"DIRTY HARRY" (1971)

Received from Sterographic Dept.

HS J. Fink | _ Dean Riesner

‘We are CLOSE on the golden star, a. replica of a San Fran-_ on ‘¢isco police badge, on the memorial plaque in the “tobby— “of the San Francisco Hall of Justice. We PULL BACK to include the inscription which reads: ©

We are PULLING BACK FURTHER to tneiude the addit tional ; plaques inscribed. with the names of dead policemen,‘Dee~ oY ginning with John Coats, killed in 1878 and ending with.

oe Harold L. Hamilton, one of four killed in 1970. We HOLD a |

for |amoment agtwo uniformed POLICEMEN cross, then, — ik

It is a warm morning in.early summer. We are CLOSE and. ANGLED SLIGHTLY DOWNWARD at:a marvelous looking GIRL ina X bikini. who is. sunning herself beside a swimming pool. : Somewhere Musak is playing unobtrusively. She takes off her sunglasses, swings ‘offthe deck. chair and moves down 40 the end of the pool. She is quitealone. She poises a moment by a sign which warns guests that they use the pool at thelr own risk, then she dives into the waters |

|(FROM BLDG. #2) (TELEPHOTO SHOT) |

from the same angle. “The girl's body “nifes: 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 Tan) 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 building 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. Heis aiming a high- <x jij powered hunting rifle at the swimming girl in the pool below.

The KILLER “~~ we still cant = see. his Pace: -- has his eye

CHANGE dylan

oe iy (oont.) eo a / a es he

pressed to the rubber eyepiece |of a telescopic sighte- He is resting his left elbow against therooftop ledge. ‘Thetip of his rifle-barrel moves almost imperceptibly as he tracks the slowly awimming figure. The rifle has a silencer. The Killer is wearing gloves. |

o.. EXT. BLDG. i - SWIMMING POOL AND SUN DECK -~ DAY 5, | (FROM BLDG. #2). THE. SWIMMING GIRL-_ (TELEPHOTO SHOT)

- as she reaches the end of the pool, turns end ‘starts’ |slowly stroking back. :

-*, ,THE RIFLE BARREL AND SILENCER _ oo

barrel as it moves very slowly across thescreen.

7. THE KILLER nF

Co oe » Stidl not cutting in his face as we HOLD for. a moment, — oe then PUSH IN CLOSE on his right index finger, curléd

around the. trigger, The skin.over ‘the knuckle ‘whitens —

- ‘ashe squeezes: slowly. _—

as the swimming girl is hit. A splash of: scarlet appears at her right shoulder blade. She thrashes, gasps. Her eyes are wide, blank with shock, She. roils in the waters, starts to sink. |Blood is pouring fren an exit:wound on

* her left side. : .

9, CLOSE - THE GIRL'S PACE. as oe

turned 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 for a moment, then:.

OUR Tor

ogy: 20. BRR. BLDG. #1 SWIMMING POOL AND SUN DECK -DAY = 104. 1an |: ; ; : a : - og We are SHOOTING DOWN ‘from the pool steps to 9 heavy metal -

door which opens out onto the rooftop. The door slams —

need , OHANGE | Los dow ye | WL2/72 , cA °

10 (cont.)~ | : LO,

open and HARRY CALLAHAN appears, He. istall, lean, | x. J methodical, undramatic, carelessly‘dressed, dry. He is an Inspector in the San Francisco Polics Dererte ment, one of fourteen attached to Homicide Detail, He moves in a coupleof long steps up the stairs to the pool area and stops in a BIG H#ap, looking off past us, his eyes squinting against the sunlight. Over this we SUPERIMPOSE STAR'S CREDIT, © ; oo , Co

li. siomine ane ~ THE POOL oo - a oe ne

ag Harry moves toward the other end of the pool whers we see two uniformed SAN FRANCISCO. POLICEMEN, a CHINESE -BELLBOY, HOTEL DOCTOR, .anda young ASSISTANT MANAGER gathered around the hody of the dead girl which has been taken from the pool, Also present is a. YOUNG MANin a>

- terrycloth bathrobe and rubber sandals, hisexpression

shocked, bewildered, unbelleving. As Harry moves up to the.

Separates as Harry kneels, looks at the dead girl,

12, CLOSE - HARRY oe es - pe,

: Xx as he Looks’ up from dead girl to skyscraper overlooking

area, |

ANOTHER ANGLE Se es 8,

as Harry crosses and looks up. at ‘Building in bego

Lit. -REVERSE ON HARRY. re -¥tr

‘Makes up his nina, spins around and exits quickly from rooftop, -.

cur TO:

¢

We are HOLDING on Harry as he long-strides up the street toward us, We SPIN with him as he passes and discover- -that we are nearthe base of:Building tee As Harry moves toward it, we PAN.UPWARD,

eee

“CHANGE| “yfne/7r -Be

“INT, BLDG. #2 AIRSHAFT + DAY CO 16

We. are Lookite UPWARD through the: airshaft which runs completely up the length of the building. A pinpoint ‘dot -- Harry' shead -- ‘appears at. thetop of the eirshaft. We "Z00MUP. ,

EXT, BLDG. 2 ROOPTOP (AIRSHAPT AREA) ~ DAY Me

io | weeareSHOOTING DOWN the airshaft: asHarry looks down i it. Now we PULL BACK as Harry moves toward the: fan | housing on the rooftop.

: EXT. BLDG. yo:ROOFTOP (ran HOUSING AREA) - DAYa UB.

We are PANNING with Harry as ‘hand-over- hand he climbs the ladder outside the housing which-encloses the giant air conditioning fans.. He climbs past the open Side door. We can see the interior of the unit. Harry reaches -the.top of the housing. |

| ANOTHER ANGLE

_ weeome

We" are “ANGLED UPWARD through -the.fen housing toward the grate on top. Harry -- shoe soles with'a foreshortened. Herry tapering. above them -- ‘can beseen above us, crossing the grate. : :

-

EXT, BLDG, #2 ROOFTOP = DAY © 80,

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

20.(Cont.) a CO (20.

the catwalk. -As we FOLLOW Harry around the top of the building, we get a panoramic view of San Francisco. The

Bay. The. Bridge. The Ferry Building. The Embarcadero. _And, as he moves to the north side of the building with

he stops. | . ; | | : 7)

(FROM BLDLG. #2). (ZOOM IN TO.BLDG. #4) |

‘Harry is looking down at ‘the swimminmug pool on top of Buitld- ing #1 from the exact spot where the Killer fired his shot. ata We.© 00M IN to the swimming pool area where. we see that. a couple of ambulance attendants have placed the dead girl's | | body ona stretcher.and are moving off the rooftop with ite

22. EXT, BLD. #2 ROOFTOP -DAY. . | SO ; oS 22.

We are CLOSE. on. Harry’ Ss face ag he watches them carry the pirl's body away. We-PULL BACK as he turns, then stops, ileoking down at something « on. thewalkway. He crosses and _ kneels by it.- |

Namea

236, ANOTHER ANGLE : BB

We SEE that the object Harry is looking at is a bright “metal shell casing. Harry takes ar. envelopeand pencil from his pocket. he picks up the shell casing by inserte ing the pencil into its hollow end, then shakes the sheii

_ .casing into the envelope. Harry seals the enveiope, puts: .'.

aa

The wind rises. Harry looks around, sees something, then

vaults to the gravel-top roofing a few feet above the

catwalk. We PAN him over to a TV antenna which we now. see for the first time. Attached to the antenna is a note,

fluttering in the breeze. WE ARE NOW FINISHED WITH CREDITS.

Ob,

-ag he carefully takes the note from the antenna, unfolds |

Palinooneed it and locks at it. .After a moment, quietly:

Jesus, .

~mid

26, INT, MAYOR'S OFFICE - pay =ii ti (itss—‘“sSsC

| _ ee noe ne <

The office has been darkened, curtains drawn. The note which is being projected on a portable screen, reads:

| tT 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 4n Persona? Column San Francisco Ghronicle and I will set up meeting. If I do not hear from you.it will be my next pleasure to kill a Catholic priest or a nigger. Scorpio."

re a MAYOR'S VOICE: ° |. (reading) : "fo the City-of San Francisco. me will enjoy killing one person every day : until you pay me one. hundred. thousand ‘dollars. If you agree say so tomorrow -morning in personal column San Francisco Chronicle and I will set up meeting. If I do not hear from you it will be my next pleasure to kill a Catholic — priest or -=— _ (breaks off, then) Scorpio.! | | ' |

"We are PULLING BACK to include the. Mayor's office. The ; MAYOR is a large mans authoritative and. magnetic. Ok

| 97,

ANOTHER-agoue OS ee2

“Also present are Chief of Police, Lieutenant AL BRESSLER <.

'of Homicide and the Mayor's young, bright executive assis~

tant, BILLY McGUGGIN. Bressler, middle-aged, rumpled, r,s tough without working at it, turns off the projector as. x _ Billy crosses to open the curtains. As the office floods. X with light, the Mayor turns to the Chief, a brisk and 2 XO. |decisive man in xnife- creased blueuniform. . | A

_ynat goes on in their minds? Where | thehell does he think I'm going to |. get a hundred thousand doliars?.

You're not thinking about paying» | him, are you MisterMayor? a oo xX.

| _ MAYOR:

aten Our position is that the City of ©

°. San Francisco doesn't pay criminals . not to commit crimes, Instead we ~ pay a police department.

This last is with a ary glance toward the Chief, who nods | back grimys | | oo

“MAYOR: . 7 | . : Who's incharge. of this case, ‘Chiet? KX.»

0 oe a CHIEF: Inspector Caliehan. He! s waiting out x ° _wo4 there, - oo, oe : ° (to: Bressler) _ee eX

prsssipes x ae Yes; Sir. ne ee

As Bressler exits, -the Mayor shoots. a look at the Chief. It is apparent that the name has struck a Sitenhey off~key 2 chord with the Mayor as he says?

oe os epee ae - “MAYOR: ee a an

OMITTED © BL

ANOTHER ANGLE ey BD

as Lieutenant Bressler and Harry. enter the Mayor's office.

7@- a CHIEF: _Your honor.— Inspector |Callshen.

The Mayor turns: — a ee x

| MAYORS ALL right, let's have it.

7 = | “HARRY: Have what? — an

| "MAYOR: © a oe Your report. What have you been| doing? cs

HARRY: : a Tive been sitting on my ass out there NTA : for the past three quarters of an. ROUP. +. (smiles) CS oe KO waiting for you. - " a | _ OP Aare waco

CHANGE 7 Bend TL

29 (Cont.) | BO eo co 290 me ; BRESSLER: | Fe, 7

-.. Damn it, Harry, that's the Mayor — -#. -youtretalking to. | oo

e000 MAYOR: So . There's.a madman loose. I'm asking So, - you whabls. Beanedone o Fair enough? a )

Be HARRY: a We've got a dozen people ‘working the.

_. Wetre running down extortionists, 0° 7° ood rifle nuts, rooftop prowlers, peeperse © __ We're checking out known racial > = ... J ..agitators, para~militaryBPOURS so Se .. especially rignt wing extremistso |_ We're arranging for maximum rooftop. surveillance and helicopter.patrol. —

- "BRESSLER: _ “Especially.‘around Catholic schools. and churches. and in the.‘black areas.

Be HARRY: oS

ne : Caer

i ae a “Ballistics is working on: the slug -mea ne 77. kT 0". 46 looks like a thirty-ought six. 5° KX 0.wets , Oo seven lands and grooves -=-right hand... wee

-:-oneverybody in the files whose birthe. — day falls between October twenty-third , a and November twenty-first. | x

oo, oo MAYOR November? ~ os

0S AARRY : cee ee Oe Sooreee

30. ANOTHER ANGLE 80

as the Mayor nods, then looks around: -

Ce MAYOR: 7 Have any of you mentioned this note : _ toanyone else? -

General shaking of heads. “Harry is looking at the Mayor without expression. | |

“AQ BE

30 (Gont.) 30. | - MAYOR: x

(to Harry). . How about. you? ae

oo HARRY: a Nobody. . oo

MAYOR: nn a Your wife? Girl. Friend? Some news- , paper reporter? en oo

| HARRY? ce “Nobody. - | a

oo vOR: og

7 All right. I'll put a message ‘in the Xx

Chronicle. We'fll agree to pay, but. XK .. tellhim we need time’ bo.getthe money Xx __ together.| . | | _

oo HARRY: 0° You're going to play. games with. this ereep? a

‘aad

“MAYOR: : xX Terdt get us sore breathing roome |

| HARRY: | “Tet get us some dead people. (a beat) oe Let ne meet the son-of-a-bitch. |

‘the Mayor looks over at the Cnief questioningly. - X.

| CHIEF: : Oo I'm against it. We could end Up with xX a-real bloodbath. XS

| MAYOR: . a a I agree with the Chief. Wefll do it kx

| BRESSLER: © >¢ Let's go, Harry, ‘ =

31. | ANOTHER ANGLE 7 3a

|Bressler and Harry rt outs. then| stop and turn ast X |

(CONTINUED) a

| ee

| a .

| 7 MAYOR: ne

oNi<(ee | Gpliahan?- | Be we OE

(then) > an -I don't want any more trouble Like you had last year in the Fillmore ‘District. That's my policy. oe .

re

, a RR y. ae (politely? TL ee

Se,

intent to commit rape, I shoot . So a

| Doe Ce With | : re him. That's my policy. mS . |

Intent? Se | ,

as I. ea : (cones up) | ee

How did you establish that? You read > ae 7 minds? 7 a Y

| . |HARRY: _ ee pe Notexactly. — a re |

ee MAYOR: — ae x What then? | ae

- oe - - | HARRY: OS ae OB a So oe (smiles dryly) SY foo a Well, Sir, when I see a naked: man — : mo so re running down the alley with a butcher

knife and a hard on Idon't figure | he's out collecting for the Red Cross...

the Mayor flushes, maintains his control with difficulty.

32, FEATURING BRESSLER ree ae

7 - The. Lieutenant can't believe what he! S hearing.

BRESSLER: Come on, Callahan. .a)

He storms out of the room followed by Harry.

| It is about ten till three as Harry comes up the sidewalk, : rope - oS towards a car varked, in front of the bank, with its motor... or ~ . - punning. The exhaust is exuding acrid blue smoke; not = ne .. ° great oillowing clouds, but enough to.be noticeable. Harry .

cuts behind the car to cross tne street, coughs as he passes. through the carbon monoxide. He apparently pays no atten-

wn tion to the car or its single occupant as Harry exits shot.

Anitrite anarchisttat nttite

son

SIDE CLOSER ANGLE - FEATURING DRIVER Bye

bo

sitting behind the wheel. He is a4young man in sunglasses and a hat of some kind. His attention is on the front . entrance of the bank.| | | : :

GLOSEUP DRIVER ce

‘as he watches the bank -- an attempt at’ casualness-- he takes a cigarette from his jacket. pocket. He lights this fresh cigarette from the glowing coal of a half-smoked — one, which he has to unglue from his lower lip. He drops”) ‘thehalf-smoked one to tne street, CAMERA PANNING with it. ‘There. arethree or four similar. half-smoked cigarettes on the pavement. : Fs -

36. ANGLE - ‘KWIK-LUNCH : a en Oo 36.

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

te ivr. KWIK-LUNCH - DAY o oe Co Be

hartC|. as Harry come s in, he sits ona wacant stool his back. to.

the plate glass window which fronts. the.street. “MR. JAFFES, ina white apron, comesUps ~

oo et JAFFER: Mr. Callahan. |

‘Harry nods.

bd bd pd

| , HARRY: - The usual.

os JAFFEE: » So the usual iunch or the usual dinner? _

then) ee a - (beat, _ a , So dinner,

oS SapRRE ree a Righte

ANOTHER ANGLE 0 38.

as Mr, Jaffee turns a hot dog burner -- maybe one of those grills revolving around a filament -~ and starts to build a pair of hot dogs with proper professional - care.As he.

: ye yy HARRY: Chevy outside. . . ee Is there a blue -the Dank?

— JAFFEE: (looks past Harry} 9

oo 2. HARRY: Motor still running? .

os . JAPFEE: How can Itell? |

7 : HARRY: . The’ tail pipe. Exhaust smoke.

" JAFFE: 00 “Yeah. . That's awful. Look e% i at pollution - : a So ‘that

‘Jaffee puts the two-hot dogs on a. plate and slides them K 4n front of. Harry, hetakes one, -spinsaround on his. stool and looks out of the plate giass window toward . the bank.across the street. Harry bites into the.dog _ then takes out his wallet and withdraws a card Which.he an hands to Jaffee. oe a , ke

re “HARRY: co The numberon ‘the card. Call it...

“Jaffee reads the card, then:

’ JAPFEE: ThePolice Department? ;

| | HARRY: - a : Tell them Inspector Callahan thinks. eee _ there's a two eleven in progress at | the benk across the street. Got it? —

39. OMITTED 39,

x

—_— _

ho.

ho. ANOTHER ANGLE _

aS the old,man's expression becomes both frightened and

- determined.

Got it. Yes, sire 002

HARRY: et Be-sure and ° say "in progress." Oo ee oo

As Jaffee turns and disappears into. the back of the Lunch .. Counter, Harry turns to his second hot dog, mumbling to - ; himself: . a, a oo 7

“Now, aif they'll just wait. till the cavalry gets here, I'll w-— a

- He breaks «off aS, from across the street, we HEAR sounds - of an alarm bell. “This is followed immediately by the | boom of a shotgun. As Harry rises from his stool to move into the fray? ; or Co . —

| ; HARRY: |

more

: ya. . EXT. ROBBERY STREEif ~ DAY

as Harry bursts out of the = lunchroom; ‘tugeing his pistol.

z from its holster. It is a big, non-reg, Magnum forty- .

_ four. | oe - a 7

da. EXT. HOLDUP BANK - DAY a Bs aoe

The FIRST. ROBBER, carrying a. sawed-off shotgun rushesout of door of banke

‘CHANGE “4/12/72

(ae Stee (so

a | as Harry crashes to a halt.- Co a

| oe | HARRY? All right! Drop it!

hh. FEATURING FIRST ROBBER Ee

as he brings up the shotgun, fires ite

4S. ON HARRY oo BS

‘He dives, rolls, comes up in a crouch, The heavy X

:gun buck: ng in his hand, Blams ' | :

FIRST ROBBER’ Be ee ae

| Wo. FEATURING

ag he is hit, staggers, pubber-legged back to one

side. The SECOND ROBBER-- charges out of bank

|firing his handgun. |

ON OWT ANGLE ON HARRY es Li?

- as bullets skid off the pavement near him,

|

WS... FEATURING GETAWAY-CAR By

oe as the Driver screams to the Secend Robbers Oo

DRIVER: 7 Come on! For Christ sake} Come. ont

“The car lurches out as ‘second: robber:dives into back | Seat of car. ,

49. CLOSE - HARRY ae ne kg,

as he fires at the Second Robber. Blam

"80. . SHOOTING THROUGH WINDSHIELD AT HARRY = = ~—- 50,

| as car veers..directly achim,

61, SHOOTING PAST HARRY i sss—SSS

in the f.g. toward the getaway-car as it speeds down |

on him += engine in firss gear, roaring, — |

62, ON HARRY : ga

ashe fires at the oncoming car. Blamt Blam}

53. ON THE GETAWAY-CAR nS

- as it speeds directly toward Harry. Suddenly the wind] | 'shield stars, a huge bullet hole appearing in the cente

of the crackle=patterns The driver ishits |

It spins out of control, bounces ‘over the- curb, hits a

_ fire hydrant, upending car in a gusher of water.

a |ANGLE ON HARRY oo oye Se

ogg

who ‘alertly leaps. backward away from.torrent of water,

oo Magnum in hand. . | 7

Bb. CLOSER ANGLE. ON UPENDED CAR Ce

The driver is sprawled dead over the wheel. Suddenly out of back seat of car hurtles the second robber. He fires.

/ store on corner.

ST. CLOSE ow HARRY eS 2

gualPam firing his "egnon at the second robber.”

68, CLOSE ON SECOND ROBBER Be 5B.

He is “hit flush in his.side and is smashed into the plate- | glass window, shattering tbe oo,

584. CLOSEUP HARRY | Oe - a SBA.

‘ashe looks at dead Second Robber in shattered window. He lets out his breath softly. He looks at the wrecked . car, Then suddentysgun bp,he startsoff ikea toward — |

-bank,

$9. WIDER ANGLE | oo z 859

looking at Harry uablinkingly with both hatred and conjecture

CONTINUED}

ay

mwe +e.

a

4n-his face. One hand is out and frozen, his finger tips’ just touching the shotgun which lies nearby on the pavement.

