"DIRTY HARRY" (1971)

‘¢isco police badge, on the memorial plaque in the “bobby “of the San Francisco Hall of Justice. We PULL BACK to

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

\u

‘We are CLOSE on the golden star, a replica of a San Fran- (9 :

ed

include the inscription which reads: ©

“IN TRIBUTE TO THE POLICE OFFICERS OF SAN PRANCISCO =. ss ts WHO GAVE THEIR LIVES IN. a wy | THE LINE OF DUTY. oe ae

We are PULLING BACK FURTHER to ‘tnelude the additional

_ plaques inscribed: with the names of dead policemen, “Deon oy .. ginning with John Coats, killed in 1878. and- ending with « - Harold L. Hamilton, one of four killed in 1970. We HOLD oO

mom a moment as two uniformed POLICEMEN (Cross, then, _ 4 eo oe ee ms “DISSOLVE TO:

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 ‘off the deck. chair and moves down

‘%o the end of the pool. She is quite alone.. She poises

@ moment by a sign which warns guests that they use the

pool at their own risk, then she. dives into the Watere.

(FROM BLDG. #2) (TELEPHOTO SHOT)

‘from the. same: angle. “The girl's ‘boay knifes- into the pool, then as she surfaces and starts swimming slowly toward the

far end we begin to ZOOM BACK. Now we discover that the | pool area is on top of a high-rise Hotel building (The Holiday. Ian) 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. He is aiming a high xX i powered hunting rifle at Ene eemmee girl in the pool below.

. (GonnTTrHTET S oo ed

CHANGE | utes

“pressed to the rubber eyepiece | of a telescopic sighte- He is resting his left elbow against the rooftop ledge. ‘The tip of his rifle-barrel moves almost imperceptibly as he tracks the slowly swimming figure. The rifle has & silencer. The Killer is HOREINE: gloves.

5, EXT. BLDG.» ia - SWIMMING POOL, AND SUN DECK - DAY —s-_‘*S (FROM BLDG. #2) THE. SWIMMING GIRL - _ (TELEPHOTO SHOT)

- es she reaches the end of the pool, turns end ‘starts: slowly stroking back. ©

6. . EXT. ‘BLDG. #0 ROOFTOP . ~ "EXTREME CLOSE. ‘SHOT. ~ DAY be --, , THE RIFLE BARREL AND LLENEEE. oo _ 7

: We are ‘looking into ‘the S rmibtia Heatel of “dhe algae.’ barrel as it moves very slowly across the screen. -

7. THE KILLER re re 7 nn.

a then PUSH IN CLOSE on his right index finger, curled .- -a@pound the. trigger. The skin. over ‘the: knuckle whitens |

- ‘as he i a anal slowly. .

ty

as the swimning girl is hit. A splash of: ageriet appears at her right shoulder blade, She thrashes, gasps, Her eyes are wide, blank with shock, She rolls in the water, starts to sink. Blood is pouring fram an exit wound on

* her left side. Fe — fe

9, GLOSE - THE GIRL'S FACE. me o.

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:

; OY . 10, EXT. BLDG. #1 SWIMMING POOL AND orl pEGs - DAY 2108.

wt oe ; x : oy We are SHOOTING DOWN ‘from the pool shen to s neavy metal - door which opens out onto the rooftop. The door slams ©

ooo,

peo |. CHANGE - 1 oe oe oF oo 4/12/72

: cho

10 (cont. )~

ll.

12,

lh.

15,

. 210, open and HARRY CALLAHAN appears, He is tall, lean, <* ~ / methodical, undramatic, . carelessly: ‘dressed, dry. He is an Inspector in the San Francisco Police Derarte ment, one of fourteen attached to Homicide Detail, He

moves in a couple of long steps up the stairs to the pool

area and stops in a BiG HEaD, looking off past us, his eyes squinting against the sunlight. Over this we SUPERIMPOSE STAR'S CREDIT. — a oo _—

ANOTHER ANGLE - THE POOL ee oh oe | | . 7

ag Harry moves toward the other end of the pool whers

we see two uniformed SAN FRANCISCO. POLICEMEN, a CHINESE

-BELLBOY, HOTEL DOCTOR, .and a young ASSISTANT MANAGER

gathered around the body of the dead girl which has been taken from the pool, Also present is a. YOUNG MAN in a>

- terryecloth bathrobe and rubber sandals, his expression

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

group we go into MAIN TITLES AND OTHER CREDITS, The group .

separates as Harry kneels, looks at the dead girl,

‘CLOSE - HARRY ne TP

X as he Looks’ up from dead girl to skyscraper overlooking area, ANOTHER ANGLE . . a 7 ae - a Be

as Harry crosses and looks up. at ‘Building # in. Dego

/REVERSE ON HARRY. gg

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

cur TO:

ao

We are HOLDING on Haory as he long-strides up the street

toward us, We SPIN with him as he passes and discover

-that we are near the base of Building tee As Harry moves toward it, we PAN. UPWARD.

"CHANGE “ysi2/7

“INT. .BIDG. 40 AIRSHAFT = DAY ne be

We are Lookite UPWARD through the: airshaft wnten runs

completely up the length of the building. A pinpoint

‘dot -- Harry' s head -- ‘appears ate ehe top of the eirshaft. We "200M UP.

ae are: ‘SHOOTING DOWN: the airshaft as ‘Harry looks down

18, an

-, ANOTEER ANGLE hota | oe a 196

(20, EXT, BLDG, #2 ROOFTOP’ = DAY = 80

it. Now we PULL BACK as Harry. moves toward the: fan

housing « on the moobtoRs

We are PANNING ‘with Harry as ‘hand-over- hand he climbs the ladder outside the Rewssoe which-encloses the

giant air conditioning fans.. He climbs past the open

side door. We can see the interior of the. BALE Harry reaches -the. top of the housing. -

es

e We" are ANGLED UPWARD through the. fen. howstac toward the grate on top. Harry -- shoe soles with a foreshortened. - Herry tapering. above them -- “can be seen above us, crossing the grate.

We are on the very highest area of the roof as Harry comes

off the top of the fan housing structure and starts around.

(CONTINUED ) -

| EXT. ‘BLDG. #2 ROOFTOP ean HOUSING aA) - DAY . UB.

&

20 (Cont.) Se s a po 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 _ Alcatraz, Fisherman's Wharf, Telegraph Hild in the b. Eee he Stops. ; ; . -

(FROM BLDG. #2). (ZOOM IN TO. BLDG. ‘#h)

‘Harry is looking down at ‘the swimming pool on — of Build-

ing #1 from the exact spot where the Killer fired his shot. J

We. 500M IN to the swimming pool area where. we see that a

couple of ambulance attendants have placed the dead girl's | | body on'a stretcher.and are moving off the rooftop with it.

We are CLOSE. on. Harry? s face as he watches them carry the

girl's body away. We-PULL BACK as he turns, then stops, -

looking down at sone thing ¢ on. the walkway. He crosses and. kneels by it. © .

ANOTHER ANGLE BB

We. SEE that the object Harry, is looking at is a padlent

“metal shell casing. Harry takes an envelope and pencil

from his pocket. he picks up the shell casing by inserte ing the pencil into es hollow end, then shakes the sheii

_ .e@asing into the envelope. Harry. seals the enveicpes, put ts: cb _ .it in his pocket, auc rises. — SO ee Ne

ke : Cn

pret le a 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 oe NOW FINISHED WITH CREDITS.

- ag ite carefully takes the note. from the antenna, unfolds —

it and looks at it. -After. a moment , quietly?

- gesus, ,

Fi . oe

26,

7,

fhe office has been .darkened, curtains drawn. The note

which is being projected on a portable screen, reads:

ube the City of San Francisco. I will enjoy killing one "person every day until you pay me one hundred thousand

dollars ($100,000). If you agree say so tomorrow morning

in Persona: Column San Francisco Shronicle and I will set

wp meeting. If I do not hear from you it will be my next . pleasure to kill a Catholic priest or a nigger. Scorpio."

i ne MAYOR'S VOICE: . (reading)

"To the City-of San Francisco. me wild 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 targe many authoritative and. magnetic.

"ANOTHER ANGLE. a oe 2.

“Also present are Chief of Police, Lieutenant AL BRESSLER a ' of Homicide and the Mayor's young, bright executive assis+

tant, BILLY McGUGGIN. Bressler, middic-aged, rumpled, x tough without working at it, turns off the projector as. x _ Billy crosses to open the curtains. As the office floods. xX with light, the Mayor turns to the Chief, a brisk and — (5, oo 4 decisive man in knife- creased blue BASS Oris & . MAYOR: |

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

- BRESSLER: . You're not thinking about payier him, are you “tee "Mayer: _ 7 xX.

~ 0 Be (Conte) Bee (.. fT . _ MAYOR: . a ~ 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 | Beek: grimly _ 4.

: “MAYOR: ae Who's in, charge. of this cases, Chief? a oe | a CHIEF: as , = 4 - Inspector Callahan. He's waiting out x - CA there. - Tr oe (to: Bressler) | a ns

a Liguténant?” ?.. : 7 | . ; Yes, Sir. oo re ee “As Bressler exits, the Mayor shoots: a Took at the Chier.

It is apparent that the name has struck a ah enhay. off~key nee chord with the Mayor as he Bays.

a “MAYOR: — os nr Cran Callahan? er nn ae - tee oo. Xe 29. ANOTHER ANGLE a os | 29. as Piewtenant Bressler and Harry enter the Mayor's office. we RT RR : eo, “Your honor. — Inspector | Calishan. The Mayor turns: - : Bn ae ; OX | 0 MAYOR: | ALL right, let's have it. Have what? ~ . a os ew - "MAYOR: YX | ow Your report. What have you been doing? _-, * 9% MS — a HARRY: 0 rete cane a - I've been sitting on my ass out there © "5

for the past three guertere of an. OUP... (smiles) a - nD ¢ waiting for you. " a

Of Rare weer

oo™

k

sary

29 (cont.)

November? -

CHANGE 7 a

| | BRESSLER : | ae Damn it, Harry, that‘s the Mayor 7:

| you're talking tOo ..

_ MAYOR:

There's.a madman loose. I'm asking

you what's being done. » Fair enough?

"HARRY:

We've got a dozen people ‘working. the

.. files in the Identification Bureau. | _. Wetre running down extortionists, ...~ ' rifle nuts, rooftop prowlers, peepers. :

Wetre checking out known racial. agitators, par a-military Groups, -

.. especially rigant wing extremistss | We're arranging for maximum rooftop” surveillance and helicopter. PEREON

" BRESSLER:

_ “Bspecialiy. ‘around Getholia schaold.:

aus churelies, ane in the. “oleck areas.

HARRY:

Ballistics is working on the slug - me. 7 ’. dt looks like a thirty-ought six -_ “- seven lands and grooves ~- right hand | . twist. We'tre running a computer check > -.-on everybody in the files whose birthe . day falls between October twenty- “third and November twenty-first.

_ MAYOR:

; -o HARRY : ee eee

30. ANOTHER ANGLE

as the Mayor nods, then Tepks around:

General. shaking of heads. “Watery ie Looking at the Mayor without expression. .

MAYOR:

- Have. any of you mentioned this note _—

- to anyone else? -

oa oe

(CONTINUED) |

&

30 (Gont.)

The Mayor looks over at the Cnier questioningly.

- | MAYOR: (to Harry) How about. you?

HARRY:. Nobody. MAYOR: a Your wife? Girl: Friend? Some news- paper reperces? OO .

| HARRY: “Nobody. -

MAYOR: |

All right. I'iz put a message tn the

Chronicle. We'll agree to pay, but

.. tell him we- need time to get the money — together. |

HARRY:

You're going to play. games with this

creep? |

“MAYOR:

—_ Teli get us some breathing room. ©:

"HARRY: .

“ret get us some dead people. (a beat) oe

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

CHIEF:

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

MAYOR:

“I agree with the Shier. We'll do it

_ this way.

. BRESSLER: © cade go, Harry, :

31. CO "ANOTHER . ANGLE

Ps

ot tt

bebe bee

od

Say

Bressler and Harry start out,. then | stop and turn as: X

(CONTINUED) -

—_ + -_ a oY _ oP an ot . | MAYOR: , OX ne : ~~ Callanan?- . ios re (then) >. a .I don't want any more trouble Like: you had last year in the Fillmore .. ‘District. That's ny policy. ; . ». . - | (politely) yo _ Sy a - Xf an adult male is chasing a woman | OO ‘ J a SO With intent to commit rape, Tf shoot . BS _ en en ee |. a e © fae) ag * “(cones up) , re ee 4 | ow, _ . . How did you establish that? ‘You read Xo i mn Oo | an te, a oo Not exactly. | se ee ts What Bnens se ‘yf 5 —_ | a ° 7 ce HARRY: - ae a an a oe - (anittes dryly) — . OY om 7 Ce, Well, Sir, when I see a naked man a . running down the alley with a butcher’ knife and a hard on I don't figure he's out collecting for the Red Cross. eer flushes, maintains his control with difficulty. 32. FEATURING BRESSLER = a ga” i . The Lieutenant can't believe whet he! Ss hearing. | oo BRESSLER: Come on, Callahan. e- He storms out of the room followed by Harry. i 33. EXT. ROBBERY STREET - DAY 8 a | It‘is about ten till three as Harry comes up the sidewalk, = | ae towards a car varked, in front of He Paras ee its motor % 4 RE “ . - punning. The exhaust is exuding acrid blue smoke; not re ne -.. ° great oillowing clouds, but enough to be noticeable, Harry . euts behind the car to cross the street, coughs as he passes

through the carbon monoxide. He apparently pays no atten- | tion to the car or its single occupant as Harry exits shot.

“oe

AQ) |

yt

3T.

' fresh cigarette from the glowing coal of a half-smoked — one, which he has to unglue from his lower dip. -He drops. ‘the half-smoked one to the street, CAMERA PANNING with it. There. are three or four similar. half-smoked Jexgarenines on

_ the pavement. Ds _

“SIDE CLOSER ANGLE - FEATURING DRIVER a She

‘sitting behind the wheel. He is a young man in sunglasses 7:

and a hat of some kind... His attention is on the front entrance of the bank. :

GLOSEUP DRIVER ee ven 356 a)

‘as he watches the bank -- an attempt at: casualness -- he

takes a cigarette from his jacket. pocket. He lights this

ANGLE - ‘KWIK-LUNCH : ee oe ae 36.

as Harry crosses the street to a small eating place catty-

corner across =2om the bank. He opens the door, enters, |

as Harry come s in, he sits ona vacant stool his back. to. the plate glass window which fronts. the Buren bs “MR. JAPFES,

‘ina white apron, come s UP. ao

/ ; - ; JAFFEE: _Mr. Callahan. | ‘Harry nods. X.- To , HARRY: |

- The usual. .

_ * JAFFEE: -

So ghd usual iunch or the usual —

dinner?

HARRY:

. + (beat,: then) So dinner.

0 SABPEES = Right. aa | «ws. ze:

, - re | re fe 38.00 ANOTHER ANGLE 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 propex profeseioues care. As he. . is doing so:

oo - | HARRY: re Se » 7 a _ Is there a blue Ghevy outside | De se mS co. the bani? De me, So, JAFFEE: oe ; ee st - (leoks: past Harr a ee | os “yes. | a “x 7 . garry: Motor still running? . . JAFFEE: How | can I tell? | OS Oo HARRY: | ©O oo 7 ; =, a tail pipe. Exhaust smoke. a a JAFFE, a, “Yeah. . That's awful. Leok at 29 at ‘that pollution? . " oo . a Jaffee puts the two hot dogs on a | plate and slides them K in front of. Harry, he takes one, spins around 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 ae hands to Jaffee. oo, 3 a . Re 7 gary: Ce The number ‘on the card. Call it. _. Jaffee reads the card, then: “ JAPFEE: a The Police Department? : an . HARRY! | pee sb ie ee ' ; . OO Tell them Inspector Callahan thinks xX. fro . there's a two eleven in progress at © KX | “XC Do. the benk across the street. Got 1t? ~ X> : =

ho.

- yr.

We. :

determined.

ERT. ROBBERY STREE ‘ ~ DAY —

OMITTED a re oe nena xX ANOTHER ANGLE ho. -

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

- yf | | | SAFFEE: - _ a ee oe ee

HARRY : | CO Be sure and ° say Nin progress," Co Te we

Ae Jaffee turns and ‘dhagopsers into. the back of the Lunch ..

counter, Harry turns to his second hot dogs mumbling to himself:

a ere aes ae “Now, if they'll just wait.

till the cavalry Bets: heres I?ll w--

ey

- 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 aEBy: ; So : 1

. : HARRY: _ Oh shit. a

a.

as Haney bursts out of the © Lunchroom, Sneeios his pistol.

from its holster. It is a big, non-reg, Magnum forty- . four, . ee a * sy

of door of banke

The FIRST ROBBER, carrying | a. sawed-off shotgun rushes: out

gun nuke ng in his hand, Blank

HIS P.O.V.

as Harry crashes to a halt.

a. _ HARRY: All right! Dray it!

FEATURING FIRST ROBBER

as he brings up the. shotgun, fires co

ON HARRY | He dives, rolls, comes up in a crouch,

FEATURING PIRST ROBBER

‘CHANGE

4/12/71

oT he is hit, staggers, ibberciecoed ‘back to one

side. The SECOND ROBBER -- charges out of bank

fining his handgun. |

ANGLE ON HARRY

as bullets skid off the pavement near him, 7

48... FEATURING GETAWAY~CAR

i - as the Driver screams to the secend Robbers

ho. |

, : DRIVER: a: Come on! For Christ sake!

CLOSE - HARRY

as he fires at the Second Robber. Blam! SHOOTING THROUGH WINDSHIELD AT HARRY

a8 car veers.directly at him..

SHOOTING PAST HARRY ©

- in the f.g. toward the getaway-car as it on him -- engine in first gear, roaring,

Come | ont “The car- lurches out as second robber. dives ‘into back seat of car.

