"GOODFELLAS" (1990)

Rev. 06/28/89 (Blue) Rev. 09/08/89 (Pink)

GOOD FELLAS

Written by

Nicholas Pileggi

and

Martin Scorsese

Based on the book by Nicholas Pileggi

REVISED DRAFT

January 12, 1989

WA?..HERBROS.INC. © 1989 ~000 ~arner Boulevard WARNER BROS. INC. Berl:><J,,k,C11i£ornia91522 All Rights Reserved

JUNE 11, 1970: QUEENS, NEW YORK.

A smoky, overdecorated cocktail lounge and nightclub on Queens Boulevard. Sergio Franchi is in full voice on the JUKEBOX. It is after midnight. It has been a long night. Balloons and empty glasses litter the place. BILLY BATTS, a 50-year-old hood in an out-of-date suit, holding court at the bar. We see a younger, more sharply-dressed HOOD walk in with a beehive girl friend and hug Batts.

We see four other men, including HENRY HILL and JAMES CONWAY, standing near Billy Batts at the bar, raise their glasses in salute. TOMMYDEVITO and another beehive blonde enter. Billy Batts looks up and sees Tommy.

Tommy walks over and Billy, too aggressively, grabs Tommy around the neck. Tommy doesn't like it.

{CONTINUED)

Tommy's smile turns to a glare as he realizes Billy is making fun of him. The men at the bar are roaring with laughter. His girl is looking glumly at her shoes.

We see that Tommy is still angry, but begins to relax with Billy's apparent apology, but as soon as Billy sees that Tommy is beginning to relax, he contemptuously turns his back on Tommy.

Henry quickly steps in front of Tommy who is about to explode. Batts is facing the bar and does not see just how furious Tommy has become.

1 CONTINUED: ( 2 ) 1

Tommy roughly grabs his girl's arm and storms out.

We see the last two guests get up to leave. Henry puts another dollar in the jukebox and moves back behind the bar and starts to total the register receipts.

ENTRANCE OF SUITE

From HENRY'S POV behind the bar, we see the guests leave and suddenly we see Tommy in the doorway. Henry walks around the bar and approaches Tommy.

We see James and Batts are still seated at bar with their backs to the door.

We see James nod.

HENRY

approaching Tommy who is carrying a large folded package under one arm.

Tommy, followed by Henry, walks over to the bar where James and Bill Batts are talking. Tommy drops the package on the floor.

Billy Batts looks up.

James turns around and sees that Tommy has a gun in his hand.

James immediately grabs Batts's arms and we see Tommy smash the gun into the side of Batts's head. We see Tommy hit Batts again and again as James continues to hold Batts's arms.

We see Tommy club Batts to the ground with James holding Batts's arms.

HENRY

locking the door.

BATTS'S INERT FORM

on the floor.

We see Tommy unfold the package he had dropped near the bar.

It is a plastic, flower-printed mattress cover.

Tommy and James start putting Batts's legs into the mattress cover.

Henry is standing over them as James and Tommy struggle to fit Batts's body in the mattress cover.

Tommy is looking brightly at Henry, as he and James finally zip Batts in the mattress cover.

Darkness. The open trunk of Henry's car. The mattress cover is being shoved into the trunk by the three men. It is heavy work.

Darkness in the kitchen. We hear noise of doors opening and tools being banged around in the dark.

Suddenly the light in the entryway goes on, and we see Tommy's MOTHER, in housecoat, beaming at her son and his friends.

KITCHEN TABLE

where Tommy's Mother hovers over the seated Tommy, Henry and James. The table is filled with plates and coffee cups and the debris of dirty dishes.

We see her reach next to the refrigerator and pull up a couple of oil paintings she props on the edge of the table.

WINDOW

where we see Henry's car with the body in'the trunk, still parked at the curb.

