. Thwop. Thwop. Thwopo

71. ANOTHER •• ANGLE 710

as a uniformed policeman comes out onto the roo_f. Re is.looking over at Harry. Harry comes away from the helicopter and over to the officer. The officer tells Harry that Lieutenant Bressler would like to see him 0 We-can•t· hear it. Harry nods.

CHANGE 4/12/71 190 •

ANOTHER ANGLE 72.

as the helicopter takes off the rooftop and lifts into the San Francisco. skies., We FOLLOW it 11 then:

..

·The Homicide division. is housed in a larg·e~ airy o.f.fice with fourteen desks~ one for each of the Inspectorsa Bressler has a glassed-off office within the large room., • There is also a cubicle in the room where we find a sink- coffee urn s~all • '

re.frigerator., cupboard, so on. Bressler is at the I

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urn, pouring a cup of coffee o We PULL BACK as·.·. Harry comes·up to this small area.,

HARRY: You wanted-to see.me? I

BRESSLER: When the hell are you going to get a haircut?

• As Harry pours himself a cup of coffee:

HARRY: Can•t afford it .. And besides who's got time? I was up till three Somo on those search patterns.,

BRESSLER: Put in for overtime.,

HARRY: (sarcastically) X That- 1 11 be the day •. ·x X

740 ANOTHER ANGLE

As they start to move throu12:h t.he room to the Lieutenant 1.s ·ott'icei we MOVE WITH THEM ..

74 (Cont.) . 74.

BRESSLER: . That was a good pinch yesterday. X The Old Man was pleased. •

HARRY:. H13 we.s, hey?

BRESSLER: He really was. He wanted.me to tell you: • well done. X

FEATURING HARRY 75. ·\ HARRY: 1rm• deeply moved •.

BRESSLER: I · I pass along a compliment; you could ···.be a little bit po1i te. It might not even kill you to say thanks.

HARRY: I'd.rather say thanks to a promotion

I ANOTHER ANGLE

as a t>LAINCLOTHESMAN enters the main room, and, . as· he

I crosses toward his desk: )

PLAINCLOTHESMAN:

I Hey, Harry? You'd better check X \.

communications. Something from Chicago .. A gun nut.

HARRY: Ri_ght. (to Bressler) 1 111 get rolling. X

BRESSLER: Wait a. minute. I'm putting some- body with you. X

Harry·turns.

HARRY: What do; you me an?

BRESSLER~ You need a partner.

Bressler starts for his glass-enclosed office. Harry follows after him. • • • HARRY: I've got a partner! _j

to

Bressler crosses into his office. Harry follows. For ths first time we see a young plainclothesman, CHICO GONSALES, about tw~nty-eight 9 who is sea.tea on the frayed leather couch., Chico is mediutr. sized 9 good-looking.; He rises., Neither Bressler nor Harry pays the slightest attention to hitn. It is doubtful if Harry even sees him, as:

HARRY: {angrily} What's wrong with the partner I've got?

i l I .BRESSLER: , .

(turns, angrily) Not a thing except hers in the hospital! X.:;

HARRY: He 1 ll be ~ut in a couple of weeks. X X BRESSLER:· (indicates) Say hello to Chico Gonsaleso He 111 • •. be working with you.

78 •. ANOTHER ANGLE ·78.

as Harry looks over at Chico. Chico puts out his hand. Harry doesI?,~--~--~ee it. He has turned to Bressler in shock.

HARRY: You're kidding! I've got no time to • break in beginners.

BRESSLER: Now listen to me, ?arry --

HARRY: Why don't you give the kid a chance? X BRESSLER: X What does tha·t mean? .

HARRY: (to Chfco} The guys I 1 ve been working with X Deitzick in the hospital, with a bullet in his gut. _Before tha:t -. ·_ Fanduchi, shot and killed. X

78 (Cont.)·

CHICO: (smiling) So? X

'HARRY~ (to Bressler) If I've got to have a partnerg all • right, but why not somebody who knows what he ' s doing? . What about ·Frank

I

DiGeorgio?

BRESSLER: No wayo You're working with Gonsales X or you're not working. That's .straig..11.t

X

HARRY:- (nods, then)

BRESSLER: If you see DiGeorgio, send.him in here.· X

Harry and Chico have come out of Bressler 1 s office .. We MOVE WITH THEM as they cross between the desks toward the door. Harry throws.a sidelong glance at his new partner.

HARRY: What do you go?

CHICO: One seventy. Seventy-five. I .fought X light heavyweight. X

Harry brightens a little at. this.

HARRY: You fought? ·

CHIC_O: .

HARRY: Where'd you fight? Any clubs around here.

(CONTINUED)~

79 (Cont.) 79.

CHICO: San Jose State o •

HARRY: Just what I neededo A college boy •.

You haven't found one thing you like about me yet 9 have you1 • X

HARRY: Well, it 1 s still early.

80 •• INT~ HALL OF JUSTICE tTH FLOOR HALLWAY - DAY Bo.

as they move toward a room at the end or· the hallway, we MOVE WITH THEM. They walk briskly, people moving in 1;h~ bog.

HARRY: You got your degree?

CHICO: Sociology.

HARRY: You' 11 • go far -- lf you .live.

CHICO: If I live?

• HARRY: X Try not to let your college X· degree get you killed -- . X because I 'n:. l:i.able to get killed X ·along with you.

CHICO: (dryly) Thanks a lot.

81.· ANOTHER ANGLE

as they come up to a .door marked ''COMMUNICATIONS •.. AUTHOR! ZED PERSONNEL .ONLY. t1

HARRY: Anything else you-want to know, Just ask.

Harry enters, followed by Chico.

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8JA 83A THRU OMITTED Tfr.;J 83FF. BJ~':'.

X

..._

We are in a LONG SHOT from a HIGH ANGLE, MOVING across the park with its hippies, sailors,. kids playing ball, fat Italian mamas, whatever. Across.the Square is the church. • • •

as a CATHOLIC PRIEST comes out of the church, crosses to the sidewalk, The Padre stands,looking around, smiling at passers-by. Suddenly we WHIP PAN to a building (Number Three) across the Square and ZOOM UP to the edge of the rooftop. We see a man 1 s ~ead. He is 1ooking over

I

the .edge of the roof.

We are on the Ki1ler, f'rom behind, ·as he leans over the edge of the roof, looking down at the Priest across the Square._ Suddenly, he turns and we see the Killer for· the first time. In one hand he holds a torn-out newspaper column. • X

CLOSER - THE KILLER 87. X He.is middle'-sized, nondescript~ in his mid-thirties, hair colored hair, going thin. You 1ve seen: him a hundred times and never really noticed him; he 1s Mr. Nobody, a m.il:::.ion pale strangers rolled into one. He looks.at the bit of newspaper in his hand.

INSERT - NEWSPAPER 87A. X We see that it is a torn-out personal column from the San Francisco CHRONICLE. One item has been circled in ,pencil. We MOVE IN CLOSER. The item reads: "To· Scorpio. We agree but n:eed time to get money. Be patient. 11 •

87B. ON KILLER _87B.

X

rooftop, scattering them. He stops by a large, tan

( CONTINUED)

87B (Cont.) 87B.

suitcase and_now, putting on a pair of thin cotton gJ_oves, he squats down by the suitcase, opens it, and takes cut a rifle.

This ri.fle is in two parts~ possibly three, so that .it has to be·assembled. The telescopic sight also needs to be attached. He takes it - like a little telescope and carries it to the roof'top ledge. We MOVE with him • as he looks o.rf into the Square.· ..

THROUGH SIGHT) - DAY

We are FOCUSED on the front of the church where we last saw the Priest. He is not to be seen. We MOVE a.round ·in.abrupt, angry moves, seeking.the Priest; the CAMERA's movements express the Killer's frustration at °losing his quarry. Long, fast, angry sweepso Where the hell is X

Pries~, something better. •

Coming out of that little corner candy store we see a

a purple poncho.

THE lS}LLER DAY

brisk movements as he quickly assembles- the rifle" Now, for the first time, we might notice the thing that makes him different: the li~tle worm of madness in his eyes.

90. ANOTHER ANGLE .90.

He c:rosses -to the rooftop ledge, looks off, to·check.

' ~.g::/ I .. ,,''

P.O. V.) - DAY

The youngBlack in the poncho is where we last saw himo He's .rapping with somebody, laughing, eating an ice X cream cone. X

as he watches down, .feeling a sense or•power. X ·x

ANOTHER ANGLE 9.3 0

as the Killer quickly· crosses to the open suitcase, and X care.fully loads the rifle. X

as the Black youngster. end his .frie.nd move into the park.

as the Killer moves to the roof'top ledge looks off, spots his prey immediately and raises the ri.fle to his shoulder. All of his moves with the rifle are done with expertise and economy;

SIGHT ) .- DAY

es the Black youngster and his friend move, laughing, camping a little. They move behind a .· '.t!'e-e. Tv'.Je HO\TE QUICKLY to the other edge of the greeri foliage, waito There is a.beat, anothero The rhythm isorfo They should reappear by now •

97 •. • EXT·. BLDG. #3 ROOFTOP - CLOSE - KILLER - DAY. 97 •.

There is concern, anger on his face.

SIGHT) • - DAY ,

as, at last the Black Kid and his .friend reecpear in the cross-hair·s of the sight.. They move to a bencho There is. some Sir Walter Raleigh bowing and scraping and the Black Kid sits, sprawled expansively racing us~

J

We are SHOOTING DO~nt from the helicopter, possibly over the Russian Hill District, angled to include the heli-

I. copter's shadow. It sweeps over rooftops, street corners,

parking lots o People are looking up.· Some wave o A few POLICEMEN are stationed on several FOofso

101. CLOSER - SOME KIDS ON A STREET CORNER - -DAY·. 101.

as the helicopter sweeps over them. ·• A. couple of the kids X wave. One gives them the finger. . X

One of the Cops is f'lying, the other is looking arou.."'l.d o X X

103. . EXT. WASHINGTON SQUARE (SFPD HELICOPTER" P.O. V.) - 1030

DAY - MOVING LONG SHOT

es the sniper begins to squeeze the trigger; gently, gently then suddenly we hear the helicopter approaching. The sound impinges on the consciousness of the Killer es a buzzing fly might. A momentary distractiona However, it • disturbs him. Re has to recradle his cheek against the stoclr of the gun.

as· we MOVE DOWN FAST. toward Washington Squa1•e and rooftop number three,. Downo • Down. ZOOMING into a CLOSE SHOT of the Killer, frozen, looking up.P white-.faced in a hunch- back's crouch.

106. • THE KILLER 106.

as he rur.s in the g·ale of the rotor blades o Through the helicopter shadow on the roof, to the open suitcase. As he runs to the rooftop door,·carrying his suitcase-and # rifle we hear: · •... {CONTINUED)

CHANGE .. 4/24/71

1·06 (Cont.) 106.

BULLHORN VOICE: (from helicopter} Stop. Stop in the name of th~. law o

The Killer is go·ne into the buildingo

asit hovers.above the building, the sun directly behind it, splintering the sun's rays, the Second Policeman. talki~g into radio-mike.

We are ANGLED down Kearny Street in the North Beach· District.· We are near an intersection,· Jackson or Pacific,, An un.-r:ia.rkec. police car comes around the corner~ heading north up Kearny. Harry i~ driving, Chico sits next to •him.

as the car moves up the street with hippie-type shops Harry is looking lef't and right. Chico is bellyaching:

CHICO: What I don't understand is how the helicopter boys lost him. How did they let him get out of that building without seeing him? X

HARRY: (interrupts) Maybe they were talking when they should have been looking.

CHICO: (beet, then) It Is possibl-e •• .... ·-

Well clam upt then. ( then J And turn that louder.

Harry is indicating the car radio which has been droning on low in the backgroundo

i j

i L

-, I

110. ANOTHER ANGLE - HARRY TURNS O}TTO COLUHBUS X 110.

as Chico leans forward and turns up the volumeo

RADIO VOICE: ••. to all units. We have some additional information on that ~oortop prowler last seen vicinity Washington Squareo He.is an adult, male cauca.siono

111. SHOOTING PAST CHICO .

to· the sidewalk of Grant as we move forward. Chico is cheeking the PASSERS.:BY; the Straighti> the H,ip, the Half- hip. • ·1

RADIO .VOICE: When last seen the suspect 1vas .. wearing t·an chinos II pale shirt, brown coat or sweater and was· carrying a· tan suitcase which probably contains a thirty ... thirty rifleo

112. SHOOTING PAST HARRY 112 ..

to the other side of' Grant Avenueir as we MOVE AHEADa Same Types. North Beach S'l1REET PEOPLE, TOURISTS, SO ON.

RADIO VOICE: This man is wanted on suspicion of homicideo Extreme caution is advised~ Suspect is armed and considered dangerous o X .•

Harry ts attention is attracted by a MAN and a WOr"iAN coming down-the· street toward uso The Womanise statuesque blonde, the Man carries a large teddy bear. They are immune to the stares of the passers-oyo

113. ANOTHER ANGLE - SHOOTING UP GRANT AVENUE X 113. ·' APPROACHING FILBERT

as the police car is m.oving·alowly ahead:

HARRY: I Goddam loonie~o They ought t6 throw e_net over this whole damned J

CHANGE 4/24/71. 31 •.·• •

113 {Cont.) 113.

Suddeniy a MAN with a suitcase crosses the street.P about fifty yards aheado Chico pointso

CHICO:· Therel

Harry has been looking off to his left~ at the nut with the teddy bearo

HARRY: What?··

CHICO: Man with a. suitcaset

The Men with the suitcase, blocked by an approaching car can no longer be seeno

HARRY:· Where?

• CHICO: Lost himo

The Man with the sui tease turns down into Filbert Streeto

115. INTo HARRY'S POLICE CAR (GRANT) - NIGHT X

We are ON Chico and Harry as Chico points offo

CHICO:··. There he goeso Did that suitcase.· look tan to- you?

HARRY: I still haven't seen the son-of-a-· bite ho

CHICO~ Down Filberto Take a le t'ta

EXTo CORNER GRANT- AND FILBERT - NIGBr X 1160

as the unmarked police car rams into second 9 swerves out around a couple of cars 3 barely missing a COUPLE of'·· TOURISTS and starts its left turn into F:'1).berto

_J

CHANGE 4/24/7i 32. •

• . 117. INT. HARRY 1 S POLICE CAR (FILBERT) - NIGHT X 117.

We are SHOOTING FORWARD through the windshield as the ca.:--- make~ its turn into Filbert Streeto .As we straighten cu: moving west, we SEE the figure of the Man with the sui::~ case just disappearing up· the little alley called Kr•a1;.s- grill Place.

CHICO: There he is 1

HARRY: All right. I see him.

as the Man with the suitcase moves away from us up- the alley; he is apparently 1?-naware that he is being followed •.

·119. EXT. FILBERT STREET .. NIGHT X 1190

as Harry pulls .the car to a stop by the curb. Harry and Chico get out .. Harry comes around the front of' the car and up to Chico.,

CHICO: How do we work this?

He points up to another alley to the ea.sto

You block of.'f that a.lleyo I go ino

Harry moves quietly toward the entrance to F.rausgrillo

as Harry gets to the corner of the .alley and looks up.it"

The· alley goes up about fifty yards· then turns right~ ~./e see the Man with the sui tease moving out or 3ight arou..--:d the cornero

122. • ON•• HARRY 1220

He enters the alley cautiously, loosens his coat.· X so he can reach the Magnum forty-fou1~ and moves X ahead · to the corner o _____________ ___..J - -- -- ----·~-~-··------- _:. .......- ., ...............