: “Ube

; Be “The heavy X

a

“51.

speeds down

ica

52. ON HARRY | : a oo BB ashe fires at the oncoming cer. Blam! Blam} 53. ON THE GETAWAY-cAR nS Te ag it speeds directly toward Harry. Suddenly the winde ' shield stars, a huge bullet hole appearing in the center of the orackle-patterne . The apeven is hits . She 8 THE CAR a : - 7 - 7 a _ ; . os 7 She It spins out of control, eounaes ‘over the. on hits a name hydrant, upending car in a gusher. of water. BBS | ANGLE ON HARRY Ss .. ere Be who ‘slestiy leaps. backward away” from. torrent of water, - 7 Magnum in hand. . 86, CLOSER ANGLE ON UPENDED CAR, 560 | The driver is sprawled dead over the wheel. Suddenly out of back seat of car hurtles the second robber. He fires. his pistol at Harry, as he rushes past. glass” window of store on SimHOts 87." CLOSE ON HARRY ey 2 firing his a= at the second robber.” | 68, CLOSE ON SECOND ROBBER mes 5B He is “hit flush in his. side and is smashed into the plate- | glass window, shattering ats §8A. CLOSEUP HARRY BR ‘as he looks at dead Second Robber in shattered window. He lets out his breath softly. He looks at the wrecked car, Then suddenly, gun up, he starts off quickly toward © . bank. ; : ‘ : . ; : ; : 59, WIDER ANGLE. rere 59. _ The first robber dropped by. Harry is lying in the street » ‘looking at Harry unblinkingly with both hatred and conjecture oe ce Te CONTINUED } .

4in-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.

| The First Robber is looking» at the. gun in Harty! s hand. . Harry walks toward him. - “HARRY: (softly) - a The thing is you're not really sure

Whether TI fired five or six. And ~. -. if five, whether or not I keep’ « one . ' under the hammer. ..

(smiles thinly). . co Tell you the truth I lost. count my= self. Now what you got to. do, con=-. _

sidering this is a forty-four Magnum. | '- and will blow your head into Litty. bitty LP eet o

ee So _ (then). * CS Po wo Harry smiles oo wary, steps closer ‘to, ‘the Robber:

HARRY: =~ : What you've: got to dois ask yourselt-- (very softly) - . Are you Feeling lucky,” punk?

61. - FEATURING FIRST ROBBER a cent | gl. as he ‘looks up at Herry, unable to. decide. iG licks his - AEBS. ce 62. FEATURING HARRY 62. he waits the Robber out. ea. avon - HARRY AND FIRST ROBBER Oo = 7 636

as ‘slowly the man moves his hand away: from. the. shotgun on -- the’ pavement. At this point Wwe begin tO HEAR, faintly at

first the sound of approaching sirens. Sarey efosceS. AD y

ALC). ~ takes the Robber's shotgun, cradling it. -

Re er ee

bh.

THRU

oes

Harry turns back,

ores

helicopter and over to the officer, Harry that Lieutenant Bressler would iike to see him. We. can! t hear it. ;

CHANGE y/12/72 26-18.

ANOTHER ANGLE - THE STREET

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

“FIRST ROBBER: Hey?

a _ PIRS? ROBBER: | a got to know. - 2q Ct

CLOSE 2 HARRY

as he smiles at the. Robber, then deliberately. lifts ‘his own gun to his head, ' temple, - gound,-

the muzzle. touching his He pulls the trigger. There is a clicking Nothing else. As Harry starts to laugh: .

OMITTED.

‘EXT, HALL OF JUSTICE F ROOFTOP, - ‘DAY

‘The sound of Harry's yelping melds with the sound. of | @ helicopter engine,

We are on the roof of the Hall of Justice Building. helicopter talking to the two uniformed Officers who are manning it. The rotor blades are turning over THWOPs sue TRWOP « oe

ANOTHER “ANGLE

is looking over at Harry.

Harry nods.

Harry is standing by the police

THRU

Tle

. as a uniformed. policeman ¢ comes. out inks. the roof. He Harry comes away from the a The officer. telis

wow wwe

“The

e Be

- Inspectors.

7 Harry comes / UP to this small. areas

(7 Ae Harry pours pinself a cup of coffee: |

CHANGE 4/12/72

ANOTHER ANGIE — ot 9a

as the helicopter takes off the rooftop and lifts

into the San Francisco. skies. We FOLLOW it, then: OUT TOs.

‘The Homicide division is housed in a large, airy . office with fourteen desks, one for each of the Bressler has a glassed-off office within the large room, There is also a-cubicile . ‘in the room where we find a sink, coffee urn, small refrigerator, cupboard, so on.

Bressler is at the urn, pouring a cup of coffee. We PULL BACK as- 7

7 HARRY: You wanted. ae see. me?

BRESSLER: . When the hell are you going to _ Bet a haircut?

. a HARRY: _ sal Co Cant. afford it... And besides Lace who's got time? I was up till ve three a.m. on those search PAGGCEME)s: : | _ BRESSLER: Pat in tor overtime, . - HARRY: | oe - - (sarcastically) XO “ That'll be the day. - ‘xX X ANOTHER ANGLE —_ The

As they start to move through the: room to the Lieutenant's (Offless we. MOVE WITH THEM. oo . i.

- —_—_—- —_—_

pe 7h (Cont. ) (~

oo ry |

cr oO pe -BRESSLER: a 7

RX Yo of 7 That was a. good pinch yesterday. | OU . mee ‘The Old | Man was pleased, ° -

., . HARRY: re OG “He was, hey? : a

| | BRESSLER:

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

1B. "FEATURING HARRY

. | | a HARRY: a a It deeply moved, . ep Fo te Oe |

. BRESSLER: oo" L pass along a compliment; you could — -be-a little bit polite. It might .- not even kill you.to say thanks.

ae HARRY: ‘I'd rather ‘say. thanks to a promotion Se J , and a. a eLBe an pay. : _ 2 sf

76. ANOTHER ANGLE | | 7 ee ' oe ee as a PLAINCLOTHESMAN enters the. main room, andy. ashe | - erosses Coward. his asks

PLAINCLOTHESMAN: ©... oe ‘Hey, Harry? Youtd better check ) communications. © Some thing from . \ Chicago. A a gun nut. _— ma a En “HARRY: Right. (to Bressler) im get rolling.

. BRESSLER:. = a Wait a minute, I'm putting. some~ ' body wath you.

Harry turns.

HARRY: What do. you: mean?

eo ane . _.. . BRESSLER: foe You need a partner.

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

HARRY: ate got. a partner!

1 apa weenie cemattan carmen marten natn ee oa “

{ > 77.» INT, BRESSLER'S- GLASS -~ ENCLOSED OFFICE =: DAY 77. | 4 Bressler crosses into nis office. Harry . follows. For 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-looking, He rises. | Neither Bressler nor. Harry pays the slightest attention | 7 to him, It is doubtful if Harry even sees him, as: . ) | HARRY: = 0 a 4 I (angrily) . : . 3. | ge . What's wrong with the partner I've. 2 oF | got? —— | eee” ee b BRESSLER: fee aa, ae | ie (turns, angrily)

- Not a thing except he's in the hospital! ) re

HARRY: ne He'll be out ina couple of weeks. oe 7 a. Fe x mC BRESSLER: Oe See wm, _ (indicates) - eo et, - Say hello to Chico Gonsales.. ‘He?ll | Be le “be. working. with you. ed mo 78, . ANOTHER ANGLE a a ree vere ca Be a | as Harry looks over at Chico. Chico puts out his hand. ~ /

Naf Harry doesn't see it. He has turned to Brass her in shock,

me HARRY: a 7 eka - Youtre kidding! I've EOu no time: to. . ees

break in beginners,

. ‘BRESSLER: eo | Now 1 listen to mes Harry --

| "HARRY: oe _ Why dont t you give the kid a chance?

. BRESSLER:. - What does that mean?

Nae as

_ RARRY: (0 Chico)

The guys I've been working with -~

Xx. oe - _ Deitzick in the hospital, with ao. ows “ -_ae J). 7 ... »- bullet in-his gut. Before that —

_ Panduchi, shot and killed, ~ en 27 ns Ok oe

& oe

le ~

78 (Coney a,

- partner.

- CHICO:. - {smiling) - > Bs

"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?

oe BRESSLER: ‘No way. You're working with Gonsales a. ¢ or you're not working. . That's straight. from the fifth floor. Got. ate” oe

| HARRY: - | : (nods, teen) “Yeon. | 7 BRESSLER: 7 if you see DiGeorgio, send hin in here.

. Harry and Chico have come out of Bresaier's. office. We '.. MOVE WITH THEM as they cross between the desks toward

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

ce | HARRY: What. do you. go? - | | - GHTCO:-

One seventy. Seventy-five. I fought xX light heavyweight. — is « aD ©

-

Harry brightens a little at this.

| | _ HARRY: | _ You fought? - . a CHICO: Three years. HARRY: an Where'd you fight? Any clubs: eroend

here.

(CONTINUED),

a

|

i; : [ :

|

\

|

—— . . “8

—_—

79 (Cont.)

81. |

CHICO: ' $an Jose Steves: ,

“HARRY:

Just what I needed, a contes boy...

CHICO:

You haven't found one thing you Like | about me yet, have you?

HARRY: Well, ‘it's Stiii. early.

as they

. move toward a room at the end of the hallway, ‘we MOVE WITH THEM.

They walk briskly, people moving . in. pa. (De Bo, , i ae Bt oe ; . “HARRY! You got your degree? . } CHICO: Sociology. , HARRY: . You'll. go. far ~- if you live. : a CHICO: | If I live? . a HARRY:

Try not to let your . college degree get you killed --.

because Itm liable to get. killed along with. you.

CHICO: . -(aryly) “Thanks: a lot.

_ ANOTHER - ANGLE

- AUTHORI ZS SD PERSONNEL ONLY. a

HARRY:

“Anything else you. ‘want to knOW y just ask,

Harry enters, followed vy chico,

23a

bd b¢ bd be

7 - os BLL “as they come up to a door marked "COMMUNICATIONS: eel

|

0S £) were. | , )

. , ina yy

x. u~ \ at a

AVr™ one

x

~~ - 2°

ea re BBA

| 85,

«87.

B7A.

; 25. |

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

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. ne edge of the roof, s % st ee

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

. Square. Suddenly, he turns and we see the Killer for: the first time. In one hand he holds a torn-out newspaper column, © es re:

CLOSER - THE KILLER | wie | ne a St.

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

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

mewspaper in his hand.

INSERT - NEWSPAPER = eo oe — 87a.

We | see that it 4a a torn-out. personal: column from the

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

Be patient." ee DO.

ON KILLER 8 7B,

-as he tears the newspaper into tiny pieces and crosses:

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

S263”

87B (Cont.) 8 7B. . suitcase and now, putting on ao pair. of thin: cotton

gZloves, he squats down by the suitcase, opens its , and takes cut a rifle. i

' This rifle is in two parts, possibly three, so that . 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 (XTLLER'S P.0.V. oe BBY PEROUGH SIGHT) - DAY SO

We are “FOCUSED on the. front of the. church where we last.

_gaw'the Priest. He is not to be seen. We. MOVE around

din. 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, some thing better. 7

Goming out of that little corner sendy ‘stove we: i a

a ae ef ys willowy, YOUNG BLACK QUEEN wearing Whendyod" flares and - a oo aa B: 3 + purple Romene« a Co

HE KILLER - DAY

“All is well again. His quiet. elation shews * in wie: ‘brisk movements as he quickiy. assembles. the rifle. Now, ‘for the first time, we might notice the thing that makes hin different: — ‘the little worm ‘of madness zt ‘his eyes. a =>

90, ANOTHER ANGLE 7 906

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

Lae

wd

9B.

9s.

- 98,

Barefully Loads | ae rifle. _

Kid sits, sprawled expansively facing US.

P.O.V.) =. DAY

The young. Black in the noricho is “where we last saw hime

He's rapping with BMS Oey Laughing, eating an ice. Xx cream cone » - x

tz he wetehes down, feeling a sense of power. _ OF ais. ‘the Killer quickly" crosses to the. open suitcase, ‘and X. X

as. the aa ae youngster. and his friend move into the “parks

8s 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 dione: with expertise

and economy «

'. SIGHT) - DAY

as ‘the Black youngster and his friend move, laughing,

camping a little. They move behind a tree. We MOVE QUICKLY to the other edge of the green foliage, wait.

. There is a beat, another. The rhythm is off, They ‘should reappear by now. | a Sa

“EXT, BLDG. #3 ROOFTOP - CLOSE - KILLER - DAY (97

‘There is concern, anger on his face.

“EXT, WASHINGTON SQUARE (RIBLER'S | P. 0. V. ~ THROUGH. 98, SIGHT) - DAY . | | | — —

as, et last the Black Kid and his friend reaopear in ‘the | cross-hairs of the sight. They move to a bench. There is. some Sir Walter Raleigh bowing and scraping and the Black

:

et

“105.

We are SHOOTING DOWN from. the helicopter, possibly over

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

_ CLOSER: - SOME KIDS ON A STREET CORNER - DAY. - 10l.

| one of the Cops” is ‘flying, the other is Looking around.

“EXT. BLDG. #3 ROOFTOP =~ BIG ‘HEAD. - DAY oe a o 9 e- THE KILLER | — BO

as he smiles.

.:

«EXT. SAN FRANCISCO (SFPD HELICOPTER Ps 0. Ve a - DAY 100.

the Russian Hill District, angled to include the heli-

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

| BObLGENED are stationed on. several roofs.

as the. helicopter sweeps over theite= AL couple of the: kids XxX WAVE 6 | ane gives: them the finger. — - . _ a,

* DAY « MOVING LONG SHOT

‘Killer on. rooftop.

as the sniper begins to squeeze the trigger; gently; gently

.. then suddenly we hear the helicopter approaching. The 'gound impinges on the consciousness of the Killer es a

buzzing fly might. A momentary distraction. However, it

_ disturbs him. He has. to recradle ae cheek against the. sroe™ of the gun.

xr, WASHINGTON SQUARE (SFPD HELICOPTER P.0.V.) - DAY 105.

as-we MOVE DOWN FAST. toward Washington Square and rooftop. number three. Down. - Down. ZOOMING into a CLOSE SHOT. of

the Killer, frozen, Looking | UP s white-faced in a hunch.

; back's crouch.

THE KILLER Oo 108

as he runs in the gale of the rotor bladés.. iron the helicopter shadow on. the roof, to the open suitcase. As.

“he runs to the rocftop. door, carrying his suitcase and , rifle we hear:

2 pe es

106 (Cont.) (107.

108,

is looking zene oe right.

CHANGE a A277.

_ -BULLHORN VOICE: © 29°.) ) 3 - (from helicopter) —

Stops Stop in the name of the law. | The Killer is gone into the buildings a a = ke

as it hovers. ‘above: the building, the swum directly behind it,

splintering the sun's rays, uae Seeond Policeman talking

into radio-mike. _ | «yim | :

“DISSOLVE To:

We are ANGLED down Kearny Street. in the North Beach: District. We are near an intersection, Jackson or Pacific.

- police car comes around the corner, heading north up Kearny.

An unmarxzec Harry. is. driving, Chico sits— next to ie

as the car moves up the street with: Hippie<type shops E

larry Chico is beityaching?

- CHICO: a What 1 don't understand is how ‘the “a ' helicopter boys lost him. How did ‘tney let him get out of that

building without seeing him?

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

- CHICO: . (beat, then)” It's possible.

HARRY: : Well clam up, then.» (then) And turn that Louder,

Harry is indicating the car radio which nas been droning on low in the background ..

. &

oe ERIE eR dd yee 7

lll.

‘as Chico leans forward and ‘tcms up the volumes

| RADIO VOICE: . wee to. @all units. We have some additional information on that

x

- ; . _— i. 30. os ANOTHER ANGLE - HARRY TURNS oNro COLUMBUS. a

x lo.

‘rooftop prowler last seen vicinity Washington Squere. He-is an adult,

male caucasion. .

SHOOTING PAST CHICO

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

_ 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 thbreysentrey rifle. .

SHOOTING PAST HARRY

- to the ‘other side. of Grent Avenue, ag we MOVE AHEAD. Types. North Beach STREET PEOPLE, TOURISTS,

7 RADIO VOICE: _ This man is wanted on suspicion -.of homicide, Extreme caution is. advised. Suspect is armed and considered dangerous.

ANOTHER ANGLE: - SHOOTING UP GRANT. AVENUE APPROACHING FILBERT _ as the police car te poring atowiy ahead: —

- HARRY:. | Gedden leonies, ‘They. ought to

"Girow-8 Gee over ‘this whole damned

core Chico is

-- ehecking the PASSERS-BY; the Straight, the Hip, the Half= hip. ; a .

“ON

“Harry's attention Ls attracted by E a MAN arid a WOMAN coming . Gown ‘the street toward us.

- blonde, the Men carries a large teddy bear. immune to the stares of the passers-by.

The Woman is. a statuesque —

They are -

‘x (1213.

. - J

(CONTINUED )

“Same

(ae

“123 (Cont. 5)

as.

“116.”

8 CHANGE

—bf2u/71- Ble

‘ <* © “pac

Suddenly a MAN with a suitcase crosses the. street, ‘about

fifty yards ahead. Chico. points.

“cHICO: Theres

. Harry. has Been Looking off to his tert, at the nut: “with the

teddy beare

tee g, mass What? oe

- CHICO: oe Man with a suitessch

oo jamie Where? te

aa -- CHICO: - | Lost bime

. 113,

j

The Man with the suitcase, blocked. By an. approsching car can no longer bes Seon. i a? eae a “

2h.

The» Man with: the. suitcase turns down Ante Filbert Street. 4

We are ON: Chico and Harry as Chico points a a.

a “CHICO: -. - .There he | gOes. Did Enns suitcase look tan to. pean

| HARRY: 2 “I still pavea"? seen. ene son- -of-a-"" Dif he 7 8 gHTeag or Down Filbert. ‘Take. a ec: Po

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 Bilberte -

1S.