60. SHOOTING PAST FIRST ROBBER AT HARRY 60.

- he First Robber is looking)at the.gun in Harry's hand. . |

‘Harry walks toward. hime mo

, HARRY: . oe Be , | (soft2y) 7 — an a The thing is you're not really sure oo | whether I fired five or six. And ee , | -.if five, whether or not I keep one re oO | under the hammer. | a rn | (smiles thinly). : Be Be Tell you the truth. I lost. count my an self. Now what you got to do, con-.. sidering this is a forty-four Magnum — -- andwill blow your head into SENS. _ bitty plecesees (then). if it's loaded...

Harry smiles waraly, steps closer to:‘the Robber:

| HARRY: ae os ae ‘| “Wet you've: got to do is ask yourself-- SO (very softly) : a |Are you feeling lucky,” punk? = en

61. FEATURING FIRST ROBBER en ae gl. |

as he. ‘looks uD at Harry, unable to. decide. ‘He licks his

—-

- ppamosave mane gy

he waits the Robber out.

(63. ANGLE | -HARRY AND FIRST ROBBER* — a - 7 63.

as ‘slowly the man moves his.chand away from the. shotgun on

the’ pavement. At this point we beg~tan at cO HEAR, Taintiy first the. soundof approaching sirens. Jarry crosses ADy

- takes the Robber's shotgun,cradling it. | te AG)

ste

Am ADSE ora —

BEEtaene ti abaneeriemeenSS

CHANGE 4/2/71

ve -63AL ANOTHER ANGLE - THE STREET - 63A,

A San Francisco police car arrives, Now another, Harry.starts toward them,

“FIRST ROBBER: Hey?

Harry turns back, oo

a - -PIRSTROBBER: - T got to know, 7 oo

he

ble CLOSE -~HARRY

as he smiles at the. Robber, then deliberately. lifts ‘his own gun to his head, the muzzle. touching his -- temple, He pulls the trigger. There is a clicking

THRU THRU OMITTED. 69.

EXT, HALL OF JUSTICE ‘ROOFTOP - ‘DAY 70.

“Phe sound of Harry's yelping melds with the sound of @ helicopter engine. We are on the roof of the Hall of Justice Building. Harry is standing by the police helicopter talking to the two uniformed Officers who are manning it. The rotor blades are turning over Browne mens |Shwop. TROP « |

7. ANOTHER “ANGLE Tle

as a uniformed. policeman comes. out onto. the roof. is looking over at Harry. Harry comes away from the a helicopter and over to the officer, The officer tells - Harry that Lieutenant Bressler would iike to see him. We . can! thearit. Harry nods»

Pd

CHANGE _ a 4/32/71 4

| _ ree

aan — ANOTHER ANGIE TB

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

QUT TO:.

a :rae “INT, HOMICIDE SQUAD ROOM - DAY oon nn.

ooo ‘The Homicide division is housed in a large, airy | office with fourteen desks, one for each of the —- - Inspectors. Bressler has a glassed-off office ‘ within the large room, There is also a-cubicle. —

—o_ ‘In the room where we find a sink, coffee Urns small refrigerator, cupboard, so on. Bressler is at the ——

urn, pouring acup ofcoffee. We PULL BACK as: : a ee a Harry comesup to this small.areas =

- HARRY: . You wanted: to see.me? an

| BRESSLER: ; When the hell are you going to - bet a haircut?

7 As Harry pours himself. a cupof coffee:

HARRY: on Can't affford it... And besides was up till i oe who's got time? I three a.m, on those search patterns.

|" BRESSLER: Pat in‘for overtime.

_ (sarcastically) oe ” That*21 be ‘the aay.

bebe

“The ANOTHER ANGLE

As they start to move through the room to the Lieutenant's || (Office,weMOVE WITH THEM.

‘a la. AOA,

206,

7h (Cont.) || The , Soe -BRESSLER:

That was a. good pinch yesterday. x ‘The Old.Man was pleased, ° - °

7 apr: | He was, hey?

| | BRESSLER: He really was, He wanted. me to tert yous well done.

5. “FEATURING HARRY Be

| . HARRY: It deeply moved.

| _”BRESSLER: a I pass along a compliment; youcould -be a little bit polite. It might | not even Kill. you. tosay thanks. 7

HARRY: are rather -‘say. thanks to a promotion: ,aad a.paise in pay.

6. ANOTHER.ANGLE

as a PLAINCLOTHESMAN enters the. main room,and, as he: ' ¢rosses toward his desk:

| PLAINCLOTHESMAN: | | Hey, Harry? You'd better check = _ Xx communications, — Some thingfrom Chicago. 4*gun nut,

| Right. (to Bressler) a “mm get rolling. x

a BRESSLER: ce Wait a minute. I'm putting. some~ ae ' . bodywith you. x

Harry turns. . 7 a | es | HARRY: | | mean? 0 What do you: BRESSLER?: You need a partner.

| Bressler starts for his glass- enclosed office. Harry |follows after him, — oe

| | |HARRY: I've got a partner!

ae+

Tea gsamseneneLeaktaeearner marten ees aoa.

a oe

INT, BRESSLER'S -GLASS-ENCLOSED OFFICE= DAY 77.

Bressler crosses into his office. Harry. follows. Por the — first time we see a young plainclothesman, CHICO GONSALES about twenty-eight, who is seated on the frayed leather couch, Chico is medium sized, good-iooking. He rises, Neither. Bressler nor Harry pays the slightest attention to him, It isis.doubtful if Harry even seeshim, as:

HARRY: _ _ (angrily) | oy What's wrong with the partner I've. Bot? _ —_

| BRESSLER: (turns, angrily) oo Not a.‘thing except he's in ‘the | hospital! Xe

HARRY: __ oe “Hetil be out ina couple of weeks.

noe _ BRESSLER: . (indicates). a “Say hello to Chico Gonsales.: “Hetll ‘be.working. wi th (you.

78, ANOTHER ANGLE

as Harry looks over at. Chico. “Chico puts: out his hand. | van

|. Harry doesn't see it. .Hehas turned to Bressler in shock, LS

HARRY OE ~ Youtre kidding! “Ttye got :notime. to. . nae break in beginners. | Fo -

| | ‘BRESSLER:~ _ a ~ Now listen tome Harry -- a

| "HARRY: ae —

| . BRESSLER:?. x _-What does that mean? _ :

| (to Chico) Se ok The guys I've been working with -~ xX. Deltzick in the hospital, with a . .

78 (Cont.) 9. Ot _ a | 78.

(smiling) ao : So? — Do . a X

HARRY? (to Bressler) | If I've got to have a partner, all ~pight, but why not somebody who knows what he's doing? ‘What about Frank | - DiGeorgio?

oO , | BRESSLER: ; | ‘No way. Youtre working with Gonsales OK or you're not working.. That's straight. from the fifth floor. (Got itt

} HARRY: - 7 (nods, then) “‘Yeeh. |

7 |BRESSLER:

-,eae 79.

HOMICIDE SQUAD ROOM = DAY.

19. INT,

_..MOVE WITH THEM as they cross between: the desks toward

the door, Harry throws a sidelong glance at his new.

- partner.

SO HARRY: What. do you.go? » |

; —. GHTCO: | Ce ' Oneseventy. Seventy-five. I fought xX light heavyweight. — ; a ©

Harry brightens a little at, this.

| _ HARRY: You fought? -

Be CHICO: ' - Three years. | :

HARRY: a Where'd you fight? Any clubs around

ee

ene

ene

79 (Cont.) a 79. pe. ; a . CHICO:

'San Jose States

fry oe “HARRY:

Just what I needed, a atneg boy...

CHICQ:

a

about me yet, have you?

,

| | HARRY: — Well, it's still.earty..

a

| asthey move toward a room at the end of the hallway, we MOVE WITH THEM. ‘They walk briskly, people moving in. the(beBo |. +

HARRY: | You got your degree?

CHT OO:

HARRY: | You! li. go far ~- if you live.

| ee Be CHICO:

tr T live?

OO "HARRY: be Try not to let your .college D4 degree get you killed --. d4 because I'm liable to get. killed bd along with.you. |

| | CHICO: -(aryly) “Thanks a lot.

81, | ANOTHER. ANGLE

as they come up to a door marked "conmUNECATLONS _ -AUTHORI 2SSD PERSONNEL ONLY. "

Coe CO HARRY:

“Anything else you,‘want to knOoWy just ask.

Harry enters, followed by Chico,

Xx

83A

:=

THRU OMITTED. CadSd 83FF, 63F=i-Bo

Ne

8h. . EXT. WASHINGTON SQUARE (FROM BLDG. #3) ~ ‘DAY . a 8h.

We are ina 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. : ue SC

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's head. “He is looking over: | ecge of theroof, a, re Co "the

~DAY - OS gg,

Bb. EXD. BLDG. #3 ROOFTOP

we.are on the. Killer, from behind, as he. leans over the edge of the roof, looking. down at.the Priest across the

_first time. In one hand he holds a torn-out newspaper column. = si a xX.

He is middle- sized, nondescript, in,his mid-thirties, nai colored hair, going thin. You've seen him a hundred times and never really noticed him; he's Mr. Nobody, amillion

'. pale strangers rolled into one. He looks.at the bit.of

newspaper in his hand, re

87A, INSERT - NEWSPAPER 99° 7. BAY ce el SO Os

San Francisco CHRONICLE. One item has been circled in. pencil. We MOVE IN CLOSER. The item reads: So "To Scorpio. We agree but. need time to get money. Be patient." | a

(67B. ON KILLER se 8. |

as: he»tears ‘the newspaper into tiny pieces”and. crosses” rooftop, scattering them. He stops. by a large, tan

87B (Cont. ee oe 873.

suitcase and. now, putting on a pair of thin cotton gloves, he squats down by the suitcase, opens it;)and takes cut a rifle.

' This rifle: is in two parts, possibly three, so that 3 has to be-assembled, The telescopic sight also needs” _to be attached, He takes it + like a little telescope:-- -and carries it to the rooftop ledge. We MOVE with him © as he looks off into the Square. |

88, EXT, WASHINGTON SQUARE | (KILLER'S P,O.¥.2 | 88. _- ** BEROUGH SIGHT) - DAY a

| We are “FOCUSED onthe. front of the. church where we last. _gaw the Priest. He is not to be seen. We MOVE around - in. abrupt, angry Moves, seeking the. Priest; the CAMERA's _ movements express the Killer's frustration at losing his . quarry. Long, fast, angry sweeps. Where the hell is xX that son-of-a- pitch? Then suddenly we STOP -~- not the Priest, something better. : | |

Coming out of that little corner sandy ‘store we se a - willowy, YOUNG BLACK QUEEN wearing tie-dyed flares and. &| purpleponcho. . . oe

89. EXT, BLDG, #3 ROOFTOP - CLOSE-= =. —<—t«~SiDWNS "THE KILLER - DAY 7 ae ee

All is well again. His quiet. elation. shows in his. ‘briskmovements as he aquickivassembles. the rifle. Now, for the first time, we might notice the thing that) makes him different: the iit tle worm of madness- in ‘his

90, ANOTHER ANGLE 2 70 0 0

He crosses to the rooftop ledge, looks off, to: check.

P.O.V.) =. DAY

The young” Black in the poncho is ‘where we last saw him. He's rapping with somebody, Laughing, eating an ice. xX cream cone» | x

EXT, BLDG #3 ROOFTOP - THE KILLER - DAY (sR

‘as he watches down, feeling a sense of power. a xX an Oe : SC so oe x

ANOTHER ANGLE as oe 9B.

as. the Killer quickly crosses to the. open suitcase, and xX. carefully Loads - the rifle. _ | xX

: oo Oe EXT, WASHINGTON SQUARE CANDY STORE - DAY re ke

as. ‘the Black youngster and his friend move into the “parks

gs, EXT, 2106: #3 ROOFTOP DAY ts eo 95.

as the Killer moves to the rooftop ledge looks off, spots his prey immediately and raises the rifle to his shoulder, 'All. of his moves with the rifle are done with expertise and economy«

— | 96. EXT. WASHINGTON SQUARE: (KILLER'S P.0.V. - THROUGH 96. '. SIGHT)- DAY : :

as ‘the Black youngster and his friend move, taught NZ 5 camping a little. They move behind a tree. We MOVE QUICKLY to the other edge of tne green foliage, wait.

should reappear by now. | oo oe |

87, “EXT. BLDG. #3 ROOFTOP - CLOSE - KILLER - DAY «9.

‘There is concern, anger onhis face. .

SIGHT) - DAY. | : a oo

as, at Lest the Black Kid and his friend reaopear in the. cross-~-hairsofthe sight. They move to a bench. There is. some Sir Walter Raleigh bowing and scraping and the Black Kid sits, sprawled expansively Pacing.US. : |

a a

2B.

“"" RHE KILLER. nner

as he smiles. a

We are SHOOTING DOWN from. the helicopter, possibly ‘over.

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

parking lots. . People are looking up.: Some wave. A few |

POLICEMEN are stationed on. several ‘roots.

101. “CLOSER = §SOME KIDS ON A STREET CORNER ~ DAYoe

as the. helicopter sweeps over them. -OA.couple of the kids X Waves one gives them the finger. — eo _ .¢

| One of the Cops is flying, the other is Looking around.

103. . EXT, WASHINGTON SQUARE (SFPD HELICOPTER P,0.Y. -) ~ 1036.

‘Killer on. roof top.

10h. EXT.BIDG. #3 ROOFTOP. - DAY _ ee 10h.

as the sniper begins to squeeze the ‘triggers gently, gently

sound impinges on the consciousness of the Killer es a buzzing fly might. A momentary distraction. However, it disturbs him. He has. to recradle his: cheek against the.

oo stock of the gune .

305. Ex, WASHINOTON SQUARE (SFPD HELICOPTER P.0.V.) - Day 105.

as we MOVE DOWN FAST. toward Washington Square and rooftop number three, Downe - Down. ZOOMING.into aCLOSE SHOT. of

'. the Killer,frozen, Looking |UP >white-facedin a hunch.

back's - crouch. . .

“106.° THE KILLER oo 20

SU oo. ag he runs in the gale of the rotor bladés.. ‘Through the

he runs to the rocftop. door, carrying his suitcase and , — rifle we heart | | (CONTINUED) attkad.

CHANGE | WSJAN/IL

106 (Cont.) oe Te | :

BULLHORN VOIGE: ©

Stop. Stop in the name of the law.

| The Killer is gone into the buildings

107, EXT. BLDG B ROOFTOP - THE HELICOPTER ~.DAY (107. Od

as it hovers‘above the building, the sum. directly behind it, splintering the sun's rays, the Second Policeman talking _into radio-mike. a | en | :

"DISSOLVE Tor

ys. EXT, KEARNY STREET -| NIGHT x 108.

We are ANGLED down Kearny Street inthe North Beach District. We are near. an. intersection, Jackson or Pacific. An unmarszec _ police car comes. around thecorner, heading north up Kearny. Harry | is.driving,Chico sits_ next to‘im.

109. INT, HARRY'S POLICE CAR (BROADWAY) - NIGHT x 109.

as the car moves up the street with nippie-tyve shops # larry

CHICO: a . Whet r don't understand is how ‘the - helicopter boys lost him. How did 7 ‘tney let him get out. of that building withoutseeing him?

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

CHICO: | (beat, then) |It's possibles.

- HARRY: cs Well clam UP, then. — (then And turn that louder, |

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

XN

110. ANOTHER ANGLE - HARRY TURNS ONTO COLUMBUS— — . X do.

‘as Chico leans forward and turns. up the volume.

RADIO VOICE: ¥2to. all units. We have some additional information on that ‘rooftopprowler last seen vicinity Washington Square. He-is an adult, male caucasion. . , ae

111. SHOOTING PAST CHICO oa...

_ to the sidewalk of Grant as we move “forward. Chico is |.

--Ghecking the PASSERS-BY; the Straight, the Hip, the Half=-|

_ RADIO VOICE: When last seen the suspect was _wearing tan chinos, pale shirt, brown coat or sweater and was) carrying a'tan suitcase which . probably contains a thirty-thirty |

C | - pifle.

: a - 222. SHOOTING PAST HARRY . ce 7 a a | 112.

- to the other side of Grant Avenue, as we MOVE: AHEAD. ‘Same | Types. North Beach STREET PEOPLE, TOURISTS, SO ON.

7 RADIO VOICE: This man is wanted on suspicion | -.of homicide. Extreme caution is- advised. Suspect is armed and =... ©... considered dangerous. a 2 OK

“Harry? 8 ‘attention is attracted by 4aMAN and a WOMAN coming _ down-:thestreet toward us. TheWoman is a statuesque ~ blonde, the Man carries a large teddy bear. They are immune to the stares of the passers-by.

113. ANOTHER ANGLE: ~ SHOOTING UP GRANT AVENUE X 113. oo APPROACHING FILBERT cole

as the police car ts moving slowly ahead:

; | - HARRY: _ Og OS 7 Godden leonies, They ought to - , | fo SAD oe throw @ net over ‘tnis whole damned --

(CONTINUED )

a

ca SHAN a b/2hi/72.

123 (Cont.5 | . | 113.

Suddenly a MAN with a suitcase crosses the. street, about : fifty yards ahead. Chico. points. | |

| ‘CHICO: | | There! 4

| Harry has been looking off to his left, at thenut“with thevant Oe teddy bear.

ne miners

cHTco: Man. with a suitesses

| ‘The Man with the suitease, blocked.oyan-approsehiing: car can. no >longer besseen. eo re . “

:. ac wARRY;

oo .-@HICO: Lost hime Be!

\ra

oe The: Man with the.suitcase turns down into Filbert Street. =

os. INT. HARRY'S. POLICE CAR (ORANE) - MIceT X - 41ls. )

are ON Chico and Harry as Chico points:fe We

Se a ‘CHICO: . -here he-(g0es. Did that suitcase look tan to.you?

| HARRY: oe I still haven't seen: the son--of-a-— bitch. -

Teas: oo Down Filbert. ‘Take.a lefts oe

116,” EXT, CORNER GRANT. AND ruesae Wieser |X” 116.

as the unmarked police car rams into second, swerves out

- around a. couple of cars, barely missing a COUPLE. of

TOURISTS and starts its. left.turn into Hilberte _

CHANGE W/2y/7 1 Bee. ot

2070 -

INT, ‘HARRY'S POLICE CAR"(przsean) ~ ‘NIGHT x 117.

We are SHOOTING FORWARD through. the windshield as the car makes its turn into Filbert Street, As we straighten cu moving west, we SBE the figure of the Man with the suitse case just disappearing up the little alley called Krause -_grill Place.

| a «cutee: eae _ ‘There he is! oe ee :1\0:2a All right. I seeme

118,. ‘EXT. KRAUSGRILLPLACE -NIGHT ee ax ne,

as the Man with the suitcase move S: away from 3us up the : alley; |he is apparently unaware that he is being followed.

119. “EXT, FILBERT STREET ~ NIGHT oa x 319.

as Harr ry pulls the car to a stop by the curd. Harry and Chico get out. Harry comes around the front of the car and up to Chico.

‘CHICO: |How do.Wwework:this? -

He pointsup to. another alley ‘to the east.

You block off that alley. I go. in.

Merry mo ves quietiy toward, the entrance to Frausgriil.

120, - EXT, _KRAUSGRILL PLACE = NIGHT a a . — X 12e.

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

121, _ HARRY'S P,0.V. a ea oo oe «3h )

The alley goes ‘up about fif ty yards ‘then turns right. We see the Man with the suitcase. moving out of sighs around. | ‘the corner, °

122, ‘ow HARRY ee

He enters the alley cautiously, loosens his coat. X so he can reach the _Sagnum “orty-four andMOVES X i ahead to the corners a eee

CHANGE ane ee ep

eo 0

E CO 183, “AT.‘CORNER a re | 123,

7 oo Ss as Harry flattens at the corner and waits, listening. |

_After a moment, he.comes quickly around the COrners —x som

an

lake HARRY'S. P O.V. . -. eh. ee

Am | ‘This short segment of the.alley also leads: to a dead end "and a rignt turn. — - enh Somme

| a Son nasa 7 125. leer

«. —w as he moves cautiously down: the empty alley. He . stops, tests a door, checks some. packing. cases,looks behind. ) some ash cans,' He isnila meee de tne naa

126, -ANOTHER ANGLES-| NEAR AN APARTMENT. 7 126, |

This is an old apartment. house, its back: door opening on

gm oe tg at, cheeks the recessed doorway, starts on.- Suddenly I e ws... ° he whirls, The lights in one of the rear apartments have | MATT | gone on, After a moment, Harry crosses back to. thewincew,

—. L27. . CLOSER ~ HARRY = :207,

He is standing under the window which: is.‘too high for ni - to see into comfortably. He looks around, spots an old. -parbage. can nearby. He gets it, carries. it back . to the | spot under the window and car efully climbs.“Up on ite _ Harry looks in the window?