CHANGE · 4/24/71

123. AT CORNER .123.!

i \

After a moment., he·. comes quickly around the corner., X

HARRY 1S P.o.v. 124 .. I I This short segment of the alley a.ls~ leads to a dead end l • and a right tur11:. ) I

125. ON HARRY 125. I

~ . I as he moves cautiously down.the empty al.ley. He stops.i tests a door., checks some packing cases., looks behind t some ash cans •. He is moving carefully, taking no chances ..

to this alley, its rear windows are dark. Harry comes up_ to it·., checks the recessed doorway, .starts on., Suddenly he whirls. The lights in one of' the rear apartments have gone on. • After a. moment., Harry crosses back to the windo·r:'I

1-21. CLOSER - HARRY • •• 127 v

He is standing under the window which is too high for hi:n to see into comfortably. He looks around, spots an old garbage can nearbyo He gets it, carries it back to t:t.a spot under the window a.nd care.fully climbs up on it. Harry looks in the window: •

DfT. KRAUSGRILL BEDROOM (HARRY'S P.o.v.) NIGHT X • 128a -

as the Man with the suitcase -- we see he's Chinese -- stands by the lightswitch •. A bleached BLONDE comes out o: the bathroom zipping up a pair of slacks.which a~e too tight for her. The over-all impression is puffy white

•

:f1esh, stale mascara and avarice. ~he greets the Han -- the window is·.. closed and we can't hear the dialcgue -- then crosses and gives him· a little •kiss .. - New she 'in- dicates the sui tease •.. Did .you bring me a nice present?

looking, gun ready ..

j

, ' L;,,,-~~~::,;·~- .. ,:'.,,,., - -->~-,., ,. -. . . -.,. --- •

CHANGE 4/24/71 34. •

THE MAN AND THE WOMAN

as the Man hoists the suitcase onto the bed, opens it., He rummages for a minute then turns the sU:i tease upside do'n7. • and dumps the contents out,. Nothing but dirty laundry a:-.:: a gift-wrapped package o This he gives to the Blonde,, <:: ..... .=. tears it open a It is a shorti~ nightgown.. She kissos h1-~ He now starts working on the top button of her- slacks. 1 She's not helping him~ He is -having a hell of a time 1 trying to get the ·button ur..buttoned. She is just standir.g there watching him, .neither helping no1• hindering.

•• 131. EXT. KRAUSGRILL PLACE - NIGHT ON··HARRY X 131.,

He· starts to turn away from the window~ but fascinated b<r the strange contest going on in the bedroom, he hesitatesv another moment. •

· 132., • INT. KRAUSGRILL BEDROOM. (HARRY'S P.o.v.) - NIGHT X 1.32.o

as at last, impatiently, the Ma.11. tears the button off and pulls the Blonde's slacks down .. Tiny red bikini panties and a big, pale fat behind with varicose veins .. No big sexy deal.

· 133. EXT. KRAUSGRILL PLACE - NIGHT ON HARRY X 133.

as he is about to turn away from the window, suddenly we hear a loud metallic crash and Harry drops out of the pi:- ture. We PAN down quicklyo Harry is sprawled on the pavement, an unbelieving expression on his- face., The a.st.

been knocked out of Ha!'ry, he is.~asping for breat}l unab:e to sp!3ako •

The CAMERA is PANNING around a GROUP ·ot half a dozen hard tough-looking GUYS. Undershirted, bare-chestedo

LEADER: ··Getting an eyeful?

Harry, still unable to get his breath, rolls over on his face and tries to ge·t up ·-- like a camel, hindquar::ers I firsto -I I

r-·------

ON THE LEADER 135 co

as, seeing a targe-t of opportunity, steps forward like a master place-kicker and roots Harry in the ass. As he does so:

LEADER: X Goddsm pie hawker.

136. ON HARRY 1)6. . I

as he is impelled forward -- crash! into the garbage can.

137. ANOTHER ANGLE

as Harry sits up, his eyes slightly crossed.

· HAR."tY: • I 1m a puh -- I'm ·a puh --

He is trying to say ur,m a Police Officer" but he can't get it out. One of the Tough '.l'ypes has pulled him to his feet; another has him in a strangle hold from behind.

l.38. - ANOTHER ANGLE • 138.

as the Leader comes up:

LEADER: Lousy- peeping Torn. We ought to call the Police~

The Leader hits Harry a shot in the belly. He_rry goes d owr. , to his hands and knees gssping:

·HARRY:. (at last) . I am the _Police.

LEADER: What did he say?

2ND TOUGH: I think he said he is the Poli.ce.

LEADER: He'st a nie• hawke:.• i.s what he is. X

j

139. ANOTHER ANGLE 139.

There is a general assent from the others. They start to X move in on Harry when suddenly we HEAR the sound of run- X ning f'eet approaching .. The Tough Types turn toward the X sound, staring.

140. ANOTHER ANGLE lq.O.

as Chico comes down the alley from the other side, gun in hando . His attitude is hard, prof'essional ..

CHICO: All right. Back against the wall.

r ~igh t now! ~- Move 1

As the six Men start moving to the alley wall, Harry gets up.

HARRY: Let •emgo.

CHICO: Let 'em go?

HARRY: You heard me.

CHICO: They were assaulting a Police Officer!

LEADER: You mean he really is a cop?

2ND TOUGH: How was we to know? We thought he was a pie hawker.

LEADER: He was s.tanding on . that garbage can peeking on Hot Mery and her Boyf;r:-iend.

CHICO: Hot Mary?.

CHANGE 4/27/71

ANOTHER ANGLE .143.

as Chico turns back t~ Harry.

HARRY: Let .'em go, Gonsaleso

LEADER: We figured he was some kind of freak getting his _kicks.

HARRY: (grinds it out) Beat it. •

Chico gestures with his gun:

• CHICO: ' All right. Take off!

ANOTHER ANGIE • 144.

as the Tough Guys move East up the alley and out of sight:

CHic·o: What about the ~~n with the suitcase?

HARRY: Wrong number.

Chico rolls the garbage can out of the way, glances at the window, then at Harry. He is smiling .faintly.

·HARRY: ·something funny?

CHICO:. Just had another thought •

• HAimY: • About what?

CHICO: Why they call you Dir:ty Harry.

X _ _J

1--·

I

CHANGE 4/27/71 37A. X

144 (Conto ) 144

Harry look at Chico for a long moment~ then Oo s., we HEAR ·their car radio.

RADIO VOICE: Ins1pectors Seventy-One. Inspectors Se vent y-Oneo

Harry is sprinting dbwn alleyg followed by Chicoo

144A. EXTo FILBERT STREET AfTGLE ON POLICE CAR -. NIGHT 1444

X Harry picks up mike.

HARRY: - • Inspecpors-Seventy-Oneo

RADIO.VOICE: Got an eight oh one in progressoo• it's a building on Geary between Mason aud - Powello It's a Dirty Harry special.

HARRY: We're on our way.

• 144B. ANOTHER ANGLE i44B'

X Chico steps on the gas.

CHICO~ What's a Dirty Harry special?

HARRY: A Jumper.

Large kleig, lights are on the building revealing the JUMPER on the ledge of. the sixth floor. POLICE CARS, FIRE TRUCKS, CROWD held back by patrolmenooo Callahan's car arrives, Chico skids to a s·top. Both jump out of' the caro Harry looks up.

• 145A. HARRY' s Po o. Vo 145A.··

X

CAMERA climbs up the building slowly to the Jumper on a si.xtb story ledge 1 a UNIFORMED POLICE OFFICER .at windows on ei tner side. i I

i J I L.

CHAUGE \. 4/27/71 37Bo

145Bo ANGLE ON FIRE CAPTAIN 145B

as be approacb.9s Ha1•ry o

Sorry to ring you in on thisl) Harryi, but you seem to have a way with thesa nutso Want to try t·o talk him down?

HARRY~

145C. ANGLE ON HARRY

A harness is being rigged over him wi-th a thick rope attached to a winch with FIREMEN at controlso. Harry gets into the seat of the·· HIGH LADDERo A FIREMAN starts to belt him into the. seato

l45Do ANGLE ON CHICO 145Do:

looking at Harry.11 not understanding.

145~. ON FIREMEN AT TRUCK CONTROJ..S J.45E. ··.

starting the ladder up.,

l45F. Oll HARRY

going up, CAMERA AMGLED FROM ABOVE to show ground growing dis- tant below h1m 9 Harry holding onto the arms of the chair tightlJp knuckles pressed white, looking down 11 but quicklys j his face paleo

• 145G. FULL SHOT 145G.

Harry going UPo

J.45H~ POLICE OFFICER IN WINDOW 145H.

lookir.g down watching Earry ~ CAMERA MOVING to 00 • The ·Jumper looking down at Harryp madness in his eyeso

145Jo • ON CHICO 14SJ. •.

lookfng up at Harry~·face stra!.nedo

I

J.I

CHANGE 4/27/71 370., X 1451 ... Harry in the r.i.a ing ladder nigh above o

145Lo ON HARRY - FROM .4.BOVE 145r.

·ground belc-Wooo reaches Jumperooo two yards awayp a disturbed man, the world too much for himo

JlJMPER: (screaming)

L

Don't you t~y to get mal •

HARRY~ You. crazy? You' re the one that wants to get.killedo -Not meo

Jumper looks up at him not understandingo

HARRY~ You jump, ·you 1 11 try to grab me for sure., It b~ppens eve~y timeo They change-their mind at the last minute e.nd want to hang on to some thing .. Not me, br-ot he r.o

JUMPER: You're not going.to try to grab me?

HARRY: My best friend got killed that wayo Jumper grabbed him 9 six stories 9 just like ~cuo· Both of them got squashed to pulp., • •

Jumper looks a little paleo

··HARRY:

their feet, or which one or. them was whic ho One look at them and I vomited all over· the place.,.

·i45M. ANGLE FAVORING .JUMPER

The Jumper is now greeno Harry has pocket notebook and pencil in hando

Would you mi.nd giving me yotu:• name and add.ressi

,JUMPER; Why?

•... -..-------···-----

CHANGE 4/27 /71 37D.. X

HARRY~ ( em'!::,arras.sed) Like I 11 m telling .you, afterwards o .. o identirlcation tg impossible .. Even your papers .. ~othe bloodg I mean you canit read ~h-=,mo .

145No CLOSER UP ANGLE.,., JUMPER AND HARRY 145N,

JUMPER~ I'm going to puke ..

HARRY: •(quietly) . l You puke out hereii son 9 you're. going to fall for sureo

Jumper stares at him.,

HARRY~ You better ask yourself, right now, if you-really want to do that.

The· jumper looks down.

145P¢

The streetg the upturned faces, a million dizzy miles below himaoaTHE FRAME FREEZESo~ostarts to SPINo

145Q4 CLOSEUP JUMPER ..i..4;> .,

..

14$Ro CLOSEUP. - HARRY 145B 0

waiting tense.

145s. 145s ..

POLICE OFFICER from -r:he window to the :"'ight is almost within reach of the jumper, held by companion, tries, lunges., .. Jumper seeing, twisting away, face contorting., eyes en Harry o

JUMPER:

Yo~oo•YOUooodiel J

CHANGE. 4/27 /71

X

145T o ANGLE ON HARRY 145T,

His face twisted~ his arms outst~etchedo He manages • to hold. on to the. Jumper.

1450. ON CHICO 145tJo

I

face contorted 9 waiting fer the. terrible endo

145V. ON HARRY AND THE JUMPER 14sv .. ,

as ths hook and ladder starts to desc&nd to the groupd,.

145W. ANG LE ON WATCHERS BELOW ··• 145w ..

• .frozeri 9 hypnotizedo

145Y. ANGLE ON WINCH OPERATOR 145Yo

operating con~rols carefully.

J.45Z. ANGLE ON JUMPER AND HARRY

as they are lowered down the side of building,.

JUMPER: (screaming hysterically) Don't let me die.

145AA .. CLOSE DOWN .ANGLE· CHICO AND FIRE CAPTAIN· J.45AA ..

JUMPER'S VOICE~ Please o.o.

J.45B.B. CLOSE ANGLE - HARRY AND JUMPER. 145BB ..

They are nearing the ground,. Without warning 9 Har:-y suddenly hits the hysterical man a short jolting left. The Jumpe::- goes limp 9 held only by Harry's arma~ Chicop the Firf;l Captain, and OTHERS rush up o •• Harry hands the unconscious Jumper to their.willing B,rm3e

HARRY: (gravely) I hope I didn t t hurt him •.

CUT 'I'.0:

CHANGE 4/27 /71

X

A146. EXT. VACANT LOT STREET - DAY Al46.

Chico drives, Harry beside him.

• B146. INT. HARRY t S POLICE CAR {VACANT LOT ST. ) DAY Bl46.\

I RADIO VOICE: iI Inspectors Seventy-One

Harry picks up the.mike.

\ HARRY: I ). • Inspectors Seventy-One.

We 1 ve got something for you, corner I ) Sierra a.'t'ld Texas.,. A young boy, Negro. ••

HARRY~ What about him? • I

We are CLOSE on a Unif'ormed POLICEMAN, SG~~. REINEKE.

REINEKE: Shot in the face •

• ANOTHER ANGLE - INCLUDING HARRY 147.

The Policeman and Harry stand in a sloping vacant lot at the corner of Sierra a!ld Tex.as Streets., There is an a..-n.- bulance~ a couple of black and white units and Harry 1 s car. In the ·b.g., we see an enormous oil storage tank. In the knee-high'. grass and the rubbish nearby is a CHILD'S BODY partially covered by a blanket. • I REINEKE~ Blew part of it awayo

As the Policeman starts toward tha-body rollowed by Harry:

HARRY: Who "is he? Does anyone know who •he is?

MRS. RUSSELL'S VOICE: I'm his mother. • • •

Harry·stops and turns toward the voice •.

..····· ···• ...., ••••

CHANGE 4/12/71

ANOTHER ANGLE 148.

a YOUNG BLACK WOMAN, the dead child's Mother, stands nearby·. She is quiet and dignified and strangely I hollowed out by grief. I

I ' MRS •• RUSSEL:

I His name was Charlie.Russel ·and he was ten-years-old. • I

\

I

I A FRIEND comes uu and takes Mrs. Russel away. H~rry I

looks after her for a moment., )

\

AN OTEER ANG LE . - BY BODY

The Policeman stands by the child's body. Harry now turns away from Mrs. Russel and crosses up to.where the body is,. The Policeman bends down and removes the blanket .. Harry looks down.. A beat, then Chico crosses over, notebook in band.

CHICO: Inspector, .. this officer says ---

Chico breaks off, looking down at the dead boy, 'then:

• CHICO: Oh, Jesus Christo

HARRY: You· better sit down before· you fall down.

As Chico moves off, then suddenly stops, bends over and vomits in the high grass.

POLICEMAN'S VOICE: (over walkie-talkie) Reineke? Sergeant Reineke?

Harry and the others react to the SQUND of' the voice.

·150. ANOTHER ANGLE - APART1'1ENT ON EILL

There are· some two or.three-story apartments on the hill overlooking the lot. On the roof of the nearest.,. 1s a POLICEHAN wj, th ft Walkie-talki eo ?arry X X X

CHANGE 4/2l~/71

150 (Cont.) . .150. •

crosses over toward one of the black and. white units. The Policeman gives Harry a walkie-talkie. Harry calls up.

HARRY: • • What you got?

As we ZOOM IN on the walkie-talkie Policeman on the·roof- top, he raises a shiny brass object on a pencil. X

) WALKIE-TALKIE POLICEMAN:

Thirty-ought six shell casing. He X

i was up here all right.

-. ANOTHER ANGLE .151.

as Chico comes up to Harry, his eyes still watering.