NS

age

438,

- grill Place. 7. | o>. ait _

CHANGE W/ek/7h | 326 -

We are SHOOTING FORWARD through. the Gindshieia as the ec makes its turn into Filbert Street, As we straighten cur moving west, we SEE the figure of the Man with the suite. case just disappearing UP the little alley called Krause

| _ > ‘cutee: oe OY _ ‘There he is! a

ee HARRY: All right. I see hime .

as the Man with the suitcase moves: away from : us up ‘the a, alleys | he is apparently unaware that be is being followed

as Harry pulls the car. to a stop by the curb. Harry and ' Chico get out. Harry comes <areuna the front of the car

and up to Chico.

120, .

121, -

‘on Hanae re oe Fs 182.

CHICO: | How do. we werk: this? -

He points: up to. another Bitsy ‘to the east,

; HARRY: _ You block off that alleye I go. ine

Merry moves quietly toward, the entrance to Krausgr ills

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

HARRY'S P.O.V. oe ec: Oo

The alley goes up about fifty yards then turns right. Wet see the Man with the suitcase. moving out om sight around _

- the corner, ©

_He enters the alley gautd ously, loosens his. ‘Cone . x

so he can reach the agnum eorey=1oux and | moves — X

_ ahead-to ‘the COTNEPo oo. oe

-. as Harry flattens at the corner and waits, listening, - After a moment, he. comes quickly around the corner, X

\

|

12h. HARRY'S. P. 0. Ve — 7 2. ae a 22h.

‘This short segment of the. alley also leads. to a dead end “and: a: right turn. | ce: _

. —_—

Re ee ty as: he- moves cautiously down: ‘the ane: alley. He - Shope. [: oo J tests a door, checks some packing. cases, looks behind. ) fe OO ER Ee Ry _ some ash cans, | He is eee ates ee

126, ANOTHER: ANGLE: - NEAR AN APARTMENT : ee | oo 126. fo. ants is a’ an old apartment house: its back: door opening on

- . ne to this alley, its rear windows are dark, Harry comes uD one Ho * bO it, checks the recessed doorway, starts on. Suddenly

re ‘he whirls, The lights in one of the rear apartments have: | ay, os 5 gone on, After’ a moment, Harry crosses back to the window,

+

«487, CLOSER - HARRY ne

hoo tg see into comfortably... He looks around, spots an old» BE garbage 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: _ . 7

128, INT. “KRAUSGRILL BEDROOM (aaarers P, 20, v. ). - NIGHT x 128.

as. the Man with the suitcase ~~ we see he's | Chinese we stands by the lightswitch. A bleached BLONDE comes out of . the bathroom zipping up a pair of slacks which are toc. tight for her, The over-ali impression is purfy white flesh, stale mascara and averse. 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-" ascates the suitcase, Did you. bring mea nice present?

LC) 129, EXT. KRAUSGRILL PLACE - NIGHT oon HARRY OX 1295

“Looking, gun ready.

LO 130.

74s 7 132.

a

‘on

there watching him, neither helping nor. hindering.

- ean has been kicked to one side, |

HARRY 'S P.O. ve

CHANGE | —Af2u/71 Bue

THE MAN AND THE WOMAN.

as the Man hoists the suitcase onto the bed, opens it, Re ‘rummages for a minute then turns the suitease upside down ~ and dumps the contents out. Nothing. but dirty laundry anc a gift-wrapped package. This. he gives to the Blonde,. She tears it open. It is a -shortie nightgown, She kisses hin

' He now starts working on the top button of her slacks, |

She's not helping him, He is -having a hell of a time trying to get the button unbuttoned,

She is just standi ae.

od

BXT, KRAUSGRILL PLACE = NIGHT | x 131.

| ON HARRY He ‘starts to turn away ‘from the window, but. fascinated es the strange contest going on in. eae bedroom, he hesitates ~

. another moment.

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 behind with varicose veins. No. big ; sexy deal. a “BXT, KRAUSGRILL PLACE - NIGHT ON HARRY Xx 133. as he is about to turn away from the window, suddenly we hear a loud metallic crash and Harry drops out of the vic- ture. We PAN down quickly, Harry is sprawled on the - pavement, an unbelieving expression on his. face, The ash

We see that the wind hs been knocked out of Harry, he is. fasping for breath unable to Speaks.

23h.

- The CAMERA is. PANNING around a GROUP of: half. a dozen hard »

tough~looking GUYS, Undershirted, bare-chested,

— - LEADER: Getting an syerus!

rolls over on his face and tries to. get up -— tike a camel, Rindquart ers

Heres, | still unable to get his ‘breath,

me first.

135. ON THE LEADER as. | BS, seeing a target of opportunity, steps forward like a

master place-kicker and roots Harry in the ass. As he does: so: a .

| | LEADER: 5K Goddam pie hawker, cos ae

136. ON HARRY 3: oe 7 436.

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

(137. ANOTHER ANGLE a age | as. Harry sits up; his eyes “slightly Srossed. ” |

» HARRY: I'm a pub -- I'ma puh -— He is trying to say "Ttm a Police Officer" but he can't get it out. One of ths Tough Types has pulled him to his feet; another has him in a strangle hold from behind. .

4386.: ANOTHER ANGIE 438, ne as the Leader comes up:

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

The Leader hits Harry a shot in the belly. ‘Herry goes dow. | to his hands and knees gasping: . ee ee

Ss HARRY: - (at last) - . I am the POTECE

LEADER: What did he say?

| BND TOUGH: ea i think he said he is the Police.

LEADER: Hets. a pie hawker is what hs is. Let! s give him the boots «. . :

rt Ps

¢ fos . . LA ) ,

bo | 139. €

_ . 36. = a ANOTHER ANGLE ee 139% There is a general assent from the others. They start to

move in on Harry when suddenly we HEAR the sound of run- ning feet approaching. The Tough Types turn toward the

' sound, staring.

ANOTHER ANGLE a eS 10.

~as Chico comes down ‘the alley from the. other side, gun in

hand. . His attitude is hard, professionale

a | CHICO: | All right. Back ageinst the walle Right now’ ” } Move |.

UPe | ee HARRY: Let ‘em go.

ANOTHER ANGLE ly. as Chico turns to Harry. 7 CHICO:

Let 'em go? . > ‘HARRY: You heard me. — | CHICO: al. ‘They were assaulting a Folice — Officer, . LEADER:

- You mean he really is a cop?

22ND TOUGH: — How Was we to know?. We thought he was a pie newer a

LEADER: | ‘He was standing on that garbage -

can peeking on Hot Mery and her Boytniends..

i= | CHICO: ‘Hot Mary?. ,

As ‘the six Men start moving ‘to the “alley wall, Harry gets

eee:

bd bat bt

—_—

Kash,

q?

“ue.

| Uh.

| CHANGE 4/27/71

| | a BRe ANOTHER ANGLE aa eee 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 here She is bare to the

waist. She pulls down a BHHGSs

ANOTHER ANGLE ere a

as Chico turns back to. Harry. - HARRY: | | Ce Let tem go, Gonsales, CO ee”

LEADER: : 8 We figured he was some kind of freak ~ gotting his kicks. sf 2

HARRY:

(grinds it. out) ‘Beat it. |

Chico gestures with his guns.

. oe CHICO: -

Ad right. Take offi. ANOTHER ANGIE ae me a to, al as the. Tough Guys move East up the alley and out of. ‘steht:

CHICO: | What about the man with the suitcase?

HARRY: Wrong number, — ,

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

“HARRY: Sonething funny?

CHICO: dust. leat another’ thought. _ a | | "HARRY: “About, what? CHICO:

Why they call you Dirty eexta

LA.

Ubi.

ys.

ana,

. : Pee coe

tb (Cont. )

CHANGE b/27/71-

‘ my So ly Harry look at Chico for a long moment, then 0.8. we a HEAR their car radio. “RADIO VOIC Et ‘Inspectors Seventy- -One. Inspectors 4 | Seventy-One. - ae 7 y “Harry is sprinting down alley, followed by Chico, © | . . re c ot

Harry picks up mike, .~ a, aren an oS ; Inspector's Seventy-One. t= phe . _ -RADIO.VOICE: © | a Got an eight oh one in progressoe. it's ee a building on Geary between Mason and. = a Powell, It's a Dirty Harry speciale _ aan ~.:Ten-four. We're on our waye . ANOTHER ANGLE UB Chico steps on the BAR. | CHICO: Pane What's a Dirty Harry special? - HARRY: A dumper, a | : Oo ee — CULT TO: ‘EXT, JUMPER BLDG, & STREET - NIGHT a BS . OX 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. BOER - emp ous of the car. Bape y looks UPe HARRY'S P.0.V. usa.

CAMERA climbs up the building slowly to the Jumper on a sixth

story ledge, a UNTPORMED. POLICE. CrELGEE at uaniaowss on either

side.

1) 5B.

ase.

arty SB. Us. ¢

“1y5a. Harry going up.

145d.

as he approaches Harry.

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? . | » Yeah, SUre. a - — ANGLE ON HARRY a 2 7 | - ayse.

A harness 4s being rigeed over him with a thick rope attached

to aowinch with FIREMEN at controls. Harry gets into the.

seat of the HIGH LADDER. A FIREMAN starts to belt him into

: the: seats

aNans ON CHICO 5 - ; oS oO ee Y ~ . hSD,: | looking at Harry, not understending. | | oe

ON FIREMEN AT TRUCK CONTROIS =, ; cuentte the ladder up, _ Wg :

ON HARRY = Be “lyse.

going up, CAMERA ANGLED FROM ABOVE to. show ground growing dis-. tant below him, Harry holding onto the arms of the chair | tightly, knuckles pressed _ ‘ooking. downy but autoklys :

his face pale,

FULL SHOP aise.

POLICE OFFICER IN WINDOW an a _ U5H.

looking down watching Harry; CAMERA MOVING tocee The » “Samper 7 looking ¢ down. at Harry, manos aol ats? (PF eS 0 fe

ON CHICO : oo | | Ce WSs.

looking. up at Barry! race strained,

ph ISK.

USL.

aiken.

CHICO'S P. O.Ve -

_GHANGE — — Lf27/72 “x

Harry in the rising ladder nigh above o -

ON HARRY - FROM ABOVE

to get killed.

Usk

“LYST

‘ground belcweoo reaches TaMGET » oo two yards away, a disturbed mans the world too mach for him. |

JUMPER: | | - (sereeming) ~. Don't you ey to get ms$

HARRY: - You. crazy? You're the one. that wants

Not me ;

Jumper looks up at him not underst tanding.

"HARRY:

You jump, you'll try to grab me for ‘sure, It happens every time. They ‘change their mind at the last minute and want to hang on to some thing.

- Not me, brothe re 7

JUMPER: |

You! re not going. to try te grab me?

to pulp. ~

HARRY: oe My best friend got killed that WEY o ‘Jumper grabbed him, six stories, just like you. Both of them gos squashed

Jumper Looks a little palle..

“HARRY:

-. You conidn't tell their heads from

their feet, or which one of them

was which. One look at them and I vomited all over the place.

ANGLE FAVORING JUMPER

The Jumper is now greene. Oo pencil in hand. ..

Oe

Harry

HARE xs “Would you mind giving me your name

and address?

Why?

JUMPER:

“(conrrNuED)

des tenement

Uys.

r baa -poakny notebook and

, as oe Oe Keno

me

- 15@. “UQSR.

18S.

tol ae

TON. |

(Cont.)

identification is impossible, -

CHANGE

afterwards oo.

your papers...the blood, t ‘mean you.

can’t read chem, .

ms JUMPER: - Itm going to puke. HARRY: ‘(quie ty) |

CLOSER UP ANGLE « JUMPER AND HARRY

7 You puke: out hers,

son, you're:

4/27/72. 37D. x : hs Even 1 3H,

going to fail for SUPE

USP,

| within reach or

Jumper stares ot him,

“You better ask yourself, right if you ‘really want to do that.

| ‘The jumper looks down, JUMPER'S P.O.V,

The street,

CLOSEUP JUMPER

HARRY: a now,

the upturned faces, a million dizzy below him...THE FRAME FREEZES,..starts to SPIN.

_ His face sweating heavily, eyes wids,

HARRY'S P, 0. V5

eyes on Harry.

away,

‘JUMPER:

Ate: Harry) Yours + JOUs. die!

ISP.

miles

“AWSR.

POLICE OFFICER from the window: to the vight. is almost

the jumper, held by companion, tries, lunges...Jumpér seeing, twisting

face contorting,

| CHANGE © 27/72 : | oo. 0. BRE.

CO 1Wy5T, ANGLE ON HARRY = = yy = “Use,

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

ys, om rare. a | YT, | face contorted, waiting for the terrible end, “7 | 14SV, ON HARRY AND THE JUMPER oe UST. , 7 as the hook and tadder starts to. descend és. ‘the ground. 4 LySW, ANGLE ON WATCHERS BELOW 7 rae oe es ASH

‘frozen, hypnotized. IjSY, ANGLE ON WINCH OPERATOR == ‘operating controls carefully. -

145Z. ANGLE ON JUMPER AND HARRY aera oo AWB

as they are lowered down the side of building.

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

—oUNSAA, eves poor ares - CHICO AND FIRE CAPTAIN: . ss SAAS

oo ‘JUMPER'S VOICE: .. | Pleasecce : i:

145BB, CLOSE ANGLE - HARRY AND JUMPER. © WEBB,

They are nearing the ground. “Without warning, Harry a

suddenly hits the hysterical man a-short jolting ieft. :

The Jumper goes limp, held only by Harry's arms, . Chico, ...

the Firs. Captain, and OTHERS rush up, - Harry. hands: ‘tne unconscious Jumper to their eR AIMS ¢ a, a :

: HARR Ys : 2 : a (gravely) f ) i - = ‘hope tT didn't hurt at: : ee f gn no

All6, BIG, \ [. i Le. . . é , 16 ® i? .

CHANGE

it

L/27/71 :

Chico drives, Harry beside him.

RADIO VOICE: Inspectors Seventy-One

Harry picks up the mike. | | HARRY? aesRecvons eeweney “Une e- | | “RADIO VOICE: . “We! ve got something for you, corner

Sierra and Texas, A young boy, Negro.

HARRY: What about him?

-. CUT TO:

We are CLOSE on a Uniformed POLICEMAN, Ser, REINEKE,

REINEKE: Shot in the face,

The Policeman and Harry stent in-as sloping vacent lot at the corner. of Sierra and Texas Streets, There. is an am~

bulance, a coupie of black and white units and Harry's car.

In the >,g. we see an enormous oil storage tank, In the

knee-high grass and the rubbish nearby is> a CHILD'S BODY - partially scavierld by a bi anket,

: _ REINEKE: Blew part of it away..

oo HARRY: | Who is het? Does anyone know who he is?

a MRS. RUSSELL'S VOICE: I'm his mother, ~

Harry stops and turns: toward ‘the Voices.

a pisiigh welas ostcen

ANOTHER ANGLE - INCLUDING HARRY - mare ANT.

As the Policeman starts toward the: body followed by Harry;

| |

. ee -. « SHANGE © po oo : CO ABT \ fom . 7 . — | 7 7 a 396 .

1,8. ANOTHER ANGLE

| —24h8, . a YOUNG BLACK WOMAN, the dead child's Mother, stands _ nearby. She is quiet and dignified and strangely hollowed out by grief, | : . | | | MRS. RUSSEL: a 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. © ars i - 19, ANOTHER ANGIE - BY BODY Sa “149. 7 \. Se ol os mbe Policeman stands’ by the child's body. ‘Harry now yoo LS turns away from Mrs. Russel and crosses uD to.where the body is. The Policeman.bends down and removes the blanket. Harry looks down. A beat, then Chico -_ i: — crosses over, notebook in‘ band, - - . : Pos : CHICO: ~~ ey oe fers “Inspector ,. this officer . says coer y{ ™“ me, _" Chico breaks ones looking dowa at the dead voy, then: : — : | / - GHIGO: 7 - “3 Oh, jesus Christ. . | HARRY: You: better sit down before you. fall. down. As Chico mores off, then suddenly stops, bends over and vomits in the bigh: grass. I CO os FP - 3, ‘POLICEMAN'S VOICE: hoe oe [= (over walkie- talkie) -_ = -Reineke? Sergeant Reineke? Harry and the others react to ithe SOUND of. one voice, — 150, ANOTHER ANGIE - APARTYENT: ON EInDtt—~S~S 150. LEO) There are: some two or three- story apartments on the AL a - Will overlooking the lot,. On the roof of the nearest, -is a FOLLCEMAY with «& welkiontaliies Harry .

“SP QONM NTS DN

‘ pn

baod ge

E —_- sae ee

Lon 150

| BER, —™ 7 MN

—_ on 151.

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

h/2h/71

(Cont.) ee : _ = 150.

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

BARRE: What you got?

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

| “WALKIE-TALKIE POLICEMAN: a Thirty-ought six shell casing. . He _ xX - was up here all right... ~. . 7 Sy

ANOTHER ANGLE me. - - s- AB

| HARRY: ” Welcome to Homicide.

Hey moves off, followed by Chico.’ We HOLD on the large

‘oL1 mtereee tank in the peckerows then:

QUE TO: .

SINT, CHIEF'S OFFICE - DAY i xX 1152.

We are CLOSE ON a rifle carrying case, Someone opens it, revealing a high-powered hunting rifle with a telescopic

-Sight, As @ HAND reaches in and carefully removes the.

rifle and its case, we PULL BACK TO reveal Harry, He © 4s in the Chief's office, Also present are the Chief, Lt. Bressler, and Chico, The latter two not included, as. Harey ' turns to the Chief with» the gun.

ae HARRY: - _— Four fitty-eignt Winchester.

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

| _ CHIEF: This thing'1l stcp an elepnant. : (a glance at. Harry) Apparently you like a little edge.