128, INT.“KRAUSGRILL BEDROOM (aaRy's P,20.v,).-NIGHT Xx 128.

as. the Man with the suitcase -- we see he'sChinese we stands by the lightswitch. A bleached BLONDE comes. out of

| a So .the bathroom zipping up a pair of slacks which are toc os 6 tight for her, The over-allimpression is puffy white ae . ... flesh, stale mascara and avarice. She ‘greets the Man --

‘the window is closed and we can't hear the dialcgue --— then crosses and gives him a little kiss, Now she in- | dicates the suitcase. _ Did you. bring mea nice present

“1g ) 129, ERT, KRAUSGRILL PLAGE -

NIGHT ON HARRY. og tas)

ce “looking, gun ready. a

~

”

-. CHANGE: 2 Wseu TL

: wl _ 130. ‘INT, KRAUSGRILL BEDROOM Ganae's Pp, 0,Vv.y - NIGHT X 1330.

THE MAN AND THE WOMAN. — .

as the Man hoists the suitcase onto the bed, opens it, He rummages for a minute then turns the suitease upside down - and dumps the contents out, Nothing but dirty laundry ané a gift-wrapped package. This. hegives to the Blonde,. Snr tears it open. It is a shortie nightgown, She kisses hi 'He now starts working on the top button of her slacks, a She's not helping him, He is -having a hell of a time - trying to get the button unbuttoned, She is just Stands me. there watching him, neither helping nor. hindering.

EXT, KRAUSGRILL PLACE - NIGHT - «ON HARRY x 131.

He ‘starts to turn away from the: window, but. fascinated ee the strange contest going on in._ the bedroom, he hesitates TM | another moment.

INT, KRAUSCRILL BEDROOM - (HARRY'SP.0.V. ) = wrest x (152.

as at last, impatiently, the Man tears:“the button off and pulls the Blonde's slacks down, Tiny red bikini panties” - anda big, pale fat dehind with varicoseveins. No big

co

sexy deal. : oe

EXT, “KRAUSGRILL PLACE - NIGHT ON HARRY x 133,

1336

as he is about to turn away from the. window, suddenly 4» hear a loud metallic crash and Harry drops out of the a . ture. We PAN down quickly. Harry is sprawled on ths Oe pavement, an unbelieving expression on his.face. . Theast ~ @an has bsen kicked to one side, We 366 that the wind hea been knocked out of Harry, he is. fasping for breath unable to ‘Speake .

13h. “HARRY 'SP.O,v. 23k.

‘The CAMERA is PANNING around a GROUP of: half a dozen hard tough~looking GUYS, Undershirted, bare-chested,

Getting an eyeful?

Harry, | still unable to get his breath, rolls over on his face and tries to. get up «= likea camel, “RindquarEDs me first.

aa 135, ON THE LEADER © | BS.

TM | | as, seeing a target of opportunity, steps forward like a

Master place-kicker and roots Harry in the ass. As he does: so: Ce

7 | UEADER: = XK Goddam pie hawker, . oN ae

) 86. ON HARRY 136,

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

RO | apna ANOTHER ANGLE os . Ce oe 137.

| as Harry. sits up; his eyes slightly prossed. ” |

- HARRY:| I'm @ pub: -- I'm‘@ pub “om ,

He is trying to say "Tim g Police: Officer" but he can't get it out. One of ths Tough Types has pulled him to his feet: enother has him in a strangle hold from behind.

238.. ANOTHER ANGIE 88

: as the Leader comes up:

‘LEADER: Lousy- peeping Tom. We ought‘to call the Police.

The Leader hits Harry ea shot. in the belly. ‘Harry goes down | ‘to. his hands and knees gasping: . . re

pe HARRY: - (at last) - i. T amthe Police.

| ‘LEADER: What did he say?

) 2ND ‘TOUGH: oe I think he said he is the Police.

‘LEADER:

| os a . He's: apie hawker is what hs ise con OC 7 Let! sgive him the Doots. | mi Ps

\

Oo Bb.

139. ANOTHER ANGLE re 139.

There is a general assent from the others. they start to be move in on Harry when suddenly we HEAR the sound of run- BY ning feet approaching. The Tough Types turn toward the sound, staring. bd

1h0. ANOTHER ANGLE a Be 10.

as Chico comes down ‘the alley from the. otherside, gun in hand His attitude is hard, professionale

- CHICO: | | All right. Back against. the walle Right now!”}Move

As ‘the six Menstart moving ‘to the“alley wall, Harry gets” UP.

| ee HARRY: Let fem go.

ae ANOTHER ANGE a

as Chico turns to Harry.

CHICO: Let 'em go?

| ‘HARRY: You heard me,

They were assaulting -a Folice || Officer. .

| LEADER: | - You mean he really is a cop?

PND TOUGH: — How was we to know? We thought he was a pie nenier a

LEADERS: | : He was standing on that garbage. ean peeking on Hot Mary and her Boyfriend.

F r “«s. °

°AD -HotMary?.

CHANGE _ 4/27/71

Wy2, ANOTHER ANGLE oe a,

as the Leader points to the window. Chico turns. We PAN | with his look. In the window we SEE Hot Mary and her Boy- friend peeking around from behind her. She is bare to the

waist. She pulls down a shade.

143, ANOTHER ANGIE AB

as Chico turns back to Harry. | - | a |

or HARRY: ‘Let tem go, Gonsales, So ae

Oe LEADER: a We figured he was some kind of freak getting his kicks. co, .

HARRY: a (grinds it.out) Beat it, .

Chico gestures with his guns. ws ee . CHICO: TEN & a An right. Take off! ON

1h. ANOTHER ANGIE . a Se Ul

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

CHICO: - What about the man with the suitcase?

HARRY: Wrong number.

Chico rolls the garbage can out of the: Way; glances aat the window, then at Harry. He is smiling faintly. : = |

| “HARRY : Something funny?

Just. had another bhought.

| | | |HARRY: “About. what?

CHICO: Why they call you Dirty Harry

Py CHANGE ; L/27/71_ | 374.

r a (Cont. ) | Uh | _ Harry look at Chico for a long moment; then Oo8. we os

HEAR their car radio,

-

“RADIO VOICE: .

: ‘Inspectors Seventy--One. Inspectors 4

|Seventy-One. - , a — y

- ; a oe

| | | St Ce, : oy

} an LyhA, EXT. PILBERT STREET ANGIE ON POLICE CAR ~. NIGHT |. kbs : | : ae , eo, oe oR y Harry picks up mike. ren So

| Oo 0 ARRYE

: Inspectors. Seventy-One. oo ml a

| «RADIO. VOICE: © | on : Got an eight oh one in progresSooe itts oe a building on Geary between Mason and. = a a Powell, It's a Dirty Harry special. _ ok ered ao | enn ace

7 HARRY: : Ss

“1hB. ANOTHER ANGLE. = YB

| Chico steps on the Ba50

| CHICO: st “What! s a Dirty Harry special? :

HARRY: | OA Jumper. 7 oe

145.toe EXT, JUMPER BLDG, & STREET - NIGHT — _ SS x

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 patrolmen... Callahan's car , arrives, Chico skids to a stop. Both -mp out of the car. Harry.looks UD. | .

USAL HARRY" S P.O.Ve Lush.

CAMERA climbs up the building slowly to. theJumper on a sixth story ledge, a UNTSORMED POLICE. OFFICERat windows on either side.

CHANGE ane u/27/71

— | | | STB. |

£ 7 1)5B, ANGLE ON FIRE CAPTAIN I . qhep

7 a8 he approaches Harry.

° a _ | FIRE CAPTAIN: , Sorry to ring you in on this, Harry, but you seem to have a way with these nuts. Want to try to.talk him down?

a | HARRY: re » Yeah, Sure, ; a oo co

UySG. ANGIE oN BARRY Sn i: - ayse.

A harness is being rigged over him with a thick rope attached to a-winch with FIREMEN at controls.. Harry gets into the . seat of the HIGH LADDER. A FIREMAN starts to belt him into

~the. seate oe a Se

USD. INGLE ON CHICO aD

looking at Harry, not understending. |

CONTROKS. A,

«ANSE, ONFIREMEN AT TRUCK a

|starting ‘the ladder UP e we Wee Oe

: Wer, ON HARRY oO oO - a . : “UNS,

going up, CAMERA ANCL ED FROM ABOVE to. s how ground growing dis-— tant below him, Harry holding onto the arms of the chair | : tightly, knuckles pressed white, ‘ooking. downy but quickly, his face pale, .

“UySc. FULL SHOP coe

7 Harry going MPe | |

1ySH. POLICE OFFICER IN WINDOW a ee «USE.

looking down watching Harry; CAMERA MOVING to.e. The :Samper 7 looking ¢ down. atHarrysmadness in his. (87eSeaca |

So LBBTL ON CHICO . Oo | | ar Ss. |

looking. up at Harry!Pace strained,

CHANGE ©

‘2. 37G. ow

Ob ISK. CHICO'S P. O.Ve “1st

Harry in the rising ladder neh above s

1st

USL. ON HARRY - FROM ABOVE

‘ground belcweoo reaches Jumpers ve two yards away, ag disturbed man; the word too much for him. |

JUMPER: . | -(sereeming) -. Don't you try to get mes

HARRY : - You. erazy? You're the one.that wants to getkilled, Not Mee

Jumper looks up at him not underst banding.

“HARRY: You jump, you'll try to grab me for sure, It happens every time. They changetheir mind at the last minute. and want to hang on to something. | _Not me, brothers -

JUMPER: You're not going to try to grad me? |

HARRY: : My best friend got killed that way ‘Jumper grabbed him, six stories, just like you. Both of them got squashed to pulps ©

Jumper looks a little pale.

‘HARRY:

their feet, or which oneof them was which. One lock at them and I vomited all over the place.

aiken. ANGLE FAVORING JUMPER wy su

fhe Jumper is now greens. Harry7 inePook notebook and :

pencil in hand...

_HARR’ | ~ Would you mind nivine me your name - and address?

JUMPER: Why?

eademesneide senmhmmnet

CHANGE |. h/27/71 37D,

© C :

Xx

aom ae 7 JiLOM TN AS

- HARRY: — o a of _ (embarrassed) Like I'm telling you, afterwards se. jdsntification is impossible, - Even . your papers,...theblood, 1 meanyou. Fo can't read chem,. oo . Sy

LUSNeo CLOSER UP ANGLE « JUMPER AND HARRY :

ne JUMPER: ee a I'm gcing to puke, z : : So

HARRY: oo a (quietly) . You puke out hers, son, you're. going to fail for SUPE.

Jumper stares at him,

HARRY? rk “You better ask yourself, right now, | af you: ‘reallywantto do that. |

[a

| The jumper looks down.

Cc.

USP, JUMPER'S P.0.V. IMS?.

The street, the upturned faces, amillion dizzy miles — below him...THE FRAME FREEZES,..starts to SPIN.

CLOSEUP JUMPER 1h5@,

His face sweating heavily, eyes wide. —

‘UySR. CLOSEUP ~ HARRY 145K.

waiting tense.

“ays.

18S, HARRY'S P, 0. V.

POLICE OFFICER fromthe window to the wight. is almost within reach of the jumper, held by companion, tries, lunges... Jumper . seeing,twisting away, face eontorting; eyes on Harry. . ;

a Ne ‘JOMPER: ooa, , (to Harry) * You, ..you.. die

CHANGE | L/27/72 | | .37Be

BS , | Ce “Uy5T, ANGLE ON HARRY = a Fe - Us,

His face twisted, his arms outstretched, 7 He manages” “to hold on to the . Jumper,

caygu, on cnn ay,

| face contorted, waiting for the, terrible,end. i oe _

1ySV, ON HARRY AND THE JUMPER oe US.

Ly SW, ~ ANGLE ON WATCHERS BELOW ; a oe asi

| | ‘frozen, hypnotized. - | | .

IS¥Y, ANGLE ON WINCH OPERATOR == YB

‘operating controls carefully. | -

1y5Z. ANGLE ON JUMPER AND HARRY =

| as they are lowered down the side of building. | | |

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

— UWSAA, CLOSE DOW ANGLE” -‘CHICO AND FIRE CAPTAIN. UP SAA,

| So \JUMPER'S VOICE: |. | Pleasecce : oo

U,5BB, CLOSE ANGLE - HARRY AND JUMPER. © 9° ANEBB,

suddenly hits the hysterical man a short jolting left, : The Jumper goes limp, held only by Harry's arms, Chico, ... the Firs Captain, and OTHERS rush up, -Harry hands: ‘the unconscious Jumper to their willing BIMSe | :

— HARRVe , (gravely)

a n0

CHANGE 4/27/71 | | 3B.

All6, EXT, VACANT LOT STREET = DAY = oe AY

Chico drives, Harry beside him, |

Bun, INT, HARRY'S POLICE CAR (VACANT LOT ST.) - DAY = B26, a

-_— RADIO VOICE: — Inspectors Seventy-One : — Harry picks up the mike. _—_

| | HARRY: Inspectors Seventy-One. |

oS “RADIO VOICE: We? ve got something for you, corner. - Sierra and Texas, A young boy, Negro. -

HARRY: What about him? oe

16. EXT, ‘VACANT LOT = DAY a TS

We are CLOSE on a Uniformed POLICEMAN, Ser._REINEKE,

REINEKE: Shot in the face,

ih? “ANOTHER ANGLE - INCLUDING HARRY = oa NT

The Policeman and Harry stand in-a sloping vacent lot at the corner.of Sierra and Texas Streets, There. isan am- bulance, & couple of black and white units and Harry's CEP. 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 ‘bi ankevt.

REINEKE: | Blew part of itaway. |

As the Policeman starts toward the: body followed 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 Voices.

To SANGRE - SO een YA 551

bo. \ fom, ‘ ; .an . = oe . . 0 : 396 CO . So cae .

148, ANOTHER ANGLE | 188,

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

|

—

so CO His name was Charlie Russel and | : _ | he was ten-“years-old. :—

+

y A FRIEND comes up and takes Mrs. Russel away. Harry . } looks afterherfor a moment. Ce ‘ | )

Qo 1h9. ANOTHER ANGIE. -BY BODY Be “n9.

1 oo , oe a the Policeman stands. by the‘child's body. ‘Harry now ) SO turns away from Mrs. Russel and crosses uD to.where 7 | the body is, The Policeman. bends down and removes

the blanket. Harry looks down., A beat, then Chico

7 eros ses over, notebook in ‘band.— a

a Ps CHICO: ~~ ko ee oe Inspector, this officer.says ne

Us oe Chico breaks off, looking down at the dead voy,

then: | | a |

7 | CHICO: = : = Oh, Jesus Christ. |

| ‘HARRY? You better sit down before you fall. down. a

As Chico moves off, then suddenly stops, bends over and vomits: in thebigh: grass. |

Re 7 BORTGEMAN'S VOICE: oe a a, (over walkie- talkie) ae 7 -Reineke?” Sergeant Reineke?

Harry and the others react to ‘theSOUND of: the voice, = |

150, ANOTHER ANGIE - APARTMENT ON EIDD=i (té‘STMSC*«idOS

LEO) : There are: sometwo or three- story apartments on she. KL | a, Will overlooking the lot, On the roof of the nearest, | is a POLICEMAN with «&welidentalides. Harry a be

bag PRONTO DY

7 CHANGE. h/2k/71

Lo3 150 (Cont.) > So : | iso.

crosses over toward one of the black and white units. The

—TMNe BER,| “Policeman gives. Harrya. 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. WX. Ot

| WALKIE-TALKIE POLICEMAN: a Thirty-ought six shell casing.. He — xX | was up here all right... ©. - ng

151, ANOTHER ANGLE me - - cf. BLL

; -as Chico comes up to Harry, his eyes still watering. co gy

~HARRY: — Welcome to Homicide.

Harry moves off, followed by Chico, We HOLD. on the large ‘O11 storage tank in the background then: |

152. INT, CHIEF'S OFFICE - _DAY > CO - x 152.

We are CLOSE ON a rifle carrying case, Someone opens 4t, revealing a high-powered hunting rifle with a telescopic Sight. As a HAND reaches in and carefully removas the. rifle and its case, we PULL BACK TC reveal Harry, He - 4s in the Chief's office, Also present are the Chief, Lt. Bressler, and Chico, The latter two not included, as Harry |turnsto the Chief with -thegun.

ae : HARRY: —— a Four fifty-eight Winchester.

Harry hends the gun to the Chief, who examines it.

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

- sO HARRY: CB os oo, _ - All T can get.

Woe

ANOTHER ANGLE - INCLUDING BRESSLER AND CHICC. 153. |

The Lieutenant and the young Detective 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 flags. on them. .Chico is sticking the flags into the a map as. Bressler tellshim where.’ | 7 . - 3

ee CHIEF:

' He's no elephant, Harry. Hets ee no animal of any kind. Remember. — 2 ‘that. Peeen PN

ee

- .(to Bressler) ._. > on Are you ready to show me. what | x you've worked out, Lieutenant? |

coe BRESSLER: (Yes, sire —

1h. ANOTHER ANGIE

which we SEE is well dotted with the little blue. a flags except around the area of Washington. Square. OO

| | BRESSLER: : These blue flags stand for units. we'll have on duty by dark Sonignte

- CHIEF: Double shifts and overtime?

HARRY: | ' (nods) | an “gust at night. We figure the °°. helicovters wil keep aim orf the: - roof'sin the daytime. os oO

CHIEF: I se.

We're going for high visibility. I've given our units orders to os -make themselves very noticeable -= | (indicates) re | Except here. In the North Beach - area, We'lre leaving tnat-open for - Rima . :

ny,Le

"CHIEF: “(to Harry). You found a good piace for your . Pd stake out { — . “(oonrTvED)

Beg he EER AE TeeesSereeeSpeerCEES eats

r preteemyomthaia

| ha.

254)(Cont) ee

“HARRY: Yes Sir. ‘Looks right down on the _poof where the chopper patrol spotted him yesterday.

155. ANOTHER ANGIE - FEATURING CHICO «=. © °° 488,

~~ as he shakes his head, —

‘BRESSIER: we | (dryly) — 7 Some thing bothering you, Gonsales?

— | . CHICO: ‘No.No, Nothing.

up, Inspector. —You're emong - Speak 0 RECRES | , 7

oo ; CHICO: oe - It just |seems like. such a Longshot :

gee, same moots ‘.reaQo

Not so “much. asyou'd think. One -- | he likes rooftops, That we know, | qd

| | CHICO: — A lot of rooftops. din‘SanFrancisco,

CHIEF: — Most. of which are locked, But, this - will be open fer nim. | Fe a | (to Bressler) Dd you follow up on that?

BS BRESSLER: aa Yes, Sir. I talked to the man who rans the building. No problem.

oe |CHIEF: - In the second place, the sociopathic. personality -- and we're dealing with a classic sociopath, there's no doubt about that -~ runs toward patterns. They'll rob the very same store three. - «= four times in a row, It makes them feel audacious, Like The Scarlet “Pimpernel. Scorpio strikes again. They like thatfeeling. .

“(CONSINUED) Soe

a an a - | CO 43. : |

455 (Cont.) 7 . BB

an : "HARRY: | : : a

,

a might want to use that same roof,. i | — - . * Heotsgota clear field of fire to Saint Peter and Paul's.