HARRY: Welcome to Homicideo

Ha1.. ry moves off, followed by 'Chico .. • We HOLD on the large oil storage tank in the background then:

We are CLOSE ON a rifle carrying case. Someone opens it, revealing a high-powered hunting rirle with a telescopic sight. As a HAND reaches in and carefully removes the rifle and its. case, we PULL BACK TO reveal Harry. He is in the Chief's office. Also present are the Chief, Lt. Bressler, and Chico. The latter two· not included, as Harry turns to the Chief with the gun.

HARRY: Four fifty-eight Winchester.

Harry hands the.gun to the Chief, who_examines it.

CHIEF: This thing'll step an elephant. (a glance at Harry) Apparently you like a little edge.

HARRY: All I can gete

~ 41.·· I I ANOTHER ANGLE - INCLUDING BRESSLER AND CHICC. 1_5J •. l

The Lieutenant nnd the young Deteqtive are at a wall map of San Francisco. Bressler has a type- written paper and Chico has a plastic box of Little stick-pins with little numbered blue swallow-tailed

map as Bressler tells him whereo •

CHIEF: ,.· ~~<~ \.'·. He's no elephant, Harry. He's no animal ·of any kind. Remember that. ( to Bressler} X Are you ready to show me what X you've worked out, Lieutenant?

BRESSLER: Yes, sir.

ANOTHER ANGLE 154. X As the Chief crosses over to Bressler at the map which we SEE is well dotted with tha little blue flags except around the area of Washington Square.

BRESSLER~ These blue flags stand for units we'll have on duty by dark tonight.

CHIEF: Double- shifts and overtime?

HARRY: (nods) __ Just at night. We figure the. helicopters will keep him off' the. roof's 1n the daytime.

CHIEF: I see.

BRESSLER~ We're going for high visibilityo I've given our units orders to make t hems elves verv noticeable _..;; ( in di cat e s ) " • • • -· ·. ·: Except here. In the North Beach area~ We're leaving that open for hirrio

CHIEF: ·(to Harry) ; You found a. good place for your stakeout?

-----,

154 (Cont.) 154.

.. HARRY: X Yes Sir. Locks right down on the roof where the chopper patrol spotted him yesterday.

ANOTHER ANGLE - FEATURING CHICO

as he shakes his head. . I

BRESSLER: _ . (dryly)

1 • Something bothering you, Gonsales? I'

CHICO: No. No. Nothingo

CHIBF: Speak up., Inspector. • You're among friends •.

CHICO: It just seems like such a longshot -- that he'd come back to the very same roof.

CHIEF: Not so much as you'd thinko One -- he likes rooftopso That we know.

CHICO: A lot cf rooftops in San Francisco., Sir.

CHIEF: Most of which are locked. But, this wi 11 be open for nim. (to Bressler) Did you follow up on that?

BRESSLER: Yes, Sir. I talked to the man who runs the building. No problem.

CHIEF: In the sec end place., the soci opa thic • personality -- and we're dealing with a classic sociopath, there's no doubt about that -- runs tow~rd natterns. They'll rob the Ve"I'y sar.:e store three, -- four times in a ra~o It makes them feel .audacious. • Like The Scarlet Pimpernel. ·Scorpio strikes again. They like that feeling.

I I

1.55 (Cont.) 155.

HARRY: X There's one more reason that he might want to use that same roof. He's got ·a clear field of fire to ,. Saint Peter and Paul I s.

BRESSLER: And, they' re having ·a_ Novena to- night.

CHIEF: Go on.

BRESSLER: His note. ··He threatened to kill a Catholic priest or a Negro. The Russel boy was black.

HARRY:· So he might just feel he owes him- self' a Padre.

As the Chief looks sharply at Harry, we --

• ·r•~,-,, CUT '1'0:

(~_,~d

The· door to the roof .opens and Harry and Chico come out. They are carrying the rifle case, binoculars., a big.portable light o.t' the type called a Sun-gun. So on. As they cross being careful to keep away from the edge of the building. There is a large turninW sign on top of the building reading: "JESUS SAVES.' One ~ide ~sin pink neon and the other is ln green neon. So, although we cannot see the sign yet, we can hear it squeakily turning and the scene is alternately bathed in pink and. green.

ANOTHER ANGLE 157.

as they reach the· center of the roof area and put the t~ihgs down:

HARRY: Lock· that door.

Harry is speaking -tn whispers. Cbico nods and go ir.g back., locks the roof door. Harry takes a pair ·or the binoculars and crosses to the edge· of the roof. He takes the binocul.ars out of the case and looks off.,

-·-t I

(BINOCULAR SHOT) - NIGHT

We are SHOOTING over to the ro o.ftop of Building #3 o Empty. Now we MOVE over to the doors of the church. PEOPLE, a few OLD_ LADIES, coming in for the novena. Now we sweep the park. General early evening activity·. SAILORS. - Hippies. Nobody resembling.the Killer.

as he looks through the binoculars., then lowers them and crosses back to Chico who has returned to the equipment.

160. ON CttICO 160 •..

He looks up from the Sun-gun as Harry comes up. All· the dialogue is low as:

CHICO: Anything?

Harry, instead or answering Chico~ p1dks up the X walkie-talkie and switches it ono. 1'fow, into walkie- talkie:

HARRY: Inspectors seventy-one. We're in positiono Beginning surveillance. X Nothing yet.

Harry puts the walkie-talkie down and takes the big rifle out of its case, starts to load it. As he is doing so:

CHICO:

while you•re blasting away with that cannon?

HARRY: Well, you'll be down there about ten yards ·1-tolding the Sun-gun. X CHICO: X You know that light's going to draw·h1s fire don't you?

HARRY: (beat; then) • Maybe you better make that fifteen yards. ( CONTINUED)

... , I

45·.

J.60 (Cont.) 160.

A~ Harry resumes loading, we --

I

161. EXTo BLDG. #4. ROOFTOP - NIGHT - CLOSE ON SIGN 161. I

JESUS SAVEStt. I

We PAN DOWN froM sign to H.srry bathed 1-n the gl~w of' . XI the neon, as he looks off towe.rd Washington Square . I with binoculars to his eyes. . X

162 • OMIT TED 162. thru ,. thru 167. 167.

X

(BlMOCTJLAR SHOT) - NIGHT

We are ON the front door of the church. A couple X of old ladies say goodnight to the Padre. He stands in the doorway for a long moment.. As he does so we S'tlEEP the park, the adjoining rooftopso Nothing. We HOVE BACK to the Padre. He goes into the church. The doors close. We SWEEP OVER to a street corner. A GUY is leaning against a building, kissing a little HIPPIE CHICK. •

as Harry is holding his glasses on .the rooftop of Building #3.

CHICO: Does the Padre know he's set up for bait?

{ looking off) He wanted to. We told.him we had a -man to take 'his place.

, (CONTI:NlJED)

' L..:-;,·•--.. ,....,. ...... "'.'·•·····- ..

CHANGE 4/6/?1 46. -

169 (Cont.)

CHICO: Who?

HARRY: ( looks over)

CHICO:. X· (beat; then) X •. I know e Welcome to homicide. X

Harry puts the binoculars ·back to his eyes and resumes looking off.

170. EXTo. WASHINGTON SQUARE ._ (HARRY'S P.O. V.) - 170.

(BINOCULAR SHOT) - NIGHT

The ·Guy and the Hippie Girl are moving East.on Union Street, their arms around each other. We FOLLOW them into a.n apartment house with large- picture windows. We· ·start PANNING UPWARD from window to window.

P.O. V.) (BINOCULAR SHOT)_ - NIGHT

A GUY is watching television, riveted to the little flickering blue-grey oblong. His WIFE is standing to one side giving him hell. Waving her finger at him. He doesn't even look .her way. She gets around in front cf the set, still yapping, waving her finger. He cranes his neck around her.

172 •• EXTo_BLDG. #4 ROOFTOP - ON HARRY - NIGHT 172.

as he shifts to another window.

P.O. Ve) {BINOCULAR SHOT) - NIGh"T

BACK Q.UICXLY as a good-looki r:g YOmrn CHICK in under- wear cross_es :!.n :':;:--ont of the wi.ndow.. She stops in a doorway, thinking.

____,....._...-..------ ------ - -

CHANGE h/6/71

174; EX~. BLDGo #4 ROOFTOP ON HARRY - NIGHT

as he watches tr.irough the binoculars: -- willing her not to go out of his viewo '---

P.O. V.) (BINOCULAR SHOT) - NI_GHT

as the underwear Chick leaves our sight. We HOLD. An empty room. Then suddenly the Chick.comes backe She is wearing no clothes at al.lo She crosses to· the door, open~ it. Th9 Guy and the H!ppie Girl we saw earlier come in. The Hippie Girl !.ntroducss the naked Chick to the Guy.. They shake hands .formally. •

As he takes the binoculars down, rubs his eyes, fiddles w.5. th the focus, and starts to look again, he catches something out of the .corner of· his left eye. A movement on Rooftop

' • : ·A MAN with a rifle is moving toward the edge of the rooftop ..

as Harry looks oiter his a houlder:

HARRYg (low) Heyt

Chico looks over at Harry.· Harry signals. Get over hereo Chico hurries up. He can read the tritimph in .Harry's f'aceo Harry picks up walkie-tttlkie - then. into i: softly: X

HARRY: The son-of-a-bitch took the bait.

As Chico moves to the edge, Harry hands him the binoculars.

SHOT) - NIGHT

as he seal'_ches Rooftop #3, finally spots the Killer at the

( CONTI 1HJED)

179 (Cont.) 179.

edge of the building.

as Harry is taking up the rifle:

I • CHICO:

Got him.

HARRY: Get the llght.

I r. 181. ANOTHER ANGIE i81.

as Chico puts down the binoculars, picks· up the sun-gun. Harry ·is looking thr?ugh the s niperscope.

HARRY: When I say 'now, 1 turn the light on. Ready?

CH!CO: Yeah.

ON HARRY 182. •

as he flicks the safety with an audible click.

NIGHT · •.· • • • · 183.

The Killer has paused, sniffing the wind like a deer in danger.

as he holds steady, then:

HARRY: Now.

18,5. · CLOSE - CHICO

as he raises the l~ght. . It f lashes on, glaring bot.

186 •. EXT._BLDG. #3 ROOFTOP (HARijY'S P.O.V.) -.NIGHT 186.

" as the s~otlight falls ~o the. left of the Killer.

as the light misses the Killer, he dives behind ·a clothes- line, the hanting wash effectively screening him from the beam of the sun-gun which quickly tries to adjust, jerking

as he ·fires.

"'

as the laundry polJ comes down, the Killer, clutching his rifle, dives f .::r the cover of some kind of' an air condition er unit· or tool house of tin.

_1,90. EXT. BLDG. #4 ROOFTOP ON HARRY - • NIGHT 190.

as he fires.

as he returns fire, huge bullet. hole plowing through wall.

as chunk~ of cement fly up from the ledge of the roof be- ·tween Chico and Harry. Harry is fir:i. ng back.

HARRY: Hold that light steady!

CHICO: You want to trade jobs?

•193. EXT. BLDG. #4 ROOFTOP (KILLER'S ?.O.V.) - NIGHT 193~

The g~t3-re of the sun-gun, the crazy revolving sign: JESUS SAVES. The muzzleflash of _Harry's Winchester. . _.

C0NDITI.0NING !3IIBD NIGHT

as he sna::is off two quick shots at the spotllt::ht.

The light shatters and gees out; EBrry turns to Chico . who ls bent over, the shattered sun-gun in his hand.

HARRY: Are you all right'?

CHICO: I think so -- I ---

SCOPE) NIGHT

~J,.,rry is Glearly visible, silhouetted agn.~ ns t the sign 1s glow. He is standing neA!' a ve.1tilo.tor pipe. The Killer fires.

E:'T. BLOO. #4 ROOFTOP Ol'i H.l\RRY - NIC ET

as the venti later pipe is blown to hell. H~:::>ry 1,;hirls and blasts off a shot.

SN;tPERSC'OPF. - , ON THE ATR CONDITIONING SEED - NIGh"T

as the Killur moves from in fr'Jnt of the shed, Hrr•ry 1 s shot tears a great big hole in it.

as .he runs iri a crouch toward the rooftop e~it firing rapidly from the hip as he empties the clip.

200c, EXT. BLDG. #4 ROOFTOP NIGHT 200.

as the Killer's shots are·smashing into the sign. The neon tubes ere shatte~ing. Wires are shorting, elec-

tubing pulls loose from the sign, starts to fall.

I

201. ON HAR:qy 201, I

as he looks up toward the sign reacting. ' ,\

202. HARRY'S P. 0. V. 202.

as the shattered neon tubing .is coming toward us -- some of it·still glowing pink and green.

203. ON HARRY 203 ...

as he shoves· Chico out of the way.

I

204. ANOTHER ANGLE 204.

as the neon tubing crashes to the rooftop, just missing Harry and Chico.

20,5.. ANOTHER ANGLE

as Harry runs to the edge of the roo.f, looks off. 205.

206 •. EXT. BLDG. #3 RO0F'T0P {HARRY'S P •. O. V.) - NIGHT. 206.

_The rooftop is empty. The ·door to the rooftop swings open.

EXTo BLDG .. #4 ROOFTOP • FEATURING HARRY - NIGHT 207.

as he runs to the rooftop door, grabs the doorknob and pulls. It won't open.

HARRY: Goddammi t1

He yanks savagely at the d·oorknob~. Now, remembering that the door is locked, be turns.

{CONTINUED~

207 (Cont.) 207.

HARRY: Come on! • The key 1

208. ANOTHER ANGLE 208.

as Chico runs up:

CHICO: Right here.

as Chico searches his pockets, not •finding the key immediate~ ly: -

HARRY: Let's gel

Chico finds the key, Harry grabs it starts to insert it in. the lock, then fumbles with it dropping -it. He picks it up ·ahd • at last, unlocks. the door. They disappear into the door..,. way.

We are. ANGLED DOWNWARD as Harry and Chico hurtle down the stairs.

210. ANOTHER ANGLE 210.

•. ·we are ANGLED UPWARD as Harry and Chico come charging down toward us. Suddenly o.s. we·hear two rifle shots. Harry skids to F.I. stop .for a moment, listening •. Then continues on as we ---

, We. are 0.LOt)E ON a little river. of blood as it .finds its way to the gutter. We FOLLOW the crimson t-hread to its source, a widening ptlddle spreading from the head o.f. a PLAIN-CLOTHES MAN who is sprawled face down in tl\e mouth ·o.r the alley. Fr~nk DiGeorgio is kneeling bj him.

· 212. ANOTHER ANGLE X 212.

A FEW PEOPLE are beginning to gather. A police car cornP-s up from one side. Pulls to a stop. now we PICK UP . Harry

CHANGE •• 4/12/71

212 (Cont.) 212.

and Chico running up an alley toward the mouth of a second alley where DiGeorgio kneels over a dead plainclothesman. As a UNIFORMED.COP gets out of the police car: •

HARRY: · Get an ambulance and keep these people back. X X Crossing to DiGeorgioo X

213. ON DIGEORGIO 213.

The bulky Plainclothesman looks·· up as Harry andChico come up. He shakes his head negatively. • X X X HARRY: (to Chico) Come on.

214. ANOTHER ANGLE • 214.

'Harry and Chico are running out· of the alley _as another police car come~ up. Harry slips in the blood, falls. Harry bounces to his feet and hurries with Chico over to the newly arrived police car:

POLICEMAN: •( into mike) Central Number One. We're Ten Seven on the Nine Fourteen Union Street run·.

HARRY: (breaks in) Tell Lieutenant Bressler ~e missed him. He's loose somewhere in the North Beach area.· Get all available units.

POLICEMAN: · Right•.··

--- ,/.

CHANGE 4/12/71 54-58.

ANOTHER ANGLE . 215.