Finally on their way, Henry is driving. James, in the passenger's seat, and Tommy, in the rear seat, embracing the shovel, are dozing off. The sleepy HUMMINGsound of WHEELS is suddenly interrupted by a THUMPING sound. At first, Henry thinks he has a flat, but the THUMPING is too irregular. James awakens. His eyes are on Henry. Tommy leans forward from the rear seat. Silence. THUMP! Silence.

Car pulls off the road onto the grass. Henry, James and Tommy, still holding the shovel, get out of the car.

Henry opens the trunk and steps back. In the trunk light we see the mattress cover squirming around. We hear MUFFLEDGROANS.

Tommy suddenly smashes the shovel into the moving, bloody mattress cover. He smashes it again and again and again. Cursing Batts with every swing.

Tommy swings shovel again and again.

Soon the mattress cover stops squirming and Tommy stops swinging the shovel. He is exhausted. Tommy and James get back in the car. Henry is facing the open trunk.

TILT UP and FREEZE ON Henry's face slamming the trunk shut.

MAIN TITLE - GOODFELLAS

UNFREEZEand

HENRY - AS CHILD

looking out his bedroom window.

TITLE - EAST NEWYORK: BROOKLYN. 1955

with faded "Pitkin Avenue Cabs" sign above the door.

It's after midnight. We see a half-dozen, immaculately- dressed hoods wearing diamond pinky rings and silk shirts, lounging around the cabstand talking and sipping coffee.

HENRY'S POV

We see a Cadillac pull up the to cabstand. We see the car rise slightly when two huge, dapper hoods get out.

On hood #1 we see large diamond pinky ring on a sausage-thick finger.

On hood #2 we see abroken-nosed hood's tie hanging loosely across his monogrammed shirt like a silk bandolier.

On the sidewalk we see the two hoods who just got out of the car hug and playfully shove TUDDYVARIO, the sloppily-dressed, solidly-built hood who runs the cabstand.

We see Tuddy laughingly try to push them away.

We see a laughing hood #1 slyly.slip behind.Tuddy and grab him around the neck, while hood #2 starts feigning punches to Tuddy's ample midsection.

Suddenly Tuddy Vario and hoods see that PAUL CICERO, the boss, is standing in the cabstand's doorway. Cicero is a large man, standing six-feet tall and weighing over 240 pounds. He appears even larger.

Tuddy and the hoods immediately stop horsing_around.

TITLES CONTINUE.

CARMELLA HILL, Henry's mother, shoves his books under his arm and pushes him into the hallway. We see Henry's two brothers putting on their jackets and picking up their books and almost tripping over another brother's, MICHAEL, wheelchair. We catch a glimpse of two sisters eating breakfast.

We see Henry's construction worker father sipping coffee in kitchen before going to work.

We see Henry's mother shove him out the door with his school books.

Carmella, in doorway, watches Henry go down the block toward school.

When Henry turns the corner, along with other school-bound youngsters, we see he suddenly stops. The other school children keep walking. Henry carefully sticks his head around the corner. His mother is no longer there.

We see Henry race across the street toward the cabstand.

We see Henry leap into the air to catch a set of car keys.

We see Henry, who can hardly see over the,dashboard, jockeying a mobster's Caddy around the cabstand parking lot. We see other kids, Henry's age, watching Henry, in awe, from behind a fence.

We see Henry watching two uniformed cops laughing with Tuddy and some hoods while stuffing whiskey bottles under their tunics.

We see Henry trying to sip hot espresso coffee just like the big guys, except we see Henry grimace because the coffee is too hot and far too bitter.

Tuddy is f-0ldingand placing long sheets with policy bets into a brown paper bag. In the b.g., we see hoods going through boxes of stolenorange and blue cardigan sweaters. Henry waits at Tuddy's sideuntil Tuddy finishes making a notation on a slip of paper. Tuddy holds the paper bag in his hands and ...

We see Henry running out the cabstand door carrying the paper bag. He runspast half a dozen hoods, lounging outside on wooden chairs,wearing orange and blue sweaters.

Henry is silent and begins backing away.