BRESSLER: oO And, they're having a Novena ton night. co | vo |

7 | : CHIEF: |

oe BRESSLER: re -.His note. ~He threatened ‘to kill. So St a Catholic priest.or a Negro. The a ; | Russel boy was black, | ey ot

- HARRY: : “So he might just feel he owes: aim 7 ‘self a Padre. : ; a

As ‘the Chiet looks sharply «atHorry, weane

| GUT TO:

186, © EXT. BLDG. #l ROOFTOP - NIGHT 2 15

| The ‘door to the roof opens and Harry and Chico come

out. They are carrying the rifle case, binoculars, a big portable light of the type called a Sun-gun. , Soon. As they cross being careful to keep away from _the edge of the building. There is a large turning sign on top of the building reading: "JESUS SAVES, One side is in pink neon and the other is in 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 greens

157. “aNOnHER ANGLE a | oo a | 157.

as they ‘reach. the |center of ‘the roof area“end put the things down; oo

Se HARRY: Lock that. door, .

,

Harry is speaking tn whispers. Chico nods and going

Ne back, locks. the roof door, Harry takes a pair of the. |

binoculars and crosses to the edge of the roof, He- takes the binoculars out of the case and looks off.

| | | . Ue

|158, EXT, WASHINGTON SQUARE -(HARRY'S P.O.V.) - 158,

(BINOCULAR SHOT) - NIGHT —

We are SHOOTING over to the rooftop of Buliding #3. Empty, Now we MOVE over to the doors of the church. PEOPLE, a few OLD LADIES, coming infor the novena. Now we sweep the park, General early evening activity. SAILORS. Hippies. Nobody resembling the Killer,

159. EXT, BLDG. #4 ROOFTOP ~ ONHARRY ~ NIGHT 159.

as he looks through the binoculars, »then lowers them — andcrosses back to Chico who nas returned to the ~ equipment. | | . a | oo!

160.._ON CHICO 2600. 5

He looks up from. the Sun-gun as Harry comes up. All: ‘the dialogue is low ast | Do

CHICO: “Anything? | 7 oe

Harry, instead of answering Chico, picks up the =. 'Walkie-talkie and switches it On. Now, into walkie- talkie: Ho

HARRY: -Inspectors seventy-one. We're in... position. Pegianing surveillance, x Nothing yet.

Harry puts the walkie-talkie down and bakes the big rifle out of its case, starts totoad tt. As he is — going SO?

_ CHICO: - . oe What am I supposed to be doing while you're blasting away with that cannon? ;

HARRY: Well, you'll be down there about: ten _yards holding the Sun-gun.

CHICO: a a ‘You now that light's going to. draw his fire don't you? :

(Pen HARRY: é.aaa

Co (beat: then) : | Maybe you better make that fifteen © ee, yards. ) .

eeeEAgetlineSSE

160(Cont. ) 160,

Ag Harry resumes loading, We -= ——

| - cur TO:

| | |

161. EXT, BLDG. Bh ROOFTOP -NIGHT - CLOSE ON SIGN — (161. |

"JESUS SAVES". oe | a

We PAN DOWN from sien te Horry bathed tn the glow of the neon, as he looks off toward Washington Square | a, _ with binoculars. to his eyes. | xX

162, OMITTED | ST a (162. ; thra

168. EXT, WASHINGTON SQUARE (HARRY'S P.O.Ve) 0 - 168%

(BINOCULAR SHOT) -NIGHT | OO a _—

We are ON the front door of the church. A couple X 7 of old ladies say goodnight to the Padre. He stands in the doorway for a long moment. As he does so we SWEEP the park, the adjoining rooftops. Nothing. We MOVE BACK to the Padre. He goes into the church. The coors close. We SWEEP OVER to a street corner. A cur is3leaning against a building, kissing a little HIpPpinCHICK,

169, EXT. BLDG, #4 ROOFTOP - FEATURING HARRY - NIGHT 469,

ag ‘Harry is holding. his glasses on.the rooftop |of| Building 30

Does the Padre know. he'sset up for bait? a.

HARRY: | (looking of f) | a eo, a ' Hewanted to, We told him we ne ': ; — had a-man to take his place. an Oo

a | .. (CONTINUED) |

vgmestt:tyreatatSe teas eetnoeelleee RenPe el.

CHANGE wees?

169 (Cont.) | —— 7 - 7 | | 169.

CHICO: Who? .

HARRY: (looks over) : _Chico, you'll never guess.|

CHICO:. (beat;then) . © 3 know,. Welcome to homicide. Meee

Harry puts the binoculers back to nis eyes and resumes: Looking ofr.

170» “EXT, WASHINGTON SQUARE | (CaRRRY'sP.O.ve) -_ 170.

(BINOCULAR SHOP) - NIGHT | —_ | a

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

L7he INT, WASHINGTON SQUARE. WINDOW ey ~ (HARRY 's «17h.

P.0.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 eranes his neck around her.

as he shifts to another window.

2173. INT, WASHINGTON SQUARE WINDOW #2 -(HARRY'S LIB.

P.0.V.) (BINOCULAR SHOT) - NIGHT | ns

‘The room ts empty. ‘We START TO DAN OFF, THEN PAN BACK QUICKLY as a good-looking YOUNG CHICK in3 under- wear crosses in front: of the window. She stops in a doorway, thinking.. : se a :

CHANGE - 4/6/71 NTs

17h. EXT, BLDG. #4 ROOFTOP - ON HARRY - NIGHT 1TH.

as he watches through the binoculars. =~ willing her not to go out of his views ae

175.6 INT. WASHINGTON. SQUARE WINDOW #2 -. (HARRY'S 175.

P.0.V.) (BINOCULAR SHOT) ~ NIGHT , oo

as the underwear Chick leaves our sight. We HOLD, An empty room. Then suddenly the Chick comes back. She is wearing no clothes at ali. She crosses to the door, opens | 4t. The Guy and the Hippie Girl we saw earlier coms in. The Hippie Girl introduces the naked Chick to the Guy. They shake hands formally.—

176, BXT, “BLDG. # ROOFTOP - ON HARRY - NIGHT 176.

As he takes the binoculars a4down, rubs his eyes, fiddles with the focus, and starts to look again, he catshes something out of the corner cf his left eye. A mevement on. Rooftop | #3. Harry swings the binoculars. over to the POOP LOPs

a MAN with & rifle is. moving. toward‘the edge of the.rooftop. -

178. exe. BLDG. fy. ROOFTOP. - ON+ ante - wroee 178,

as Harry locks over bis shoulder:

me _HARRY: evi (low)

Chico looks over at Harry. | Harry signals. Get over here: Chiso hurries up. He can read the triumoh in. Harry'sface. ~ Harry picks up walkie-talkie - then inte it softly: © xX.

: HARRY: eo ws The son~of@a-bféch took the bait.

moves to the- dee, Harry hands him thebinoculars. As Chico

|179. EXT, BLDG #3 ‘ROOFTOP (CHICO'S P, 0. ve) cexvoctias 119,

SHOT) - NIGHT a :

x r ‘ Beh -as he searches Roortop #35. finally spots the Killer at the

| (CONDI NUED)|

caeDicgpneng .us wasstentte, elim stanenn tanaat4 pntsrte ne mthetalea

| | hea.

eee A 179 (Cont. ) - o - 7 / OO | 179- © : edge of the building an

160, EXT. BLDG. #4 ROOFTOP ~ NIGHT BO,

as Harry is taking up the rifle: —

- 7° GHTCO:

- | "HARRY: Get the light.

© 181, ANOTHER:ANGIE Sn — an 81,

as Chico pute down the binoculars, picks’ ‘up thesun-gun. Harry is Tooking through the sniperscope. a ,

| | HARRY: . When I say ‘now,’ turn theLight ‘ON. Ready?

gett, Ss - curco:

182, ON HARRY Oo 1828

gg he flicks the safety with an audible click.

oe NIGHT | | _ | 183.

The Killer has paused, sniffing the windLike a deer tn OS :danger. : | :

18h. EXT.BLDG. a, ROOFTOP | on HARRY -“NIGHT SBI

as he holds steady, then: | |

| "HARRY: Now.

-185.: CLOSE - CHICO ° . 185.

| _ as he raises the light. . qt flashes: on, glaring hot. ;

186.. EXT. BLDC, #3 ROOPTOP (HARRY'S P.O.V.) - NIGHT 186.

as the spotlight falls to the. left of the Killer.

| Oo | , AD a

‘. JF’ EXT, BLDG. #3 ROOPTOP - NIGHT = 287, sf OD |

as the light. misses the Killer, he dives behind a clothes-. line, the hanging wash effectively screening him from the

beam of the - sun-gunwhichquickly tries to adjust, jerking

orepiaty

188, EXT, BLDG. #4 ROOPTOP CLOSE - FARRY - NIGHT . 188,

as he fires.

as the Laundry pol ds comes down, the “iller, clutching. his rifle, dives for tne cover of some kind of” anairconditioner unit or tool house of: bin.SO oo

EXT, BLDG, #l;ROOFTOP ON HARRY - NIGHT 3g0, -

as.he fires.

' 49121. EXT, BLDG. #3 ROOPTOP ON THE KILLER - NIGHT 192.

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

192, EXT. BLDG. #4. ROOFTOP ON HARRY AND CHICO - NIGHT 192.

‘as chunks of cement fly up from she ledge of the roof be=

- tween Caico and Harry. Harry is firing back.

HARRY: Hold that light steady}.

CHICO: oeYou want to trade jobs? ,

‘EXT. BLDG. #4 ROOFTOP (KILLER'S 2.0. Ve) = NIGHT 193.

The glare of. the sun-~“gun,thecrazy revolving sign: "JESUS. SAVES, The muzzlefiash of Harry’ s Minchester. -

£0. ;

194. EXT, BLDG. #3 ROOFTO? "HB KILLER - NEAR AIR 2h,

CONDITIONING SID - NIGHT

as he snaps off two quick shots at the spotlight.

‘EXT. BLDG. #h ROOFTOP = NIGHT © 195,

The light shatters and goes. out; Herry turns to Chico. who is bent over, the shattered sun-gun in his hands -

HARRY: “Are you all right?

: ‘CHICO: i “think SO == tTates

196,. EXT, BIDG. #h ROOFTOP (KILLER'S P.0.V. = THRU 156.

mote . SCOPE) - NICHT

Uerry is clearly visible, silhouetted aga! nat the sign's glow, He is standing. neara veatilator. pipe. the Kilier Pires. , |

197. EVT, BLDG. #hy ROOFTOP ON HARRY - NICRT 197.

as the ventilator vive is blown bo nell, Narry vhiris end blasts off a snot. 7

198. EXT, BLDG, #2 ROOFTOP (HAPRY'S PLO.V, = TURE 198,

SNEPERSCOPF’ -, ON THE ATR CONDITIONING SHED - NIGHT

as the <iller moves. from in front of the shed, Hrrry's | shot tears a great big hole in it.

as he runs in a crouch toward the rooftop exit firing rapidly from the hip. ashe empties the (elip. -

perinealSe,oa

ol, ad

200,° «EXT.BLOG. #4, ROOFTOP -- NIGHT 200.

as the Killer's shots are smashing into the sign. The neon tubes are shattering. Wires are shorting, elec- tricity is shooting out of the sign. Part of the neon tubing pulls loose from the sign, starts to fail. samme

201. ON HARRY . 201,

as he looks up toward the sign reacting. | |

202, HARRY'S P.O.V. | 202,

as the shattered. neon tubing is coming toward, US -- some of it: still glowing pink and green.

203. ON HARRY 203...

20h. ANOTHER ANGLE | me - 20h.

a ‘as the neon tubing erashes to the rooftop, just missing

Harry and Chico. — | | . .

205, ANOTHER ANGLE

| | as Harry runs to the edge of the roof, looks off | 205.

206, EXT, BLDG. #3 ROOFTOP (HARRY'S 7.0.V.) -NIGHT 206,

7 The rooftop is empty. The door to the rooftop swings — :open. rn . : |

-ags he runs ta the rooftop door, grabs: the doorkno’ and pulls. it won't (open.

| oo. “HARRY: Goddammit!

He yanks savagely. at thedoorknob. _-Now, remembering that the door is locked, he turns. | : -

(CONTINUED:

207 (Cont.) _ ae BOR — ~ HARRY: oe

Come ont ‘The key!

208, ANOTHER ANGIE oo a _— , 208...

-as Chico runs upt / - So ee | |

oo CHICO: Right here. oo |

as Chico searches his pockets, not finding the. key immediate:

HARRY: | Let's gol a |

Chico finds the key, Harry grabs it starts to insert it in the lock, then fumbles with itdropping-it.. He picks it up ‘and at. last, uniocks. thedoor. “They disappear into the door= way. } . a “ 7 ~

209, INT. BLDG. #h STAIRWAY NICHT. ee a 2095

We are - ANGLED DOWNWARD as: Harry andChico.hartle down the stairs, - | |

210, ANOTHER ANGLE ae a a 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 a stop for amoment, _distening. -Then continues on AS WE --- | | — -CUT TO;

- We are GLOSE ON a little river,of blood as it finds its way. to the gutter. We FOLLOW the crimson thread to its source, a widening puddle spreading from the head of a PLAIN-CLOTHES “MAN who is sprawled face down in the mouth of the alley. Frank DiGeorgio is kneeling by ndm,

212, ANOPHER ANGLE ne — ee ase

A FEW PEOPLE are beginning to.gather. & police car comes up from one side. Pulls to a stop. Now we PICK UP Harry

CHANGE “W/e/71..

212 (Cont. ) . 212,

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, ot

Crossing to DiGeorgio. tot

213. ON DIGEORGIO _ SO 21Be

The bulky Plainclothesman Looks. up as| Harry. and Chico

- come up. He shakes his head negatively. x

: HARRY: (to. Chico) | Come One —

ery,

ol. ANOTHER ANGLE. lhe”

Harry and Chico are running out’ of the alley as another police car comes up, Harry slips in the blood, falls. Harry bounces to his feet and hurries with Chico over to the newly arrived police «cars

: POLICEMAN: ‘(into mike) © —.. Central ‘Number One. We'tre Ten Seven on the Nine Fourteen Union Street run. .

HARRY: (oreaks in) *Tell Lieutenant Bressler’ we. | missed him. He'tsloose somewhere in theNorth Beach area. Get all> available units, » OO

POLICEMAN: -Right,-

tence

CHANGE —h/le/7h 54-58.

ole, ANOTHER ANGLE 2s,

Harry and Chico run back down thé alley the way. they

\

216 -..216 ‘THRU OMITTED. -THRU 257. 257. |

X

“A258. ‘EXT, HALL OF JUSTICE - DAY. A268,

We are in. CLOSE on .the identifying sign, then we PAN OFF to the street.:to-PICKUP Harry's car coming by -

Fast, on its way to the parking area beneath. the building. |

eB,

258, INT. HARRY'S POLICE CAR (HAIL OF JUSTICE) - DAY

We are in the police’ car, SHOOTING STRAIGHT AHEAD. A. parking lot POLICEMAN waves at.Harry and Chico as

-. they drive in.. They. go past policemotorcycles,

police cars, and ambulances and pull to a stop at the entrance to the building.

em,

| 258A, INT. HALL OF JUSTICE PARKING Lo? - DAY 2584,

7 Harry and Chico get out. of their car and ‘hurry to the

door tothe Hell of. Justice. They exit through it, moving fast. a

259. - INT, HALL OF JUSTICE 7TH FLOOR HALLWAY - DAY.

as Harry and Chico -coreup the haliway at the same

squad room. Harry looks angry, tired, about to blow.

‘as Harry and Chico cross through the desk area to. Bressler's office,

261. INT, BRESSLER'S GLASS-ENCLOSED OFFICE ~ DAY , 261.

Bressler is on the phone. There are some grainy

eighteby-tens on his desk. We can see Harry and Ghico approaching through the giass partitions as:

BRESSLER: Right. right, ,that!s exactly what we're <--right. .

a . oO 7 a . : oo oo. 59.

261 (cont. ) 7 . - Se BBLS

Harry and Chico come into Bressler' 8 ‘office.Harry's . expression is stormy. . co

| Co HARRY: What now: oe

pe PaO

“ : _ BRESSLER:|ae a It! Ss a whole new ball game, Harry. He grabbed a fourteen year. old girl.

-Bressler hands Harry two. of the eight- by-ten blow- ups. Harry takes them.and looks at them. One> ' picture is in color, the other.in black and white. Xx | ae : xX

INSERD - THE PICTURES a - BB.

“One. in color is a ‘big headOf a girl, nice looking -

eeanes ee

but . nothing. glamorous.The second picture in black x and white is of the same girl in a. bathing suit. She!8 quite mature. —— : | BRESSLER: |. (o.s.) ae Ann Mary Deacon:

263. BackTO SCENE a 263.

as Harry. looks ‘up. Bressler is reaching into a desk

drawer: — oe So

| BRESSLER: a “The bomb squad got a call. this morning. Suspicious. object in ‘Golden. Gate Park.

He hes ‘taken a shoe box from ‘the ‘drawer.

, oo _BRESSLER: Addressed to the Mayor.The lab

inside.

Harry 3is Looking at the (bOx. sresster hande the note.

hsCU

' to Chico, It is folded in three.- On the outside are. written the words:— ANN MARY DEACON |BURIED ALIVE,

-(oNDINUED)

60. —

J 963,(Cont.) a .an 7 oO ao a 263.

: - xX CHICO: (reads) _ Ann Mary Deacon. © Buriedalive.

BRESSLER: | oe She went to the movies last night, _never came Rome+

CHICO: (reads) -Double crossing S. F. Police made’ -méedo this.. It's on your head. Now ransom two hundred thousand in used tens and twenties. .Oneman with yellow bag. South side. Marina Green East Harbor. Nine pom. She has oxygen till three a.m. tomorrow: "morning. Red panties and bra. Big tits. Mole on left thigh. :

HARRY: 7 re ,And I had a clean shot at that... °> ng, Cfal

\ bastard last night. Dead bang and 4

blew it. “ i,

CHICO: (continuing to. read) | ALL okay you get location of girl 7 by two a.m, Anything cute and you will forte me to let girl die of slow suffocation. Signed Scorpio. .

| “HARRY: Anything else in that box? —_

26k. ANOTHER ANGLE 7 So oo a | 26h.

as Bressler takes out a manila envelope from his desk. He opens it and dumps the contents. A red bra. A lock of hair and a twist of paper with a small object in it. As Bressler indicates bra and

PRESSLER?- _ Her mother identified this and this -=- _ ~{then). oo ~~ and her dentist identified that.

(cowRENUED)

| 61.

264 (Cont.)

Harry has taken up the small twist of paper and. opened it. It is a back tooth, the root still caked with dark. blood.

'BRESSLER? | He said it was pulled out with pliers. 7 J

“HARRY: — She's dead; You know that. don't you, AL? |

BRESSLER: J All I know is the note says:shefll be alive till three a.m. The Mayor's getting the money togetner now. a Privately funded foundations. Indi- _Vidual contributions. He's using up @ lot of favors, He wants to Pays No tricks. : | {looks at Harry) We're looking for a bagman.

Harry stares straight back, his face set.

I : - BRESSLER: _ cS . | : This one's a real killer. He could

| get the bagman in a dark place, put . - @ gun to his head, pull the trigger, take the money. You want the job?

oo: HARRY: Yeah, Sure. |

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

Harry starts to leave, stops, as Gonsales breaks in.»

a GONSALES: Wait a minute. What do I do?

BRESSLER: You' reout. of ite. —

ae oO - GONSALES:| | Of 5s Oo | No cover, not even one man? Are | KC) | Oo : you sure that's che way to do it?

BO - aa BRESSLER: _ . No. I'm not sure. But those are

my orders and Timoos

(62. |

26h. (Cont.1)

GONSALES? ee (interrupting) — — _ I'm new here, but I?m not stupid! ; xX ' No wonder they call him Dirty Harry. Every cruddy job thet comes up he — gets.it}-- the dirty end of the stick. 7 ?

BRESSLER ? One more word and. you! reenonped ore at the ankles. —

e, . GONSALES: -Youtre going to get a. good man. killed, you know that, don'tt you?a

265. |ANOTHER ANGLE 265.

as Bressler reaches for. the phone: Ss x

Al?. wait a minutes. . re ae

Bressler pauses, looks. at.Harry then at:Gonsales, Xo his face flinty. After a moment :

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

A beat then:

| | BRESSLER:! Get out. of here. Both of you.

As they go, the phones» on Bressler's desk are ringing again. —— Oo

266. “INT. ELECTRONICS SHOP - DAY

Late afternoon Light slants through a.“window on which | we see the words: SID KLEINMAN -~-. ELECTRONICS.. The '- Jetters are reversed. Work benches. Tubes. Wires. We areCLOSE on Harry as he ettaches a tiny box, abou

AL¢a the size of a cigarette package to the inside. of his:

coat.

| HARRY : Testing. One two---

are meteraes em Ne

CHICO'S VOICE: OWW!