Harry and Chico run back down the alley the way they \ came as adother police car comes barreling up the alley.

THRU OMITTED. THRU i • 257 0 257.

X

A2$8. ·EXT. HALL OF JUSTICE·- DAY A258o

We ~re in CLOSE on .the identifying sign, then we PAN OFF to the street to-PICK UP HE!rry's car coming by fast, on its way to the parking ares beneath. the building.

We·are in the police car, SHOOTING STRAIGHT AHEAD. A parking lot POLICEMAN waves .at Harr·y and Chico as they drive in. They go past police motorcycles~ police carsll and ambulances and pull to a stop at the entratice to the building.

Harry and Chico get out of their car and hurry to the door to the Hell of Justice. They exit through it, moving fast.

as Harry and Chico come up the hallway at the same pace, 'We PAN them around a c.orner and into the homicide squad roomo Harry looks angry, tired, about to blow.

·as Harry and Chico cross through the desk area to Bressler 1 s office.

261. INTo BRESSLER'S GLASS-ENCLOSED OFFICE - DAY 261.

·Bressler is on the phone. There are some grainy eight-by-tens on his desk. We can see Harry and Chico approachirig thruug~ the glass p~rtitions as:

BRESSLER: Right ... oright.o.that's exactly what we're -- right. • I .. .:J

261 • (Cont o) 261.

Harry and Chico come into Bressler's office. Harry 1s. expression is stormy.

HARRY: What now! X X X

BRESSLER: It 1s a whole new ball game; H~rry. I

)· I He grabbed a fourteen year old girl.

.. Bressler hands Harry two of the eight-by-t;en- blow- ups. Harry takes them and looks at them._ One • picture is in color~ the other. in.black arid white. X X

262. -INSERT THE PICTURES· 2620'

One in color is a big head of a girl, nice looking but nothing glamorous. -The second picture in black X and white is of the same girl j_n a bathing suit. She's quite mature. • BRESSLER: (o.s.) Ann Mary Deacon;

263. BACK TO SCENE 263 ..

as Harry. looks up. Bressler is reaching into a desk. ,, drawer:

BRESSLER: The bomb squad got a ca 11 this morning. Suspicious object in Golden Gate Park.

He has ta.ken a shoe. box from the drawer.

BRESSLER: Addressed to the Mayor. The lab just gave it to us, with this note··- inside.

Harry is looking at the box·6 Bressler :hands the note to Chico. It is folded in three o On the ·outside are

I. - written the words: ANN MARY DEACON BURIED ALIVE.

·{CONTINUED) j

263. (Cont.)

CHICO: (reads} Ann Mary Deacon. Buried alive~

BRESSLER: She went to the movies last night, never came home.

CHICO: (reads) Double crossing So F. Police made· me do this~ . It's on your head. Now ransom two hundred thousand in used tens and twenties .. One man with yellow bag. South side.Marina Green East Harbor. Nine pomo S~e has oxygen till three a .m .. tomorrow· morning. Red panties and 'l;>ra. . Big tits.· Mole on left thigho • •

'. HARRY: \ _.· ,;,u .:.:~ ::. _..; And I had a clean shot at that • bastard last night .. Dead bang and blew it. •

CHICO! (continuing to rea.d) • All okay you get location of girl by two a.m. Anything cute and you will force me to let girl die of slow suffocation. Signed Scorpio._

Anything else in that box?

264. ANOTHER ANGLE 264 ..

as Bressler takes out a manila envelope from his ~esk. He opens it and dumps the contenis. A red bra .. A lock of hair and a twist o:f paper with a small object in it. As Bressler indicates bra and hair:

BRESSLER! Her mother identified this and this -- (then) -- and her dentist identified that. i

l l

264 (Conto) ·264.

Harry has taken up the small twist of paper and opened it. It is a back tooth, the root _still

BRESSLERg He said it was pulled out with , . p ... _1.ers o

HARRY: She's dead.; You know that don't you, Al? I

I BRESSLER: I

All I know is the note says she'll X

\ be alive till three aQmQ The Mayor's I

getting the money together now. Privately funded foundations. Indi-

l vidual contributions. He's using up I

a lot of favorso ·He wants to pay,. No tricks. X (looks at Harry) We're looking for a bagman.

Harry stares straight back, his face set.

BRESSLER: This one's a real killer .. He could get the bagman in a dark place, put a gun to his head, pull the trigger, take the money. You want the job?

HARRY: Yeah, sureQ

BRESSLER: Be in the Chief's·office at six p.m. · X

Ha~ry starts t(? .leave, st?pSg as Gonsales breaks in.

GONSALES: Wait a minuteo What do I do?

BRESSLER: You're out of ito

GONSALES: No cover, not even one man? Are you sure that's che way to do it?

BRESSLER: ,. Noo I 7m not sure. But those are my orders and I·m ■ o~

r I I

I

GONSALES:

I (interrupting)

I'm new here, but Tim not stupid! X

I .No wonder they call him Dirty Harryo 1-

Every cruddy job that comes up he '

\ gets it -- the d~rty end of the sticko

'

r BRESSLER: I

One more word and youtre chopped off ' at the ankleso I

\

"· GONSALES : You're going to get a good man killed., you know that, don 1 t you?.

265 .. AN OTHER A NG LE

HARRY: Al? Wait a minute.. X

Bressler pauses, looks at Harry then at Gonsales, X his face fli.ntyo After a moment:

HARRY: He's had a rough couple of days. Why not split the difference? Give him the night off instead. -1

A beat then:

BRE_SSLER ! Get out of hereo Both of youo

As they go, the phones on Bressler 1 s desk are ringing sg-ain ..

Late afternoon light slants through a window on which we see the words: SID KLEINMAN -- ELECTRONICS. The letters are reversed. Work benches. Tubes. Wires~ We are CLOSE on Har~y as he attaches a tiny box, about the size of a cigarett~ package to the inside of his coat ..

HARRY: Testing. One two--- X

CHICO'S VOICE: O'WW!

ANOTHER ANGLE - INCLUDING CHICO. A~1) SID KLEINMAN 267.

Chico is pulling a li ttl.e device, .like a hearing aid, out of: his ear.

CHICO : What the hell are you yelling for!1

Kleinman, the proprietor of: the store, comes forward.

KLEINMAN: All you have to do is whisper.

HARRY : (whispering) •Mary had a little Jamb. Okay? X

CHICO: That 1 ~ better.

KLEINMAN: Shouting won't help. It 1 s good for two, three blocks. In, like a tunnel, forget it.

HARRY: What- do I owe you, Sid. ·

KLEiliMAN: Just bring it back in one piece. X

We are CLOSE on a yellow leather bag, open, holding two hundred thousand dollars. As we PULL BACK to include the Chief:

CHIEF: Two hundred thousand. dolla:•s .. Count it and sign for it.

as·Harry comes up to the money, .picks out a sheaf of billso

HARRY: (to Bressler) Did you count it?

BRESSLER: Yes. It's all there.

Harry throws the money back into the suitcase, closes it. He picks up a pen, signs the receipt without hesitation.

HARRY: I always·knew I 1d be rich some day ..

Harry picks up the suitcase, and with Bressler, leaves the office, as we HOLD on the Chief who stands looking aftel" them:

CHIEF: Just• don't let anybody take it away from you.

as Harry and Bressler leave the Chief's office and come walking through the outer of'fice where we see several uniformed policemen at desks.

BRESSLER: God knows how he'll contact you. Probably run you all over town.

HARRY:

BRESSLER: • You go where you 1 re told. Do what you're toldo Play it right down the line. Okay? •

They have exited through door int~ corridor.

271. OMITTED

272 (Conto) 2720 i

BRESSLER: Nothing cuteo Nothing funny. After X you deliver the ransom, report tno Period.

We have PANNED them into the homicide squad room. X

273• • INT. BRESSLER 1S GLASS-ENCLOSED OFFICE·- NIGHT 2730

as Harry end Bressler entero Bressler.crosses behind his desk. Harry puts the bag down . .. _ HARRY: You got .that knife I took away from X that fifteen year old kid ...

Bressler operis up a drawer, holds out the knife to Harry. Harry takes the weapon, snaps the blade out, a six inch blade gleaming wickedly.,

HARRY: . . Mind if' T use some of your scotch tape? X

Bressler pushes it forward on his desk. Harry closes the knifei rips off a piece of tape, pulls up his right pants leg, adheres the kniJ·e to- his leg.

BRESSLER: It's disgusting that a police officer should know how to use a weapon li_ke that.

The knife firmly in place, Harry pulls down his pants leg~ Stamps his foot ..

X We are CLOSE on a sign on a. pi ling which reads: "MARINA GREEN EAST HARBOR.n ·we PULL BACK slightly and PAN DOWN the street to Harry, appr~ac~ing in the distance, car~y- ing the suitcase .

275. • CLOSER - ~RRY

As he stops, l~oks ~round. He puts his root on the suitcase and taking a cigar from his pocket, lights it.

.. -.

276. . CLOSE - MARINA PHONE BOOTH 276.

This is one of the new kind of booths, a curved plastic shell. The phone rings stridently. Again. Again. We PAN. About two hundred yards down the street stands Harry, his foot on the suitcase. As he turns toward us:

277. CLOSER SHOT 277.

Harry.· The cigar• is a little butt. • He .flicks it into the

i street, picks up the suitcas~i and gallops down toward the ).·

phone which co?tinues ringingo

I 278. CLOSE - 1-'lARINA PHONE BOOTH 278-. I

as Harry runs up, lifts the receiver:

HARRY: I Yeah?

\I i I KILLER'S VOICE:

You got a yellow suitcase?

HARRY: ·Right here.

KILLER'S VOICE: What's your name?

HARRY: Callahan.

KILLER 1 S VOICE: What are you?

HARRY: A police officer.

There is a silence. Har:::-y waits, afraid the man will hang up. After a moment:

HARRY:. Hello?

CHICO - IN THE DARKENED CAR

as he listens, th~ littl~ hearing device pressed to his ear~ We hear:

HARRY Is ifQICE: (filter)

as Harry waits, holding his breath -- at last:

KILLER!S VOICE: , All right, Cop. Here 1 s the way we're doing it. I bounce you all around-town to make sure you 1 re alone. I put a time limit from phone booth to phone booth. I ring four times. You don 1 t ans1rzer -- I hang up and that's the end of the game. The girl dies.

HARRY:

I, Is the girl all right?

KILLER~S VOICE: Just shut up and listen4 If I even think you 're being followed, the girl dies o • If you talk to anyone, even a Pekinese piss- ing against a lamp post the girl dies. - (then) What time you got?

Harry looks at his watch.

HARRY: Nine-thirty. Listen_- __

KILLER'S VOICE: You listen. I 1 11 be watching you. Not all the time, but you'll never know when or Wh!3re. Now get it -- no car .. • Walk or run. But you be at Forest Hills Station in ten minutes. Four rings or rorget it. Understand? - -

281. CLOSER ANGLE HARRY 281.

HARRY: Yes.

KILtER I S VOICE: (pause, - then) Cop •.. 1 hope you're not stupid.

The phone clicks dead. Harry hangs· up, grabs his suitcase and starts.off on the dead run.

as Chico shifts into gea~ and moves out.

283. E.,'{T. FOREST HILLS STREET NIGHT 283.,

Harry's walking fast ·Up the street, jumping oi.rer a skipping rope that •two girls are swinging for a third, hardly noticing

it~ looking at his watch, beginning to half~run.

We are on the Station. We PAN to pick up Harry. He is running· toward us. H_arry bursts past us and into the stati.cn., ,

...,'•

as Harry enters, the.telephone, in the corner across X the long room to his left, is ri~ging. Harry runs X for it.

as Harry hurries INTO SCENE snd picks it up •

Callahanl X . I

\ .x [·'

The side street overlooks the Forest Hills Subway X Station. Chico is parked, motor running, listening to the little walkie-talkie. He puts the cc:1r into gear, moving!

We a~e CLOSE on Harry as he slams down the receiver. We PULL BACK and PAN with him as he hurries to t~e steps to the lower level and runs down them. He is starting to limp slightly. I I I

We are ANGLED on the. tunnel, focusing on the red. and green signal lights. As the light turns to red, we see the trolley come into the station. It stops .

X

As"Harry comes charging down the steps 11 the doors are starting.t~ closeo

291. ANOTHER ANGLE 291.

as Harry dashes for the trolley$) jamming himself through the clos6d doorso The trolley starts-down the tracks"

• We PAN it in to the tuni."'1.e l P ending on the red and green

signal lights. The light turns greeno

E:XT·.-: STOP LIGHT INTERS·ECTION •.;. NIGHT

We are CLOSE on a signal light as it turns redo We PAN to pick up a car as it runs the signal~ makes a turn" It is Chico in the unmarked caro

..

I

We are CLOSE on Harry as the streetcar rackets through the tunnel"

as he drives fastjl eyes peering into the night.

We are ANGLED UP the streetcar tracks as the car comes toward us and stopso

296. PHO:NE BOOTH X 296 ..

we· are CLOSE oh a corner phone bootho The phone rings once. Twice. Harry is out of the stopped trolley and running for the phone o As·. it rings the i'ourth time g Harry is picking up the re~eivero

HARRY: Callahan! • ' ..

/'". •.,

t,~(). 297. EXT. STREETCAR SID~ STREET - NIGHT 297; : ·..

.., Chico is in the police carp stoppedo He is listening to the little recei"ver. What hi, is hearing :ts apparently > very fainto He shake~ the roceiver. He is. straining to hear 11 &pparently without mμch succ~sso

We are in the Fort Mason tunnel, SHOOTING OUT toward the Marina. Harry approaches, enters the tunnel.

299. THE TUNNEL - HARRY'S P.o.v. 299.

seemingly ~ndless, dark.

ON HARRY 30.0 •.

Not liking it very much as he moves forward 9• sti.11 carryir:~ the bag full of money. ·He starts to walk fast. Then faster.

301. DOLLY SHOT - ON HARRY 301.

He is running through the tunnelp about halfway througho His limp is getting worseo He is tired. He.stops, look- j_r1g at.his watch. He runs again. Then slows and stopsp looking off, seeing~

HARRY'S P.O.V. 302"

FIGURES appearing from the shadows at the side of the tunnel, four of them, making a small semi-circle, waiting$

303. ON HARRY

moving forward, eyes hard.

304.. • ON THE FOUR FIGURES

looming larger. and larger as we approach them. FOUR YOUNG·. ·aoODS, teenagers, big, b.ulking·young killers.

ANOTHER ANGLE - INCLUJ)ING HARRY .305.

as he reaches them:·

1st HOOD: What's in the .bag?·

Harry doesn't answer. As he measures the four Hoods con- fronting him, the one to his ·rf.ght speaks up~ his eyes never leaving Harry.

(CONTINUED 1

- I i i i

305 (Cont.)

2nd.HOOD: Screw the-bag. That's what bags are :for, ain't they? (then) Let's have the wallet, Daddy.

H'arry looks at them unblinkingly, then.lets his jacket fall 1 open, drawing the big Magnum Forty-four, almost more qui c1:ly

than ~he eye can follow.

306 o ' ANOTHER ANGLE ·3060 I

Harry ha.s shoved the gun so that the muzzle is right be.tween the eyes of the 2nd Hood. ·

.. HARRY:'. What did you say, sonny?

The four young Hoods run down the tunnelg in the direction

. . that Harry came from. They a.re running as fast as they can, I i Harry turns and runs the other way.

as Harry comes running out of the For·t Mason tunneJ., stops, looks around •.

Harry spots the hamburger stand across the street with its phone bootha Near the phone booth sits an OLD f'L.\N. Suddenly, the phone starts to ring •

as Harry runs across to the phone, the Old Man crosses and picks it up:

HARRY: No! Don't answer.that1

The Old Man hasn't paid the slightest attention. He picks up the phonea i OLD MAN: Hello. Hello ..•

l

310. CLOSER .310.

as Harry runs up and jerks the receiver out of the Man',s hand.