HARRY: - All I can get.

flags. on them. .Chico is sticking the flags into the

1h.

ete pn ponerse mur ee massa 8 Ee F

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

map as Bressler tells him where,’ — - z | CHIEF: © rer

-» He's no elephant, Harry, Hets are,

no animal of any kind. Remember - . a> rr

- .(to Bressler) |. an x.

Are you. ready to show me. what x. ’

“you've wor ked- outs Lieutenant?

o _ BRESSLER:- ‘Yes, sir.

ANOTHER ANGIE

As the Chief crosses over to Bressler at the map

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

" BRESSIER: These blue flags stand for units. we'll have on duty by dark tonighte

— - CHIEF: Double. shifts and overtime? -

. HARRY: (nods) — a dust at night. We figure the =. | helicovters will keep nim or rf the: - roofs in the daytime, os

CHIEF: I see.

BRESSLER: We're going for high visibility. I've. given our units orders to 2 -make themselves very noticeable “~ (indicates) a | Except here. In: the North Beach ' @rea, We're leaving tnat open for

hime | | “CHIEF: | tees? “(to Harry): = " oo , You found a gocd place for. your - - stake out?

“(oonrTtvED)

ee

. em. :

“ye.

1s). (Cont. ) | 7 - : | ae Ish

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

ANOTHER ANGLE - FEATURING CHICO = i si(atsti‘“s:=s:*ts*s*«

as he shakes his head,

‘BRESSIER: (dryly) Some thing bothering you, Gonsales?, a . CHICO:

, No. No. Nothing.

| . CHIEF: _ a oS Speak up, 7HS Poe LOR « You're. among

_ Bekendee Be 7 CHICO:

_ It just : seems like. such a Long shot «= that he'd come back to the very’. Same moors

CHIEF: | oe Not ete) “much. as you'd think. One <- . he likes rooftops. That we know, — qd.

. CHICO: | . - A lot cf BOSE Tere in. ‘San Francisco, | CHIEF:

Most of which are locked. But, this . will be open for him. | fe 8 we

(to Bressler)

Did you follow up on that?

Yes, Sir, I talked toa ‘the man who runs the building. No problems

a | 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. Bey like that ‘feeling.

“(CONSINUED) —

i re

4868 (Cont)

(157.

ae ANGLE |

- 155, - ; "HARRY: | There! 8 one more reason. that he-

_ might want to use that same roof...

He's gota clear fileid of fire to Saint Peter and Paulis.

BRESSLER: And, they're baving: a Novena to- night. .

7 - cir: . Go on.: - ,

_ BRESSLER:

His note. “He threatened to kill. a Catholic priest. or a Negro. The Russel boy was black, oo

- HARRY: | 7 “So he might just feel. he owes him- - self a Padre. — : So a ‘As etal Chie looks sherply § at Harry, we a | GUT TO:

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. . So on. As they cross being careful to keep away from

. the edge of the building. There is a large turn

sign on top of the building reading: "JESUS SAVE eg 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 BetHed.: in pink and SER .

ast .

as they ‘reach the | center of ‘the roof. area “end put the Sathgs down:

Rapry: | Lock that door,

Harry ts speaking in whispers. Chico nods and going

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.

mn é. Fou o 2

| 158.

ON CHICO © oe 2600

| | | . Whe |

(BINOCULAR SHOT) ~ NIGHT. —

We are SHOOTING over to the noortep of Buliding #3. Empty,- Now we MOVE over to the doors of the church. PEOPLE, a

few OLD LADIES, coming in.for the novena. Now we sweep

the park, General early evening activity. SAILORS. Hippies. Nobody resembling the Killer, a

as he looks through the binoculars, » then lowers them |

and crosses back to Chico who nas returned to the — equipment, | . | | | ot

He looks up from the Sun-gun as Harry comes up. All: ‘the dialogue is aa asi - is

CHICO:. aap tntnes 7 oe Harry, instead of answering Chico, picks up the o.< ' walkie-talkie and alla it One: Now, into walkie- talkie: m3 ; HARRY: : -Inspectors seventy-one. We're in -. . position. See LaErug surveillance, x

Nothing yet.

Harry puts the walkie-talkie down and takes the big rifle out of its ea8e5 starts to Sead it. As he is_

going so:

a CHICO: -

— What am I supposed to be doing - while you're blasting away with that cannon? ;

HARRY: Well, you'll be down there about. “en, yards holding the Sun-gun.

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

a a!

HARRY: oO (beat: then) . Maybe you better make that. fifteen : ioe yards.

162, thra 1676,

pe, 168, 169,

160 (Conte) | | a 7 _ 260,

As Harry resumes loadings We = | - cur T0:

" JESUS SAVES".

We PAN DOWN fron sien: to Horry bathed in the glow of

the neon, as he looks off toward Washington. SQuere | Xx _ with: banceulane,, to his eyese Ok OMITTED oO 16B oe a My a. - thru ' 167.

(BINOCULAR SHOT) - NIGHT . oo We are ON the front door of the church. A couple X - of old ladies say goodnight to the Padre, He stands in the doorway for a long. moment. As he does so we SWEEP the park, the adjoining rooftops. Nothing. .We MOVE BACK to the Padre. He goes into the church. The doors close. We SWEEP OVER to a “street corner. A eve 2 is leaning against a bud tdsnss kissing a little HIPPIn CHICK,

ag ‘Harry is holding his glasses on. the rooftop | of - Building 36 - CHICO: Does the Padre know he's aet up for batty HARRY: a: ~ (looking of f) . ' He wanted to, We told him we had a-man to take his place. _ | oe | .. (CONTINUED)

\

f \

Lhe

1726

CHANGE

en

(Conte) | oe, | 169,

CHICO: Who?

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

CHICO:

(beat; then) . © x know.. Welcome to homicide.

De

Harry puts the binoculars ‘back to. his eyes and’ resumes: Looking off. .

“EXT, WASHINGTON SQUARE | (aRRY's P.O. ve). < | 170. | (BINOCULAR SHOT) - NIGHT a | .

The ‘Guy. and the Hippie Girl are S moving East on Union Street, their arms around each other. We FOLLOW them

into an apartment house with large picture windows, Miers “start PANNING UPWARD from window to window,

P.0.Ve). (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 Sob, still yapping. waving her fingers

He» cranes his neck around. her.

as he shifts to another window.

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

The room is empty. ‘We START TO PAN OFF, THEN PAN

BACK QUICKLY as a good~looking YOUNG CHICK in under- wear crosses in front of the window. She stops in a doorway , thinking... re

ke,

SS

17h.

175.6

: 177 °

CHANGE. 4/6/71 N7e

as he watches through the. binoculars: -~ HELLER her not to

go out of his views =

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. Ths Guy and the Hippie Girl we saw earlier come in.

The Hippie Girl introduces the naked Chick to the Guy. They

shake hands formally —

As he teal. thie: binocular s down, rubs. his eyes, fiddles with the focus, and starts to look again, he catches something out of the corner cf his left eye. A mevement on Rooftop

| #30 Harry owner the binoculars. over to the rooftop,

A MAN with a “rifle is. moving toward the edge of one xooftep.-

nxn. BLDG. fs RoOPIOP. - ON HARRY ~ NIGHT t=t*tsi«aYB,

as Harry locks over his shoulder:

“= . HARRY: ( low)

- Chics J Looks over at Harry. Harry signais. Get over here.

Chiso hurries up. He can read the triumph in Harry's face.

’ Harry picks up walkie-talkie - Gen inte it softly: .... X.

: HARRY: The son~of-anb itch took the bait.

As Chico moves to the edge, Henry hands him the Dinocadanss

SHOT ) - NIGHT . Oo .

'-a@s he searches Rooreap #35. finaly spots the Killer at _—

| (CONTTNUED)

7 | Ae “ ' e 179 (Conte) ae a Oo | 179. 2) sO edge of ne building. Ho .

as Harry is taking up the rifle: —— . 0. 8 GHTCOs Got him. | 7 - HARRY: Get the light. : | 281, ANOTHER: ANGIE ne woe | 182. as Chico nute down the binoculars; ‘picks’ up the sun-gun. Harry ‘is rooking through the sniperscope. nn | oo | HARRY: : When I say ‘now,’ turn the Light ‘ON. Ready? Se | met - cutee: | 182, ON HARRY a rs 1820 oo as he flicks the safety with an audible click. |

| NIGHT | | _ | 183. ‘The Killer has paused, sniffing the wind ike a deer in | | : qangers . . _ 18h. EXT. BLDG. A, ROOFTOP | ON HARRY | x “NIGHT Be as he holds steady, tien: | | | | | "HARRY: Now. a -185.. CLOSE- CHICO © . 185, Ao) as he vedas the light. . Tt flashes on, glaring hot. :

-186.. EXT. BLDC, #3 ROOPTOP (HARRY’S P.0.V.) - NIGHT 186. as the spotlight falls to the. left of the Killer.

f°

188,

192,

192,

| Oo , AD oo

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

- beam of the - Sune em which quickly tries to adjust, jerking Pepidly.

as he fires.

as the laundry pols comes down, the “iller, clutching. his rifle, dives for tne cover of. some kind of” an air conditioner unit or tool house of ores "a

as. he fires. |

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

ag chunks of cement 5 fly up from the . ledge of the roof be- . tween unio and Harry. Harry is firing back.

HARRY: _ Hold that light steady}.

CHICO: me “You want to trade Jobs? ,

“The glare of. the sun- -gun, the crazy revolving sign: "JESUS

SAVES. ihe med teresa of Harry! s Minchester. -

19h.

| (195,

196,

1973

So.

CONDITIONING SikD - NIGHT

as he snaps off two quick shots at the spotlight.

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

; HARRY: “Are you all right?

CHICO: Tt think $0 == ae aka

SCOPE) - NICHT : so :

Jerry is clearly iaitea, silnouetted aga! nat the sign's glow. He is standing. near @ veatilator pipe. the Killer fires. .

EVT, BLDG. #4 ROOFTOP = ON HARRY | - SIOET 197.

as the ventilator pipe is plown to nell, Jarry vhiris Bue blasts off a shot. 7 ,

SNEPERSCOPF' -. ON THE ATR CONDITIONING SHED - NIGHT

as the Killer 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. as he empties the Sit De

: St 4 TE pene od

ae irmmasnmnmm ny

—

a

ol.

200, «EXT. BLOG. # 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 fall.

(201. ON HARRY

2s -_———

| oO 201, as he looks up toward the sign reacting, | |

202, HARRY'S P.O.V. | a 202, as the shattered neon tubing is éonitag toward US == some ot it stiil glowing pink and green.

203. ‘ON HARRY. . 203...

as he shoves Chico out of the way. 20h. J ANOTHER ANGLE - 20h. a ‘as the neon tubing crashes to the rooftop, just missing Harry and Chico. | . . 208, ANOTHER ANGLE | | as Harry runs to the edge of the ‘root, looks off, | 205.

206, EXT. BLDG. #3 ROOFTOP “(HARRY'S: P. 0. v. 7 - NIGHT 206, . The rooftop is empty. The ‘door to the rooftop swings 7 open. Fe

-as he runs to the rooftop door, grabs the doorkno’ and 7 pulls. it won't (Opens _

| oo “HARRY: Goddammits

He yanks savagely at the doorknob. Now, remembering “that the- door is locked, he turns. © . a

(CONTINUED:

‘

tag ae

207 (Gont.) — >is. “eC, 207. — _ ~ HARRY: 3s ne Come ont ‘The. key! 208. ANOTHER ANGIE a 208A -as Chico runs up! — Oe - Se co ig 7H .o 0.) CHICO: Right here. a | as Chico searches his pockets, not finding the key inmediate- “HARRY: _— | Let's got - Chico finds the key, Harry grabs it starts to insert it in the lock, then fumbles with it dropping -it. He picks it up ‘and at-last, unlocks the door, They disappear into the door- "209. INT. BLDG. #h ‘STAIRWAY ~ NIGHT ao . oe 209. We are - ANGLED DOWNWARD as: Harry and Chico fhartle dean the stairs. 7 . 210, ANOTHER ANGLE 2 et 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 a {MOM AEs _ listening. | Then continues on AS WE --- — 8 - UT TO: 211, EXT. BLDG. #3 REAR ALLEY @ STREEP - NIGHT =X 2. - We. are CLOSE ON a little river. of bined 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 nim . 212, ANOTHER ANGLE oe age,

A FEW PEOPLE are bed ginning bo gether. & police car comes |

up from one side, Pulls to a stop. Now we PICK UP Harry

"212 (Cont. ) . ; and Chico running up an alley foward the mouth of a

21h.

second alley where.

plainclothesman. police car:

Get an ambulance and keep these people back,

Crossing to DiGeorgio.

ON DIGEORGIO

CHANGE

“Y/L2/71

DiGeorgio kneels over a dead

As a UNIFORMED COP gets out. of the

HARRY:

ee

The bulky Plainclothesman Looks- up as . Beery: and: Chico

(

Come On.

ANOTHER ANGLE:

' come up. He shakes his head nepeciverys

: HARRY: to. Chico)

Harry and Chico are munning 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 car:

(

Central -

POLICEMAN : into mike) rer Number One. Wetre Ten

Seven on the Nine Fourteen Union Street run...

(

- HARRY: vreaks in)

- Tell Lieutenant Bressler we. missed him. He'ts loose somewhers in the North Beach area. Get all available units, — an

POLICEMAN:

Xx

212,

213, --

2b

q

AT.

‘THRU

“A258.

ob,

. ANOTHER ANGLE

‘EXT, HALL OF JUSTICE - DAY.

CHANGE ~—/le/7h 54-58.

Harry and Chico run back down #6 alley the way they

. came as another police car comes barreling up the alley.

ans, -

-.. 216

OMITTED.

We are in CLOSE on.the identifying sign, chen we PAN OFF to the street. to-PICK UP Harry's car coming by .

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 police motorcycles,

| 258A,

police cars, and ambulances and. pull to a stop at

the entrance to the building.

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

259. -

door to the Halil of. Justice. They exit through it, moving fast. oO ;

as Harry and Chico come up the haliway at the same . pace, we PAN them around a corner and into the homicide squad room. Harry looks angry, tired, about to blow.

"as Harry and Chico cross through the desk area to

Bressler's office.

Bressler is on the phone. There are some grainy @ight-by-tens on his desk. We can see Harry and Chico approaching through the glass partitions as:

BRESSLER: — Right. -right.. thet" exactly what we're ~- right. .

- PHRU

2576 X

— 258,

2584,

; 261.

ce - | . at oo _ 59.

(cont. yo 7 a oe : BBLS

‘Henry ‘and Chico come into Bressler' Ss ‘office. Harry's | -expression is stormy. oe oe | eo HARRY:

What now! a

be b2 be

_ BRESSLER: . a Ig! S a whole new ball game, Harry. He grabbed a fourteen year old girl. “Besasien hands Harry two. of the eight- by-ten blow- ups. Harry takes them-and looks at them. One " picture is in color, che other. in. black and white. X . oO, xX

“INSERT | - THE PICTURES aoe BBB. “One. in color is a ‘big head of a girl, nice looking - but. nothing glamorous. ‘The second picture in black xX and white is of the same girl in a. Penna sult. She 's quite mature. | i -BRESSLER!: |. (o.s.) oe

7 Ann Mary Deacon; Back TO SCENE a 263.

as Harry. Looks up. Bressler is reaching into a desk drawer: . oS - an

t , |" BRESSLER:

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

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

oe _ BRESSLER: Addressed to the Mayor. ‘The lab . Just gave it to us, with this note. inside.”

Harry 3 is Looking at the box. reser hands the note. ' to Chico. It is folded in three. On the outside are. written the words: | ANN MARY DEACON | BURIED ALIVE,

;

ia \

26h.

J" 963,

(cont.) 2° - so - Co 263. , = — Xx

CHICO: . (réads) a Ann Mary Deacon. © Buried alive.

BRESSLER! oo She went to the movies last night, / never came ome +

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

HARRY: - rr rer: And I had a clean shot at that... 0°) ¥ "effec © bastard last night. Dead bang and- . , blew it. . a es

“CHICO: (continuing to. . read) » a All okay you get Location of girl . by two a.m. Anything cute and you will force me to let girl die of slow suffocation. Signed Scorpio. .

. HARRY: . Anything else’ in that box?

Prod

ANOTHER ANGLE oo te

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 dra and

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

(oonrrnuED )

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

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

Harry stares straight back, his face set.

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

. pre ue

- HARRY : . Yeah, sures... BRESSLER?. |

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

Wait a minute. What do I do?

BRESSLER: You' re out. of it.

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

BRESSLER: No. I'm not sure. But those are my orders and Tim... =. °

2656 .

WC)

264. (Cont.1)

A beat then: As they go, “INT. ELECTRONICS SHOP - DAY

-letters are reversed. Work benches. Tubes.

_ § . _ ; ag — Oo 62.

GONSALES =< (interrupting) — — oe I'm new here, but I?m not stupid! 7 xX No wonder they call him Dirty Harry. Every cruddy job that comes up he a gets itt -- the dirty end of the stick. .

BRESSLER

One more word and. you! re. gnopned ott at the ankles. —

mg GONSALES: You're going to get a. good man. EEEUSSy you know that, don't you? mo

- HARRY: jos Al?. wait a ania . Fe

Bressler pauses, looks at. ‘Harry then at Gonsales, Xe his face euABty After a monent ;

HARRY : He's had a rough couple of days. Why not split the difference? Give him the nage off -inswead«

. BRESSLER! get out. or here. Both of you.

the phones. | on Bressler's desk are ringing again. oO OO 7

Late afternoon light siants through a. “window on which we see the words: SID KLEINMAN -- ELECTRONICS, The

Wires, We are CLOSE on Harry as he attaches a tiny box, about

the size of a eibgetetive package to the inside. of his: cOate

. HARRY: Testing. One two---

Pa aterm awn en Ne

bh

265.0

.

7 ' . 266. (Cont.)

OWW!

CHICO'S VOICE:

_ ANOTHER ANGLE - INGLUDING CHICO. AND SID KLEINMAN.

Chico is pulling a Little device, ike a hearing aid,

out of his ear.