267. _ ANOTHER ANGLE ~INCLUDING CHICO. AND SID KLEINMAN. 267.

Chico is pulling F little device, ike a hearing aid, out of his ear.

CHICO: | What ‘the hell are you yelling for!

Kleinman, the proprietor of the store, comes “torvara.

KLEINMAN : an you have to do is whisper.

(whispering) Mary had a little lamb. Okay? |

CHICO:

MO? That's better.

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

HARRY: What-do I owe you, Sid.

KLEINMAN: _Just bring it back in one piece.

| CUT TO:.

_ INT. CHIEF 's OFFICE - NIGHT 268...‘

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

CHIEF:

Count it and sign for it.

6h.

269. ANOTHER ANGLE = INCLUDING HARRY|AND BRESSLER 269.

as” Harry comes up to the money, picks out a sheaf of bills.

“HARRY: : (toBressler) Did you count it?

-_- BRESSLER: =.) So Yes. It's all there. | a 7

Harry throws. the money back into the suitcase, closes it. He picks up @ pen, signs the receipt withcut | hesitation. , ee - 7 SO

HARRY: ee a I always knew I'd be rich some day. oe Oo

the office, as we HOLD.on the.Chief.who stands looking _ 7 after them: | oo. |

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

270. | INT, CHIEF'S OUTER OFFICE - NIGHT X 270.

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

_BRESSLER: . Goa knows how he'll contact you. Probably run you all over town.

ok HARRY: Yeah.

: : : BRESSLER? 'You go where you're told, Do what you're told. Play it right down | the line.. Okay? _ | 7

They have exited through door into corridor.

oo 272. OMITTED Oo271.

cheatin am

272. INT, HALL OF JUSTICE 7TH FLOOR HALLWAY ~ NIGHT eve.

Harry and Bressler are moving. toward the Homicide Office. x

wl

aha 272 (Cont.) 7 272,

| _ - BRESSLER: | a Nothing cute. Nothing funny. After a, « you deliver the ransom, report in. Period. os | | |

We have -PANNED a intothe homicide squad room. XxX. _ : ;

UINT. BRESSLER'S GLASS--ENCLOSED OFFICE - NIGHT 273.

(as Harry and Bressler enters. Bressler.crosses behind ; | his deak. Harry puts.the bag down. |

| OS wpe - | ‘You got. that knife I took away from. a that fifteen year old Hides By

Bressler opens up a ‘drawer, holds out | the knife bo - | Harry. Harry takes the weapon, snaps. the bladeout, ce a six inch blade gleaming wickedly. . Oo | ;

- HARRY: ee “Mind. if q use some of your scotch tape? X.

Bressler pushes it. forward on his desk. Harry closes the knife, rips off.a piece of tape, pulls up his might pants 2eBs adheres the knife to his leg.

| - ‘BRESSLER: | 7 It's disgusting that a police officer vA “should know how to use a weapon.like OS that.

The knife firmly in place, Harry,pulls down his pants leg. Stamps his ‘Poot.

Coe oo 7 — a cur to:

EXT, MARINA ~ cLosE SIGN - NIGHT | - 27h.

We are CLOSE on a sign on a piling whien reads: "MARINA GREEN EAST. HARBOR." We PULL BACK slightly and PAN DOWN the street to Harry, approaching in. the: distance,carry-— _ ing the suitcase.

275. - CLOSER: - HARRY | 275.

As. he stops, looks around, He puts. his foot on -X: the suitcase and taking a. cigar.from his: pocket,re lights it. — | | | ne [

- MARINA PHONE BOOTH 276,

276.. CLOSE

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

ee 7 Pe

277.. CLOSER SHOT =

Harry.” The cigar is a little butt. “He flicks it into the |-|

'street, picks up the suitcase, and gallops down toward the- |phone which continues ringing.

278. “CLOSE ~ MARINA PHONE. BOOTH 278,

; \ as Harry runs UP alifts,the receiver?

| HARRY: gs eg ‘Yeah? ee a

| - | SO KILLER'S VOICE: —s oO ' You got a yellow suitcase?

ned | | _— oe ARES

‘Right here. |

KILLER'S VOICE: What's your name?

HARRY: Callahan,

: _KILLER'S VOICE: ' What are you? Fe

- | HARRY: A police officer,

There is a silence. Harry waits, afraid the man will. hang up. After a moment:|

| _HARRY:.. . Helio? ©

_—-279,-«EXT, MARINA STREET - NIGHT 279.

CHICO. - IN THE DARKENED CAR

as he listens, the little hearing device pressed, to his. ear. We near: | |

HARRY 'S VOICE: oo (filter) = | .

fw | ‘EXT,MARINA ~ AT THE PHONE BOOTH - NIGHT = 280.

as Harry walts, holding his breath -~ at last:

: KILLER! S VOICE:. All right, Cop. Here's the way we're doing it. I bounce you all. aroundtown to make sure youtre alone, 2 put a time limit from phone booth to phane booth, | | ITring.four times, You don't answer <-=

_.The (girldies. oo | i)

HARRY: ls, re Is the. girl all right? a ne os a

KILLER! VOICE: Just shut up and listen, If I even “think you're being followed, the girl dies. If you talk to anyone, even a Pekinese piss-. ‘ing against a Lamp post the (girl. dies.

What time you got?

‘Harry looks at his watch,

: : HARRY: a Nine-thirty. Listen ---. oe — me

: KILLER'S VOICE: You listen. I'il be. watching you...Not all the time, but you'll never know when or where. Now get it -~ no car,. Walk or run. But you be at Forest Hills Station in ten minutes, Four rings or forget it, Understand? | OS | -

281. CLOSER ANGLE HARRY BD

- HARRY: Yes.

“KILLER'S VOICE: a (pause, then ) (Cop...t hope you! re not stupid,

The phone clicks dead. Harry hangs’ up, grabs his ‘suitcase

|and starts. offon the dead runs .

' 282, mer.MARINA STREED - NIGHT BBA

as Chico shifts into gear and. movesout. 7

283. . EXT. FOREST HILLS STREET - NIGHT > 283,

Harry's walking fast up the street, jumping over a skipping , rope that-two girls are swinging for a third, hardly noticing it, looking at his watch, beginning to half=run,

(os 28h. EXT. FOREST HILLS SUBWAY STATION - NIGHT |

: | We are on the Station. We PAN to pick up Harry. He is . po . running toward us, Harry bursts past us and into the staticn,|

: 285. INT, FOREST HILLS SUBWAY STATION LOBBY ~ NIGHT 285.

as Harry enters, the. telephone, in the corner across X the long room to his left » is .ringing. Harry runs X

for it. ce —

286,. CLOSE - SUBWAY STATION PHONE = = BH

as ferry hurries INTO SCENE and picks it UP.

a .HARRY: -Callahent : | x

287. EXT, SUBWAY STATION SIDE STREET ~ NIGHT = XK 2BTe

The side street overlooks the Forest Hills Subway x |

“Station, Chico is parked, moter running, listening.

to the little.walkie~ talkie, He puts the car into © gear, movings ,

288, INT, FOREST HILLS SUBWAY STATION LOBBY - NIGHT | | 288.

We are CLOSE on Harry as he slams down the receiver.

We PULL BACK and PAN with him as he hurries to the steps to the lower level and runs down them. He is.starting ©

7. to Limpslightly.

eet ee

| 289, INT. FOREST HILLS SUBWAY: STATION - (LOWERLEVEL) | 389, et po |. NIGHT © | | |

wo) 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 staticn,. It stops.

The doors open. :

69,

7 a

ot -290.. ANOTHER ANGLE oe re 290,

As “Harry comes charging down the steps, the doors are

starting ‘to close,

291. ANOTHER ANGLE er .)

as Harry dashes for the trolley, jamming himself through the closed doors, The trolley starts.down the tracks.| We PAN it into the tunnei, ending on the red. ond green signal Atghts. The light turns.greens - |

EXT, STOP LIGHT INTERSECTION - NIGHT = 292

We areCLOSE on a signal Light :as“4b turns red. We PAN to pick up a car as it runs the signal, makes a turn. It is Chico in the‘unmarked car, , :

293. Nr, semeencan (TOWEL) - NIGHT ng 293. mo

We are CLOSE on Harry as the. streetcar rackets through the tunnel. . |

29h. EXT, mrineet, ‘STREET - CLOSE-CHICO- NIGHT © 29h.

as he crivos fast, eyes peering into the night.

We are ANGLED UP the streetear tracks as the ‘ear comes toward us and stops.—

296. PHONE BOOTH 296. |

We are CLOSE on a corner phone booth, The phone rings

once. Twice. Harry is.out of the stopped trolley and . running for the phone. As it mings the fourth vines Harry , is.picking. up the receiver. | |

| | anaes Callahan! — ae os

EXT, STREETCAR SIDE STREET ~ NIGHT an a 297.

Chico is in the ‘police car, stopped. He is listening to the little receiver, What he is hearing is apparently -» very faint. . He snakes the recsivser, He is.straining to .

hear, apparently without much success,

Fa 70. \ ~\ A 298, INT, FORT MASON TUNNEL (WEST END) - NIGHT = ~~298,

We are in the Fort Maso& tunnel, SHOOTING OUT toward the Marina, Harry approaches, enters the tunnel. | 7

299. THE TUNNEL - HARRY'S P.O.V. 9,

eemingly endless, dark,

300. ON HARRY a 3G o,

Not Liking it very much as he. moves.‘forward, still carrying the bag. full of money. He starts to walk fast. Then faster

301. DOLLY SHOT ~ ON HARRY ee 302.

He is running througn the tunnel, about halfway through, His limp is getting worse, He is tired. He stops, look- -ingat hiswatch. He runs again. Then slows and stons,. 9 -: off, seeing: — _ a a _ looking

302. HARRY'S P.O.V.. 808,

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

303. ON HARRY 303. -

moving forward, eyes herd.

304-6 (ON THE FOUR FIGURES 304.

Looming larger and - larger as we approach them. FOUR YOUNG ‘HOODS, teenagers, big, hulking. young killers, :

305, ANOTHER ANGLE - INCLUDING HARRY = = s—s—SSs«S8088Y

as he, Peaches them: . ae |

ist HOOD: What's in the ‘bag?»

Harry doesn't answer, As he measures the four Hoods con- fronting him, the one to his right speaks up, his eyes. never leaving Harry. | 7

(CONTINUED) |

305 (Cont.) ee 305.

- 2nd HOOD: |

SO

Screw the.dag. That's what bags are — for, ain't they? (then) | Let's have the wallet, Daddy. |

) Harry looks at them unblinkingly, then. lets his jacket fall !

open, drawing the big Magnum Forty-four, almost more quickly,

I. than the eye canFollow.

I

|

306.° ANOTHER ANGLE ; | ae SO 306,

Harry has shoved the gun so that the muzzle is right - between the eyes of the. endHood.

HARRY: What did you say, sonny?

; oo | The four young Hoods run down the tunnel, in the direction Poe — that Harry came from. They are running as fast as-they can. Poo. - - ~Harry turns and runs the other way. - Pte,can

f a | 307. | EXT, FORT MASON TUNNEL (EAST END) ~ NIGHT a, ee. - 307. -

as Harry comes running out of the Fort Mason tunnel, stops, looksaround,

308, EXT, AQUATIC PARK HAMBURGER STAND - NIGHT .. °°X . 308,

Harry spots the hanburger stand across the street with its. phone booth, Near the phone booth sits an OLD MAN, Suddenly, the Phone —starts to rings

309, .ANOTHER ANGLE x 309.

Oe as Harry runs across to the phone, the Old Man crosses

and picks it.up: | | | | . |

| | HARRY: ee i Not Don! t answer. thats a - as Co a

‘The Old Man hasn't paid the (‘slightest attention. He picks

LOC) up the phone. . oo

So “OLD MAN:- Hello, Helloss.

eee

310. CLOSER - oe 820,

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

oe HARRY: ote Callahan! , sme

The Killer's voice on the other end is soft, cold as

ice, the voice of an executioner. : | eS

te 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 upon the other - end is like a shot. Harry stares at the phone, unbelieving, slowly hangs Up. His face shiny with sweat. After a moment : I

HARRY:

EXT, AQUATIC PARK STREET - CLOSE SHOT. -~ CHICO - #£=X311. NIGHT

sitting in the police car, his ear pressed to the . little receiver, his expression one of alarm, We X faintly hear:

He nung UP | | | «OR

Suddenly, through the little receiver, we HEAR the phone,ving.

312.. EXT, AQUATIC PARK HAMBURGER STAND - NIGHT oo. |X32,

Before the ringing stops, Harry picks: it up.

| ‘HARRY: Callahan, :

_- KILLER'S VOICE: You know Mt. Davidson Park?

OO , BARES ‘ . Yeah. Yeah,

KILLER'S VOICE: | Go to the cross,

eee ee aamenaTe ne eece neee

313. ANOTHER ANGLE : 9

/ + Phe line clicks dead. Harry hangs up and moves off.

313A, EXT. AQUATIC PARK STREET - NIGHT) = = 313A,

So | | me OR

As Chico puts the car into gear and drives off,

31h. EXT, MP, DAVIDSON PARK ENTRANCE - NIGHT =° == sys!

As Harry comes up to the entrance to the Park, it is 7 apparent his leg is giving him trouble now. He pauses r for a moment, looks around, then low: :

: | HARRY: a I'm at the Park entrance, Sherwood - Street. I'm going straight to the top. .

315, EXT. MT. DAVIDSON STREET - NIGHT a 315.

oe As Chico cruises slowly ‘up a nearby street, we:hear a | from the receiver: - | 7 7 a, | Oo :4)¢ b t a HARRY'S ‘VOICE: © - . wae Wait a minute. I see something up here.

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

_, Just two kids necking,

317... EXT, MT. DAVIDSON STREET - ONCHICO - NIGHT ===-.s317.

His car has stopped as he is listening: |

CHICO: (to himself) Boys or girls?

318, EXT. MT. DAVIDSON PARK ~ ON HARRY - NIGHT. 99 0° 318. 0

as he moves up the dark path toward the top. of Mt. Davidson,

(CONTINUED ) -

74h. :

328 (Cont.) 318.)

Walking, then stopping to listen. Walking some more,

Now he hears someone following him, He moves out slowly,

The following footsteps come faster, closer. Suddenly

Harry whirls. :

as the tall dark FIGURE of. the MAN who has been coming up |

a] City. Or wrapped in foggy mists, Whichever, e

| HARRY: I'm Callahan.

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

GAY CAT: My friends call me Alice. And I will take a dare. |

HARRY: oe When did you get busted last, Alice?

GAY CAT: an sy If> you're vice I'll kill myselt. SF ol

——

HARRY:© Do. it...at home.

‘The (Gay Cat hurries down the hill into the darimess, — oe

320, ANOTHER ANGLE 320.

|Harry moves up the dark path to the top of the hill.

CUT TO: |

321, EXT. MT, DAVIDSON CROSS AREA - NIGHT 321.

We are CLOSE on Harry's back as he stands motionless ‘look- ing ahead. He is silhouetted in a loom of light, the source of which we cannot sée, Now, as Harry starts to -Walk directly away from us, we see that we are in the mall at the top. of tne mountain and at the far end we now see the cross, illuminated in)the night, We HOLD as Harry gets smaller and smaller, and we begin to perceive the true size of the towering cross, well over a hundre d_ feet,

FeiThat ummmaeatpetersak et“oe

ae oo as.

oN -

} 322, ON,HARRY | ey Sn:

’-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,

A : I 323. ANOTHER ANGLE ee 323. R=.

ee As Harry moves around to the rear of the cross, we sud- | denly hear the harsh sound of a.gun! 3mechanism. Harry. rm

ET freezes as:- nage

KILLER'S VOICE: oo,

1s That's it, Just like a fucking “statue.

and the Girl both, Understood?

a ' Harry doesn't answer for a moment:

—_ | KILLER'S VOICE:

ern

Co SO rs | HARRY:

KILLER'S VOICE: Put the bag down slowly.

As Harry does S03

_ KILLER'S VOICE: — Left hand. Let's see your gun, —

, Herry pulls his coat away with the left hand, exposing the Magnum Forty-four. | SC ; -_ ‘KILLER'S VOICE: My, that’s a big one. (harsh) » : Left hand, Out. Hasy.

Harry lifts the gun out carefully.

KILLER'S VOICE: _ Now raise _your hands-high over your: ~

LO oO As Harry does this: | |

Now, throw it. Co

CHANGE | —&/le/7..

32h. ANOTHER ANGLE | Bek.

as Herry throws his gun, left-handed, deliberately a little clumsy. The gun lands maybe fifteen feet away. | : -

“KILLER'S VOICE: Now turn around and face the 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 face mashing his features. together. He holds a rifle-butted Schmeisser machine pistol in hishands. a

| KILLER: a Face against the cement. Rands at your sides, m |

As Harry does s0, the Killer comes up behind hin, sends the pistol barrel crashing down agains &the back of: Harry's skull,

‘ a?

“HARRY'S P.O,ve | 3256

-as the ground comes up ‘to meet him. “The blackness . is absolute, | | : ,

326 | | 326—C THRU OMITTED, THRU. 328, - 326,

x ‘

a$ksta Mia ton nS, Hos Ade.ataanrnasha,aban aAISBEES wee ee desntbaene,

77.6

(329, EXT. MT. DAVIDSON. CROSSAREA ~ DOWN ANGLE ~‘NIGHT —-.329, come“ \ oo / . Harry is on his back, He opens his eyes, they are X

glazed in pain, The Killer kicks him savagely in & the side. | , | :

3306 ANOTHER ANGLE So C oO 330.

as Harry tries to Lesh out “with his hand, The Killer easily steps out of Harry’ sfeeble reach, kicks again.

| | KILLER: | ‘Listen, you son-of-a ~biteh. ~-~

The Killer kicks Harry inthe Broine

331. CLOSE ~ “HARRY a CO 7 _ oe BBR

/ ag @ harsh, terrible sound is torn out of Harry's |

KILLER: You scream again, you lift thet hand AGAIN: +e | |

an 3323 EXT, MT, DAVIDSON PARK (LOWER PATH) - CLOSE = — 332,

CHICO - NIGHT.

as he moves swiftly up a path»~- not the one that Harry took -- toward the top ofMt. Davidson. He is - ajong way from the summit. . -

KILLER'S YOTUCE: I won't let you know where the girl is. | | |

Chico startssprinting.

NIGHT

°Yhe Killer is searching Harry's face fora reaction,

then: ee

oO RTELER: —

Harry doesn't answer, The Killer hits him in the. | throat with the butt of his gun. Harry almost © vomiting. | |

tCconarmmen)

78, |

333 (Cont,)/ a _ oo mo 7 ; 333. ALO) . 7 | . KILLER$ 2 «7

a ‘Do we understand each other?

The Killer lifts Harry's head by the hair. © ‘Harry is almost cut, a . |

oe sauzer? a |

'

No, no, no. Not yet. Don't pass _— | out on me you bastard, I've got.- sy something to tell yous BO

a

He siaps Harry several times. . Harry opens his CyeSe .

KILLER: Gan you hear me? |

The Killer slaps’ Harry savagely once more, then? So eo | a KILLER: , | - If you care what-happens to the Girl . : then you better answer me. . ae

fo, - (then) .. . oO et 7

Can you hear me? . eo

After along moment, whispering: a

_ BARRE ne | Yes.. : ; : :

KILLER: . ° Then listen carefully because there!8 been. a. Cohan in plans, - - . (then) - | I'mgoing to let her die. _

334. “pNoTHER AoE 33k.

as the Killer smiles down at Harry:

KILLER: ce just wanted to make sure you. knew | that. ,

Harry is staring at the other mam as though not able to. believe what he has- heard, yet. believin1gits and| thethougnt driving him half.mad,

Se - ( CONTINUED)

| oo | | ,

196. |

ie | . : — , oo . . eh 33h (Cont.) - Oo | 334. On | , | KILLER: Ce -

(softly, harshly) Goodbye COP. .

Harry starts to shake his head, tries. to speak, cannot seem to work his voice muscles. “The Killer brings up the butted Schmeisser in a single ugly movement, then suddenly 1 We HEAR a sound in the bushes to the wést. "SOMEONE crash ing through the bushes toward them.