-HARRY: Callahan!

The Killer's voice on, the other end is soft, cold as ice, the voice of an executioner.

KILLER'S VOICE: Who picked it up?

HARRY: Just some old guy sitting here. I never saw him before. I

The SOUND of the receiver being hung up on the other end is like a shot. Harry stares at the phone, unb~lie~ing, slowly hangs up. His face shiny with sweat. After a moment:

HARRY: ·oh, Jesus. Chico .• ~ X

NIGHT

sitting in the police c~r, his ear p~essed to the little receiver, his expression one of alarm. We X faintly hear:

HARRYiS VOICE: X He hung up. X

Suddenly, through the little receiver, we HEAR the phone __ ring.

Before the ringing stops, Harry picks it up.

HARRY: Callahan. '· KILLER'S VOICE: You know Mt. Davidson Park?

HARRY: Yeah. Ye_ah.

KILLER'S VOICE: Go to the cross.

313. ANOTHER ANGLE . 313.

The line clicks dead. Harry hangs up ana·moves off.

)lJA. EXT. AQUAT.IC PARK STREET - NIGHT 313A.

X

As Chico puts tbe car into gear and drives off.

As Harry comes up to the entrance to the Park, it is apparent his leg is giving him trouble now. He pa_uses for a moment, looks around, then low:

HARRY: I 1m at the Park entranceo Sherwood Street. I'm going straight to the top.

As Chico cruises slowly up a nearby street, we hear J from the ~eceiver:

HARRY'S VOICE: Wait a minute. I see something up here. I

As Herry goes up the southernmost path, he passes a BOY AND GIRL necking on a park bench. Now softly into mike:

HARRY: Just two kids necking.

His car has stopped as he is listening:

CHICO: (to himself) Boys or girls?

as he moves up the dark path towa~d the top or Mt$

Davidson.

,. '

J..

r

318. (Cont.)

Walking~ then stopping to listen. Walking some moreo Now he hears someone following·himo He moves out slowlyo

Harry_ whir.ls.

31.9. HARRY 1 S P.o.v. • 319.

as the tall dark FIGURE of the MAN. who has be.en coming up behind him stops in silhouette against ·the lights of the

I.I

City. Or wrapped in foggy mists. Whichevero

HARRY: I 1m Callahan.

There is a beat, then a. GAY CAT-- answers:

GAY CAT: My friends call me Alice.,- And I

I will take a dare. \

_ HARRY: I When did you get busted last, Alice?

GAY CAT: If you're vice I'll kill myself.

HARRY: Do it ... at home.

The Gay Cat hurries down the hill into the darkness.,·

320. ANOTHER ANGLE

HarI'y moves up the dark path to the top of the hillo

We are CLOSE on Harry's back ·as he stands motionless ·1ook- ing ahead. He is silhouetted in a loom of light 9 the source of which we cannot see. Now, as Harry starts to walk directly-away from us, we see that we are in the mall a.t the top of the mountain and at the far end we now see the cross~-. illu~ina ted in the night o We HOLD as Harry gets smaller and smaller, and we begin to perceive the true size cf the towering cr~ss, well over a hundred feet.

•. 322. ON.HARRY 322.

• as he'comes up. to the base of the cross, stops, looks around. No sound. No movement. Nothing. Now Harry moves around to the rear of the cross.

323. ANOTHER ANGLE 323.

As Harry moves around to the rear O•f the cross, we sud- denly hear the harsh sound of a gun's mechanism. Harry freezes a.s:

That's it. Just like a fucking statue. I One mistake. Anything. 1'11 kill you and the Girl both. Understood? i ' Harry doesn't answer for a moment: .I

KILLER I S VOICE:. • Understood?

HARRY: Yes. I

KILLER'S VOICE: Put the bag down slowly.

As Harry does so:

KILLER I S VOICE: Left hand. Let's see your gu.~.

Harry pulls hia coat away with the left hand, exposing the Magnum Forty-four.

KILLER I S VOICE: My, that's a big one. (harsh) • Left hand. Out. Easy.

Harry lifts the gun out carefully.

KILLER 1 S VOI CE : Now raise.your hands high over your head.

As Harry do~s this:

KILLER I S VOICE: Now; throw it.

f

CHANGE 4/12/71.

324. ANOTHER ANGLE 324.

as Harry ~hrows his gun, left-handed, deliberately a little clumsy. The gun lanqs maybe fifteen feet away. I

,, KILLER'S VOICE~ I

Now turn around and face the I cross.

As Harry does so, the Killer comes out of the bushes ~ at the northwest side of the mall area. He wears a stocking pulled down over his fsce mashin~ his features together. He holds a rifle-butted Schmeisser machine- pistol in his hands. t

I KILLER: \ Face against the cement. Rands

at your sides.

As Harry does so, the Killer comes u.p behind him, sends the pistol barrel crashing down against the back of Harryts skull.

HARRY'S P-.o.v. J25.

·as the ground comes up to meet him., The blackness is absolute.

THRU OMITTED. THRU 328. 328.

X

Harry· is on his backo He opens his eyes, they are X glazed in pain .. The Killer kicks him savagely in X the sideo

330. ANOTHER ANGLE • 330.

as Harry tries to lash out with his handr The Killer easily s~eps out of Harry 2 s feeble reach, kicks again.

KILLER: Listen, you son-of-a-bitch --- .. _ The Killer kicks Harry in the groin.

331. CLO SE - HARRY

as a harsh, terrible sound is torn out of Harry's· throat.

KILLER: You scream again, you lift that hand again •••

KILLERfS VOICE: I won't let you know where the girl is.

Chico sfsrts sprinting.:

NIGHT

- The Kille·r is searching Harry 1 s face for a reaction, then:

KILLER:

Harry doesn't ans-wer. The Killer hits him in the throat -with the butt of his gun. Harry almost vomiting.-

( CONTDTTTJ:'n'

----------·-·-..

7 8. I i I

3.33 ( Cont o) 333 .-

KILLER~ (softly) Do we understand each other_?

The Killer lifts Harry's head by the hair. Harry is almost out.

KILLER: No, nop no. Not yet. Don't pass out on me y-ou bastard. I 1.ve got · something to tell you.

He slaps Harry several times. Harry opens his eyes.

I KILLER:

···.Can you hear me?

The Killer slaps· Harry savagely once more, then·:

KILLER:

i I. .If you care what-happens to the Girl

then you better answer me·. (then) Can you hear ~e?

l HARRY: Yes.

KILLER: Then listen carefully because there's been a change in plans. (then) I'm going to let her die.

334. ANOTHER ANGLE 334.

as the Killer smiles down -at Harry:

lCTLLER: I just wanted·to make sure you knew that.

Harry is staring at the other rr,an as though not able to believe what he has heard 1 yet believing it. and the thought driving him half mad.

3.34 (Cont.) 3340

KILLER: (softlyv harshly) Goodbye COPo

Harry starts to shake his head, tries to speak, cannot seem to work his voice muscles. The Killer brings up the I ·butted Sch.Ineisser in a single ugly movement, then suddenly I we ·HEAR a sound in the bushes to the .westo SOMEONE cre.s.h- ing through the bushes toward themo

335. ANOTHER ANGLE ) 1 •

as the Killer reacts, eyes swinging around.

336. ON CHICO 336.

· crashing through the underbrush., gun ready.-._· As he breaks into the clear at the base of' the cross:

337. CHICO'S P.o.v. 337.

as the Killer moves out.from behind the base of the cross-, snaps off a shot.

338. ANOTHER ANGLE

as Chico returns f~re while diving for cover again. As Chico works northward for a better shot: .

3390 AT BASE OF CROSS _3390

The. Killer is blasting into ~he brush and fern. Chico is snapping back a shot from time to time.

HARRY: ( serea.ros) • Chico, don't kill him! Don't kill him.

340. ON THE KILLER

•• blasting into the undergrowth.,

'

as he reaches down and pulls the taped switchblade fro~ j his lego He rlips it open.

342. ON-CHICO

as he snaps off a shoto

343. ANOTHER ANGLE 3430

as the Killer blasts off a shot that takes Chico high in I the chest.11 spins him and drives him into the fernso I

ON.-HARRY 3440. '\ as he drives the switchblade into the Killer's thigho The Killer screams.

345.. ON THE.. KILLER

His face registers shock and horror as he looks down at the kni.fe which is buried to the hilt in his lego He grabs up the suitcase and-with gun in.other hand disappears down a slope behind the cross into the darkr.1ess limping ba.dly o

346. ON HARRY

His face is beo.ded with agonized sweat as he crawls!> claws . I his way to where his gun was thrown. He picks it ups: manag= ing to get to his feet, moves painfull"y toward the edge of the clea.ring 1 firing blindly into the darkness. Harry topples to the ground.

347 .. ANGLE ON THE KILLER 3470

one wayo The gun goes the othero

348. CLOSER - THE ICT LLER

as he stops rolling, staggeI's to his feet. He looks down at the knife still sticking in his lego Grimacing 9 he pulls sharply at the knife 9 letting out a groan of pain as it falls to the groundo The blood starts flowing freely as.he lurches ~r. •

We pick up the badly limping figure of the Killer as he crosses Stanyon Street toward. the little emergency hospi ta1 near Kezar Stadium in Golden Gate Fark. As he enters we

Bressler is on the phone.

BRESSLER: The hospital·report on Gonsales looks okay. Yeah. He's a pretty tough kid.

We are PULLING BACK to include Harry, bandaged, lying on Bressler 1 s tattered leather couch, near the desk.

BRESSLER: Harry Callahan is right here., Got.· two broken ribs and they want to make more tests in the morning. . . Well, the son-of-a-bitch kicked him a beaut. (then) Yeah. Right in the crown jewels. (then) I 1m sending him home.

3$1. ANOTHER ANGLE 351.

,. as Bressler turns to Harryp

BRESSLER: The Chier says beat it. Thatfs an order.•

HARRY: Yeah. Yeah.

~e.rry tries to sit up. He's in considerable pa.in, but ?!lakes it. Bressler is listening-on the phoneo

BRESSLER: The Mayor? All right. I'll call him tomorrow.

Bressler hangs up, looks over at Harry.

HARRY: You wouldn 1 t have a belt of whiskey handy?

BRESSLER: Yeah~ One for the.road.

- ---- -- ----·

.. ·t

352.• ANO'l'HER ANGLE 352.,

as Bressl~r crosses to a box or cabinet· and starts ru.m..~aging for a bottle:

HARRY~ What was that about you calling X the Mayor tomorrow?

BRESSLER~ He wants to know if I didn't understand his orders. Meaning, am I just plain stupid or did I deliberately disobey him? He wants to know -why Gonsales ·was up there. He wants to know why we screwed it up, Harry. Wl).at will I tell him?

HARRY: Tell him the trutho I gave Gonsales orders as a superioro You didn't know a damn thing about ito As soon as this thing is~wrapped 1 l'll turn

...... in ·my star and gun if they want me • X k~<-..,__

to •

• ((,s:j

(then) Where's that drink? X

Br•essler turns back to the cabinet as the phone rings:

BRESSLER: Want to get that?

ANOTHER ANGLE 353.

~s Harry reaches out to the ~hone, picks it up:

HARRY: .

(pause, then) Yeah. Yeah. Well, put himon 9

Bressler turns to look at Harryo He has found the bottle:

BRESSLER: What is it?

HARRY: That emergency hospital in Golden Gate Park. The Doctor reported treating a knife wound in the lego (back to phone) X Helle Doct6r? This is Inspector X C~llahano Homicideo Thi~ stab ~ound I you treatedo 'tlhat did tha guy ·look like?

i

3.54. INT. PARK EMERGENCY HOSPITAL - NIGHT

We are very clcse on a dark, rather intense, and compassionate YOUNG DOCTOR" who speaks on the phone X with a slight European accent.,

DOCTOR~ Medium buildo One hundred and forty-five poundso Salle~ complexion.

354A. ANOTHER ANGLE - FEATURING HARRY • • 354-A.

X We are CLOSE ON Harry,wnow in the waiting room of the emergency Hospital.- With Harry is Frank DiGeorgio. Harry is writing in a notebook as: •

HARRY: He didn't give you his name?

We PULL BACK to INCLUDE the Doctor ~ho sits at a desk going over a ledgero To one side, at" a bench along the wall sit a couple of HIP-PIE KIDS., A BOY and GIRL, badly strung out.

DOCTOR: I don't see it here. (glances toward Hippies) They usually give a phoney name in any case. But, I'm sure I have seen him' someplaceo

3$50 CLOSE ON HARRY

HARRY: Try to remember. Tnere's a fourteen X year old girl smothering to deatho

356. CLOSE SHOT DOCTOR

DOCTOR: (nettled) I am trying to thinko It was a --- I think h~ works around here.

357. ANOTHER. ANGLE

As the Doctor rises and comes around the desk, the X Hippie Girl crosses o~er to him, indicating the boy~

HIPPlE GIRL: Could you just give hi~ something for

his chest? He can t_ stop co~ghin~a (CONTINUED) _; r . ·. ' ., . '. •·• ,.- .• ,.... •••"'-•••·•• --•--•~- • ---~

CHANGE

357 (Cont.) 357.

DOCTOR: Yes. Just a moment.

357.J1.. • DOLLY SHOT • 357A.

We move with'the Doctor as ha crosses out of the room to the back of the hospital, by the- ambulance exit. The Doctor is frowning~ trying to think -- to reme~ber. Harry and DiGeorgio exchange a look, follow. The Doctor stops in the hall by the ambulance exit where there is some sort of a cabinet. As he reaches into it for a bottle of cough medicine:

· HARRY: Doctor. For Christ sake! She'll ·be dead in an hour!

DOCTOR: ·I •m trying to remember ... I -- (then) I•ve got it. Who he is. When they had football he used to sell programs at the stadium. I think the Grounds- keeper let him live there. X

HARRY: Let him live where?

357B. ANOTHER ANGLE 357B •.

as the Doctor goes to the ambulance entrance and throws open

•. • the door, revealing Kezar Stadium across the parking lot.

DOCTOR: There. Kezar Stadium.

3$8. EXT. KEZAR STADIUM GATE #21 - NIGHT 358.

We PAN and pick up a police car as it comes up the road to the Stadium. The headlights go off and it drives up and stops by the large west end gate.

ANOTHER ANGLE - TEE POLICE CAR • 359.

as the doors open and Harry and DiGeorgio pile out. We move· with them as they come up to tte wire-.. ::--:~sh fence. There is a donr in it. Earry tries it. The dac~ 15 locked.

-Harry looks up at the fence. There is an opening at the

top of the wire. An agile mart could climb the wire and drop over on the other side. _Now, speaking in whispers:

DIGEORGIO~ Illegal entry, no warrant.e. • .. (CON.TT NU~f'~_L________:

359 (Cont.) 359 •.

HARRY: (ignoring him) :• ..•_'., .. Looks like we climb" ..

360. ANOTHER ANGLE 360.

As .Harry starts to climb up the fence, scrambling up: •.

DIGEORGIO: I 1 11 find a way in. .. I As the f'at. policeman moves up around the: sicie of the Stadium, Harry is climbing the wire mesh.

361. ANOTHER ANGLE 361.

i as Harry muscles himself to the top, over, and·drops

down to the inside of the Stadium. He's in pain, but forces himself to ignore it.

as Harry stands on h1s feet, looks arounde He looks over toward the tunnel which leads to the playing field. He takes hi.s gun out.