Henry tries to dart past his Father, but he cannot escape. Henry gets a blow on theback of his head. Henry's mother starts to interfere, but is pushed back.

Carmella screams. Henry doubles up.

Henry's Father keeps pounding away.

CLOSE ON HENRY'S FACE

FREEZE IN ACTION ON:

HENRY'S FATHER'S FACE

UNFREEZEand continue the beating.

HENRY'S SWOLLEN AND BEATENFACE

Three HOODS and Henry in parked car outside the post office.

HOOD #1 (pointing to one postman) Is that the one?

HOOD /12 (pointing at another) Him?

Hood #1 and Hood #2 get out of the car and grab the stunned MAILMAN. He loses his hat and spills some mail as they shove him into the car's rear seat.

Tuddy Vario is standing in front of a pizza oven. Henry watches the Hoods shove the Mailman against the side of the oven. We see Paul Cicero in the b.g.

GOOD FELLAS - Rev. 6/28/89 14.

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18A EXT, STREET 18A *

Tuddy and Henry running in the rain to Paulie's house.

HENRY (V.•O.)

Paulie hated phones. He wouldn't

have one in his house.

TUDDY AND HENRY

talking to Paul in the,doorway of his house.

GOOD FELLAS -Rev. 6/28/89 14A.

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Hoods are cooking s~ul!!agesandf~PJiir, 9ftgrill. There ,arebottles of hl:>..madewine andkeg o.,fbeer.

We see Pa\11Cicero hold;i.ng~cO\lrtwhile.e'11,t1ngasa\lsage sandwich.

Ll.

There are hoods standing around him at a respectful dis- tance. Only Tuddy approaches him with ease.

We see a hood talk to Tuddy. We see Tuddy relay the message to Paul. We see Paul say something to Tuddy, who nods back to the hood and then motions to Henry to come over. We see Tuddy bend down a little and whisper in Henry's ear.

DOLLY IN ON Paul's face.

We see Tuddy in his car, hand Henry a hammer, some rags, and a five gallon can of gasoline.

We see Henry BREAK the WINDOWSof about six cars parked facing the sidewalk.

We see Henry shove the gas-soaked rags through the broken car windows. Henry looks up the block where Tuddy has parked. We see Tuddy (from Henry's POV) look around and nod. Henry immediately begins tossing lighted matchbooks through the smashed car windows.

Suddenly the night EXPLODES in orange brightness. We see Henry begin to run toward Tuddy's car as the cars he has ignitedbegin toEXPLODEbehind him.

FREEZE ON Henry's silhouette against the darkness like a man in hell.

Henry's mother opens door of house, bright daylight.

MOTHER'S POV

She sees grey lizard shoes, grey pinstriped trousers, grey silk shirt, Billy Eckstein collar, yellow silk tie, and double-breasted jacket. She looks up and sees Henry's smiling face.

SCREAMING MAN

running toward the pizzeria, holding his hand.

We see Henry standing near front of store.

Henry grabs a chair, takes it outside for the man to sit on and closes the pizzeria door.

The man collapses in the seat andHenry immediately starts wrapping the man's shredded and bleeding hand in his apron. The man is turning white and praying.

We see Henry prop the man in his chair and race into the pizzeria for more aprons which he takes outside and wraps around the man's bleeding hand, just as an ambu- lance pulls up.

We see Tuddy come up behind Henry as the man is rushed away.

We see that Henry is stunned.

Henry is making a ham and cheese sandwich. CAMERA TRACKINGTHROUGH room full of people playing cards, THROUGH professional card dealers skittering cards across green felt tables, THROUGH bodyguards watching the door, THROUGH Tuddy Vario walking around the tables, THROUGH Paul Cicero standing quietly on the side, THROUGH Henry giving the sandwich to one of the players.

CAMERA COMESTO REST when James Conway walks in the door.

HENRY

looking at James.

Henry sees Cicero give Conway a hug around the shoulder. Henry sees James handing money to the doorman. Henry watches players timidly move their chairs slightly to make room for James. Henry sees James pull out a wad ofbills and sit down.