335. ANOTHER ANGLE 885 8 —-

_ as the Killer reacts, eyes swinging around.

336. ON CHECO 836

- erashing -through the. underbrush, gun ready. As he breaks into the clear at the base of the cross: |

CHICO'S POV, 888,

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

338. ANOTHER ANGLE ee 1.

as Chico returns fire while diving for cover, again. As. Chico works northward for a better shot:

339. AT BASE OF CROSS 7 oe 339.

The Killer is. blas ting into the brush and fern, ‘ Ghico is snapping back a shot from time. to time.

HARRY: | (screams) . OO | Chico, don't AilL him: Don't kill him,

on THE KILLER ene Cue “3h0.

340...

blasting into the undergrowth, ©

ON HARRY == oo 341.

as hereaches down and pulls the taped switchblade from his leg, He flips it open, Se

Bo. |

ON CHICO - BS 7 Bh,

as he snaps off a shot. —

343. ANOTHER ANGLE _ oe — oo 7 _ 3h3.

as the Killer blasts off a shot that takes Chico high in ) the chest, spins him and drives him into the ferns.

) 7 Buh. ON. HARRY | nn a Po a — Bhbe

po oo

as he drives the switchblade into. the‘Killer's ‘thigh, The. KillerScreams.

o |

345. ON THE-KILLER- re 345.

His face registers shock and horror as he looks down at the knife which is buried to the hilt in his leg. He grabs up the suitcase and with gun in other hand disappears down a ‘Slope behind the cross into the darimess limping badly.

7 3h6. ON HARRY) an “3h 6. (em ;

His face is beaded with agonized sweat as he crawls, claws - his way to where his gun was thrown. He picks it up, manag-= ing to get to his feet, moves painfully toward the edge of

topples ©tothe ground.

4 ives ANGLE ON THE KILLER BA

one way. The gun goes the other,

WB. CLOSER ~ THE KILLER = we

as he stops rolling, staggers to his feet, He looks down at the knife still sticking in his leg. Grimacing, he pulis sharply at the knife, letting out a groan of pain as it falls to the ground. _‘The blood starts flowing freely as he lurcnes ort,

EAT, PARK EMERGENCY HOSPITAL - NIGHT a . = 349.

We. pick up ‘the badly limping figure of the Killer as he. crosses Stanyon Street toward the little emergency hospitak near Kezar Stadium in Golden Gate Park, As he enters WE o--

creaetnaeat,a

| 81.

wo Bressler is on the phone.

| | BRESSLER: The hospital report on Gonsales. ~ looks okay. Yeah. He's @pretty tough kid. .

We are PULLING BACK to include. Harry, bandaged, lying on Bressler's tattered jeather couch, near the desk. “

_ BRESSLER: ee Harry Callahan is right here. Got-— ‘twobroken ribs and they want to make more tests in the morning. | Well, the son-of-a-bitch kicked him a beaut. : _ {then) oa _ Yeah. Right in the crown cdewels.

I'm sending him home. -

ee

381. ANOTHER ANGLE Oo So BSR

‘as Bressler burns to Harry.

LL"

BRESSLER: “The Chief says beat it. That's an order. | SO

HARRY: Yeah. Yeah.

|Harry tries to sit up. He's in. considerable pain, but makes © it. Bressler is listening. onthe Phone « :

os -BRESSLER: . _“ . The Mayor? All right. Tt1i call him tomorrow.

Bressler hangs UP >looks over at Harry.

“HARRY: . “You wouldn' t have a belt of whiskey : handy?

BRESSLER: Yeah. One for the road,

~ B82,

yep So So

352, ANOTHER ANGLE

as Bressler crosses to a box or cabinet: and starts rummaging for a bottle:

7 HARRY: | : What was that about you calling 7 Xx : the Mayor tomorrow? ran

| 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. What will + I tell him?

mo HARRY: oO Tell him the truth. I gave Gousales orders as a superior, You didn't. know a damn thing about it, As soon as this thing is wrapped, I'll turn

an a — Where's that drink? | ee

Bressler turns back to the cabinet as the phone rings:

-. _BRESSBLER: -Want to get that?

353. ANOTHER ANGLE

a (353.

‘as Harry. reachesout to the phone, picks Lt up!

“ | HARRY: Lt. ‘Bressler’ s office, . x | (pause, then) Yeah. Yeah, Well, put him on,

Bressler turns to look at Harry. He has, found the bottle:

, | | BRESSLER:_ ‘What is it? .

HARRY: That emergency hospital in Golden Gate

aEk,;fLe Park, The Doctor reported treating a

knife wound in the leg, (back to phone) . Helle Doctor? This is Inspector bd be Callahan, Homicide. This stab wound ” you treated, what did the guy look Like?

INT, PARK EMERGENCY HOSPITAL - NIGHT B35 S

30h.

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

| “DOCTOR: . Medium build, One hundred and forty-five pounds, Saliow complexion, a

~ FEATURING HARRY | gba,

“35KA. ANOTHER ANGLE

- We are CLOSE ON Harry,. now in the waiting room of 1 | _ the emergency Hospital. With Harry is Frank DiGeorgio,

HARRY: He didn't give you his name?

We PULL BACK to INCLUDE the Doctor who sits at a desk going over a ledger. To one side, at a bench along the

| Wall sit @ couple of HIPPIE KIDS, A BOY and GIRL,badly oo _ strungout, .

7ae 7 7 — .DOCTOR:. ane . I don't see ithere, : - : . (glances toward. Hippies) _

They usually give a phoney name in. any case. But, I'm sure I have ssen him someplace,

355. CLOSE ON HARRY gS :

Try to remember, Tnere's a fourteen — X . year old girl smothering to death.

356. CLOSE SHOT - DOCTOR|

DOCTOR: (nettled) Iam trying to think, It-was a --=<: — I. think he works around here, .

3576. ANOTHER, ANGLE

Doctor rises and comes around tne desk, the X

40) | As the Ad a Hippie Girl crosses over to him, indicating the: boy. :

- | so «HIPPIE. GIRL:

re — . Could you just give him something for

en il

oy

CHANGE 4Wf.2/71

357 (Cont.) . | Se BB. : 7 | DOCTOR: oo oO

- Yes. ‘Just a moment, : a.

357A. DOLLY SHOT a a a — 357A,

We move with’ the Doctor as hecrosses out of the room to the back of the hospital, by the ambulance exit, | | The Doctor is frowning, trying to think -+ to remember, 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: _

Doctor. For Christ sake!. Shetil | ‘be dead in an hour!

- DOCTOR: 7 ‘I'm trying to remember, I -< (then) So 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. | a X

HARRY: Let him live where?

357B. ANOTHER ANGLE a a J 357B.

as the Doctor goes to the ambulance. entrance and throws open

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

| - poctor:

- | There. Kezar Stadium, = | a

| We PAN and pick up a police car as it comes up the road

to the Stadium, —The- headlights: gooff and it drives up and stops by the large west end gate. |

359. ANOTHER ANGLE - THE POLICE CAR © 859-3D

as the doors open and Harry and DiGeorgio pile. out, We| move with them as they come up to the wire:mesh Fences. There is a. doorin it. Harry tries it. The doer is locked,

‘Harry looks up at the fence, There is an opening at the _top of the wire. An agile man could climb the wire and crop .

over on the other side. Now, ‘speaking in whispers:

DIGEORGIOs Illegal entry, no warrenty...| _ (CONTINUFRAL

| «68s,

359 (Cont.) : a 359. .

HARRY:

a ‘Looks like we climb,

| |DIGEORGIO | (shakes head). : foo much linguini.

360. «ANOTHER ANGLE | 360.

—— As Harry starts to climb up the“fence, scrambling ups

| DIGEORGIO: | ri find a. way in. OO t As the fat policeman moves up around the side of the Stadium, Harry is climbing the wire mesh. . 7

361. ANOTHER ANGLE 361.

- &s Harry muscles himself to the bop, over, and ‘drops down to the inside of the Stadium. He's in pain, but forces himself toignore it.. |

362, INT. KEZAR STADIUM ~NIGHT 362...

as Harry stands on his ‘feet, looks around. He looks over toward the tunnel which leads to the playing field. He

| . takes his gun out.. | Oo ee

363. REVERSE ANGLE - " SHOOTING PROM TUNNEL AREA 363.

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 GROUNDSKESPER'S room is.

Harry comes up to the door in the side of the tunnel ‘open-=: - ing. There is a sign on the door reading: “""GROUNDSKEEPER- PRIVATE".

365. ON HARRY 265.

as he looks at the door for a moment, then lifts his foot

| weei”, and kicks the door open with a splintering crash.»

otekotEtatxAhangtatesnapehitinlebansted athatmths

86. |

as Harry jumps into the little room, his gun ready. The - yroomis empty.

(367. PAN SHOT - (HARRY'S POV) 8 BOTS —"

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

368. ANOTHER ANGLE 868A

as Harry feels the coffeepot, burns his hand.. The damned thing is hot! Harry now looks around again, then suddeniy he hears running footsteps echoing hollowly in the innards of the Stadium above. Harry starts out, moving fast.

We are ANGLED DOWN througoa the emoty insides of the Stadium. Suddenly we see the Kilier running toward us, ‘his injured leg kicking out grotesquely as he tries to hurry. We PAN with the Killer to the door marked "LADIES", ' He rums in. He has no gun. | , :

370. ANGLE ~ ON HARRY ne 370.

as he comes running after the Killer. Harry, too, runs into the door marked “LADIES", We PAN VERY FAST -- faster than Harry could possibly run -- to another door up about a hundred feet, similarly marked. The Killer darts out of. this door, runs across to one. of the tunnel entrances TO| the seats and field area.

The Killer runs down across the benches toward the opening to the playing field itself. He opens a gate and startsto run onto the playing fleld, - ; or a

372. “ANGLE - TUNNEL ENTRANCE TO SEATSLe | | 372.

We are ANGLED UP. Harry bursts through it clattering down :the benches to Bate to playing.field.-

7 - 87. |

373+ HARRY'S ANGLE a a 373.

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

ye HARRY: © Stop! — . ee ee

37h. .INT. KEZAR STADIUM ~ NIGHT | _ 87k —

‘ as we see DiGeorgio rushing in to the ma ssterelectrical , switch. He pulls the switch. —

| WIDE ANGLE - THE KILLER | | | .

| ‘As the lights of the Stadium all. Zo.One. “te stove, caught

“376. OW HARRY 7 Be 376.

| dropping to one sknee,his gun Lined tow deliberately

Firing! |

BT. ON THE KILLER SO BT

as the .lhlslug takes him in the left leg, inches below | the knife wound, with the force of a mule kicking, knock~ |

ing him twisting and flailing to the grass.

378. SHOOTING PAST KILLER ON GROUND ONTO EARRY = 378.

as he comes running across the field toward the Killer.

379. ANGLE ON DIGEORGIO Se 379.

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

DIGEORGIO: 7 » (yelling) : Need any help?

ae, 380. ANGLE ON HARRY Be “380.

as he approaches the Killer writhing on the ground,

HARRY: Get your ass out of here, DiGeorgiol

— 88,

ON HARRY — 382.

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 rise. He collapses with a yelp of pain, Harry just looks, After a moment:

KILLER: Get me a doctor,

HARRY: The Girl, Where is.she?

KILLER: | You tried to kill me,

“HARRY: - If I did your head would.be splattered all over this field. You wouldn't be laying there , with a lifttle crease in your leg. —

KILLER: (after a long moment) | J wantoa tawyer.

ANOTHER ANGLE. 382,

Harry's eyes never leave the Killer's face. Now he -

leans closer, and almost too softly:|

HARRY: Where isshe? .

P44

383. ON HARRY 383.

He looks down at the man:

KILLER: I have the right to a lawyer.

Now Harry puts his foot on the man!8 wounded leg, deliberately presses down.

384. CLOSER ANGLE 38h.

as the Killer's mouth opens in a scream, he twists

desperately almost fainting, Harry keeps increasing

the pressure relentlessly, |

(CONTINUED)-

38h,(cont.) 3840

‘HARRY: (softly) “Where is she?

385. EXT, KEZAR STADIUM SEATS & FIELD. oO xX 385.

(HELICOPTER P.O,Ve ) - NIGHT a _ x

As the Killer raises his eyes to Harry, screeming, -we START TO PULL BACK, and UP, FARTHER and farther until we can see the whole field, then the Stadium with Harry and the Killer just twodots in ths center, We CONTINUE UP and UP until the Stadium is e bright green oval in the dark swatch of Golden Gate Park,

: GUT TO:

386. EXT, ABANDONED FORT -DAWN =. = ss 386,

We are CLOSE on Harry's face, Behind him to the east, the sky is pink with dawn, He is looking down toward the far end of the promontory which overlooks the Golden Gate. Now as Harry starts moving dewn the steep and dangerous peth, we PAN with him. It is a lovely morning, the Bay reflecting the pink of the sky. We

PAN HIM DOWN to the edge of the promontory where a knot

Gate Bridge. are in the b.g, and beyond the Bridge, the hills of San Francisco catching the first glints of the. SUN > .

387. ANOTHER ANGLE. - ‘THEMEN | a 387

They have taken a large. cardboard box out of a nole buried in the ground at the end of the steep promontory.. Below us the tides of the Golden Gate race, The big box possibly once held soap cartons,. it says: GAY.» x Harry is moving down toward the group,

388 curs - i oa 388° THRU | ‘THRU 393. as the men reach into the box and take the body of a 393.

young girl from it. She is naked, smesred with dirt |

and blood. We see her through the moving legs of men,

A lolling hand. A flash of her bdlood-smearedface, eyes bulging, mouth open. A blanket, She's covered, ‘Men start to move her. Among the men, Lieutenant Bressler.

ee

wa

ON HARRY Be Oo R30

eeeo

’.as he comes. Up,watches them move. her = away: a 4

| a | GUE OE

We are on a sign on a door which reads? "WILLIAMT. -ROTHKO." Beneath this: "DISTRICT ATTORNEY." The xX _ ‘door is shoved open: andHarry comes past us and into * the outer office of the ‘District Attorney «|

INT, DISTRICT sonoawey' ore oPFtCE - DAY 39%

Te District Attorney's SECRETARY, MISS WILLIS, —-—~«SO¥X ~ about: 4S, looks up as Harry enters the office. She is a self-possessed woman with a greatdeal of pro~ fessional warmth and charm,

a MARRY: Harry Callahan. They told me’ it. was urgent. |

| “MISS WILLIS ae Oh yes, Inspector, The District en . oo Attorney has teen. wanting to talk _ to you. oS

“Miss Willis smiles warmly at Harry as she flicks the xX “intercom switch, It is: apparent that;Harry is.getting -- the VIP treatment. |

MISS WILLIS = It's Inspector Callahan, ©

| _ROTHKO'S VOICE: ‘Have hin come tn,“Please,

“ANOTHER ANGLE i _ 3976

as Miss Willis rises from. her desk and 3moves toward Xo the door: | . oe ee

| MISS WILLIS: | nn a This way, Inspector, . . — (then) May I bring you in. some coffee?

Harry who crosses into the District Attorney's office. °

Ja

erence

ers ep EE kocpi DES ee 91

a 398. INT. DISTRICT ATTORNEY’S OFFICE = DAY 398.

Present are the DISTRICT ATTORNEY, ROTHKO, about thirty-five and an éidersy, Kindiy~looking man, JUDGE. BANNERMAN , who sits in a corner reading an arrest report, Rothko, asharp, tough-minded man .on theway-up, is.at ‘his desk with a similar report, making notes, Also on | the large desk -- or on anearby table -- is the Kil- ler's hunting rifle. Rothko looks Bp briefly, in- Gicstes a chair.

“ROPHKOs -Be done in a minute, - (indicates) Have a seat,

Harry sits, still iulled into afalse sense. of security x. by Miss Willis? profession charm, Rothko is still reading and making notes as?

-ROTHKO: I've Just been looking over.your | : :.,aprest report, A very unusual piece or.Police work , Really amazing.

-HARRY I had some luck. 7

'ROTHKOs (looks up) Youtre lucky I'm not indieting you. for: assault with intent to commit : x murder,

|399. ON HARRY 399.

as his eyes widen‘slightly in surprise. Nothing has led hin. to suspect this, —_ HARRY:

_ ROTHKO :. Where the hell does it say you've got the right to kick down doors, torture _ suspects, deny medical attention and Legal counsel, Whe re. haveyou been?. Doesn't Escobedo r ing a bell? Miranda? You must have heared of the Fourth Amend- ment? What I'm saying to you is that

* (Goneren).

G20 |

399 (Cont.) 399,

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,

a

| - HARRY: You!Pe> letting him go?

-. ROTHKO: a We have to. We can't try him, oe

7 : "HARRY:too Why nob?

ROTHKO: Because I'm not Wasting half amil~ lion dollars of the taxpayers! money on a trial we can't possible win “~ (then) The problem. is wedont t have any | evidence,

a “yoo.

Woo, ANOTHER ANGLE

x as Harry indicates the weapon on the table:

-ROTHKO: I call it nothing. ZEro.s

HARRY: - Are you telling me ballistics can't match up the bullets with that rifle?

-ROTHKO: It doesn't matter whataatactee can do. - Rothko crosses, picks up ‘the weapon,

ROTHKO: oye

‘This rifle might make a nice 3 x | souvenir but it's inadmissible as evidence. : _ (cow?2NvED) seastaaCLAN MAL tinhtadasametar atin7

ne - 400, -

400 (Cont.) | - : ;.€feo~ - | : | HARRY: SO 7 | a) 7 Who says? | .

ROTHKO: It's the law.

HARRY: fae re Then the Law's Crazy. «| Oo Sr |

Ol. "ANOTHER ANGLE a a oe OR

as Rothko looks over at “Judge Bannermen .

| oo ROTHKO: ee |this is Judge Bannerman of the | oo a Appellate Court. He also. meets classes in Constitutional Law at. Berkeley. | '(then) : oe - I asked him for an opinton, Your —. -.hjhonor? | a

BANNERMAN: | This is obiter dictum of course. But X in myopinion the search of the sus- pect's quarters was illegal. Evidence obtained thereby -- that hunting rifle for instance -~-is inadmissible 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=: Oe - - She was, in fact, dead, According ln. to themedical. reports

“HARRY: I didn't know that.

BANNERMAN: _ The. court would have to recognize ~ the police officer'tslegitimate concern for the Girl's life, but. . '.there's no way they can possibly —

| oo condone police torture, All evi- BN - dence concerning the Girl - the | . ae . oF ; suspect's confession -- any physical | evidence would have to be excluded,

“(GONTINUED) |

De

rill There must be something we could

get him on.

“BANNERMAN: | Without the evidence of the gun | and the Girl? Y couldn't convict him of spitting on the sidewalk, .

402, ANOTHER ANGLE 402,

; Bannerman is recheck ing the report, shaking his head..

BANNERMAN: ‘The suspect's rights have been. | _,< Clearly violated under the Fourth and Fifth and probably the. Sixth /and Fourteenth Amendments.

HARRY:

What about Ann Mary Deacon's rights. pad - §$hewas raped and put into.a box. to die -~ who speaks forher?

7 ROTHKO¢ The District Attorney's office, youll let us. (then) | Itve got a wife and three daughters, | I-don't want him on the streets any | more than you do.

7 | _ HARRY: : He won't. be ontthere for long.

ROTHKO: ae What does. that mean?