REVERSE ANGLE - SHOOTING FROM TUNNEL AREA

We are ANGLED on Harry. He comes quickly toward us., vault- ing a wooden railing., landing on a ramp which leads to the -tunnel_ opening where the GROUNDSKEEPER 1 S room is.•

364.. INT. ·KEZAR STADIUM TU1HIBL ,. NIGHT

Harry comes up to the door in the side of the tunnel ·onen- ing. There is a sign on the door readi.ng: "GROUNDSKEEPER - PRIVATE".

3,66. INT.· GROUNDSKEEPER'S ROOM~ NIGHT 366.

as Harry j'.lI!lps into the little room, his gun ready. The r:Oom is empty.

367. PAN SHOT - (HARRY'S POV) · 367.

l

as he looks around the crazy little room with its·posters and whatever else. One dim light burns someplace~ Now, ' Harry spots a little two-burner stove with a coffeepot on it.

368. ANOTHER ANGLE 368.

is Harry feels the coffeepot, burn~ his hand. The damned thing.is hotl Harry now looks around again. then su~denly he hears runRing footsteps echoing hollowly in the innards of the Stadium above. Harry starts out., moving fast.

We a.re ANGLED DOWN thro•.1.gh the emnty insides of' the Stadium. S1-.ldden1y we see the Killer running toward us, his injured leg kicking out grotesquely as he tries to • I hurry. We PAN w:i. th the Kille!' to the door marked nLADIES" o He runs in. He has no gun.

The Killer runs down across the benches toward the opening to t~e playing field itself. He opens a gate and starts to run onto the playing field.

372. 'ANGLE - TUNNEL EN'l'RANCE TO SEATS 372 ..

We are ANGLED UP. Harry bursts through it clattering down the benches to gate ,to play:tng_ field.··

87 •

373. HARRY'S ANGLE 373.

as we see the Killer running at a slant across the playing f'ield. He hasn't reached the middle of the field as:

HARRY:

I I

374.• INT. KEZAR STADIUH - NIGHT 374~

as we see DiGeorgio rushing in to the master electrical I switch. He pulls the switch.

.. _ '

WIDE ANGLE - THE KILLER

As the lights of the Stadium all-go on .. He stops, caught hopelessly in the bz:ight glare.

376. ON HARRY --_ 376~

dropping to oneaknee, his gun lined low deliberately firingl

377• ON THE KILLER 377.

as the .44 slug takes him in the left leg, 1·nches below the knife wound, with the force of s. mule kicking 1 knock- ing him twisting and flailing to the grasso

378. SHOOTING PAST KILLER ON GROUND ONTO F...ARRY 378.

as he comes running across the fi.eld toward the Killer.

379. ANGLE ON DIGEORGIO

who has appeared in one of the tunnel entrances on the far side of the field

DIGEORGIO: (yelling) Need any help?

380. ANGLE ON HARRY 380.

as he approaches the Killer writhing on the ground.

HARRY: . . Get your ass out of here, DiGeorgioi'

381. ON HARRY 381.

as he comes up, his gun lined on the Killer, as steady as though it were held in a vise. His eyes are un- blinking, cold as ice. The Killer tries to ri~e. He collapses with a yelp or·~ain. H~rry just looks. Arter a moment:

KILLER: Get me a doctor.

HARRY: The Girl. Where is. she?

KILLER: You trie9- to kill me. X

I I·

HARRY: If I did your head would.be .x splattered all over this fielde You ~ouldn't be laying there ~ith a little crease in your leg. I KILLER: (after a long moment) I want a lawyer.·

382.· ANOTHER ANGLE 382.

Harry's eyes never les.ve the KiJ.ler•s face. No-w he leans closer~ and almost too softly:

HARRY: Where is she? X X

383. ON HARRY 383.

He looks down st the man: . X

KILLER: I have the right to a lawyer.

Now Harry puts his foot on· the man's wounded leg, deliberately presses down.

(CONTIHUED)

·•-l-

384 (Conto)

·HARRY~ (softly) Where is she?

(HELICOPTER PoOoVo) - NIGHT X

As the Killer raises his eyes to Harry,. screaming, we START TO PULL BACK 9 and UP, FARTHER and far~har until -we can see the whole field. 9 then the Stadium with Harry and the Killer just two dots in the center. We CONTINUE UP and UP until the Stadium is a bright green oval in the dark swatch of Golden-Gate Park.

We are CLOSE on Harry's face. Behind him to the ·east, the sky is pink with dawn. He is loo!dng down to'W&rd the f'ar end of the promontory which overlooks the Golden Gate. Now as Harry starts moving dcwn the steep and dangerous peth, we PAN with him~ It is a lovely morning Ji the Bay reflecting the pink o-f the sky o We PAN HIM DOWN to the edge of the promontory where a knot of men are working. The towering spires of the Golden Gate Bridge are in the b~g~ and beyond the Bridge 1 the hills cf San Francisco catching the first glints of'. the suno

ANOTHER ANGLE - THE MEN

They have taken a large ~ardboard box out of a hole buried in the ground at the end of the steep promonto:-y., Below us the tides of the Golden Gate race. The big box possibly once held soap cartons, it says: GAY. X Harry is m~ving down toward the groupo

388 CUTS 388 THRU 'THRU 3930 as the men reach into the box and take the body of a 3930

young girl from ito She is nakedp smeared with dirt and bloodo We see her through the moving legs of men. A lolling hando A flash of her blood-smeared face, eyes bulging, mouth open. A blanketo She 1 s ccveredo Men start to move hero Among ~he men, Lieutenant Bresslero

-1

394. ON HARRY 394.

as he comes up, watches them move her·away: X

We are on a sign on a door· which reads: "WILLIAM T.

11 11 11

ROTHKO. Beneath this: DISTRICT ATTORNEY. 'l'he X door is shoved open and Harry comes past us and into • the outer office of the District Attorney.

J96. · INT~ DISTRICT ATTORNEY'S OUTER OFFICE - DAY

The District Attorney'·s SECRETARY, MISS WILLIS, X about 45, looks up as Harry enters· the office. She is a self-possess~d woman with a great deal of pro- fessional warmth and charm.

HARRY: ~arry Callahan. They told me· it was urgent.

MISS WILLIS: . X Oh yes, Inspector. _The District · Attorney has been wanting to t~lk to rou.

Miss Willis.smiles warmly at Harry as she flicks the X ·intercom switch. It is apparent that Harry is getting ·, the VIP treatment.

MISS WILLIS: X It•s Inspector Callahan.

ROTHK0 1 S VOICE: Have him come in, please.

397. ANOTHER ANGLE 397~

as Miss Willis rises from her desk and moves toward X the door:

MISS WILLIS: X This way, Inspector. (then) May I bring 7ou in some coffee?

Harry shakes his head. She has. opened the door for Harry who crosses into the District Attorney's office~·

91°

;Fresent are the DISTRICT ATTORNEY 9 ROTHKOQ about X thirty~five arid an slder~y 9 k1ndlj-looking man, JUUGB BANNERMP..N, who sits in a corner .reading an arrest re port,. Rothko 9 a sharp, tough-minded man on the way·up 9 is at •his desk with a similar report 9 making notes o Also on the large desk -- or on a nearby table -- is the Kil~ X leris hunting rifle. Rothko look~ up bri~fly, in- dicates a ~hair. X

ROTJf.L{O: Be done in a minute. (indicates) Hav:e a seato

i • Harry.sits, still lulled into a false sense of se.curi ty I 1

by Miss Will is profess ion. charmo Rothko is X still reading and maKing notes a~-;

ROTHKO~. I've just been looking ove?- -you1"

of police worko Really am.azingo

·HARRY: I had some luck ..

ROTHKO: (looks up) You're lucky I 1m not indicting you for assault with intent to commit X murder.

3990 ON HARRY 3990

as his eyes widen slightly in. surprise.· . Nothing has led him to suspe~t thiso

HARRY:

R0THK0: Where the hell does it say you've got the right to kick down doorsp torture suspects 1 deny .medic.al ·attention and legal counsel~ Where .have you been?. Doesn't Escobedo ring a bell? Miranda? You must have he e.rd of the Fourth Amend- ment? . What Pm sa~ring to you is that man had. rightso

I HARRY~

Yeah. I 1m all broken up about his rights.a

( CONTINTIT•:n) .

\_·-

399 (Cc;n1t.)

ROTHKO: You should be. I've got news for you Callahan. As soon as he's well enough to leave the hospital -- he walks.

HARRY: What are you talking about?

ROTHKO: He's free.

HARRY: You're letting him go?

ROTHKO: We have to. We can't try him.

HARRY: Why not?-

ROTHKO: Because I 1m not wasting half' a mil- lion dollars of the taxpayers I money on a trial we can't possible win {then) The problem is we don't have any evidence.

400. ANOTHER ANGLE 400.

as Harry indicates the weapon on the table: X

HARRY: What ·the hell do you call that?

ROTHKO: I call it nothing. Zeroe

, HARRY: Are you telling me ballistics can't; mate..½. up the bullets with that rifle?

ROTHKO: It doesn't matter what ballistics can do., -

· Rothko crosses, picks up the weapon_ X

ROTHKO: X This rifle 1nig.,.½.t make a nice X souvenir but it l $ tnad.,niss ible X as evi.dence. • (CONTINUED)

400 (Cont.) . 400.

HARRY: Who says?

ROTHKO: It's the law.

HARRY: Then the law's crazy. I l"'·.. •

401. ANOTHER ANGLE 401.

as Rothko looks over at Judge Bannerman.

ROTHKO: This is. Judge Ba.··merman of the . Appellate Court. He alsq meets classes in Constitutional law at Berkeley. • . ( then) I asked him· for an opin~on. Your honor?

BANNERMAN: This is obiter dictum of course. But X in my opinion the search of the sus- pect 1 s quarters was illegal. Evidence obtained thereby -- that hunting _rifle 'or insta....-1ce -- is inadmissi.ble in court. You should have gotten a search warrant. I''m sorry, but it's that simple.

HARRY: Search warrant? A Girl was dying ••

ROTHKO: • She was, in fact, dead. According to the mec:lical report~

F...ARRY: • I didn't know that.

BANNERMAN: The court would have to recognize the police officer's legitimate · concern for the Girl I s life, but there's no way they can possibly condone police tortureo All evi- dencie concerning the Girl - the suspect's confession -- any physical evidence would have to be excluded.

401 (Cont.)

HARRY: There must be something.we could get him on.

BANNERMAU : Without the evide.nce of the gun X and the Girl? I couldn't convict him of spitting on the sidewalk.

402. AN OTHER AUGLE 402.

Bennerman is rechecking the report, shaking his head ..

BANNEPJ1AN : The suspect 1 s rights have been - • X clearly violated under the Fourth and Fifth and probably the Sixth and Fourteenth Amendments.

HA_RRY: X Wna t about Ann Mary Deacon's rights. X She was raped and put into. a box to die -- who speaks for her?

ROTHKO: The District Attorney's office. If you'll let us. - . {then) I 1 :ve got •a wife and three daughters. I-don't want hL~ on the streets any more than you do.

HARRY: He won 1 tbe ou.t th.ere for long.

ROTHKO: What does- that mean? .

HARRY: He's botmd to stub his toe and I 111 be there when he does.

ROTHKO: This office won't stand for harass- ment.

ANOTHER ANGLE 403.

as Harry crosses to the door, turns back:

I (CONTINUED)

\___ ·_...

•• I

r

403 {Cont.) •. 403.

HARRY: You think you've.heard the last of· him? He's going to keep on killing people.

ROTHKO:

-I HARRY:·' He likes it. He really likes it.,

Harry turns and exits as we

CU'lTO:

We · are CLOSE on a WOMAN -- with out any clothes on in a low; ornate bed, c,rawling all over it. Pale spots -· pinl:E and blues - are playing on the naked girl~ We PULL BACK to discover she is on stage tn a Nudie· Bar. The stage is·. situated over the bar in the back of the roomo Sitting Lt 1 the bar, looking up at the girl is a CUSTC!-fERo We STOP OtJ~ 1 PULL BACK as he rises and pays his bill .. As he turns anci

him we now see a SECCHD NA:f..ED GIRL. She is on a raised: stage, dancing. Bouncys bouncy, bouncy,, Her expression • 1 is absolutely bl.ank. The Customer turns .. He is the Killer .

• 405. • MOVING SHOT - THE KILLER

as he, limping badly, gees down the aisle toward the front door. Moving along another bar, he passes a little ~rchss- tra which is playing and another NAKED GIRt who is dancing on this other bar. We PAN him out of the doorp then CON- TINUE TO PAN to the· dark shadows· beside the bar,. .• We ZOON ·IN FAST. It is Harry. He is dressedinformall-y, wind- breaker, slacks. He turns a.nd leaves the bar a.fter the Killer.-

The Killer has co!lie out of the Nudie Ba1,., He is. moving

around the corner of the huI1.gry i" with its sign adve.r- tis ing Underg:radua te Go-ed S :.ri r;pe:::·s or wha te ve2". ':::t.e Killer looks back, spots Harry cc-ming out of the baro He turns into the alley, hurries up the hill 0

r I

I

96 • .,

407. kNOTHER ANGLE

as Harry comes to the mouth of the ~lley, stops and looks. I off after the Killer. The Manis hurrying up the alley, h~ looks.back·ovir hi~ shoulder as we

408 .. EXT. PORTSMOUTH SQUARE DAY 408.

We are CLOSE on theKiller as he moves up· Washington_StreetJ past the construction site, with its board fence and spray- can sloganeering. Power to the Peopleo Peace signso So ! on. As he walks up ~ the. street, he hears children's voices.I

He stops and crosses to where he can see into the ChildrE:::-·. ;~ play yard.

409. KILLER'S P.o.v:. - THE CHILDREN'S PLAYGROUND

a LOT o:f little TINY KIDS are playir..g on the ·apparatus, all colors. Having a wonderful time together.

410. THE KILLER ~

He moves to the break in the wooden fen.cell looking at the kids$ his expression flat,. undecipherable.·

We are CLOSE on a checkerboard. W'e PULL BACK to reveal T~-IO ELDERLY CHINESE playing. We PAN SLIGHTLY as Earry comes up to the game, watches for a moment, and moves along to the Pagoda railing. He stops, overlooking the children's playground.

412. • HARRY' .S P. 0. V. - THE CHILDREN I S PLAYGROUND . • 412.

We are watching the Children from Harry's viewpoint, when suddenly we see the Killer. He looks up, directly at us.

413. KILLER'S P.o.v. - ON HARRY

He is looking directly at ui.

97 ..

41.5. ON HARRY

looking after him.

thru OMITTED thr.u

X

We a.re in a deserted part of the war·ehouse district, ANGL~D 1 down a lonely street, empty except_ for a taxi which is con- ing toward us. We HOLD as the taxi comes up and stops.

420. CLOSER 420.

as the Killer gets out of the taxi, the CAB DRI'VER is. look-· ing around the empty area. doubtfully o

CAB DRIVER: You sure this is .where -you wanted to go?

KILLER:

•.:·._· •• ·Tlie·· :ft lier has taken a bill from hi.s pocket and paid the

Driver.· As the taxi drives off, the Killer looks around$ -t~ crosses to a. nearby· wa.r-ehouse. - As he pushes a doer open:

We are in an old and cavernous warehouse.11 very dark. There are a couple of hig.'1-i windows broken out and motes o.f dust !18:: in the shafts. of light that slant down .. The Killer moves • quietly into the vast building, then walks carefully towar-t some big boxes or crates a dozen 7a=-ds away. We are HOVI~rs- WITH HIMo • As he gets to the c1"ates, he stops. We WEIF -:o :i'e darkness behind the boxes. An enormous BLACK l·'fAN steps out at us.

422. ANOTHER ANGLE

as the Killer and the Black Man look at each other for a moment., then:

BLACK !WT: You shake him?