CHICO: |

What ‘the hell are you yelling for!

Kleinman,

the proprietor of the store,

KLEINMAN :

an you have. to do is wniewer.

. HARRY : (whispering)

“Mary b had a little lamb.

CHICO:

That's euuen

two, three clocks.

comes forward.

(Okay? XX

KLEINMAN: Shouting won't help. It

In;

forget it.

HARRY:

What- do I owe you, Sid.

_ Just bring it back in one piece.

KLEINMAN:

's good for like a tunnel,

We are CLOSE on a relicw leather ‘bag, open, holding. two

hundred thousand dollers.

the Chief:

CHIEF:

As we PULL BACK to include

.Two hundred thousand dollars. Count it and sign for it.

LO.

" ) \ . } 270. | MO 271.

269. ANOTHER ANGLE = INCLUDING HARRY - AND BRESSLER

ble

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

“waRny: (to Bressler) Did you count it?

_ BRESSLER: =.) eo. | Yes. It's all there. _ ¢ oo 7 Harry throws. the money back into the suitcase, closes

it. He picks uP. a pen, signs. the receipt witheut 7 hesitation. ee - oo

_ RARRY: mo Cg I always: knew I'd be rich some day. ee oe

. Harry picks up the enitedae, and with Bressler, leaves

the office, as we HOLD. on the. Gatet- who stands EGOIELE -O 7 after then:

CHIEF:

Just don't let anybody nae it. away from you.

X 270.

as Harry and Bressler leave the Chief's office and come walking through. the outer office where we see severe uniformed peniceven at desks. - _ BRESSLER! Goa knows how he'll contact you. frobabty run you ded over town. = | ae “HARRY: Yeah. . ERESSLER: ' You go where you're told, Do what -youfre told. Play it night down . the line... Okay? | They have exited through door nike corridors: OMITTED . a7l. ee x.

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

ST: UNNI BU

“oN,

| C bo

272 (Cont. )

27h. -

2755.

CLOSER - HARRY —

As. he stops, looks around,

- 65.

: 272, . _ BRESSLER: : —_ Nothing cute. Nothing funny. After an X * you deliver the BERSCMs report ‘in. _ Period. . 4 | - | We nave. PANNED: them into the homicide squad room. xX. _ : UINT. BRESSLER'S GLASS- -ENCLOSED OFFICE ks NIGHT 273. ' 8s Harry and Bressler enters. Bressler. crosses behind oo | his desk. Harry puts the bag down. _ . a | - * waRRy! 0 on ‘You Bet | that knife I took away from. KX eat fifteen year ors RaGeas a Bressler opens up a ‘ayewer, holds out | the. knife to - Harry. Harry takes the weapon, snaps. the ‘Uiaes out, a six inch blade gleaming wibeloarys- i 7 - HARRY: a : Mind. if I use some of your scotch tape? X. Bressler pushes Lt. forward on his desk. ‘Harry siieses the knife; rips off.a piece of tape, pulls up his might pants. Fees adheres the knife Le his leg. | - 'BRESSLER: | | . It's ‘disgusting that a police officer JS | “should know how to use @ weapon like . | that.

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

our TO: ‘EXT, MARINA ~ CLOSE SIGN - NIGHT a 20h. ' We are CLOSE on a sign on a. piling whieh reads: "MARINA GREEN EAST. HARBOR."

We PULL BACK slightly and PAN DOWN the street to Harry, approaching in. a distance, carry-—

ing the suitcase.

He puts his foot on -X°> | the suitcase and taking a. cigar. from his. pocket, lights it.

276.. CLOSE - MARINA PHONE BOOTH = 876,

This is one of the new kind of booths, a curved plastic sheli, 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 uss

) oo. BT7,. «CLOSER SHOT a 277. Harry.” The cigar .is a little butt. “He flicks it into the

ae . ° street, picks up the suitcase, and gallops down toward the - Do _ phone which continues ringing.

278. “CLOSE - MARINA PHONE. BOOTH BS

as Harry runs Pa LLEES the receiver:

‘Yeah? Bo KILLER'S VOICE: f° a - You got a yellow suitcase? aed | 7 oo * BAREY: ‘Right here. | KILLER'S VOICE: - What's your name? HARRY: Callahan. : : _ KILLER'S VOICE: ' What are you? a we . HARRY: “ A police officer. There is a silence. Harry waits, afraid the man will hang up. After a moment: 7 | | HARRY:.. . Helio? 279, EXT, MARINA STREET - NIGHT 279. or CHICO - IN THE DARKENED CAR |

as he listens, the little hearing dévice pressed to his. ear. We hear:

HARRY'S VOICE: (filter) :

- ). i. iF

fe) os 8

“Harry looks at his watch,

CLOSER ANGLE HARRY

exe. MARINA STREET - NIGHT

Ot

‘EXT, MARINA « AT THE PHONE BOOTH - NIGHT 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 around town to make sure you're alone, -I put a time limit from phone booth to phané booth. I ring. four times, You don't answer --

_. I hang up and thet! s the end of the game. _. The (girl dies.

"HARRY: Is the girl all maleate,

KILLER'S 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. —-. (then) What time you got?

- ; HARRY: | ‘Nine-thirty. Listen ---. _ KILLER'S VOICE: You listen. I'll be watching you. Not ell the time, but you'll never know when or where. Now get it -- no car,. Walk or run. But you be at Forest: Hillis Station in ten minutes, Four rings or forget it, Understand? . oO 7

7 | HARRY: Yes. KILLER'S VOICE:

os (pause, then) id le hope you're not stupid.

The phone clicks dead.

as Chico shifts into gear and moves out. 7

Harry hangs’ up, grabs his ‘suitcase — and starts. off on the dead run. .

6 282.

‘a

28h.

286...

_

288,

. it, Looking at his watch, beginning to nalf-run,

The doors open.

Harry's walking fast up the street, jumping over a skipping rope that -two girls are swinging for a third, hardly noticing

We are on the Station. ‘We PAN to pick up Harry. He is

_ running toward us, Harry. bursts past us and into the staticn, |

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

for ‘ite

CLOSE - SUBWAY STATION PHONE HS

as Harry hurries INTO SCENE and picks it up..

| oe HARRY:

. Callahan!

| x

Xx

The side sepeet overlooks the Forest Hills Subway “Station. Chico is parked, motor running, listening. to the little. walkie- talkie. He puts the car into Boar's moving!

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

to limp SASeEeLy.

_. NIGHT | ;

We are ANGLED on the tunnel, yee red and

green signal lights. As the light turns to red, we

see the trolley come into the staticn, It stops.

7 Fe oo

oe - 2906.

7 291.

b

r | oe 3 293. . 295 o |

eC) 297.

69, ANOTHER ANGLE 290,

As ‘Harry comes charging down the. steps, the doors” are.

starting aad close,

ANOTHER ANGLE re oe

‘as Harry dashes for the trolley, jamming himself through the closed doors. The trolley starts. down the tracks.

We PAN it into the tunnel, ending on the red. - green ee Atghts. The iignt turns. green.”

"EXT. STOP: LIGHT INTERSECTION as NIGHT - oo B92,

We are CLOSE 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,

Tye, STRERTCAR (TUNEL) - wees ee x. 2936

We. are CLOSE on Harry as” ‘the streetcar rackets through “he tunnel. oo

BXT, bonnet, STREET - CLOSE-CHICO- NIGHT >’ 29h,

as he crives, fast, eyes peering into the night.

We are ANGLED UP the streetear tracks as the ‘car comes toward us and Stops. ,

PHONE BOOTH 296. |

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

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

a ae ane: ‘ontatient a at oe

Chico is in the ‘police car, stopped: He is Watening to the little receiver, What he is hearing is apparently - very faint. He snakes the recsivsr, He is, straining to .

hear, apparently without much success,

a

SS.

298,

304-6

We are in the Fort Maso& tunnel, SHOOTING OUT toward tne arenes Harry approaches, enters the tunnel,

THE TUNNEL - HARRY'S P.O.V. agg,

seemingly endless, dark,

ON HARRY | | es 300,

Not liking it very much as he. moves - ‘forward, still carrying | the bag. full of money. He starts to walk fast. Then faster, DOLLY SHOT - ON HARRY a ae ee 30h.

He is punning througn the tunnel, about halfway through. His limp is getting worse. He is tired. He stops, look-

-ing at his watch. He runs again. Then slows and stops, | -° _ looking off, seeing: - 7 a a :

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.

ON HARRY 303,

moving Haman. ease Bans

‘ON THE: FOUR FIGURES 304.

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

ANOTHER ANGLE =~. INCLUDING HARRY . ae ae 7 | 308: as he reaches them: B.S 7 — . | | lst. HOOD: What's in the bag? -

Harry doesn't answer, As he Measures) fhe Tour Heods con~ |

fronting him, the one to his right speaks up, his eyes. never leaving Harry. . ee

(CONTINUED) »

— ey

305 (Cont.) - re an . 305... —s oo 2nd HOOD: Screw the. dag. That's what bags are for, ain't they? .( then) . Let's nave the wallet, Daddy.

Harpy looks at them unblinkingly, then. lets his jacket fall | open, drawing the big Magnum Forty-four, BnMOS more quickly, than Ens eye can eet LO . | a

, )

306,° ANOTHER ANGLE rr 306. Harry has shoved the gun so that the muzzle is right _ between the eyes of the. end Hood,

HARRY: © What did you say, sonny?

a The four young Hoods run down the camel, in the direction on a _ that Harry came from. They are running as fast as they can. a '. Harpy turns and runs the other way. ;

as Harry comes running out of the Fort Mason tunnel, stops, looks around. 308, EXT, AQUATIC PARK HAMBURGER STAND - NIGHT .. ° X .308,— Harry spots the hamburger stand across the st reet with its. phone booth, Near the phone booth sits an OLD MAN. Suddenly, the Phone starts to rings 309, . ANOTHER ANGLE re x 309. a as Harry rung across to the phone, . the Old Man crosses and picks it up: . . . | HARRY: ee ad Not Don't answer . thats a . oa a re ‘The Old Man hasn?% paid the ‘Sstightest attention. He picks OY up the phone, oo

~~ “oLp MANs | Hello, - MelrCses -

Po

I

_. 311, 312, .

ee ee ee ee er ee oer

‘12. ehOSEE

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

HARRY: Callehen!

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

KILLER'S VOICE: Who picked it up?

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

310,

cold as.

The SOUND of the receiver being hung up.on the other -

end is like a shot. Harry stares at the phone, unbelieving, slowly hangs Up. SMOe Ie After a moment:

er HARRY: ‘Oh, Jesus. Chico...

NIGHT ;

sitting in the noite oa, 3 his aoe pressed to the little receiver, his expression one of alarm, We faintly hear:

HARRY'S Voice: “He hung Ups

Suddenly, through the little receiver, we HEAR the pace! Ping

Before the ringing stops, Harry picks it up.

| “HARRY: Callahan, 7

KILLER'S VOICE:

You know Mt. Davidson Park?

Oe a BARRE: ‘ Yeah. Yeah.

"KILLER'S VOICE: Go to the CrOoSS.

His face shiny with

x

x 3nl. x x X 312.

313A.

31h.

he line clicks dead. Harry hangs up and moves off.

As Chico cruises slowly ‘up a searcher street, we. hear from the receiver:

_ His car. has stopped as he is listening:

| 73. ANOTHER ANGLE :

As Chico puts the car into gear and drives off,

As Harry: comes up to the entrance to the Park, it is

apparent his leg is giving him trouble now. He pauses

for a moment, looks around, then low: HARRY: . =

I'm at ‘the Park entrance, Sherwood -

Ehren I'm going straight to the top. .

_- HARRY'S VOICE: © | 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:

. ‘HARRY: _, dust two kids necking.

CHICO: (to himself) Boys or girls?

313A.

a 314. ,

- 316,

323,

. Lt

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

Davidson,

‘(CONTINUED

)

—e

318 (Cont. )

, oie

320,

321,

Sha dither umrammrnranals matcaiccries Take ee

_ The (Gay Cat hurries down the hill into the

ANOTHER ANGLE

the cross, illuminated in the night,

7h. :

Walking, then stopping to listen. Walking some more, Now he hears someone following him, He moves out slowly.

_The following footsteps come Testers. closer. Suddenly Harry whirls.

HARRY'S P,O.V, 319. as the tall dark FIGURE of the MAN: who has been coming up . behind him stops in silhouette against tne lights of the City. Or wneppes in fogay mists, Whichever.

HARRY: I'm Callehan.

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

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

7 HARRY: | When aid you get busted eats Alice?

GAY CATs. 4 If > you're vice I'll kill myself.

HARRY: » Do. it...at home.

‘darkness,

| | 320, Harry moves up the dark path to the top of the hill. |

| | CUT TO:

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 the mountain and at the far end we now see

We HOLD as Harry gets smaller and smeiler, and we begin to perceive the

true size of the towering cross, well over a hundred. feet,

ON HARRY | | ne

’- 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,

ANOTHER ANGLE - ae oe (323.

As Harry moves around to the rear of the cross, we sud- denly hear the harsh sound of a. ‘aus 3 mechanism. Harry. freezes as:-

KILLER'S VOICE: _ ¢ That's it. Just like-a fucking “statue, One mistake, Anything. I'll kill you “and the Girl both, Understood?

| Harry doesn't answer for a moment:

_ | KILLER'S VOICE: - Understood? _ .

ce HARRY: -.. Yes.

KILLER'S VOICE: Put the bag down slowly.

As Harry does S03.

a KILLER'S VOICE: Left hand, Let's see your gun, — -

Herry pulls his coat away with the left hand, exposing the Magnum sith abel Se ,

“KILLER'S VOICE: My, that's a big one. ' (harsh) - Left hand. Out. BaSye

Harry lifts the gun out cerefully, ‘KILLER'S VOICE: Now raise .your hands- high ‘over your: — head. As Harry does this: | | ne KILLER'S VOICE: Now, throw it. 2.

4 Fy Fj é ¥ Nd ¢

oe,

328,

: fo ” Noh

32h.

CHANGE | 4/12/71. ANOTHER ANGLE as Harry throws his gun, left~handed, deliberately a little clumsy. The gun lands maybe fifteen feet awaye : “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 his ‘Bands, ” a | _ KILLER: a Face against the cement . Hands at your sides, As Harry does so, ‘the Killer comes up behind hin, sends the pistol barrel crashing down agains % the back of uerey’s skull, “HARRY'S P.O, iv, | 325, ‘as the ground comes ap to meet him. ‘The blackness . is absolute. | | 326 OMITTED, THRU - 326, x .

penal tuk ha Aste sts cetan amtnracae anmane atts ee”

“32h.

C)

7 332.

77.6

Harry is: on his back, He opens his eyes, they are X

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

ANOTHER ANGLE OC Ce Oo 330.

as Harry tales to lesh out “with his hand. The Killer esbety SvePe out of Harry? s feeble reach, kicks again.

KILLER: _ ‘Listen, you sou=ot=# “bi ben, o“--

The Killer kicks erry in the Broine

CLOSE ~ “HARRY. aa ee ar ae aa": Bt.

- as a harsh, terrible sound | is torn out of Harry's p ARO ia Lo a KILLER: -You scream again, you lift thet hand BBALNs 6 ;

CHICO ~ NIGHT.

as he moves swiftly up a path « -- not the one that Harry took -- toward the top of Mt. Davidson. He is - a long way an om the sumnlt. . ! KILLER'S YOICE: I won't diet you know when the girl is. _ =,

Chico starts sprinting.

NIGHT ~The Killer is searching Harry's face for a reaction, ' then: a | “KILLER: — -Do we understand each other? OX

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

Cconrrntrn}

Sie ee nee

AR

peer en at ne ns

78, | 333 (Cont.) ee _ 2 *e - 333. . _ =| . KILLER: 2 © 7 7 . (softly) : : ae ‘Do we understand each other? The Killer ‘lifts fereya head by the hair. — Harry is almost out, 7 a a en” | | No, no, no. Not yet. Don't pass. — "8 | out on me you bastard, I've got.- |. eek, oy something to tell yous 3: ]

“ANOTHER ANGLE

He. siaps Harry several tines. - Harry opens his eyes.

KILLER: Gan you hear me?

‘The Killer slaps’ Harry savagely once more, then?

KILLER: . If you care what happens to the Girl. , i then you better answer me. , . ae (then) |=. » —— ae Can you hear me? -

After a long moment, whispering: Sat Sine . 7 Ge . oo. Co . . . \

| HARRY: | ee: a

- Yes. . " .

KILLER: 4

Then listen carefully because there! 8 been a change in plans,

os. (then) | . I'm going to let her die,

33h. as the Killer smiles down at Harry:

KILLER:

I just wanted to make sure you knew that. :

Harry, Ls staring at the other maz as though not able to

believe what he has- heard, yet. believis 1g ata, and the thougnat driving him half.mad.

ne - (CONTINUED)

b ) : 335.—

336, ) 338.

( 33h (Cont.) ; | oe —— oe — BBke oO : | : KELLER: oo 7

(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 We HEAR a sound in the bushes to the west. ” SOMEONE erash= ing through the bushes toward them,

ANOTHER ANGLE re 5-79 _ as the Killer reacts, eyes swinging around, “ON CHICO So eae - ee | 336.

opashing: Eapoust: the underbrush, gun ready. A s he breaks _ into the clear at the base of the cross:

—OHTCO'S PLOY, en 337.

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

ANOTHER ANGLE = 8388,

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

AT BASE OF CROSS aa _ B39.

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

“HARRY! - (sereams) a Chico, don't kia Rims Don't kill him,

“blasting into the undergrowth, ©

ON HARRY 341.

as he reaches down and pulls the taped switchblade from his leg. He flips it open. " a ee

yo She

345. :

3L9,

3h 6.

3Y7 6.

ON-CHICO =i Sh

as he snaps off a shot.

ANOTHER ANGLE . os mL _ _ 343. as the Killer blasts off a shot that takes Chico high in ) the chest, spins him and drives him into. the ferns. . ON HARRY ae — ne a 3h.