We seeHenry make the drink and bring it to James. Cicero is standing next to James.

We see James slip a $20 bill in Henry's shirt pocket.

FREEZE FRAMEON James.

The trailer truck is stopped at a light in a deserted area near JFK Airport. We see the driver being quietly led to a car where James Conway is standing. We see James routinely take the driver's wallet. There is absolutely llQ.resistance.

CLOSEUP- WALLET

We see James put a $50 bill in the driver's wallet.

CARTONS- DAY

piled inside a large trailer truck.

James and Tommy DeVito, a youngster about Henry's age, are moving large cigarette cartons toward truck tail- gate. While James is dressed like a truck driver, Tommy is very nattily dressed in a sharply-cut suit and highly buffed shoes.

James and Tommy are loading the cartons into the arms of a woman SCHOOL-CROSSING GUARDwho is having difficulty carrying the load.

We see Tommy scramble down from the truck and help the School-Crossing Guard to her own car where we see she already had a load of the cartons.

We see Henry standing near her car and watching.

JAMES

standing between Tommy and Henry.

POLICE CAR

pulling onto the sidewalk where Henry, Tommy and James are standing. The COPS recognize James.

COP fl Anything good?

Henry watches James smile and toss a couple of cartons of cigarettes into their radio car.

The Cops wave and drive off.

We see Henry busily selling cartons to workers. Tommy is getting cartons out of the trunk of a car parked nearby. Henry is so busy he can hardly keep the money and cash straight. Instead of the neat roll we saw on James, Henry's cash is a wrinkled mess. Some of it is , rolled, some folded, some in different pockets. We see Henry approached by two city DETECTIVES.

Detective fl roughly grabs Henry's arm. Detective 12 grabs Henry's cigarette cartons. We see Henry pull his arm away and one of the Detectives slaps him across the face.

We see that Tommy is about to say something, but runs away instead.

We see Tommy talking to Tuddy and assorted hoods at the cabstand.

Henry is waiting along with dozens of hookers, nodding junkies, muggers and shoplifters. When Henry's case is called, we PAN TO a well-dressed mob lawyer. Henry, who has never seen the lawyer before, walks to the prosecutor's, rather than the defendant'-stable. A court clerk nods him over toward his own lawyer.

,

We see DRIVER get out of truck with ENGINE still RUNNING and leave door open. He nods to Henry who does not respond and the Driver casually walks toward the diner.

We see Driver rise fromdebris of breakfast dishes, leave a tip and pay the cashier. He walks out the door toward his truck in the parking lot. , HOLDON the door.

Driver rushes back in through the door toward the cashier.

A cavernous room within earshot of the airport that looks like a movie nightclub. No matter when you walk into the Bunz Lounge it's always themiddle of the night.

CAMERA TRACKSPAST the zebra-striped banquettes and bar stools, past sharpy businessmen, bookmakers and hoods.

CAMERA TRACKSTO the backroom which we see is filled with racks of clothes, boxed television sets, new toaster ovens and stereos. We see MAN rolling racks of fur coats into the room which looks like a discount store warehouse.

SONNY

I (closing door to

backroom) I need suits.

' CUT TO:

HENRY, JAMES, TOMMY AND ASSORTEDHOODSAND THEIR GIRL FRIENDS

are having a party. There are champagne buckets around the table which is litteredwith steak and lobster dishes. The table is amess and everyone is laughing. We see Henry look at his watch and look at the lounge's entrance.

DOORWAY OF BUNZ LOUNGE

We see FRENCHY McMAHON,a beefy man in a leather windbreaker, enter.

We see Henry get up and go over to greet him.

BAR

Henry and Frenchy embrace.

Frenchy is still wearing his Air France cargo worker's coveralls under his leather jacket and we see the "Air France" logo and the name "Frenchy" in script over the coverall's breast pocket.

We see Henry turn to table andwave at James to join them at the bar.

TABLE

We see James get up and go to the bar.