The Killer nods, reaches into his pocket and takes out scme • bills.

KILLER: Two hundred.

The Black Man takes the money 'J counts l t, and puts ft in h~.s pocket. Now he takes a. pair of black leather. gloves :'rem his belt, starts to put theni on; slowly·.

r

98 ..

THE KILLER'S P.o.v. - THE BLACK.MAN'S HANDS

as the Black Man· puts the gloves on carefully, lovingly,. finger by finger, smoothing them, flexing his hands.

l as the Black Man looks up from his hands,. then softly:

You really want two hundred dollars worth, baby?

KILLER:. Every penny of it.

The ·Btack Ma..'!'l nods, then as he gets an old cane-bottom chair from. the shadows: .•

BLACK MAM: Might as well be_ comfortable.

426. AN0 J.1.HER ANGLE 426.

.. The Black Man puts the chair against one of' the b:.g crates; indicates that the Killer should sit. The Killer does so 9 almost like a patient awaiting a dentist. The Black Man moves up to him,. towering over the s1. tting ma.n 9 then his fist lashes out savagely,. catching the Killer in the face.

428. ANOTHER ANGLE 428.

as the Killer waits, the 'Black Man now starts to beat the sitting mah methodically .. A professional beating 1 cruel, calculated, painful,. and bloody. The Killer slips f~om the chair. The Black Man puts him back, resumes the beating.

ANOTHER ANGLE 429.

as the beating continues, the Black Han holding the Killer with one hand as he continues the beating. There is no other sound but the whoosh of air froM the Killer's lungs, the heavy breathing of the_ Black Man., and the crack of • 1eathe~ed fist on flesh. >

_J

99,.

4300 ANOTHER ANGL~

as at last,· the Killer is knocked. from the chair, and this time the Black Man does not put him back in the chair. 1 Instead, he looks down at the Man on the floor.

BLACK MAM: You sure you want the rest?

The Killer raises his head, his face bloody beyond recbg= nition, the eyes black al"'d half.mad with paino He whispers I hoarsely:

KILLER: Every penny's worth -- you black 'I son-of-a ...bi tcho

BLACK MAll: Two hundred dollars wortho Coming UPo

The Black Msn. kicks the Killer inthe ribs 9 no fun and games, meaning to break themo The Killer tries not to

scream(! The Black Man kicks him a.gain, then a third time o • At lastp the Killer screams in e.gonyo He is lying there sobbing on the dusty wooden warehouse floor o •

BLACK MA.N: Two bills worth. Exactly~

431. ANOTHER ANGLE - THE BLACK MAN 4310

as he leans down e.nd picks up the Killer. end carries him to the warehouse door. He opens the.door and grabs a hnndful of the Killer 7 s shirt, holding him up with one hand as he draws back the ether.

BLACK M..AN: This orie's on th~ house.

The Black Man hits the Killer in the face, sending him reeling out of the warehouse and into the streeto The Black Man disappears, snd we HOLD, through the open warehouse door, on the crumpled figure of the Killer, lying in the street.

as an ATTENDA1fland a NURSE push a wheeled stretcher through: a hallway with a lot cf bit windows and sunshine pouring

1000

432 (Cont.) 432c

through them~ On the str~tcher lies the bendeged inert figure of the Killer, unrecognizable. The stretcher is pushed into the main corrido~: , · ...

·and mikes 6 There are a couple of hand-held carwras, maybe

l

e big television camera. A NEWSMAN'looks off'o

1st NEWSi1AN: That could be him.

• The Newsman hurries toward the moving stretcher.

4.34. MOVING SHOT 434.i

ei the Newsmen cluster arorind the Killer. His bandaged face is grotesque, s:-rollen out of shape,.He has just lef~ the emergency annex.

lat NEWSMAN: Excuse me, Sir. Are you claiming that the S~n Francisco Police Departme~t did this to you?

KILLER: (his speech blurred) I swear ito As God is my judge.

CLOSER ._ THE KILLER AND THE NEWSMEN 4350

·we are MOVING with them as the stretcher is being pushed ~own the hall.

2nd NEWSMAN: Why would they do that? Sir? Why? Why are they harassing you?

• KILLER: I don't know -- the-v t"ried to frame me on the Deacon ca;e 1 but it didn't take -- now they:re trying to kill me 6 Look a:t me... Look at what they did to me -- I'm supposed to_ be innocent unless I'm found guilty, but everywhere I go, cops follow meo

We are PULLING BACK f'ro::n the screen• to discover that we are :looking at a television set: ·i

Present ere the Chief' and Harry.

CHIEF':

This is the part that I particglarly wanted to hear.

Just a minute, Nurse. Please. Just let me a~k him one more question. • · .(then) Sir?· Did you see. th~ man who did this .to you?

• KILLER I S VOICE: Yes 1 I did9 His name was Callahan. _Big guy. In homicide.

The Chief has crossed and turned of'f' the set.

· CHIEF: I 1 That s a rerun from the four o clock news~ Since then, he's given a statement to the CHRONICLE. He's claiming you followed and beat him. (then) Whet about it$ Harry?

· 437. ANOTHER ANGLE 437.

es Harry rises ..

HARRY: You want my star?

.. GEIEF:

I want an answer~ Have you been

t'.,Jj J following that man?

(CONTINUED).

•

CHANGE 4/6/71 1020

4J7 (Cont.) 437;,

HARRY: I 1ve been following him -G on my own timeo I didn't do that to him thougho • (rubbing his knuckles) Me, I Id of left the son-o;f.a.a-bi tch deado •

The Chief looks at Callahan for a long moment then nods:

CHIEF: The District Attorney's plenty hot ••• But I 111 hold him off as long as I cs.n.

438. ANOTHER ANGLE .I

The Chief. is moving Harry toward the ·door:

CHIEF: Let 4 s get one thing straighto I don't want any more ... ~ I (beat)

I

surveillance.

The Chier opens the door 11 Harry steps through.ii then turns back:

HARRY: Neither does heo

CHIEF:. What's that?

HARRYg He's going to kill again 11 Chi~t~ The only question i·s who 11 where; and how.

Harry turns and is gone" The Chief looks after him. troubledo

----···- ---~

103 ..

We are on the glassed-off sun deck on top of one of the hospital buildings. There are tables, maybe some umbrellas potted plants. Whatever looks nice. fresently, we are on the door to the Manual Therapy area as a YOUNG ORDERLY come:5 out. We F·OLLOW him over to a tableo

CLOSER 440.

At the table we see Chico in a wheeled bed. He is squeezing a spongy red rubber ball in his hand. Also present are Harry and CHIC0 1 S WIFE, a nice looking little freckle-faced blonde named NOPJ·iA. She is knitting and when she rises, we will see that she is about eight months pregnant. Harry is leaning over,· offering Chico some burritos from a grey cardboard box. •

HARRY:· Go on. G.o on. They 1.re really good.· This guy makes 1 em where I eat.

~he Orderly comes up:

ORDERLY: Time for the therapy.

The Orderly starts to get the bed ready to wheelo

441. ANOTHER ANGLE 441.

as Harry moves out of the way of the turning bed.

HARRY: Bressler talked abou~ you being on permanent with me --- so at least you know you·gotta spot 'when you cc:>me back~

CHICC : ·1 don t t h.-now if I am coming back, Harry.

• HARRY: Oh.

CHICO :·· I 1ve got a t~aching credential .. I

HARRY: Yeah •. Well, hang .in there.

( CONTINUBD}

441 (Cont.) 441..

NORMA: See you tomorrow, honey, same timel

442. ANOTHER ANGLE - ON HARRY AND NORMA 442.

as the Orderly wheels Chico into the building, Harry looks after him then he and Norma cross to the outside stairway ·1 and he opens the door for her.

'· as Harry and Norm.a move down the steps. We ·move with them,

NORMA:. It's my fault.

HARRY: What?

••. NORMA: ·Him leaving. I thought 1 could take it ---

She breaks off, shakes her head, then dryly:

•. NORMA: No class.

HARRY: Don't ever do that •

·what?

Low rate Y?Urself' .•

NORMA: Whut I meant was -- whatever it takes to be a coprs wife, I'm not sure I 1m • making it. • (then) He really tries -- and these bastards you know -- pig this -- plg that -- but mainly it's -- . I see him going o'ut the door at night and I think, Jesus Christ, what if this is the last time I ever see him alive,)

Jun I the only one? •• Doesn't it drive your wife crazy?

'

l . ~-- .. -.

105.,

443 (Cont.) .· 443.

HARRY: No ••

444. ANOTHER-ANGLE 444.

as they continue down the open stairway:

NORMA: You mean· she got used to it?

'

HARRY:. No, she ·never did. Net really.

NO'RMA: • Welli what then?

HARRY: She got killed.

NORMA: Oh --- please forgive me.

HARRY: She was dri vir:g home one night. .Three drunken bums in a piclrup. T'ti,ey ca..TT1e across the cente-r line. That was it. No reason no damn reason •..

NORMA: I'm sorry.

'HARRY: It's okay.

44~. · ANOTHER ANG LE •

T-hey-~ave reached the bottoni flight of stairs .. He stops.

You tell Chico r' said I understand. (then)

·He 1 s doing right to quit. lt s no life.

NORMA: Why do you stay in it?

HARRY: I don't know I real~y don' t know •••

Harry moves off,· al_one as we

We are in an unpleasant part of town, bars on windows, , streets bare and deserted-looking. We SEE the PRO?RIETOR bf the store inside, working around.

447. ON THE KILLER 447. ·

in the shadows watching the store across the street. Now he crosses toward it.

IN?. LIQUOR STORE - NIGh"'T -

The Ki1ler enters, forclng his battered face into an amiable mask. -The Proprletor is a big man,. soft, but thick-set; small aggressive, watchful eyeso

-- : KILLER: A fifth of Seagrams, please. X

~e Proprtetor squints suspiciously a.t the Killer's wreck- • of a face.

PROPRIETOR: What happened to you?

-- KILLER: My wife's brother. I hit her. (smiles sadly) He hit me. Several times.

449_. ANOTHER ANGLE 449.

a.s the Proprietor smiles and puts the bottle in a ba.g X which he places en the counter in _front of the Killer. X

PROPRIETORi Three eighty-five. .x

The Proprietor has kept his ha~d on the bag, not trust- X ing the Killer until he sees the Killer reach into his pocket and take out some money. As the Killer lays four X dollars on the counter. F

KILLER: _ You're the one that's been robbed a.11- those times aren't you?

PROPRIETOR: • Fourteen times la.st three years. Last two tlmes I. s~nt them out on platters. I'm getting to be a

449 (Cont.)

PROPRIE'FOR: (Cont.) pretty good· shot and l keep it right where it's handy. Right here.

His hand has gone to his waist and reappeared with an ugly-looking Luger.

KILLER: (nervously) Put it away pleaseo

451. ANOTHER ANGLE

The.Proprietor 1s squeezed in the nBrrow space behi.n.d. the counter end unable to get onto his hands and ki"'.1.ees to nta,1i up. His eyes stretched wide to look at the Kii1.ero Tr;e Killel"' reaches down, takes.the Man's gun from his belt, snaps a shell from the magazine into the ch2.m.ber 1 finding onethere already, the ejected shell making a small pingi!lg sound on the floor.

KILLER: (_softly) . Where do you keep the extra shells?

The Man doesn't answer, staring at tha Killer dumbly. The Killer kicks the Man in the head, repeats softlyo

KILLER: Where do you ·keep the extra shells?

15TH STREET)

We a.re SHOOTING DOWN the hi~lside street s.s e. sme.11 school buH comes up the hill toward us and stops where a stairway leads to another street directly below., The BUS DRIVER is A WOMAN, plump~ and pink-faced, abou.t. ·fifty. Somewhat silly. The bus door opens and LITTLE KIDS start getting out; they are young, six, seven, eight ..

108 ..

There is a large cement retaining wall on the lower street. We are ANGLED ALONG the wall as the Killer moves, limping noticeably, toward the stairs leading up to the higher st~e~· The First Little Kids are coming down the stairs from the buso We MOVE CLOSER to the Killer as he forces himself up the stairs, two at a time, past the Kids.

We are ANGLING through the windshield, past the Bus Driver t& the KIDS remaining in the bus. As she turns and counts . I noses with a floppy-wristed finger. There are maybe SIX of X: them..

BUS DRIVER: Ia everybody out who gets out here?

4.55. REVERSE ANGLE 455.

We are SHOOTING FORWARD, over the plump Wom~""l Is shoulder as she turns back to -the whieel and takes h9ld of the handle to close the door~ As the doors begin to close, the Killer has moved through them and is in the bus. His right hand L1 hidden inside of his jacket. The Bus Driver turns, her eyes are wide with surprise. In the moment before she can gather her wits:

KILLER: (cheerily) City Bus -In~pector. Hiya there, Kids.

BUS DRIVER: Now wait a minute. Now, just a minute. I'm not authorized to ---

456 .. ANOTHER ANGLE 456.

The Bus Driver breaks_ off abruptly as the Killer has moved I next· to her. He has ramrn.ed the Luger into the Woman s side.

KILLER: All right, Lady, let's go.

BUS DRIVER! (bristling). What do you think you're doing? Who are you?· I'm not. a.fraid of you and your ---

The Killer leans down and harshly under his breath:

456 (Cont.} 456 ..

KILLER:

• blow-your brains all over this bus •

that she is looking death in the_face.

BUS ORI.VER: Where?

KILLER: Just get started. I 1 11 tell you where.

As she starts ~he bus, fumbling, jamming gea.rs in her nervousness, the Killer turns back to the kids in the back of the bUSo

: '<', ·Th~·:_k,ids in the bus don I t know quite what to make of the

• • • Kilier.

KILLER: Hey. How about a song? .Who knows a song?

He points to a little Japanese Girl, about six, a real little dolJ..

KILLER: How about you?

458. CLOSE - THE JAPANESE GIRL 4580

as she starts to sing:

JAPANESE GIRL: Old MacDonald had a farm ••• •

KILLER: (joining in) Atta girl -- come on everybody· --

As the other kids, one by one join in, the b.us moves o:ff ..

459., EXT. BVS· STOP STREET - DAY

as the .little bus moves up th!3 street, the kids I singing voices can be heard. With a qu~ck-quack here and a quack- quack thereo

r I

from the balcony of the Mayor.1 s outer office at the Ci vie Center mall with its lines of.bright flags. We pick up the unmarked police car coming toward us on McAllister. It takes a fast left on Polk and pulls to a stop in the red area right in front of the City Hall steps.

as the car pulls to a stop in the NO PARKING zone, the UNIFORMED POLICEMAN on duty starts over. Harry piles out. The policeman recognizes him, waves. • Harry nods back, looks·.• up at the City Hall.

462. HARRY'S P.o.v. - THE CITY HALL 462.

Al 'Bressler stands on the ba·lcony of the Mayo1• 1 s Reception Room. He signals impatiently·. Come on!

· 463. ANOTHER ANG LE - HARRY . 463.

as he hurries up the City Hall steps, taking them three at a time.

:f"rom the floor level as Harry passes us, hurrying into the enormous, echoing rotunda with its marble· stairs., balconies, &:nd balustrades.

465.. ANOTHER ANGLE. 465.

shooting froni the second or third balcony, as Harry crosses and starts up the wide stairs.

We are ANGLED UPWARD to the word: nMAYOR". It is carved deeply in the marble above the large doors to the Mayor' ·s office. We PULL BACK and PAN as Harry ·passes the glass trophy case 1o1f battle flags and enters the Mayo::- 1 s office ..

a.s Harry enters the spacious, red-wa11ed room. The large French windows at the end of the romn are open. Al Bressler :!.s coming off thF! b!:11.corrv. He crosses to Harry whr- is

467 (Cont.) 467.

standing by one of six desks in t.1-ie roomo The: Mayor rs pretty SECRETARY is checking a. pad as BI•essler comes up.