HARRY: Hels bound to stub his toe -- and hit be there when he does, ~ ROTHKO: : This office won't stand for harass- ment,

_ANOTHER ANGLE

as Harry crossesto the door, turns packs

- _ (cowrnveD) | |

asemnne

| | ? | Be |

ge : ho3 (Cont,.) | - «OB.

we You think you've heard the last

of him? He's going to keep on _ killing people. |

: ROTHKO: — How do you know?

| HARRY: © a a He likes it. He meally Likes it. FY on a ey and exits as we wee Harry turns

ok. INT. GIGI'S NUDIE BAR - NIGHT ee XK OL

~ We-are CLOSE. ona WOMAN ~- without any clothes on -- in a low, ornate bed, crawling all over it. Pale spots ~ pinks and blues - are playing on .thenaked girl. We PULL BACK to discover she is on stage in a. NudieBar. The stage is. situated over the bar in the back of the room, Sitting. at . the bar, looking up at the girl is a CUSTCMER, We STOP OUR, PULL BACK as he rises and pays his bill. As he turns and starts out of the bar, we MOVE WITH HIM, Directly behind | him we now see a SECOND NAKED GIRL. She is on a raised stage, dancing. Bouncy, bouncy, bouncy. Her expression “|

- ds absolutely biank. The Customer turns. He is the

Killer. oo oo

(40S. MOVING SHOT - THE KILLER So |HOB.

as he, Limp ing badly, gces down the aisle toward the f . door. Moving. along another bar, he passes a Little or tra which is playing and another NAKED GIRL who is dan 4 eave3. on this other bar, We PAN him out of the door, then CON- TINUE TO PAN to the dark shadows beside the bar,. We ZOCM ‘IN FAST, It is Harry. He is dressed’ informally, wind- breaker, slacks. He turns and leaves the bar after the

06, EXT. NORTH BEACH - NIGHT oe a 4 406,

The Killer has come. out of the Nudie Bar, He is. moving | around the corner of “the hunery i" with its sien adver- _tising Undergraduate Co-ed Strivvers or whatever, The

ora | Killer looks back, spots Harry coming out of the bar, Kh. oe He turns into the alley, hurries up the hill,

6.9be-

ANOTHER ANGLE HOT.

as Harry comes to the mouth of the alley, stops and looks | off after the Killer. ‘The Man is hurrying up the alley, he looks back over his shoulder as we ~~~ |

-CUr TO:

4.08. EXT, PORTSMOUTH SQUARE- DAY os.

“We are CLOSE on theKilleras he moves up; Washington ‘Street, past the construction site, with its board fence and spray- can sloganeering. Power to the People. Peace signs. So one As he walks up_the street, he hears children's voices. Vee play yard.

hoo. | KILLER'S P.0.V. = THE CHILDREN'S PLAYGROUND hoo. |

a LOT of little TINY KIDS are playirg on the apparatus, ai: colors. Having a wonderful time together.

oR KILLER “yo.

He moves to the break in the wo oden fence, looking. at the -kids, his expression flat, undecipherable.

Udi. ANGLE - CHECKER PAGODA,

We are CLOSE on @ checkerboard. We PULL BACK to reveal Tyo! ELDERLY CHINESE playing. We PAN SLIGHTLY as Harry comes up. to the game, watches for a moment, and moves along to the Pagoda railing. He stops, overlooking the children's playground.

yaa. HARRY'S P.0.V, = THE CHILDREN'S PLAYGROUND -4n2,

We are watching the ‘Children from Harry! Ssviewpoint,when : suddenlywe see the Killer. He looks up, directly at US

413. ‘KILLER'S P.OVe ON HARRY 7 413.

bib THE KILLER lke -

He turns and hurries off, crossing Washington, passing the Buddhist Temple and hurrying: uPKeerny Street.

thnananenn

ga

ON HARRY | | : OO ee hls.

looking after him, -

h1é - : , _ hl6. thru OMITTED — : oO — thru 418 ! | | oe 418

a | | 7 . x

‘We are in a deserted part of the warehouse district, ANGLED| down a lonely street, empty except for a taxi which iscon- b ing toward us.,.We HOLD as the taxi comes up and stops.

; ; | 20, CLOSER a 20,

as the Killer gets out of thetaxi, the CAB DRIVER is. look- Ing around the empty area doubtfully. | |

You sure this is where “you wanted | to.‘gor |

| | KILLER: Yeah, fine, , .

ine Gf aa Kivier has taken a bill from his: pocket and paid the

Driver, As the taxi drives off, the Killer looks around, tm: ‘Grosses to a ne aroywarehouse. As he pushes a docr open?

INT, WAREHOUSE - DAY. Whe

We are in an old and cavernous warehouse, very dark, There are a couple of high windows broken out and motesof dust ners in the shafts. of light that slant down. The Killer moves : quietly into the vast building, then walks carefully towarc some big boxes or crates a dozen yards away. We are MOVING+eneeBe- WITH HIM, As he gets to the crates, he stops, We WHIF te ue darkness behind the boxes. An enormous. BLACKMAN ‘steps ou at us.

y22, ANOTHER ANGIE zy

as the Killer ‘and the Black Man. look. at each other for a4 moment, then: |

: BLACK ?MAN: . You shake him?

The Killer nods, reaches ‘into his. pocket and“takes out seems- bills.

: KILLER: Two hundred.

The Black Man bakes the money, counts “4k, and puts it in his pocket, Now he takes a pair of black leather loves Prom his belt, starts to put thenon, slowly.

THE KILLER oe es oe

watching the big Man putting on the gloves, |

bly. THE KILLER'S P.0.V. - THE BLACK MAN'S HANDS beh,

as the Black Man puts the gloves on carefully, lovingly, finger by finger, smoothing them, Plexing ‘hishands.

as the Black Man Looks up from his hands, then softly:

: BLACK MAN: a You really want two hundred dollars oe worth, baby?

7 KILLER: Every penny of it.

_ ‘The ‘Black Man. nods, then as he gets an old cane~botton chair

from. the shadows:

, BLACK MAN ¢ Might as,well ‘be.comfortable.

a ‘ 426,© ANOTHER ANGLE rs 7-1 ALE ~ heBlack Man puts the chair against one of the hig crates,

indicates that the Killer should sit, The Killer does so, almost like a patient awalting a dentist. The Black Man moves up to him, towering over the sitting man, then his List Tashes out savagely, catching the Kilier in the face,

427. ANOTHER ANGLE i : | 427.

as the Killer's head is rocked back against the crate, his | shattered nose gushing blood. He is Locking at the Black

am

428, ANOTHER ANGLE ti | oe7 eB,

- as the Killer waits, the Black Man now starts to beat the sitting man methodically. A professional beating, cruel, calculated, painful,.and bloody. The Killer slips from the chair. The Black Man puts him back, resumes the beating.

~?

as the beating continues, the . Black Man holding the Kille

OT,£eed with one hand as he continues the beating. There is no ners -. other sound but the whoosh of air from the Killer's lungs,

the heavy breathing of the Black Man, and the crack or leathered fist on flesh, 7 | °

ty wee-

KO 430. ANOTHER ANGLE | - 30. a

as at last, ‘the Killer is knocked from the chair, and this time the Black Man doses not put him back in the chairs, Instead, he looks down at the Man on the floor,

BLACK MAN: “You sure you want the rest?

Eta The Killer raises his head, his face bloody beyond recog= |

nition, the eyes black ard halt mad with pain. He whispers| hoarsely: | CS a

a.

KILLER: OF Co dt

- s “ Every penny's worth -=- you black© | ne

son~ofaebitehe | ; — a

| | pO "BLACK MAN: . 2. , SO ee Two hundred dollars worthe Coming

| So he Black Man kicks the Killer in the ribs, no fun and Oo! Ps a games, meaning to break them. The Killer tries not to ae ae - seream. The Black Man kicks him again, then a third time.’' ne _ - At last, the Killer screams in agony. He is lying there .|! | _ sobbing on the cus tywooden warehouse Floor. | Od

oO —_ BLACK MAN: _

worth. Exactly. | | i

‘ an — oe Two bills

431. ANOTHER ANGLE - THE BLACK MAN 432.

as he leans down and picks up the: Killer and carries him to ' the warehouse door. He opens the door and greds eaehandful of the Killer's shirt, holding | himupwith one hand as he draws back the other.

So — BtacK Maws This one’s on the house.

The Black Man nits the Killer in the face, sending him reeling out of thewarenouse and into the street, The Black» Man disappears, and we HOLD, through the open warehouse door, on the crumpled figureof the Killer, lying in the street.

our to:

ce +432. INT. S.F. GENERAL HOSPITAL SIDE CORRIDOR’~ DAY «432.

as an ATTENDANT and a NURSE push a wheeled stretcher through’ & hallway with a lot of big windows and sunshine pouring

(CONTINUED )

Lalawanes eeAnnanteinmine

1006 7

ce | 432 (Cont.) : h32.

through them, On the stretcher lies the bandaged inert figure of the Killer, unrecognizable. The stretcher is pushed into themain corridor: ; ,

We are on -half a ‘dozen NEWSMEN. Several have tape recorder} '. ‘andmikes. There are a couple of hand-held cameras, maybe a big television camera, A NEWSMAN looks off. \

‘Ist NEWMAN: 0° °°) ed him. a | That could be

‘The Newsman hurries toward the moving stretcher. | '

Whe MOVING SHOT “yBhe

as the Newsmen cluster around the Killer. His bandaged face is grotesque, swollen out of shapes He has just lefs the emergency annex.

lst NEWSMAN: ‘Exouse me, Sir. . Are you claining

Dosertnene did this to you? | ,

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

4356 CLOSER ~ THE KILLER AND ‘THENEWSMEN

‘We are MOVING with them as the stretcher is ‘being pushed down the hall.

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

-KILLER: : I don't know -- they tried to frame me onthe Deacon Case, but it didn't take -- now they're trying to kill. me. Look at me. Look at what: they did to me -- I'm supposed to be innocent unless I'm found guilty, but- everywhere I go, cops fallow me. |

101,

ge 36. INT. CHIEF'S OFFICE - NIGHT «436.

We are PULLING BACK from the screen. to discover that we are Looking at a television set: 4

Present are the Chief and Harry.

CHIEF’: ) (to Harry). |

: This is the part that 7 partieulariy ) wanted to hear. |

t 1st NEWSMAN'S VOICE: oy i Just a minute, | Nursé. Please. . ~ b. Just let me ask him one more | : I - question. . | Se : y , . | oe | (then) oS a | a Be | Sir? Did you see.the man who did ee |this to you? :

a | KILLER'S VOICE: © | 4 ; - ee a Yes, I did, His name was. Callahan, oy Loge. a _ | Big guy. In homicide. _ | |

5 BB ene im Remtedon | ee — The Chief has crossed and turned off the set. = = .. .y

{ " | oe SY

|CHIEF: » | l

7 ee - That! s @ rerun from the four o'clock | - , - mews. Since then, he's given a | ar

statement to the CHRONICLE, He's o claiming you followed andbeat him... (then) What about it, Harry?

7 437. ANOTHER ANGLE “37.

as Harry rises.

HARRY: You want my star?

_ . . . ® : : CHT EF sPy

Cee NN | . ' ITowantan answer. Have you been _ 7 — following that man? CO , Woe

: |(CONTINUED).

4 i, BE CHANGE o FB | . «4/6/71 ae oe Ube Oo rs 102.

| 4376

mi | h37 (Cont.) NF : _ HARRY: | | : |. I've been following him -= on my >

own time. I didn't do that to ©

| him though. | oo

‘(rubbing his | knuckles) | Me, I'd of left the son-of-a-bitch dead.

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

_ | _ CHIEF: : The District Attorney's plenty \ hot... But IT'ilhold him off as. - long as I cane |

- 3820 ANOTHER ANGLE 8B

Se : The Chief. is moving Harry toward the door:

CHIEF: : : ‘Let's get one thing straight. I

oo. ae _ don't went any MOTE s oo po : | (beat) a .survelllance. | | 7

a . ‘The Chief opens the door, Kerry steps ‘through, then burns | yo - back? . —

“HARRY:| Neither does he.

| , CHIEF:. “s What's that? .

‘Hets going to kill sgain, Chief. The only question is who, wheres. and howe

ee - Harry turns and is gone. The Chief looks after him. 2NAL | : troubled. | ae CO

| | | 103.

EXT, SF GENERAL HOSPITAL SUN DECK - DAY 439.

We are on the glassed-off sun deck on top of one of the hospital buildings. There are tables, maybe some umbreilas potted plants. Whatever looks nice. Presently, we are on the door to the Manual Therapy area as a YOUNG ORDERLY comes / Oute We FOLLOW him over to a table..

hho. ’ CLOSER : _ : oe : “WhO, |

At the table we see Chico ina wheeled bed. He is squeezing’ &@spongy red rubber ball in his hand. Also present are Harry and CHICO'S WIFE, a nice looking little freckle-faced. blonde named NORMA, 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 DOX. .

_ HARRY: | | Goon. Go on. They're really good. ‘This guy makes ‘em where I eat,

‘The Orderly comes up:

_ ORDERLY ‘Time for the therapy.

The Orderly starts to get the bed ready to wheel.

“ya. ANOTHER ANGIE =~ oo es 1

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

| HARRY? Bressler talked about you being on permanent with me --- so at | -least you know you gotta spot - ‘°When you come back.

| CHICC3 Tt don't know if I am. coming back, :Harry. . |

| = :

| CHICO : _Itve got a teaching credentials Toee-

oa | a HARRY: . _ Yeah. . Well, hang in there. ~

— (CONTINUED)

LO:

Wha (Conte) oS an a hh.

NORMA: See you Somorrow, honey, same time!

Wha. ANOTHER ANGLE - ON HARRY AND NORMA : bhe,

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

Ayh3. EXT, SF GENERAL HOSPITAL SUN DECK STEPS~ DAY yh, |

as Harry and Norma move down the steps, We move with them, _down and down ast

NORMA: ‘It's myfault. |

oe HARRY: — What?

- She breaks. off, shakes her head, then dryly:

No class. | |

| . HARRY: | Don't. ever do that.

os __ NORMA: What? - . Fe

HARRY: i Low rate yourself.

NORMA: What Y meant was ~- whatever it takes to be a cop's wife, iim not sure I'm making it. | .

He really tries -- and these bastards ae you know.-- pig this -- pig that -- but mainly it! s--.I see him going out the door at night and I think, Jesus Christ, what if this is the last ‘time: Iever see him alive, oe | (then) o | an Amit the only one? Doesn!t it drive your wife crazy? |

- (conrvyeD)

uh3 (Cont.). et uh3, a an co _ HARRY:

| Now |

bld. ANOTHER ‘ANGLE ph.

as they continue down the open. stairway:

| NORMA: — You mean’ shegot used to it?

a HARRY: No; she never did. Not. really.

Oo NORMA:

ee HARRY:

- NORMA: |Oh lakespleaseforgive Me «

: -HARRY: SO She was driving home one night. Three drunken bums in a Seeaeare They came across the center line That was it. No reason -- no damn reason...

, NORMA: — I'm sorry. |

re | _ “HARRY: | Tu's okay. a

‘WYS.. ANOTHER ANGLE. | bhs.

| ‘They have reached the bottom flight of stairs. He stops.

HARRY : | You teil Chico I said l understand. (then) Bets doing right to quit, It's no life. 7

| NORMA: Woy do you stay in it?

HARRY: tT don't know ~- I really don! t KNOW +o

Harry moves. off, ‘alone as We ~~~

Pda*tenRee emma eAPerera eer

a ae | 1066 0

yhé, EXT. LIQUOR STORE - NIGHT =

We are in an unpleasant part of town, bars on windows, / gtreets bare and deserted-looking, We SEE the PROPRIETOR of the store inside, working around,

re nice

7. ON THE KILLER

«in the shadows watching the store across ‘the street. |

Now he crosses toward it.

“Wh8, INT, LIQUOR STORE -NIGHR 0B

‘fhe Killer enters, forcing his battered face into an

amiable mask, -The Proprietor isa big man, soft, but _thick- set;small. aggressive, watchful eyes.

- KILLER: _ , A fifth of Seagrans, please, ~~ x

The Proprietor. squints suspictously at the Killer's wreck of a face,

_ PROPRIETOR: : What happened to you?

KILLER: © | My wife's prother, I hit her. | {smiles sadly) | a vo | He hit me, Several times... oo, -

nia ANOTHER ANGLE SS CO AWOL

as the Proprietor smiles and outs the bottle in a bag which he places on, thecounter in, front of the Killer. bt

PROPRIETOR: a Three eighty-five.

-. dingthe Killer until he sees the Killer reach into his

pocket and take out some money. As the Killer lays four << © dollars on the counter, ‘ a | |

| KILLER: You! re the one that's. been robbed - gll.those times aren't you?

AL | : - “PROPRIETOR: ~“ Fourteen times last three years,

Last two.times I. sent them out on © platters. I'm getting to be a »© .

1G7.

Who (Cont.) | | bs.

PROPRIETOR: (cont.y

f ped \ pretty good ‘shot and I keep it right Semcon

where it's. handy. Right here,

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

KILLER: re (nervously) | | ‘Put it away please. o .

450, ANOTHER ANGLE Fe WSO,

The Proprietor smiles, puts the. gunaway and the Kilier hits him backhanded across the open smiling mouth with the whiskey bottle in the bag -- the Man staggering back, X bleeding and unbelieving, The Killer steps bshind the counter while the Proprietor is stumbling backward, grop~ ing for the gun, hits him ageingknocks ing him onto the floor. :

4s. ANOTHER ANGLE C5

The.Proprietor. is squeezed in the nerrow space beh!nd the counter and unable to get onto his hands and knees to stani- up. His eyes stretched wide to look at the Killer. The Killer reaches down, takes the Mants gun from his belt, 'gnans a shell from the magazine . imtothe chamber, eea onethere already, the ejected sheli making a small.pinging sound on the floor.

: KILLER? : (softly). _ Where do you keep the extra shel 1s?

The Man doesn't answer, staring at the KALI er. ‘dumbiy. The Killer kicks the Man in the head, repeats softly.

KILLER: | | Where do you - keepthe extra shells?

EXT, BUS STOP STREET ~ DAY (BETWEEH NORIEGA AND | 452. LTH. STREET)

We are SHOOTING DOWN the hillside streetsas a small school bus comes up the hill toward us and stops where a stairway leads to another street directly below. The BUS DRIVER ts A WOMAN, plump, and pink-faced, about fifty. Somewhat silly. The bus door-opens and LITTLE KIDS start getting | out; they are young, six, seven, eight,

a 108.

There is a large cement retaining wall on the lower street~we We are ANGLED ALONG the wall as the Killer moves, limping noticeably, toward the stairs leading up to the higher stree: he First Little Kids are coming down the stairs from the bus. We MOVE CLOSER to the Killer as he forces himself up | the stairs, two at a ‘Sine, past the Kids. :

— 7”

We are ANGLING through the windshield, past the Bus Driver te the KIDS remaining in the bus. As she turns and counts _

we

noses with a Tloppy-wristed finger. There are maybe Six of 4 _them. ;

Is everybody out who gets out here? .

t uss. REVERSE ANGLE | WSs.

a .aaaKin,. “We are SHOOTING FORWARD, over the plump Woman's shoulder as. ( \ she turns back tothe wheel and takes hold of the handle ! * Ss“7

- to close the door. As the doors begin to close, the Kilier has moved through them and is in the bus. His right hand is | hidden inside of his jacket. The Bus Driver turns, her eyes “are wide with surprise, In the moment before she can gather - her wits: Oe | oo oO | .

| KILLER: : ee “(cheerily) | | oO City Bus Tnapector. Hiya there, Kids.

: BUS DRIVER: : Now wait aminute. Now, just a minute. oo ° Itm not authorized. toSota

—4WS6. ANOTHER ANGLE | 456.

The. Bus Driver breaks off abruptly as the Killer has moved = next to her. He has rammed the Luger into. ‘the. Woman’Ssside.

~ ALL right, ‘Lady, let's Bw

BUS,DRIVER: “(pristling). . What do you think you're doing? Who are you? I'm not. afraidof you and your <---

The Killer leans down and harshly.under his. breath:

109. .

- 456 (Cont.) ae a ee re

KILLER: . Let's go you silly old cunt or I'll blow‘your brains all over this bus«

- She looks at him and even this addled old: idiot realizes that she is looking death in the. face.

BUS DRIVER: Where?

| KILLER: CO Just get started, [til tell you where.

As she starts the bus, fumbling, jamming gears in her nervousness, the Killer turns back to the kids in the back of the bus,

REVERSE ANGLE a ,@..

0 tthe:‘kids in the bus don't linov quite what to make of the

Killer. 7 — _ .. .

i vi e co KILLER: all nt Hey. | “How abeut | & Song?| Whe knows . A

a song? | |

He points to a litsle Japanese, Girl, about six, a real little doll. , .

KILLER: ‘How about you? |

“CLOSE - THE JAPANESE GIRL hss,

as shestarts to sing:

JAPANESE GIRL: Old “MacDonald had a farm...

"KILLER: e : (joining in) | : | Atta girl -«- come on everybody one

‘As the other kids, one by one join. in, the bus moves off.