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

The. Killer screams.

ON THE. KILLER © - : ne ; ; os - . - et - 3hS. His face registers shock and horror as he looks down at the

knife which is buried to the hilt in his lez. He grabs up the suitcase and with gun in other hand disappears down 4

‘Slope behind the cross into the darimess limping badly.

ON HARRY ne a 3h6.

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

-the clearing, firing plindly into the darkness. Harry

mepples ° to the enous

ANGLE ON THE KILLER BLT.

-as he stumbles and rolls. The suitcase full of money gces |

one way. The gun goes the other.

CLOSER ~ THE KILLER ~ . a 348.

' 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.

off.

“CUT TO:

‘EAT. panh EMERGENCY HOSPITAL - NIGHT ce 349.

We pick up ‘the badly limping figure of. the Killer as Tne.

crosses Stanyon Street toward the little emergency hospitaz | near Kezar Stadium in Golden Gate Fark, As he enters WE one

- CUT TO:

“381.

| | ae Bl.

Bressler is on the phone. | |

| | BRESSLER:

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

We are PULLING BACK to include. Harry, bandaged, lying on

Ereseten"= tattered leather couchs near the desk.

“

a BRESSLER: 7b Pl Harry Callahan is right here. Got — ‘two broken ribs and they want to

make more tests in the morning. |

Well, the son-of- a-bitech kicked him

a beaut. ; (then) — | a . Yeah. Right in the crown fewels. —— ’ (then)

I'm sending him home. -

ANOTHER ANGLE ee BSD

‘as Bressler burns to Harry.

_ BRESSLER:

“fhe Chief says beat it. That's an order.: | . . HARRY:

Yeah. Yeah.

Harry tries to sit up. He's in considerable’ pain, but makes ~

-it. Bressler is listening. on the phone.

nf @& " BRESSLER: : _“ . The Mayor? All right. I'l call ' him tomorrow.

Bressler hangs up, looks over at Harry.

“HARRY: » ’ “You wouldn't have a Maks of whiskey | ee

Yeah. One for the road,

- B2,

352. ANOTHER ANGLE Bt 352.

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

¢ HARRY: | | What was that about you calling | 7 xX 1 SES Mayor Tenorrow? ote

BRE SSLER: 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: | SS ell him the truth, I gave Gonsales orders aS a superior, You didn't. know a damn thing about it. As soon as this thing is wrapped, I'll turn

o7° a -. in’my star and gun if they, want me 7 x _ a _ Where's that drink? . eS Bressler turns back to the cabinet as the phone rings: | | .. BRESSLER: - Want to get that? 353. ANOTHER ANGLE . ee OS 363, as Harry. reaches out to the PROBS), picks Lt upt “ | HARRY. a Lt. Bressler’ s office, . i xX (pause; then) . Yeah, Yeah. Well, put him on, snaasher turns to look at Harry. aa has. found the bottle: a ss BRESSLER:_ ‘What is it? . ; HARRY: ig That emergency hospital in Golden Gate oe, Park, The Dector reported treating a

knife wound in the leg, .

(back to phone) 7 a8 7 X Helle Doctor?. This ig Inspector Xx “Callehan. Homicide. This ie wound you treated, what did the guy look Like?

35h, INT, PARK EMERGENCY HOSPITAL ~ NIGHT 35h

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

“DOCTOR:

Medium build, One hundred and a forty-five pounds. Saliow complexion, — |

“35KA. AN OTHER ANGLE - FEATURING HARRY a 5g

Soe tes

We are CLOSE ON Barry, . nou in the waiting room of u

. the emergency Hospital. With Harry is enews DiGeorgio. . - Harry is writing in a Botsniook asi .

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 a couple of HipPle KIDS, A: BOY and GIRL, _ badly oe F strung out. .

go... , -_ _ DOCTOR:. MO - I don't see it here,

- | _. (glances toward. Hippies) They usually give a phoney name in.

any case. But, [tm sure I have ssen him’ someplace,

355, CLOSE ON HARRY | ge ' | HARRY: —— Try to remember, Tnere's a fourteen © Xx year old girl smothering to death,

356. CLOSE SHOT ~ DOCTOR.

‘DOCTOR:

{nettled) . I am trying to think, It-was a e-=—: - i. think he works around here, |

357. ANOTHER ANGLE

AE | As the Doctor rises and comes arcund the desk, the X ahead Hippie Girl crosses over to him, indicating the boy, — : BO ss AIPPTE GIRL: | | mS

— Could you just give him something for . his chest? He can't stop coughing. (CONTINUED) _

peer

“Es

“eeal

} _f

CHANGE |

4/2/71 . . ; 6B. | 357 (Cont.) . SO BBR. - Yes. ‘Just a moment. - 387A. DOLLY SHOT - ae a a 357A, We move with’ the Doctor as he crosses 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: _ . . HARRY: Se Doctor. For Christ sake! Shetll ~ ‘be dead in an hour! oe - DOCTOR: oe I'm trying to remember, I -< (then) rn _ I've got it. Who he is, When they had football he used to sell programs at the stadium. I think the erieungs=; keeper let him live there. | oe Xx HARRY: Let him live where? 357B, ANOTHER ANGLE - : 8 7B, as the Doctor goes to the anbuleqes. entrance: and throws open ‘the door, neveRsing Kezar Stadium across the parking lot. : “DOCTOR: | | oo There, Kezar Stadium, > -_

| We PAN and pick up a police car as it comes up the road

to the Stadium. The. headlights go off and it drives up and stops by the large west end gate.

ra

ANOTHER ANGLE - ‘THE POLICE CAR - — » ae = 359.

as the doors open and Harry and DiGeorgio pile. out. We. -

move with them as they comé up to the wireemesh fence. There is a.door in it. Harry tries it. The door is locked,

Harry looks up at the fence, There is an opening av the _top of the wire, An agile man could climb the wire and drop.

Over on the OEher side. Now, ‘speaking in whispers:

DIGEORGIO:3 Tllegal entry, no warrant... | fe : - _ (CONTTNUFMAL ---———

359 (Cont.) an a 359, HARRY: a .: # . oo — (ignoring him) ; | a. Looks like we climb. | te | DIGEORGIO eG (shakes head) - Too much Tinguini. — 360. ANOTHER ANGLE pa ae me 360. a: As Harry starts to ‘climb up the Hence, scrambling ups | -prgmorcto: = | I'll find a.way in. re _ — — ’ As the fat saldconen moves up around the side of the Stadium, Harry is climbing the wire mesh. oe of 361. ANOTHER ANGIE 361. - as Harry muscles himself to the bop, over, and-drops © down to the inside of the Stadium. He's in pain, but ‘forces himself to ignore ite. ; | i.

_.as Harry stands on his ‘feet, looks erennd. He looks over toward the tunnel which leads to the playing field. He 1 ee takes his gun out.. . a Fe 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 GROUNDSKEEPER'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". f= |. a

as he looks at the door for a moment, then lifte his foot and kicks the door open with a splintering crash.

don te an inn a se mec ae

z — _ —

ae 366. INT. GROUNDSKEEPER'S ROOM = NIGHT == 366.

err ae

as Harry jumps into the little room, his gun ready. The - room is empty. .

367. PAN SHOT - (HARRY'S Pov) ae - 367

as he looks around the crazy little room With its posters and whatever else. One dim light burns someplace. Wow, |

Harry spots a Little two-burner stove with a coffeapot on

o —— . ——_—

a ANOTHER ANGLE = OO 7 ne | | 368.

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 througon the empty insides of the Stadium. Suddenly we see the Killer running toward us, -his injured leg kicking out grotesquely as he tries to an hurry. We PAN with the Killer to the door marked "LADIES" » He runs in. He has no. ZUN.

370. ANGLE - ON HARRY ee 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 starts to pun onto the playing field, ‘ mo a

372. ANGLE - TUNNEL ENTRANCE TO SEATS 372.

fey We are ANGLED UP. ‘Harry bursts through it clattering down _ _ the benches to gate to playing, field.

a

3736

37h.

3Tae

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! oe

as we see DiGeorgio rushing in to the mas ster electrical , switch. He pulls the switch. :

|. WIDE ANGLE - THE KILLER | |

‘As the lights of the Stadium all. eo. On. "ne ‘stove, caught

hopelessly in the ‘bright glare.

OW HARRY ON 376.

| dropping to one sknee, his gun Lined tow deliberately. firingl . ; ON THE KILLER coe BITS

as the «lh slug 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.

SHOOTING PAST KILLER ON GROUND ONTO EARRY = === 37

as he cones pannans across the field toward the Killer.

ANGLE ON DIGEORGIO a 7 Oo , 379.

who has appeared in one. of the tunnel entrances on the

‘far side of the field

DIGEORGIO: Need any help?

ANGLE ON HARRY es 380,

as he approaches the Killer writhing on the ground,

HARRY: ow Get your ass out of Reres DiGeorgio!

: -_ meee ee

—

i:

,

»

kg .

382."

38h.

. leans closer, and almost too softly:

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,

ae HARRY: The Girl. Where is. she?.

KILLER: a 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 little crease in your leg.

KILLER:

(after a long moment) of want a jawyer.

ANOTHER ANGLE. - 382, Harry's eyes never leave the Killer? 8 face. Now he _

HARRY: Where is. she?

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's wounded leg, deliberately presses down.

CLOSER ANGLE 38h.

as the Killer's mouth opens in a scream, he twists

. desperately almost fainting.

Harry keeps increasing the pressure relentlessly. a

(CONTINUED) -

ae,

ne,

rh Seen

£

38h (Cont.) ne 38h

THRU

HARRY: (softly). “Where is she?

(HELICOPTER P.O. Ve ) - NIGHT xX As the Killer raises his eyes to Har rry, screeming, -we START TO PULL BACK, and UP, FARTHER and farsher until we can see the whole field, then the Stadium with Harry and the Killer just two dots in the center, We CONTINUE UP and UP until the Stadium is e bright green oval in the dark swatch of Golden Gate Park, | GUT TO:

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 . Of men are working. The towering spires of the Golden

Gate Bridge. are in the b.g. and beyond the Bridge, the hills of San Francisco catching the first giints of the Sun . .

ANOTHER ANGLE - THE MEN | oes oF 3882,

They have taken a lerce. guxdbeerd box out of a nole

‘buried in the ground at the end of the steep promontor7..

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,

| curs ; i oe a ; ; 388.

“THRU as the men reach into the box and take the body cf a 393.6

young girl from it. She is naked, smeared with dirt.

_ and blood. We see her through the moving legs of men,

A lolling hand. A flash of her bdlocd-smeared face, eyes bulging, mouth open. A blanket, She's covered.

‘Men start to move her, Among the men, Lieutenant

Bressler.

\- acon

"as he comes UP» watches them move. her = away

We are on a sign ona door which reads? NYILLTAM T.

- ROTHKO." Beneath this: “DISTRICT ATTORNEY." The

‘door is shoved open and Harry comes past us and into

_* the outer office of the ‘District Attorney .

"ANOTHER ANGLE

‘as Miss Willis rises from her desk and 3 moves toward

Te District Attorney's SECRETARY, MISS WILLIS,

- about 45, looks up as Harry enters the office. She is a self-possessed woman with a great deal (of. pro= fessional warmth and charm,

oo waRRy: Harry Callahan. They told me’ it was “urgent.

“MISS WILLIS . Oh yes, Inspector, The District os '. Attorney has teen wanting to talk _ to you. a

“Miss Willis smiles warmly at Harry as she flicks the ‘intercom switch, It is apparent that cone is. getting '- the VIP treatment.

MISS WILLIS: “Itts Inspector Callahan, ©

ROTHKO'S VOICE: | Have hin come in, “please,

the door: |

MISS WILLIS:

“This: way, Inspector,

(then) ae May I bring you in. some coffee?

. Harry shakes his head. She has. opened the door for ery who crosses into the District Attorney's BEE SEB 6 -

39h.

3956

x oo

ee

|

ght BES RIE rms

a fom, : : 398. ;

gine

‘his desk with.a similar report, making notes,

399, ON HARRY

oF 4 F a -s . 9le

Present are the DISTRICT ATTORNEY, ROTHKO, ebout thirty-five and an éidersy, kindijy~looking man, JUDGE. BANNERMAN, who sits in a corner reading an arrest report, Rothko, a sharp, tough-minded man.on the way-up, is at — Also on the large desk -- or on a nearby table -- is the Kil- ler's hunting rifle, Rothko looks Up, briefly, in- dicstes a chair,

. “ROTHKO: - Be done in a minute, - - (indicates) Have a seat,

Harry .sits, still iulied ‘into a false. sense of security:

by Miss Willis? profession charm, Rothko is still reading and making notes as?

ROTHKO: ae I've just been looking over-your. |

| arrest report, A very unusual piece of police work. eet amazing.

. “HARRY : I had some luck, _ " ROTHKO: (looks up) Youtre Lucky I'm not indicting you.

for assault with intent to commit : x murder,

oo 399. as his eyes widen “slightly in surprise.

' to suspect this,

: at? :

ROTHKO = Where the hell does it the right to kick down

_ suspects, deny medical legal counsel, Whe re. have you been? . ‘Doesn't Escobedo ring a bell? Miranda? You must have heard of the Fourth Amend-

ment? What I'm saying to you is that

- tan had. rights. DS

HARRY : Itm ell broken up about. his

say you've got doors, torture attention and

Yeah. rights.

- (GonrtNUED).

Zz

x

Nothing has led hin.

iN,

cpap serene

wo

fre,

aes |

_ Ge | 399 (Cont.) a . Bo 83998 i _ i So ROTHKO: : =

() You should be. I've got news for.

you Callahan, As soon as he's well

enough to leave the hospital -- he walks.

-

. HARRY: What are you talking about?

- . ROTHKO: He's free,

| HARRY: Youtre Letting him: go? oo

oO, “ROTHKO: . We have to. We can't try him, oe

7 : "HARRY: a Why not?

ROTHKO: | a Because I'm not wasting half a mile _ lion dollars of the taxpayers! money on a trial we can't possible win ~~

Spa a - 7 _ (then) .

y . 8 -. Yhe problem. is we dont t have any 7 evidence, — a .

OO, ANOTHER ANGLE ee | as Harry indicates the weapon on the table: x

HARRY: 7 What ‘the hell do you call that? -

-ROTHKO: I call it nothing. Zeros

HARRY: | Are you telling me ballistics can't match up the bullets wae that pattes

-ROTHKO: =. - Pt It doesn't matter what peewee can do. .

. Rothke ‘erosses, ‘pléis up ‘the weapon, x

Vt) oe ROTEKO ate . | Oe a This rifle might make a-nice = X souvenir but it's inadmissible ; e. as evidence. i . “(cowensveD)

eteeenss eats co maec ntti

fo 400 (Cont.) 7 : ee / OO, | ef . 7 _ Who says? Po | | ROTHKO: mo Tt's the law. . | ios "+. HARRY: Soa Fe [ Hoe ae Then the law's crazy. = : a a, | ; Ol. "ANOTHER ANGLE <<)

an oo as Rothko looks over at “Suage Bannermen..

. eo ROTHKO: ee et a This is Judge Bannerman of the . 3 oe Appellate Court. He also. meete-*

classes in Constitutional aw? aa Berkeley. |

' (then)

_ I asked him for an opinion. Your. . 7 honor? . ¢@e * © Ce

BANNERMAN: on .

fhis is obiter dictum of course, But X in my opinion the search of the ‘sus-

_ pect's quarters was illegal. Evidence obtained therepy -- that hunting rifle _ for instance -- is inadmissible in court, You should have gotten a search |

“warrant. Tim sorry, but it's that. simple,

HARRY: Search warrant? A Girl was. dying.

2 3 . -ROTHKO:- - She was, in fact, dead, According a to the medical. report. oe

“HARRY: I didn't know that.

BANNERMAN: a The. court would have to recognize the police officer's legitimate concern for the Girl's life, but. ' . there's no way they can possibly » . oo, condone police torture, All evi- 7 a _ dence concerning the Girl - the | ¢) . . _ - suspect's confession -- any physical . evidence would have to be excluded.

01 (Cont. )

“WO2, ANOTHER ANGLE ny

De ol, "HARRY:

There must be something we could get him on.

“BANNERMAN : Without the evidence of the gun ~ = x. and the Girl? JI couldn't convict . him of spitting on the sidewalk, .

7 Bannerman is recheck ing the report, shaking his head. .

What about Ann Mary Deacon's rights. She was raped and put into.a box.

BANNERMAN :

‘The suspect's rights have been . X

clearly violated under the Fourth

and Fifth and probably the Sixth and Fourteenth Amendments. —

HARRY ¢

pie

to die -~ who speaks for her?

- ROTHKO: | 7 The District Attorney's office, If

-yourll let us.

(then)

. I've got a wife and _— daughters.

I-don't want him on the streets any

more than you do,

HARRY:

He won't be ont there for long.

ROTHKO:

What does. that mean?

HARRY:

Hels bound to stub his toe -- end’.

oot be there when he does,

-

ROTHKO:

This office won't stand for harass-

ment,

_ ANOTHER ANGLE

as Harry crosses to the door, turns back:

_ (cowrrnveD) | |

7 98.

rn 403 (Cont. ) | 7 08,

.

- Killer,

-on this cther bar, We PAN him out of the door, then CON-

HARRY: You think youtve heard the last of him? He's going to keep on - killing peopie,.