BRESSLER: This is Inspector·cellahan. The Mayor is wai tj ng for him.

The Secretary nods, gestures.. toward the nearest door. Harry a~d Al Bressler go.through it.

468.. INT. MAYOR'S 01',FICE HALLWAY - DAY 468.

as Harry and Bressler move down the. interesting, almost • Gay Nineties hallway wi tb. its red wallpaper and rugs a-rid gold-framed pictures of' old politicos:

HARRY: What the hell's going on?

BRESSLER: Ano the!' note from our boy"·

HAR...W: Who's he grabbed now?

BRESSLER: We don 1.t know yet. 'l'hat' s the trouble.

They are through the door and into the Ma-yor' s office,.

The Mayor ts on the telephone •.· Billy McGuggin and the X Chie.f are counting money and possibly marking it 1 may-

light. •

MAYOR: What about Santa Rosa Airport~ Good. Good. (to Chief') They've got a 707 jet a.t Santa Rosa. X (back to phone) It must be fueled and ready in half' an hour. ·Skelton crew. .They must be volunteers. Tell ther.i that the man 1s dangerous -- well, 1 111 read you the note. It was delivered at eight o'clock this morningo

470. F'EATURING HARRY AND BRESSLER U. 70.

X They have entered and are standing by the door, listening t- the Mayor who has picked up a note from his-desk.

MAYOR: (reads) To the City of San Francisco. You have double crossed me for the last time. I am warning you to have my two-hundred thousand dollars.and a jet airplane ready and -waiting. I

and tell you a.bout the hostages who I will be happy to kill if you don't do exactly what I say. Scorpio.

The· _Mayor listens,. then:

MAYOR: Well, you 1 d .better~have the~ standing by. It could be a false alarm but don't count on it. This Man has p~etty well ---

At this point _over the intercom we hear:

SECRETARY·t S VOICE: Mister Mayor? There is a call for you on line two. ·r think it 1 s the one you 1 ve been waiting for.

Without ·preliminaries or apologies,. the Mayor ·presses the button on his phone. Then:

MAXOR: This is the Mayor _speaki~g.

- ·nAY

The Killer and the Lady Bus Driver are at the open air phone_·•·• near the bridle path, where 3,n fact; the little bus is parle:i.'

• KILLER: Yeah. Well, I want -you_ to talk to somebody.. One of your bus drivers from a school bus~ Okay?

as the Mayor switches the phone call to· conference and the Killer I s voice can be heard com:.ng from a ~mall loud-epe&.h:.:.~r set on. his desk. R'"'"'"'"'l""·"' .-...-..4 u----•·-·-' -·•

.. (

472 (Cont.) 472 ..

mY~: X Just a minute. Wou.ld you repeat that?

KILLER'S VOICE: I've got· six kJ.ds from the Lawton X Street School and I got the bus and the Bus Driver~ Here she is. •

as the Killer shov·es the Bus Driver toward ·the phone:.

KILLER: Tell him.

BUS DRIVER: It wasn't my fault. He had a gun, Mr. Mayor

KILLER.: Just tell him your. name."

BUS DRIVER: Mrs. Marcella Platt.

As the Killer draws her away from the phone:

as the Killer's voice continues to come over the speater., Billy catches· a nod from the Mayor and quickly exits office.

KILLER'S VOICE: Yo~ can check her out, but you don't have to~ You know I'm not bullshitting you. I got the kids and if you start screwing around, they start dying. Is the plane ready? X

Harry leans over the desk, his face close to the Mayor, mou~hing the words: Stall.him.

MAYOR: X (into phone)

• .: . •.• •.·.. , ·.· The·707 Jet is being fueled now- at X

Santa Ross. Airport.. The money wi 11 X be out there by the time you are. X

Harry again mouths the words: Stall him.

'474 (Cont.)

KILLER'S- VOICE: Okay, But listen. I'm just going to be driving along; nice and.easy. A bus full- of kids. I don't want to see any cop cars --- I don 1 t. want to see any helicopter~~- (then) You play this down the line with me and the kids'll have a nice )ittle plane ride ••••

MAYOR: X (interrupting) Where are you going?

KILLER'S VOICE: I 1 11 tell the pilot when I get on. No alerts. Nothing. X

:MAYOR: X I 111 guarantee that you won't be X molested in any wa.y. You have my X word of honor on this. X X· ANOTHER ANGLE 475.

as the connection is broken, Bill McGuggin.enters.

BILLY: . Marcella Platt. It checks.

MAYOR: X (to Harry)

to him, Callahan?

HARRY: Mister Mayor, we have to stop this . X guy.-

MAYOtt: X If we maKe any kind of move .to stop him he's going to :start killing • children;

HARRr: He's going to start killing chiildren anyway.

( CONTHHJSD)

475 {Con_t.)

MAYOR: X -.~ Why? \fuy would he do that?

HARRY: For the fun of it. Like he did Ann Mary Deacon.

Somebody's got to stop him. x·

t· MAYOR: X

He will not be molested in any way. I gav.e my word .and I intend to ke.ep it. (then) That's a, direct order, CaJ.lahan.

HARRY: Get another delivery boy.·

Harry turns and exits as·we

as the bus crosses Golden Gate Bridge. 1"he Lady Bus Driver is still at the wheel. We can see the Killer facing the

kids,; leading in song. ttRow, row, row your boat.

thru thru

the __ ordinary.

as the kids are singing, some are looking out of the win- dows. They are curious, not worried yet.

• Ist KID: Wr1ere are we going?

2nd KID: This isn't the way we 1re supposed to be going.

481 (Cont.)

KILLER: We're going to the .ice cream factory. Anybody doesn't want to go to the ice cream factory just say soo

ls-c KID: I want to go home.

482. KILLER' S FACE 482.

ly he slaps the 1st kid hard 1 alongside the head. The Kille lo9ks around the bus. The 1st kid ht=ts stopped crying, the others are silent. The Killer lool,-cs around, his expression indicating th~t he 1 s close to exploding.

We PICK UP the bus coming toward us, PAij IT PAST end end on a green highway sign :r•ea.ding: AIRPORT EXIT ONE HALF HILE.

as the Killer moves to the Bus Driver.

KILLER: Get in th~ right hand lane.

BUS DRI\TER: It's not right to do children that way. You could hurt him~

KILLER: Just drive the god.dam bus.

She looks at him quickly, frightened. The bus swerves slightly. '

EXTo, HIGHWAY 101 {KILLER'S P.O.Vo) ... DAY X

SHOOTING through the windshield Rs 1-.~e pass a sign reading: AIRPORT NEXT RIGHT.

KILLER: (OoS .. ) Right. here o

As the bus swerves onto the off ramp:

as the bus comes toward us, do.wn ·the off ramp, swi.nging right tq merge into Sir Francis Drake Blvd.

ANOTHER ANGLE - OFF RAMP AND BLVD.

as the school bus approaches the Boulevard, it has to b-r-a-....e' f'or a slow Volkswagen. The Volkswagen precedes the scn;c{ '\ bus as they approach a railroad trestle which crosses ove~ Sir Francis Drake Blvd.

CLOSE SHOT THE KILLER - DAY

somewhat nettled at the slow moving car ahead. His .eyes widen in apprehension as he stares fixedly:

JE_XbllRAILR OAD TRESTLE ( KILLER • S P. 0 ~ V. ) .;. !-: OVI NG SH CT 48 9., ,

SHOOTING FORWARD THROUGH the windshield as the bus approac:1e the trestle. Harry Callahan stands on top of trestle dire2ct; ly over path of· oncoming bus.

CLOSE UP - KILLER -· DAY

shocked, looking upward as the bQs moves toward the trestle~ 1

- DAY

as he gets ·ready to jump on.top of~ the bus.

492. FROM THE TRESTLE 492.

We are SHOOTING PAST Harry. to the approaching bus as it starts to pass under the railroad bridge,.

493. ANOTHER ANGLE 493.

as Herry jumps for the bus· roof.

494. CLOSE - HARRY.

as he lands on the roof.

es Harry lands with a crash on the roof, the Bus Driver

I.

screams; swerves. The kids all yell. The Killer tugs .!''or his gun.

• I

496. EXT~ SCHOOL BUS ROOf - DAY

as the bus swerves.; Harry almost falls off the top. He s-~~':':· himself by clinging to one of the para~lel metal strips which run along the top of· the bus, fore and aft, and are

i.

used for keeping luggage in place on top of the bus. Her~y is almost thrown f'l'om the bus. Harry pulls himself to his knees.

497. INT·. SCHOOL EU~ (~ .• •• FRANCIS DR.AKE BLVD.) 497.,

ON THE KILLER. - DA:-.·

Bla.m. Trying to guess where Harry is.

as the bullets come tearing up through the roof oi' the bus ..

499. INTo SCHOOL BTTS (~TR FRANCIS DRAKE BLVD.)· 4990

ON THE KIDS-· DAY

screaming in terror.

ON THE BUS DRIVER 500.

as she faints over the wheel.

501. AUOTBER ANGIE 501.

as the Killer drags the half-hysterical driver from her seat, slides in himself, and. grabbing the whee],, - con_tinues driving. '·, I;

_502. EXT. SIR FRANCIS DRAKE BLVD. - DAY. _502.

as the bus careens down Sir Frsnci.s Drake Blvd. with the Killer at the wheel and Harry clinging to the top. The Killer is swervir,..g rigbt and. left 1 try ir.g to shake Harry loose. '

'

Clinging precariously to the top of the bus. d

ON THE KILLER

He is sawing the steering wheel left-and right, the gas pedal pressed to the floor. The kids ar·e _SCREAMING behir:d him. He half turns and fires up through the roof a couple of more titnes.

SHOOTING THROUGH WINDSHIELD

as the bus swer'.ves over onto the wrong side of the road .. A pickup truck is bearing down on us. X

CLOSE - THE KIDS

,.. . -\ ·("'·- • 1 I ~~),..-~ ~/) as they see the piclrup, they SCREAM • X

501 •. EXT. SIR FRANCIS DRAKE BLVD. DAY 507.

CLOSE - THE PICKUP X

as it bears down on us. X

$08. INT. SCHOOL BUS (SIR FRANCIS DRAKE BLVD.) - DAY 508 ..

ON THE SCHOOL BUS

with Harry clinging desperately as the school bus wipes.out the chain link fencing.

as the bus careens into the yard o-f "the Hutchinson Compariy with its strange old sway-backed building. The bus -- barrels toward ari enormous pile of grav~l.

, I ANGLE ON THE CLOUD OF DUST 512.

The.reddish dust is thick as swirling smoke; so thick tha~ the bus can't even be seen, although the frightened cries of children can be heard. Suddenly the Killer appears out of the dust, his gun in hand.

CLOSER - HARRY

as he runs to the building, starts climbing a ladder which leads to a wooden platform. This has a wooden railing

Wood flies off the railing. Harry flinches, looks ')ff a.."'1.d up. The Plant is in operation. Sounds: Moving c·onveyor X pelts, so on. X

516. HARRY 1 S P.O.Ve 516 ..

There are slanted conveyor belt housings of. corrugated metal feeding into the rear of this strange ramshackle-looking edifi~e. The Killer is on top of one of these housings, aiming for another.shot. As he squeezes it off:

1210

HARRY'S P.o.v •

the air. There is no sign of the Killer where last we saw him.

DAY

Harry dashes up rickety stairs and throws himself inside.

520 .. IN'l'. QUARRY ls t CONVEYOR BELT TUN11EL - CLOSE SHOT 520 ••

521. HARRY'S P.O.V. - THE MOVING CONVEYOR BELT X 5210

Far down the dark narrow tunnel with the conveyor belt bi- secting it is the Killer feverishly reloading his gun.

ANGLE ON HARRY 522.

as he suddenly springs up and charges down tunnel.

523. CLOSE SHOT - KILLER

as he fires.

REVERSE O:N' HARRY

the-mouth of the conveyor housing behind him. He throw:=i

p~s t him.· Harry· fires. Blam!. ·X

525. LONG AtIGLE DOWN TUNNEL AT KILLER

A whole section of piling rips away near him. He darts into a passageway leading to another conveyor belt tunnel.

-The Killer dashes in and starts running down the tunnel to- ward daylight at the far end.

·- '- ., ,.,•• -.~.... Lo.•.•'

1220

Harry _is sprinting ~oward passageway. He d:1.sappears.

EXTo QUARRY SMALL BLDG. - DAY . • I i'his is the smaller building in the r~ar; all the conveyor housings lead from it. Now the Kill-er comes out of the housing, he st6ps, looks around.

There is a .big· sump or lake at the rear of the property. Fishing at the edge of the lake is a little TEN YEAR OID 3(r:

EXTo QUARRY SMALL BLW. - DAY 530. • CLOSE ON KILLER

looking back·up second tunnel. '·

5.31. INT~ QUARRY 2nd CONVEYOR BELT TUNNEL - DAY . 531.

ANGLE ON·HARRY

• hurtling down tunnel.

as Harry flies down the tunnel a.fter the Killere

Harry comes out on the small building; looks off through an opening 1n the· side of the building toward the sump~

535.. EXT. QUARRY LA.KE - DAY

•.. as the Killer runs up to the kid, grabs him up in his left arm, presses th~ Luger against the kid_' s temple and turns, smiling.

~,,.--- •• i I

123~

ANGIE· UP AT QUARRY SMALL BLDG.

Harry jt:-mps off and starts running toward the Killer.

KILLER: (matter-of-factly) Drop your gun or I'll blow his brains right out the· side of his head.

Harry .. stops. There is a beat as the two men look at eact other.- The Killer Smiles.. Then without wa1~ning, Harz-:y snaps off a shot •

as Harry I s shot takes him in the left shoulder it- must bave missed- the kid's head by a quarter o.f an inch at most -- the Killer yelps in surprise and pain.. He spins to the ground., the gun flying out of his hand ..

538. · ANOTEER ANGLE

as the kid jumps to his feet and runs down the road$

539. ON THE KILLER 5390

as he sees his gun lying two :feet awa.v in the dust. He now looks over at Harry. He doesn't know whether to reach for the gun or. not.

540. ANGLE ON HARRY . 540.

HARRY: Was it five times I shot or was it six? And if it was five, then, do I keep one under the hammer? (then) • I always kind of lose track myself. Always comes down to the question -- (then) • • . .• ., • Are you feeling lucky, punk?

ON KILLER 541.

as. he grabs at the gun and in one .movement, as he starts to /' ris.e to his feet, brings it _up firing.

r.

543. ON HARRY S4J.

There is a beat, then he crosses to the edge of the dirt

544. HARRY'S P.o.v. 544.

The Killer is spread-~eagled in the muddy watei,s of the sump, Blood is staining.the muddy waters deep red,.

545 • ·CLOSE ON HARRY •

He stares off for a long moment. Now he'e. really done it:· disobeyed orders, endangered.the children, killed a mane There's bound to be hell to pay.. He takes out his star, looks at it, wondering if it 1 s worth the trouble cf f'igh:;- ing to keep it. He draws his arm back as if to throw the sts.r out into the sump. Then suddenly he pauses, heari:-.1.g the far off wail of app~oaching police sirenso He pauses, then with scmething clos·e to a sigh he puts the star bac;,.c into his pocket and turning, starts back down th~ road in the direction he came.

546. LONG SHOT

SHOOTING DOw'N ua~ t the sump wl th the bloodied figure in 1 t-. As the CAHERA D1PEiiCEPTIBLY PULLS BACK, the - wail X ·of sirens grows louder .. Down the roadl' walking away X

man they call DIRTY F.ARRY., X

THE'END

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