459. EXT, BUS STOP STREET - DAY. a «So, tt)

as the little bus moves up the street, the kids! singing 7 voices can be neard. With a quack-quack here and a quacx- - quack there.

ceeREMomefeteek,AID UTE aca

Seaie eee rumgsinenccepyar ene ceomtnmeaten brmmtenerEES

CP 460, EXT. CIVIC CENTER -DAY - SHOOTING

DOWN 4.60.

friom the baleony. of the Mayor's outer office at the Civic 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 night in front of the GAby Hali 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, looxs: _Up. at the City Hall. . 7 a

‘462. HARRY'S P.0.v. - THE CITY HALL 7 OT 462.

Al ‘Bressler stands on the balcony of: the Mayor's Reception Room. Ee signals impatiently. Come on! .

oe 63. - HARRY Ss

463, ANOTHER ANGLE CH o>. ee as) he hurries up.the city Hall steps, taking them ‘three at. - oO @atime. — :

hék. INT. CITY HALL ROTUNDA - DAY 1

from the floor.level as: Harry passes us, hurrying into the _ enormous, echoing rotunda With its marble stairs, baleonies, and balustrades, .

465. ANOTHER ANGIE . oe re «6s.

shooting from the second or ‘third: balcony, as Harry crosses, and starts up the widestairs, .

Lé6. ‘INT. CITY HALL 2nd PLOOR HALLWAY - DAY - |hee.

We are ANGLED UPWARD to the word: "MAYOR". 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 of battle flags and enters the Mayor's office.

as Harry enters the spacious, red-walled room, The large. French windows at the end of the room are open. Al Bressler is coming off the belconv. He crosses to Harry whe is.

| : Bs Oo | lil. |

(cont.) | a _ «LS?

AO | 1,67

standing by one of six desks in the room. The Mayor's pretty SECRETARY is che ck inga. padas Bressier comes Up.

BRESSLER?: 7 This is Inspector Callahan. The Mayor is waiting for hin.. | 7

_— Se The Secretary neds, gestures.toward the ‘nearest door . Harry

and Al Bressler go through it. | ‘ :

468, INT, MAYOR'S OFFICE HALLWAY - DAY 468.

as Harry and Bressler move down thé interesting, almos Gay Nineties hallway with its red wallpaper and rugs nd gold-framed pietures of old politicos: |

| HARRY: . What the hell's going on?

BRESSLER: - Another note from our boys

Who's he grabbed now?

BRESSLER: | We: don't know yet. That's the trouble, oo

They are through the door and into the Mayor's office.

469, INT, MAYOR'S OFFICE - DAY =D

Chief are counting money and possibly marking it, may- be with fluorese centdots which they check under black “light.

| _ MAYOR: : : What about Santa Rosa Airport? Good. Good, — | (to Chief) — OS oe They! ve got a 707 jet at Santa Rosa. a. cae - (back to phone). |

' oo It must be fueled and ready in half. po as 7 an hour, Skelton crew, .Theymust <n a be volunteers, Tell them that the PN man 1s dangerous -~well, I'll read

you the note. It was delivered at eight ofelock this morning o

_ . ‘Jle.

470. FEATURING HARRY AND BRESSLER as ‘470.

They have entered and are standing by the door, Listening t- -the Mayor who has picked up a note from his. desk. |

MAYOR: : (reads) : an 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 anc waiting. I. will call Mayor's office at one o'clock and tell you about the hostages who I will be happy to kill if you don't. ao exactly what I say. Scorpio, -

The Mayor Listens, then:|

MAYOR: Well, ‘you'd better have them standing | by. It could be a false alarm but don't count on it. This Man has pretty

- AG thisspoint over the intercom we hears |

Mister Mayor? There is a call for you on line two. I think it's the one you've been waiting for. .

Without preliminaries or apologies, the Mayor ‘presses the button on his phone. Then:

; MAYOR: | - This | isthe Mayor speaking. od

7l. RXT., GOLDEN GATE PARK PHONE BOOTH (SPRECKLES LAKE) 471.

- DAY CS

The Killer and the Lady Bus Driver are at the open-air phone’. near the bridia- path, where in fact, the little bus is.Parise.

ae . "KILLER: : Yeah. Well, I want you to talk:to somsbody. One of your bug drivers

Oy from a school dus. Okay?

as the Mayor gwitches the phone call to conference and the volce can be-heard coming from a small loud-speaker _ Killer's desk. Rreaalan ana. Genenos -8 set on his

: , 113,

MAYOR: Just a minute. Would you repeat that?

KILLER'S VOICE: I've got six kids from the Lawton Xx Street School and I got the bus and the Bus Driver. Here she is. —

EXT, GOLDEN GATE PARK PHONE BOOTH - Day’ OTB.

as the Killer shoves the Bus Driver toward the phone :.

) : KILLER: | Tell him. .

: BUS DRIVER: | It wasn't my fault. He had a gun, . Mr. Mayor -= a De

| KILLER:

, Just tell him your name, +:‘ oa oe -- BUS DRIVER:

Mrs. ‘Marcella Platt.

f:

as the Killer's voice continues to come over the speaker, Billy catches anod from the Mayor and quickly exits office

KILLER'S VOICE: | oe, You cancheck her out, but you don't

- . you. I got the kids and if you start screwing around, they start cying Is the plane ready? _ x

Harry leans over the desk, his face close to the Mayor, mouthing the words: Stall him.

MAYOR: © (into phone ) The: 707 Jet is being Pieled -now: at be Santa RossaAirport. The money will be out there cy the timesyou are. Dobe

_" Harry again mouths the words: Stall him.

epatlktantbans shmom net

1. |

474 (Cont.)

KILLER'S.VOICE: -— Wh 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 ---[ don't.want. to see any helicopters|-- _ (then) © | You play this down the line with me | and the kids'll have a nice little piane Pidesers

‘MAYOR: KS | einen an : aa oS |_,Where are you going? —

- KILLER'S VOICE: = —| ta tell the pilot when I get Onl. es |No alerts. Nothing. © ne

_ : MAYOR: | 4 Tt guarantee that you won't be x molested in any way. You have my - x

(re word of henor on.this. | :

| U756 “ANOTHER ANGLE oy . rn TS.

-as the connection is broken, Bill MeGuggin- enters.

BILLY: Marcella. Platt. It checks.

MAYOR: an x (to Harry) | BC -.Are you willing to take the money, to. hin,’ Callahan? .

8 , HARRY: er . Mister Mayor, we have to ‘stop this. _ x Buy. ; ;

MAYOR; x If we make. any kind of move to stop him he's going. to start killing = ehildren.

“HARRY:

Moh He's going to start xilling children

anyways A

7 a h7S.

475 (cont.)

MAYOR: | | es

HARRY: For the fun of it. Like he did Ann

(then) _ Somebody’ S got to. stop hime Xx

MAYOR ©

I gave | myword and I intend to keep

(then): (That! s a direct order, Callahan.

‘HARRY: Get another. delivery poy.

Harry turns and exits as We o--

as the bus crosses Golden Gate Bridge. The Lady Bus Driver is still at the wheel. We can see the Killer facing. the. kids; leading in song. “Row, row, row your boat."

U77. EXT.HIGHWAY 102 ~ OTHER ANGLE‘3 =“DAY a UIT. thru OS thru 480. as the bus moves up the: highway: nothing out of ~ 480.

the ordinary. —

as the kids are singing, some are looking out of the win- - dows. © They are curious, not worried yet.

Ist KID: Where are we going?

2nd KID: | This isn't the way we're supposed to be going. .

~ (GONTINUED)

1216.)

‘YO (Conte) | Ba (3 OO |

KILLER :

ne |

ice cream factory. | We're going to the

| : | a | a Anybody doesn't want to go to the ice | cream factory just say sO, oe an

_ a ‘lst KID? a GS y

»

oo a SO ar , | tf B82, KILLER'S FACE - : 7 of - er - «BA.

| Oo, - . . &s he flushes with anger ag the Ist kid starts to ery. Sudde

ly he slaps the Ist kid hard, alongside the head. The Kille looks around the bus. The ist kid has stopped crying, the > Others are silent. The Killer looks around, his expression indicating thet he's close to exploding.

483. EXT, HIGHWAY 101 - DAY oo 483.

We PICK UP the bus coming toward us, PAN IT PAST end end on

@ green highway sign reading: AIRPORT EXIT GNe&HALF. MILE,|

CS Wh, INT, SCHOOL BUS (HIGHWAY 101) --DAY > 48h.

- : gas the Killer moves to the Bus Driver,

eg be TEER?

re Get inthe right hand lane.

It's not right. to do ecnildren that WEYe You could hurt him,

| 7 KILLER: | - dust drive the goddam Us.

She looks at him quickly, frightened. The bus swerves -glightly.

| mo ae SHOOTING through the windshield ag we Pass,rs Sign reading: io _ : |-ATRPORT. NuxXTRIGHT, : Co . oS

pon oo oo Oo KILLER: ue : Se AOS. | , A , ee Right here,

As the bus swerves onto the off remp:

chat eeeeae meet ae REa a licattmoeTaed teen Dade

“1g.

186. EXT, SIR FRANCIS DRAKE BLVD. - DAY = sR

as the bus comes toward US y down’the off ramp, swinging . right to merge into Sir Francis Drake ‘Blvd.

487. ANOTHER ANGLE - OFF RAMP AND BLVD. 487. |

-as the school bus approaches the Boulevard, tt has to. brace S ‘for a slow Volkswagen. The Volkswagen precedes the sencci bus as they approach a railroad trestle which crosses over Sir Francis Drake Blvd. on

I a 488. INT, SCHOOL BUS (STR. PRANCIS DRAKE ‘BLVD.2): BB,

-CLOSE SHOT THE KILLER - DAY

cn

ea somewhat nettled at the slow moving car ahead. His .eyes

widen in apprehension as he stares fixedly:

.. .

489. EXP yyRATLROAD TRESTLE. (KILEER'S 1P.O.Vv. ) = NovING SHOT89. ~t :

'

* Am or wn¥ | ‘SHOOTING FORWARD THROUGH the windshield as the bus approacoteSuet, i > Fai, the trestie. Harry Cailahan stands on top of trestle. dirse PC ? ‘pL “M gr,‘‘ o) iy over path or oncoming bus. !

} '

190. INT, SCHOOL BUS (srr *FRANCTS DRAKE BLVD. a WOO,

CLOSE UP - KILLER --DAY h

shocked, looking upward as the bas moves toward the trestle a!

hol. EXT. RAIIOAD TRESTLE AND HIGHWAY CLOSE HARRY = \sl..

ay ) o :

as he gets ready to jump on. top of the bus.

492. ‘FROM THE TRESTLE | 92.

We are SHOOTING PAST Harry to the approaching bus. as it _starta. to ‘pass: undertherailroad bridge.

493. ANOTHER ANOLE W938.

ag Herry jumps for the bus roof.

4h. CLOSE = HARRY Ugh.

as he lands on the roof,

118.:

INT, SCHOOL BUS (SIR FRANCIS DRAKE BLVD.) - DAY hos.

es Harry lands with a crash on the roof, the Bus Driver screams, swerves. The kids all yell. The Killer tugs for his gun. ; : Oo

as the bus swerves, Harry almost falls off the top. He ser iD himself by clinging to one of the parallel metal strips . which run along the.top of the bus, fore and aft, and ar used for keeping lugsage in place on too of the bus, Harry is almost thrown from the DUS. ‘Harry pulls himseif to his knees. | _ |

ON THE KILLER - DA*

as he starts firing through. the roof of the bus. Blam. Blam. Trying | toguess where Harry 186

498. _ EXT. SCHOOL BUS ROOF | ON HARRY - DAY 498.

as ‘the bullets come tearing up through the roof cf the bus.

499. INT, SCHOOL BIS (STR FRANCIS DRAKE BLVD.) 99.

ON THE KIDS -.DAY

screaming in terror.

500. ON THE BUS DRIVER. 0

as she faints over the wheel. 7 ——

501. ANOTHER ANGIE ga,

as the Killer drags the half-~hysterical driver from her seat, slides in himself, and grabbing the wheel,- continues driving. a .

502 6 ‘EXT, SIR FRANCIS DRAKE BLVD.- DAY = bo2..

ae as the bus careens down Sir Francis Drake Blvd. with the

Killer at the wheel and Harry clinging to the top. 78s Killer is swerving might and. teft,trying to shake Har loose. |

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: ~~ | | _ | ; | _ . 7 - ;

oe 119.

Le | 503. EXT. SCHOOL BUS ROOF - DAY 7 so 503.

Chinging precariously to the top of the bus . | | |

SO. INT. SCHOOL BUS {SIR PRANCIS DRAKE BLVD.) ~ DAY Son.

ON THE KILLER

He ‘ts sawing the steering wheel left-and right, the gas pedal pressed to the floor. The kids are SCREAMING bdehinsa

of more times. ,

SOS, EXT. SIR FRANCIS DRAKE BLVD. - DAY” 505. " «SHOOTING THROUGH WINDSHIELD }

as ‘the bus swerves over ‘onto the wrong side of the road. A pickup truck is bearing down on use xX

606, INT. SCHOOL BUS (SIR FRANCIS. DRAKE BLVD. ) = DAY 506.

_ CLOSE ~ THE KIDS

(S | :

B07. EXT. SIR FRANCIS DRAKE BLVD. - DAY 2 507. Te CLOSE |-‘THE PICKUP oO .

as it bears down on us. OS : : a

508. ‘INT. SCHOOL BUS. (SIR FRANCIS DRAKE |BLVD. }. ~ DAY 508.

ON THE KILLER | .

as. he turns, seeing the pickup, eramps ‘the wheel hard left Xx

Company + . ws Fs ee x

| > . ON THE SCHOOL BUS

the chain Tink Fencing. - |

FON 510, EXT, QUARRY - DAY Bn 510.

as the bus careens into the yard of the Hutchinson Company with its strange old sway-backed building. The bus <= | barrels toward an enormous pile of gravel.

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~ 320,

Sil, - ANOTHER ANGLE © Se : Bll,

as the bus hits the pile of gravel, an enormous cloud of © dust riser. The figure of Harry is seen flying ‘hrough the air disappearing.

512. ANGLE ON THE cLOUD OF DUST Oo BI,

The reddish dust is thick as swirling smoke; sco thick tha;

of children can be heard. Suddenly the Killer appears out. of the dust, his gun inhand..

513... THE KILLER | - oo ee $13.

as he limps as quickly as possible toward the old sway | backed building. a

ON HARRY co a an 1 /ee

On his hands and knees as he crawls his way clear of the miasma dust. He staggers to his feet, looks off toward the building. We SKIP with his look. The Killer is just dis- appearing around a corner of the building.

Sis. EXT. QUARRY MAIN BLDG. - DAY —s_— | | 515.

CLOSER - HARRY ) .

as he runs to the building, starts climbing a ladder which leads to 4awooden.platform. This has a wooden railing -around it. As he reaches this platform, a shot rings out... Wood flies off the railing. Harry flinches, looks off and upe The Plant is in operation. Sounds: Moving conveyor i. belts, sO On, — oR | - ee

516. sinee's P.O.Ve a 516.

There are slanted conveyor belt housings of. corrugatedmetal feeding into the rear of this strange ramshackle~-looking edifica. The Killer is on top of one of these housings; _ aiming for another shot. As he squeezes it off:

S17. ON HARRY oo oO ; 517.

as he dives for cover, rolls and comes up firing at the corrugated metal housing. Blamit.Blam} ob.

x

rn’ ‘518. HARRY'S P.O.V. Co 528, bv

The big magnum is tearing out big chunks of tin flying in the air. There is no sign of the Killer where last we saw hime | t '

coo EXT. QUARRY SMALL BLDG. (CONVEYOR BELT ENTRANCE) - 519.

DAY | | . ,

Harry dashes up rickety stairs and throws nimself inside,

| 520. INT. QUARRY ist CONVEYOR BELT TUNWEL - CLOSE SHOT 520.°

HARRY |-DAY } . oe

pressed hard against side of tunnel. He peers off.

S2il. HARRY'S P.0.V. - “THE MOVING CONVEYOR BELT x san. ;

Far down the dark narrow tunnel with the conveyor belt pie. secting it is the Killer feverishly reloading his gun.

“5225 ANGLE ON HARRY | a Baa,

as he suddenly springs up and charges down tunnel.

“503. CLOSE SHOT - KILLER - 583,

as he fires,

52h. REVERSE ON HARRY Bake

the: mouth of the conveyor housing behind him. He throws.

past. hime Harry fires. Slam! oa, OR

ses, LONG ANGLE DOWN TUNNEL AT KILLER 585.

* :

A whole section of piling rips away near him. He darts into

@. passageway leading to another conveyor belt. tunnel.

526, INT, QUARRY 2nd CONVEYOR BELT TUNNEL ~ DAY. 526.

The Killer dashes in and starts running down the tunnel to- ward daylight at the far end.

S27. INT. QUARRY ist. CONVEEYOR BELT: TUNNEL - DAY B28 4

Harry is sprinting toward passageway. He disappears. —

This is the ema lier building in the rear; all the conveyor housings lead from it. Now the Killer comes cut of the | housing, he stops, looks around.

There is a big sump or lake at the. rear of the property. _ :Pishing at the edge of the lake is a little TEN YEAR OLD 50:

CLOSE ON KILLER

"Looking back up second vnane**

ANGLE ON HARRY aor

“hurtling down tunnel.

oe |EXT, QUARRY SMALL BLDG. ~ DAY | - , 532.

*ON THE KILLER |. = re : es

Pires back ‘and then. suddenly Jumps off end runs ‘desperately toward the SUMP es |

mee, QUARRY 2nd CONVEYOR BELT TUNNEL -~DAY ¢ BBB.

- as Berryflies down the tunnel after the Killer, |

sah. “EXT, QUARRY SMALL BLDG. = DAY a “53h.

Harry comes out on the small building; looks off through — - an opening in the side of the building toward the sump. _

oo

eryaL

as the Killer runs up to the. kia, grabs him up in his lef arm, presses the Luger against the: kid's templeand turns, ame 2 ang . .

ANGLE UP AT QUARRY SMALL BLDG. , ne . 536.

Harry Jumps 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 is head,

Harry stops. There is a beat as the two men look at eack other.» The Killer smiles. . Then without warning, Harry snaps. off a shot. | | a a

THE KILLER Oo eS co a 537.

as Harry's shot takes him in the left shoulder ~~ it mus have missed the kid's head by a quarter of an inch at mos t oe the Killer yelps in surprise and pain. He spins to th ground, the gun flying out of his hand,

Ae oe

as the kid jumps to his feet and runs down the road,

(ONTHE KILLER ns 539.

as he sees his gun lying two feet away in the dust. He now looks over at Harry. He doesn't Know whether to reac - | for mre gan or. NOt.

BO. | ANGIE ON HARRY. ce eR SHO.

advancing toward the Killer. -

| HARRY: : Was it.five times I shot or was it 7 six? And if it was five, then, do |I keep one under the hammer? - (then) I always kind of lose track mys elf. | Always comes down to the. question--_

Are you feeling Lucky ‘punk?

: Sul. ON KILLER 1s

; as he grabs at the gun and ‘inore movement, as he starts ¢%°‘4 rise to his feet, Brings. it up firing.

12h.

rt *

ANOTHER ANGLE | . | oteo

as Harry pulls the trigger, his gun blasts, the shot catcane: the Killer right in the chest spinning him around. It's like the Kickof a mule, iif ting the Killer off of his feet sending him flying into the lake. |

5h36) ON HARRY : | : a | _ a 543.

There is a beat, then he crosses to: the edge of the dirt ‘road and looks down into She lake. 9

HARRY'S P.O.V. a

The Killer is spread-eagled in the muddy waters of the SUMD | ‘Blood is staining the muddy waters deep red.

|- .: , sh5. CLOSE ON HARRY BS

He stares off for a long moment. Now he's really done it? disobeyed orders, endangered. the chilcren, killed aman. There's bound to be hell to pay. He takes out his star, looks at it, wondering if it's worth the trouble ef fight- ing to keep it. He draws his arm back as if to throw the star out into the sump. Then suddenly he pauses, hearing the far off waii of approaching police sirens. He pauses, then with scmething close te a sigh hé puts the star bacx into his pocket and turning, starts back down the road in the direction he came.

(5h. LONG SHOP She.

it. As the CAMERA IMPERCEPTIBLY PULLS BACK, the wail bd -of sirens grows louder. Down the road, “walking away Ds from us,.is a solitary figure, growing smailer, che man they call DIRTY HARRY. Dae

THE “END

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