ROTHKO: — How do you know?

| HARRY: “ _ ee He likes it. He —— Likes ite oY

Harry turns and exits BS We mmm 7 ae I

We-are CLOSE on a WOMAN ~- without any clothes on -- ina | low, ornate bed, crawling all over it. Pale spots ~ pinks and blues - are playing on the naked girl. We PULL BACK

_to discover she is on stage in a.Nudie Bar, The stage is.

situated over the bar in the back of the room. Sitting at the bar, looking up at the girl. is a CUSTOMER. 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 SECCND NAKED GIRL. She is on a raised

stage, dancing. Bouncy, bouncy, bouncy. Her expression a is absolutely biank, The Customer turns. He is the

MOVING SHOT - THE KILLER oss:

as he, limping badly, gees down the aisle toward the fro door. Moving along another bar, he passes @ Little orch tra which is playing» and another NAKED GIRL who is dancir

ni S

a ct

ia

TINUE TO PAN to the dark shadows: beside the bar,. We ZOOM

‘IN FAST. It is Harry. He is dressed’ informally, wind-

breaker, slacks. He turns and, leaves uae bar aft er the

Raion

The Killer has come. out of ‘the Nudie Bar, He is. moving | around the corner of “the hungry 1" with its sien adver-

_tising Undergraduate Co-ed Strippers ox inerreree, The

Killer looks back, spcts Harry coming out of the bar, He turns into the alley, hurries up the hill.

108...

hoo.

Adi.

- a2.

- He is looking directly at us.

hike.

ANOTHER ANGLE

looks back over his shoulder as we =~-~

HOT.

as Harry comes to the moe of the alley, stops and looks | off after the Killer. ‘The Man is hurrying up the alley, he

e

Los.

. We are CLOSE | on the ‘Killer as he moves up ; Washington ‘Street,

past the construction site, with its board fence and sprsy- can sloganeering. Power to the People. Peace signse §& one As he walks up the street, he hears children's voices.

phay yard.

| KILLER'S P.O.V, = THE CHILDREN'S PLAYGROUND .

hoo.

oO |

Vee ae

a LO? of little TINY KIDS are playirg on the apparatus, ai!

colors. Having a wonderful time together.

om KILLER

ylo.

‘He moves to the preak in the wooden Ponce, looking at the

- kids, his expression flat, un =

ANGLE = CHECKER PAGODA,

ELDERLY CHINESE playing. .We PAN SLIGHTLY as

playground,

HARRY'S P.0.V, = THE CHILDREN'S PLAYGROUND

‘KILLER'S P.0.V. = ON HARRY

THE KILLER

Buddhist Temple and hurrying» uP RSE Street.

yh. We are CLOSE on a checkerboard. We PULL BACK to reveal myo

Harry comes up to the game, watches for a moment, and moves along to the

Pagoda railing. He stops, overlooking the children's

ye.

We are watching the “Children from Harry's viewpoint, when

a y3.

“lke

He turns and hurries off, erossing Washington, passing the

suddenly we see the Killer. He. looks up, directly at US

| _ Was

tee thru

| 419.

y

| | (420,

KS

fas

' WITH HIM, As he gets to the crates, he stops, We WHIF to th

_ his Belt, starts to pate chen on, slowly.

eg ON HARRY . | : re 415, looking after him, - |

| | a re +17 OMITTED , , se thru Oo | a 41s — | be x

‘We are in a deserted part of the warehouse: district, ANGIED |

down a lonely street, empty except for a taxi which is con- ing toward us.. We HOLD as the taxi comes up and stops,

CLOSER ee | 420,

as the Killer gets out of the taxi, the CAB DRIVER is.look- -Ing around the a emUy area doubtfully. ; . .

. CAB DRIVER: You sure. this is where you wanted to a . KILLER: Yeah, fine,

compe Kivier has taken a pill ‘from his: pocket and paid the

Driver, As the taxi drives off, the Killer looks around, tm

@rosses to a nearby warehouse, As he pushes a docr open:

We are in an old and cavernous warehouse, very dark, There are a couple of high windows broken out and motesof dust hers in the shafts. of Light that slant down. _The Killer moves quietly into the vast building, then walks carefully toward some big boxes or crates a dozen. yards away, We are MOVING -

he

Viet

-;

darkness behind the boxes, An enormous BLACK MAN ‘Steps ob

at us.

ANOTHER ANGIE ' a 122,

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

. BLACK MAN: You shake him?

The Killer nods, reaches “inks his. pocket and, “takes out sems -

bills.

KILLER: Tyo hundred.

The Black Man takes the money, counts it, and puts it in his pocket. Now he takes a pair of black Leather BLoves from

« Whew *

bly.

428,

, (98. : THE KILLER ae egy watching the big Man putting on the gloves. .

THE KILLER'S P.0.V. - THE BLACK’ MAN'S HANDS heh.

as the Black Man puts the gloves on carefully, lovingly, finger by finger, smoothing ems flexing: ‘his hands.

as the Black Man tooks uP from his hands, then sorvly:

BLACK MAN: ee, You really. want two hundred dollars oe worth, baby? _

/ xIEEER: — penny. of it.

_ The ‘Black Men. nods, then as he gets an old. cane~bottom chair

from. the shadows?

BLACK MAN ¢ Might as, mea be. comfortable.

ANOTHER ANGLE ns |t-)-

| The Black ‘Man puts the chair against one of the hig crates,

indicates that the Killer should sit. The Killer does so,

“almost like a patient awaiting a dentist. The Biack Man

moves up to him, towering over the sitting man, then his

fist lashes out savagely, catching the Kilier in the face,

ANOTHER ANGLE 7 ne 427.

as the Killer's head is rocked back. seainat eho erate, his shattered nose gushing blood, He is Locking at the Black Man, = i

ANOTHER ANGLE 7 | on _ — 28,

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.

ANOTHER ANGLE | : = Be “429.

as the beating continues, the . Black Man holding the Killer’ with one hand as he continues the beating. There is no

-. other sound but the whoosh of air from the Killer's lungs,

the heavy breathing of the Black Man, and the crack or leathered fist on flesh, | . ,

sobbing on the cus ty wooden warehouse eTeOTe

ANOTHER ANGLE - THE ‘SrAcr MAN Wl.

draws back the other.

(ANOTHER ANGLE _ | : 430.

as at Last, the Killer is knocked from the cheir, and this time the Black Man does not put him back in the chairs,

Instead, he looks down at the Man on the floor.

_ BLACK MAN: “You sure you want the vest?

The Killer raises his head, his face bloody beyond recog= i

nition, the eyes black ard half mad with pain. He whispers | hoarsely:

KILLER: ae od

Every penny's worth -= you black © . my son~of-aebitche - . - — os

BLACK MAN: | r ‘Two hundred doLTans Wentas: ‘Coming :

UPo-

The Black Man kicks the Killer in the ribs, no fun and~ an

games, meaning to break them. The Killer tries not to scream. The Black Man kicks him again, then a third time," | At last, the Killer screams in agony. He is lying there |

BLACK MAN: a re Two. bills worth. Exactly. . a]

as he leans down and picks up the Killer and carries him to | the warehouse door. He opens the door and grebds eae handful of the Killer's shirt, holding him up with one hand as he

| BLACK MAN: . This one's on the houses

The Black Man nits the Killer in the face, sending him reeling out of the warenouse and into the street. The Black.

Man disappears, and we HOLD, through the open warehouse

door, on the crumpled figure of the Kolien, iytns in the

street.

“gut 70:

as an ATTENDANT and a NURSE push a wheeled stretcher through’ & hallway with a lot cof big windows and sunshine pouring

(CONTINUED )

1006

432 (Cont.) ae ga,

ble

43S.

through them, On the- stretcher lies the bandaged inert figure of the Killer, unrecognizable. The stretcher is pushed into the main corridor: . ;

We are on-half a ‘dozen NEWSMEN, Several have tape recorees| - and mikes,. There are a couple of hand-held cameras, maybe

a big television camera. A NEWSMAN looks off. \

‘Ist NEWSMAN: 9 8 That could be him. | _ ts = © ~ = 4d

“The Newsman hurries. toward the moving stretcher. |

‘MOVING SHOT = ee

as the Newsmen cluster around the Killer.: His bandaged face is grotesque, swollen out of Shee a6 Ue just leis the emergency annex.

lst NEWSMAN: Excuse me, Sir. . Are you claining

. that the San Francisco Police . ae _ | Department did this to you? a ‘

KILLER: (his speech . blurred ) os “I swear it. As God is my judge.

_ CLOSER = ‘THE KILLER AND THE NEWSMEN = 3S

‘We are MOVING with them as: the stretcher is ‘being pushed down the hall. _ 2

a ‘Qnd NEWSMAN: Why would they do that? Sir? Why? Why are they harassing you?

- KILLER ¢

I don't know -- they tried to Prams me on the 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. —

smn

ee

ee ee

436..

“ANOTHER ANGLE

. You want my star?

‘101.

Present are the Chief and Harry.

CHIEF’: (to Harry).

This is the part that T partieulerty wanted to hear.

lst NEWSMAN'S VOICE: Just a minute, Nurse. Please.

Just let me ask him one more question. . (then)

Sir? Did you sée. the man who did this to you? .

KILLER'S VOICE: . Yes, I did, His name was. Callahan. Big guy. In homicide. —

The Chief has crossed and turned off the set.

. CHIEF =: That! s @ rerun from the four o'clock news, Since then, he's Saver a. statement to the CHRONICLE. He's claiming you followed and beat him. . (then) What about it, Harry?

&s Harry rises.

HARRY:

CHT EF s ; I want an answer. Have you been : following that man?

| (CONTINUED).

We are PULLING BACK fron ‘the screen. to discover that we are Looking at a television set:

“37.

“4

. SO m ee 7 oo CHANGE 7 ; , : . ” — : . = nett . an 7 . oo, 102. e | 437 (Cont.) 4376 {J _ HARRY: . | . | _ I've been following him -= on my > own time. I didn't do that to — . ; him though. . ‘(rubbing his . knuckles) a Me, I'd of left the SOnRSrS-bE een.

dead.

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

. CH IEF: 3 The District Attorney's plenty

“-hote.. But Til hold. him. off as. tong eas I cane

88 ANOTHER ANCLE rn en Cs

The Chief. is moving Harry toward the door:

CHIEF: 7 ‘Let's get one thing straight. I a, “= _ don't went any MOTE. s« bo ts (beat) at surveillance,

Oe “The Chief opens the dear, Harry steps ‘through, then: curne ye 7 Becks ) , ;

HARRY: | Neither does he. | CHIEF:. ~ ; HARRY: ; a

“Hets going to kill sgain, Chiefs

The only question is who » nero).

and howe “te 7 Harry turns and is gone. The Chief looks after him. DN “ troubled, , | oo SO

ho. ya.

. 1034.

We are on the glassed-off sun deck on top of one of the hospital buildings. There are tables, maybe some umbrellas potted plants. Whatever looks nice. Presently, we are on the door to the Manual Therapy area as & YOUNG ORDERLY comes

: Outs We FOLLOW him over to a table..

’ CLOSER | a te : “WhO. |

At the table we see Chico in a wheeled bed. He is squeezing’ @ spongy red rubber ball in his hand. Also present are Harry and CHICO'S WIPE, 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.

a HARRY: - Go on. Go on. They're really 60d. ‘This guy makes tem where I eat,

‘The Orderly comes up:

_ ORDERLY: ‘Time for obs therapy.

The Orderly starts to get the bed ready to wheel.

ANOTHER ANGIE 7. I

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

. HARRY 3 Bressler talked about you being on permanent with me ---. so at. - least you know you gotta spot — - ‘When you come back.

oe CHICC : TL don't know if I am. coming back, Harry. . : a | CHICO : : To wwe

I've got a teaching credential.

- | -- HARRY: _ Yeah. Well, hang in there. °

lobe

f- - | _ NORMA: © : eal ) See you SenteEnews honeys same time! 42, ANOTHER ANGLE - ON HARRY AnD OEE : dhe.

bh3.

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. —

as Harry and Norma move down the steps, We move with then, _ down and down as:. Do. ae oO

NORMA:

‘It's my fault. | _ 3 _ _ HARRY: . What? . | NORMA:

‘Him leaving. I thought I could a take lt --- oe Se

- She breaks. off, shakes, her head, then dryly: |

“NORMA: No class. . -. HARRY: | Don't. ever do that. ae NORMA: What? | . “ee HARRY:

Low rate yourself.

“NORMA: What t meant was ~- whatever it takes

‘to be a cop's wife, I'm not sure I'm

making it.

(then) He really tries -- and these bastards -- 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 ei ‘time: PS ever

‘gee him alive,

(then)

Am I the only one? Doesn't be anive

your wife crazy?

_ (conwyeD)

fooN

43 (cont.)

5 4 _ HARRY: No. Wyk. ANOTHER ANGLE | hhh. as. they: continue down the open. stairway: | NORMA: — You mean she got used to it? — HARRY: No; she never did. Not really. - We22, what then? a HARRY: _. She got killed. - NORMA: . Oh ---= Please forgive ME o Oo "HARRY: oe She was driving home one night. Three drunken bums in a DECIUP. They came across the center line. That was it. No reason -- no damn reasons. ve NORMA: — I'm Sorry. ne HARRY: 7 eee okay. ANOTHER ANGLE - | bls. ‘They: ‘have reached the bottom flight. of stairs. He stops.

HARRY:

You teil Chico I said I understand.

(then)

Hers doing right to quit, It's no ies |

"NORMA:

Woy do you stay in it?

HARRY:

TT don't know ~- IT really don't KNOW +e

Harry moves off, ‘alone as We ---

citadel ome tots nme a

Lye. kh?

“4y9.

_ ae . 1066 00

We are in an unpleasant part of town, bars on windows,

streets bare and deserted-looking, We SEE the PROPRIETOR of the store inside, working a round,

ON THE KILLER re UGTA

in the shadows natoning the store Across “the street. Now he crosses toward it.

The Killer enters, forcing his battered face into an

amiable mask. -The Proprietor is a big man, soft, but . Mitok- set; small. aggressive, watchful. eyes.

“KILLER: —_ A fifth of. Seagrans, please, ~~: x

The Proprietor. squints suspiciously at the Killer's wreck: “of a face,

7 - PROPRIE rTOR: What “happened to “you?

KILLER: © . My wife! 3 prother, I hit her. {smiles sadly) He hit me, Several times.

ANOTHER ANGLE re SO ~ WHOL

as the Proprietor agmiles and puts the bott tle in a bag which he places on, the counter in, Avont of the TLIO ze

a ee PROPRIETOR: i ‘Three eighty-five.

The Proprietor has kept his hand on the bag, not trust- ing the Killer until he sees the Killer reach into his

pocket and take out some money. As the Killer lays four dollars on the counter, oo,

“KILLER: Yout re the one that's been robbed | all.those times aren't you?

7 ‘PROPRIETOR: Fourteen times last three years, Last two. times I sent them out on | platters. I'm getting to be a

oe

on,

ow

hoo

1G7.

ho (Cont. ) | - I hs.

PROPRIETOR : (cont. y pretty good ‘shot and I keep it right where it's. handy. Right here,

His hand has gone to his waist and reappeared with an ugly-looking Luger. - KILLER: (nervously) “Put it auey PLGraPs

ANOTHER ANGLE) = SO,

The Proprietor smiles, puts the. gun away and the Killer 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, nets him again, Enoch: ing him onto the floor.

ANOTHER ANGLE re “hoh,

The . Proprietor. is guiisened in the narrow space behind the counter and unable to get onto his hands and knees to stand up. His eyes stretched wide to look at the Killer. The Killer reaches down, takes the Man's gun from his belt,

'gnans a shell from the magazine into the chamber, einen

onethere already, the ejected sheli making a small ping? ng, sound on the floor,

KILLER: (softly): Where do you keep the extra she ells?

The Man doesn't answer, staring at the KAlL er. ‘dumbly. The

Killer kicks the Man in the head, repeats softly.

KILLER: Where do you: keep the extra shells? ou TO:

15TH. STREET)

We are SHOOTING DOWN the hillside street as a small school bug comes up the hill toward us and stops where a stairway leads to another street directly below. ae BUS DRIVER is

‘A WOMAN, plump, and pink-faced, abeut fifty. . Somewhat “silly. The bus door-opens and LITPLE KIDS. start getting -

out; they are young, six, seven, eight.

| y yo. : ' " om ; é

_ them. ;

' to close the door,

-are wide with surprise.

408,

There is a large cement retaining wall on the lower street, We are ANGLED ALONG the wall as the Killer moves, limping noticeably, toward the stairs leading up to the higher stres«:

. JYhe 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 Mine, past the Kids.

| uSh. 7

We are ANGLING through the windshield, past the Bus Driver te the KIDS remaining in the bus. As she turns and counts | noses with a tieppy-unisted finger. There are maybe Six of X

7 BUS DRIVER: Is everybody out who | gees out here?

4Ss.. she turns back to the wheel and takes hold of the handle As the doors begin to close, the Killer «° has moved through them and is in the bus. His right hand is hidden inside of his jacket. The Bus Driver turns, her eyes

In the moment before she can gather .- her wits: Ce oe, | . |

I

KILLER: = 4 “(cheerily) . Yo: oO City Bus Tnspector. Hiya there, Kids. — BUS DRIVER: . Now wait aminute. Now, just a minute. oe * Itm not authorized. to -<-

ANOTHER ANGLE 456.

The. Bus Driver breaks off abruptly as the Killer has moved — next to her. He has rammed the angle into. the. Woman | Ss side.

“KILLER: ' All right, ‘lady, let's Bo.

BUS DRIVER:

(bristling). | : What do you think you're doing? Who are you? .

I'm not. afraid of you and your <--- *. _ a

The Killer leans down and harshly under his breath:

109. .

Jy

a «56 (Conte) . _ | : 56. | a co - KILLER: =. Let's go you silly old cunt or Tt blow. your brains all over this EUs: ~ She looks at him and even this addled old: idiot realizes that she is looking death in the. face. a, BUS DRIVER: Where ? : : KILLER: a Just get started, I'til tell you where. As she starts the bus, fumbling, jamming gears in her nervousness, the Killer turns back to EBS kids in the back of the bus, ~UST.. REVERSE ANGIE BY ihe kids in the bus don't lnow quite what to make of the Killer. 7 _ + . mE | TERR oo a Hey. How about a song? . Whe knows . a a song? . : He points to a LLbSLe: Japanese Girl, about six, a real little doll. KILLER: | ‘How about you? . : i] 458. CLOSE - THE JAPANESE GIRL ws Ws8, | as she starts to sing: JAPANESE GIRL: Qld MacDonald had a farm... | “KILLER: (joining in) | Atta girl <+- come on everybody aad . , As the other kids, one by one- join in, the bus moves off. ir a . _ nO mo 7 oe Le uS9. EXT. BUS STOP STREET - DAY. | | SO, / - as the little bus moves up the street, the kids! singing

woices can be neard. With a quack-quack here and a quack~ quack thers. 3 -

a

Le

1.60, EXT. ‘CIVIC CENTER - DAY - SHOOTING DOWN | 1.60,

from the balcony. 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 step in the

ve area wight in front of the city Hall steps. }

yy 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. = -

‘462. HARRY'S P, 206Ve ~ THE CITY HALL 7 - oo yee,

Al ‘Bressler stands on the balcony of the Mayor's Reception Room. He signals impatiently. Come on .

463. ANOTHER ANGLE - HARRY SO rr | 463. as he hurries up. the city Hall. steps, taking them “three at.

a time. — 6h. INT. CITY HALL ROTUNDA -DAY

from the floor. level as Harry passes us, hurrying into the . enormous, echoing rotunda with its marble stairs, balconies, and balustrades,

hes. ANOTHER ANGLE Le, oe 7 a M68.

shooting from the second or third balcony, as Harry crosses and starts up the wide SPREE a .

We are ANGLED UPWARD to the word: "MAYOR". Tt is carved ‘deeply in the marble above the large doors to the Mayor's

- office. We PULL BACK and PAN as Harry passes the gless ‘ trophy case ef 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 balcony. He crosses to Harry whr is.

‘one 167 (cont.) | . h67,

standing by one of six desks in the room. The Mayor's pretty SECRETARY is checking a pad as Bressler comes up.

eee ae

BRESSLER?: 7 This is Inspector Callahan... The Mayor is waiting for hin.. | 7 i sO, The Secretary nods, gestures. toward the nearest door . Harry and Al Bressler go through it.

468, INT, MAYOR'S OFFICE HALLWAY - DAY _—* hes,

a5 Harry and Bressler move down thé interesting, almos Gay Nineties hallway with its red wallpaper and rugs ana gold-framed pletures” of old politicos:

HARRY: . What the | hell's going on?

—— Imothen note from our boy, | HARRY: Who's he grabbed now? BRESSLER: . We don't know ‘yore That's the

- trouble,

| They are through the door and into the Meyer's office,

469, INT, MAYOR'S OFFICE - DAY 469.

The Mayor Ls on the telephone... Billy MeGuggin and. ‘the a 4 Chief are counting money and possibly marking it, may- _be with fluoresecent dots which they check under black

Light. . MAYOR: What about Santa Rosa Airport? Gocd, Good, — . ne (to Chief) So ee They! ve got a 707 jet at Santa Rosa, .X : +: (back to phone). a” | co Tt must be fueled and ready in half . wo a 7 an hour, Skelton crew, ..They must a ) oo be volunteers, Tell them shat the. eA

Tine oo, . . Man 18 dangerous -- well, I'll read you the note, It was delivered at @ight ofclock this morning. —

. an

o

AL

i706

ATL

FEATURING HARRY AND BRESSLER a ‘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. Sranetsao. 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 ang waiting. 1. will call Mayorts 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:

y MAYOR: ell, “you'd better have then stereiie | bye It could be a false alarm but don't count on it. This Man has pretty . , well <= os

- AG this point over ‘the: intercom we hear: —

“ SECRETARY'S VOICE: » 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: is the Mayor speaking.

ad

- DAY S|

The Killer and the. Lady Bus Driver are at the open-air phone. near the bridle. path, where in fact, the Little bus = panied.

ae . "KILLER: Yeah. Well, I want you to telk: to somsbody, One of your bus drivers from a school bus. Okay?

_as the Mayor switches the phone call to conference and the

Killer's voice can be. heard coming from a small loud-speaker _ set on his desk. Rreaalan ana. Genwm sot

472 (Conte) =" WF, MAYOR: xX | 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.

473. . EXT. GOLDEN GATE PARK PHONE BOOTH - DAY ; 473. - as the Killer shoves the Bus Driver toward the phone:

| : KILLER: Tell hin. ) |

BUS DRIVER: . ‘It wasn't my fault. He had a gun, . rs Hever oo a ae,

. KILLER: Just tell him your name,

. ae, -- BUS DRIVER: Mrs. ‘Marcella Platt.

As the Killer draws her away from the phone a

u7h. INT. MAYOR'S OFFICE ~ DAY os Ape

as the Killer's voice continues to come over the speaker, Billy catches a nod from the Mayor and quickly exits office.

KILLER'S VOICE: | oe, You can | check her out, but you don't . — .* have to. You know I'm not bullishitting so you. I got the kids and if you start screwing around, they start OvAnge 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 fieled now- at Santa Rosa Airport. The money will be out there by the tims you are.

ca a

‘Harry again mouths the words: Stall him.

(CONTINUED )

Uy.

Bik (Cente KILLER'S. VOICE: © . . Okay. But listen. i'm just going to be driving along, nice and easy.

A bus full. of kids. I don't want to see any cop cars --- [ don't went. bO see any helicopters | -- a (then) © . You play this down the line with me and the kids'll have a nice little plane Pideceee

Uke

‘MAYOR: nc on . fa yon going? = wg a et .. , Where are you going? —

- .» KILBDER'S VOICE: - aEeT tell the pilot when I got One no alerts. Nothing. ©

. MAYOR:

Ili ‘guarantee that you won't be molested in any way. You have my word of henor on this. oo

bee OEE oe

L756 “ANOTHER ANGLE . ZS os | ae wen en . - as the connection is broken, Bill MeGuggin’ enters.

_ BILLY: . Marcella. Platt. It checks.

MAYOR: oat Xx (to Harry) — a

_. Are you willing to take the money. . to. ‘hin, Callahan?

HARRY: a Mister Mayor, we have to atop this. x Buy i

. MAYOR: ° xX If we make. any kind of ove 46 stop - him he's going. to start ya l.ing | . ebblarens

ow “HARRY: < } oO “po He's going to start ei lling | children "anyway .

Aa

jo oe Cg onetN ED)

75 (cont. )

Ur.

. 480.

7 482.

as the bus moves up the: bighway: nothing out of. mae, ordinary. — :

. Why? Why would he do that? HARRY: oe For the fun of it. Like he did Ann . Mary Deacon. . (then)

MAYOR: | a oF

L7S.

Somebody" s got to. stop him. 5 Xx

MAYOR: ©

. He will not. be molested in any WAY « oo

‘Io gave my word and I - dutene to keep (then). oo

smaatine a direct order, Callahan.

“HARRY: ' Get another. delivery boy.

Harry. turns and exits aS We oo

gut TO:

as the bus crosses Golden Gate Bridge. The Lady Bus is still at the wheel. We can see the Killer facing.

kids, leading in song... ROMs, POM, row your boat."

ag the kids are singing, gome are leoking out of the

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. .

Driver — the

wine -

(GONTINUZED)

a a (“lbs | on 481 (Cont. ) oo HBL KILLER: | | Wetre going to the ice cream faciteryc- rd . Anybody doesn't want to go to the ice | cream factory just say 3s, ' . ‘Ist KID? Oo Ce y , . . a I want to go home. - So oo

a _. ‘2, - ] . - as he flushes with anger ag the Ist kid stants. to ery. Sudde ly he slaps the lst 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

anOLGAUENE ube Bets elose to exploding.

We PICK UP the bus coming toward us, PAN IT PAST end ene on @ green highway sign reading: AIRPORT EXIT ON@ HALF MILE, |

CS Bh, «= INT, SCHOOL BUS (HIGHWAY 101) --DAY 4B. _ gg the Killer moves to the Bus Driver,

eg be. | | ; = ' -KILLER:. | ee Get in the right hand lane.

me . BUS DRIVER: It's not right. to do children that. wey. You could hurt him

| KILLER: - . | dust drive the goddam DUS.

_ She eck at him quickly, frightened. The bus swerves - glightly. -

| > Co SHOOTING through the windshield. as we Pass a Sign reading: | -ATRPORT NexT RIGHT, eo oo oo KILLER:

i oe oe

ne . , . . (0.8) oo, ee oo Right here.

As the bus swerves onto the off remp 3

ae nm Rh a lean ee Teed tte Ban

488,

hol.

4936

“Uh.

widen in apprehension as he stares fixedly:

CLOSE UP - KILLER -- DAY

- | 117. 7

as the bus comes toward US y down: the off ramp, swinging | i right to merge into Sir Francis Drake ‘Blvd.

ANOTHER ANGLE - OFF RAMP AND BLVD. | 487. |

as the school bus approaches the Boulevard, tt has to. braxe; ‘for a slow Volkswagen. The Volkswagen precedes the sence? | | \

bus as they approach a railroad trestle which crosses oven Sir Francis Drake Blvd.

CLOSE SHOT THE KILLER - DAY 7

somewhat nettled at the slow moving car ahead, His .eyes |

_ErpyRATEROAD TRESTLE (KILLER'S 1 P.O. .V.) = NOVING SHOT L89. |

SHOOTING FORWARD THROUGH the windshield as the bus approac

the trestie. Harry Callahan stands on top of trestle dire es iy over path of oncoming DUS. |

| os |

b shocked, Looking upward as the bus moves toward the trestle.

ugil..

~ DAY ; a as he gets ready to jump on..top of the bus.

‘FROM THE TRESTLE 92.

We are SHOOTING PAST Harry. to the approaching bus. as it :

_ Starts, to ‘pass: under the railroad bridge,

ANOTHER “ANOLE h93.

as Herry jumps for the bus: roof,

CLOSE - HARRY Ugh.

as he lands on the roof.

Nee

er, -

2 SGU a Ge es:

976:

02 .

a 118.

es Harry lands with a crash on the roof, the Bus Driver screams, swerves. The kids all yell. The Killer tugs for his gun. oe

as the bus swerves, Harry almost falls off the top. He save 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 luggage in place on too of the bus, Barry is almost thrown from the DUS. ‘Harry pulis himself to his knees. : _

ON THE KILLER - DA*

‘as he starts firing through the roof of the bus. Blam.

piets Bey ing to guess where Harry is.

as the baliets come tearing up bhroug the roof cf the bus.

ON THE KIDS -. DAY | ; “

screaming in terror,

ON THE BUS DRIVER. BO.

as she faints over the wheel. a ANOTHER ANGIE. gd, as the Killer drags the half- ~hysterical driver from her

seat, slides in nats 2% ant grabbing the wheel,- continues driving.

‘EXT. SIR FRANCIS DRAKE BLVD. - DAY | BOR.

as the bus careens down Sir Pemets Drake Blvd. with the

Killer at the wheel and Harry clinging to the top. The Killer is swerving night and. SEs try ing to shake Harry loose. .

Df : _ | oo ef {7 Na 503. EXT. SCHOOL BUS ROOF - DAY t so. 503. . | | Chinging precariously to the top of the bus . | .

50h. INT. SCHOOL BUS {SIR FRANCIS DRAKE BLVD.) ~ DAY Soh. ON THE KILLER a

He ‘ts sawing the steering wheel left-and right, the gas pedal pressed to the floor... The kids are. SCREAMING behind

. him. He half turns and canes up: through the roof a couple of more times.

SOS, EXT. SIR FRANCIS DRAKE BLVD. - DAY” 505, "SHOOTING THROUGH WINDSHIBLD pa :

as the bus swerves: over ‘onto the wrong side of the road.

A piczup truck is bearing down .on US. xX 506, INT. SCHOOL BUS (SIR FRANCIS DRAKE BLVD. }.=- DAY 506.” . CLOSE - THE KIDS | (Ss - as they see the pickup, ‘they SCREAM. i . XK 07... EXT. SIR PRANCIS DRAKE BLVD. - DAY = |. S07.

CLOSE - - ‘THE PICKUP as it bears down on uss

508, INT. SCHOOL BUS (SIR FRANCIS DRAKE BLVD.) - DAY 508. ON THE KILLER |

as. he turns, seeing the igi, eramps “the wheel hard left x

ON THE SCHOOL BUS

. and -skids toward the chain Link fence of. the Eubelans 7 x | Company. ie a , 2 ORY

7 oo, |

with Harry clinging desperately « as 7s school bus Wipes. out the chain tink Fencing.

rae S10. EXT. QUARRY - DAY a «5106 RS : no = > a an 7 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. —

~ 320,

S11, ANOTHER ANGLE - es NR

as the bus hits the pile of gravel, an enormous cloud of — dust riser. The figure of Harry is seen flying through the ‘air dis aUPSaranes .

512. ANGLE ON THE CLOUD OF Dust oo oe 812.

The reddish dust is thick as swirling smoke; so thick thas

. the bus can't even be seen, althougn the frightened cries of children can be heard. Suddenly the Killer appears out. of the dust, his gun in hand...

513... THE KILLER Oo — ae 2 913.

as he limps as quickly a3 possible toward the old sway~ backed building.

On his hands and knees as he crawls his way ciear 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.

CLOSER - HARRY : ;

as he runs to the building, starts climbing a ladder which - leads to a wooden 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 up. The Plant is in operation. Sounds: Moving conveyor 4. belts, so on. © ee _ ee >

S16. HARRY'S P.O.V. eo 516.

There are slanted conveyor belt housings of: corrugated metal feeding into the rear of this strange ramshackle~looking _ edifice. The Killer is on top of one of these housings, aiming for laaatal shot. As he. Bqueszes it offs

517. ON HARRY Se gar

as he dives for cover, rolls and comes up firing at the corrugated metal housing. Blam! Blam!

(

‘518.

520, |

S2l.

See,

52h.

gos,

526,

: . . a 21, HARRY'S P.O.V. Ss 528, 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 him. :

i

DAY . |

Harry dashes up pieke by “stairs — himself inside,

HARRY - DAY | a a

pressec hard against side of tunnel. He peers off.

HARRY'S P.0.V. - THE MOVING CONVEYOR BELT = X 52l.

Far down the dark narrow tunnel with the conveyor belt bi- secting it is the Killer feverishly reloading his gun.

ANGLE ON HARRY I Bap,

as he suddenly springs up and charges down tunnel.

CLOSE SHOT - KILLER a 833, as he fires. |

REVERSE ON HARRY | Balke

the: mouth of the conveyor housing behind. him. He throws.

. himself flat on the moving conveyor belt (as) the shot skids K

past. him. Harry fires. Biamt a . r,s

LONG ANGLE DOWN TUNNEL AT KILLER 8 585

an

A whole section of piling ioe away near him. He darts. into

8. passageway - leading to anebier conveyor. belt tunnel.

The Killer dashes in and starts running down the tunnel to-

ward daylight at the far end.

Sy

a

L

Sat.

‘sa.

- 5336

oo

53h.

"looking back up second mane’

fat

Harry is sprinting toward passageway. He disappears. |

This is the emaller butte ne in the rear; all the conveyor housings lead from it. Now the Killer comes cut of the

_housing, kis! stops, looks around.

There is a big sump or lake ab the rear of the property. Fishing” at the edge of the lake is a little TEN YEAR OLD 50:

CLOSE ON KILLER

ANGLE ON HARRY

“burt ling down tunnel.

- ON THE KILLER | oo (35 = * , are

Fires back ‘and then suddenly jumps off and runs desperately toward the SUMP . :

ree, QUARRY 2na CONVEYOR BELT TUNNEL ~ Day | 533.

- as Berry flies down the tune) after the Killer.

Barry comes out on ihe small. building, Looks: off shrough

an opening in the side of the building toward the sump. -

as the Killer runs up to the kid, grabs him up in his lef arm, presses the Luger against the: kid's temple and turns, ama Tange

4 836. nn <). oe O° 53 ,

3 Syl.

7 | BR ANGIE UP AT QUARRY SMALL BLDG, 9 536.

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. . -!

THE KILLER . . ; . , ee a : . : : Oo ‘ . * 537. (

as Harry's shot takes him in the left shoulder ~~ it mu have missed the kid's head by a quarter of an inch at mos t ~- the Killer yelps in surprise and pain. He spins to th ground, the gun flying ont of his hand, ©

ANCTHER ANGLE eg

as the kid jumps to his feet and runs down the road,

ON THE KILLER i Sra : are 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 reach © ' for — or. not. ms . . an

ANGIE ON HARRY, ee SHOW

advancing toward the Killer, :

HARRY: Was it. five times I shot. or was it six?. And if it was five, then, do. I keep one under the hammer? - (then) ~ I always kind of Lose track mys elf. . Always comes down. to the question ne . (then) : Are you feeling Lucky, ‘punk?

ON KILLER Gs ge OMe

Ui

as he grabs at the gun and ‘in one movement, as he starts so

rise to his feet, “brings. it up ceyanee

af an

Sh3.

. : : , SiS. 5h.

‘road and looks down into the Lakee

‘Blood is staining the muddy waters deep red.

_.CLOSE ON HARRY |

‘He stares off for a long moment,

into his pocket and turning,

: SHOOTING DOWN past ‘the sump with. the bloodied figure in

-of sirens grows louder. .from us, is a solitary figure, growing smailer, the

‘12h. ANOTHER ANGLE as Harry pulls the trigger, his gun blasts, the shot catche: the Killer right in the chest spinning him around. It's

like the kick of a mule, lifting the Killer off of his feet sending him flying into the lake.

wae ry

There is a beat,

HARRY'S P. 0.v, ohh. i

The Killer is spread-eagled in the muddy wat hens oF the sump

Now he's really done it; ats cbeyed orders, enc langered, the children, killed a man. There's pound to be hell to pay. He takes out his star, looks at it, wondering if it's worth the trouble cf 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 wail of approaching volice sirens. He pauses, i then with something close tec a sigh he puts the star back starts. back down the road in the direction he came.

LONG SHOT | 56.

it. As the CAMERA IMPERCEPTIBLY PULLS BACK, the wail Down the road, “walking away

DE De Pd ed

man vase call DIRTY HARRY.

THE ‘END

2 ene nel