We see Tommy at the table with SONNYBUNZ, the owner, hovering around. Sonny Bunz isholding a thick sheaf of bills. We see Sonny timidly approach Tommy by whispering in his ear. In the b. g. ,,wealso see the face of a terrified waiter.

We see Tommy just stare menacingly at Sonny.

33 CONTINUED: ( 3) 33

We see Sonny Bunz flee toward his office, with Tommy making a half-hearted gesture to follow, but instead, he walks over and joins Henry, James and Frenchy at the bar. He is smiling.

We see Sonny Bunz meekly seated at table facing Paul Cicero. Henry is standing behind Sonny Bunz for support.

t Someday they'll get what's coming

I to them. That's the only way

they'll stop.

I

Sonny looks up at Henry for support.

We see truckswith liquor, beer, sides of beef, even furniture like bar stools and large mirrors being unloaded and delivered into the front door.

We see Henry and two hoods from cabstand checking the cases of liquor being delivered into the lounge. The entire room is filled floor to ceiling with cases of whiskey, wine, crates of lobster, and shrimp, and stacks of table linen and sides of beef. The place looks like awarehouse.

We see cases of liquor, wine, etc., being carried out of the reardoor of the lounge by hoods from the cabstand and loaded onto U-Haul trucks.

Henry, James and Tommy are standing around the small workman's table. There is no desk. The office looks denuded of furniture. A lawyer is going over papers.

A terrified, unshaven Sonny Bunz is seated behind the desk. The lawyer is showing him where to sign.

LARGECLOSEUP - HANDS

making rolls of toilet paper being kneaded into long rolls with Sterno.

HENRY AND TOMMY

shovingwads of Sterno paper into the ceiling rafters.

CLOSEUP -MATCH

lighting rolls of Sterno paper.

The street is empty. Henry and Tommy are seated in Henry's car. Theyare watching the Bunz Lounge.

HENRY AND TOMMY

watching smoke coming out of basement windows of Bunz Lounge.

We hear CAR ENGINE START.

a red damask restaurant. Tommy and Henry are seated on the outside of a U-shaped banquet with their two girls, Helene and Karen, seated inside. Helene is being wooed and pawed by a blissful Tommy. Helene is enjoying every bit of Tommy's undivided attention.

Karen has not touched her melted baked Alaska and is looking directly atHenry. Henry is stirring his coffee.

(sarcastically) Have more coffee. It'll wake you up.

We see Henry pushing Karen into the car.

We see Henry hurrying Karen out of the car.

We see Tommy, Helene and Karen seated at a table set for four.

A hot night. The hoods have moved to the sidewalk where we see them sitting in sleeveless underwear, watching the street.

We see Henry leave the cabstand when suddenly a CAR SCREECHESup on the sidewalk directly in front of him. The hoods scatter and we see thatHenry is terrified.

HENRY

who sees Tommy and Helene in the car, laughing.

HENRY

who sees the wiseguys laughing.

We see Karen relax for a second.

CROSS AROUNDMAN'S NECK - NIGHT

and TILT UP. Henry is all smiles and slicked-up, stand- ing in the door wearing a grey suit and open-necked black silk shirt with a gold cross on chain.

Henry buttons his shirt as Karen's Mother comes to the door.

Henry gives the keys and a rolled-up twenty dollar bill to the doorman at the building across the street and steersKaren toward the Copa.

We see Henry deftly steer Karen away from the Copa's main entrance anddown the basement steps. A huge bodyguard, eating a sandwich in the stairwell gives Henry a big "hello." We see Henry walk right through the basement kitchen, which is filledwith Chinese and Latino cooks and dishwashers who pay no attention. Karen is being dragged along, open-mouthed, at the scene. Henry starts up a stained kitchen staircase through a pair of swinging doors and suddenly Karen sees she is inside the main room. The harried maitre d' (he is surrounded by customers clamoring for their tables) waves happily at Henry and signals to a CAPTAIN. We see a table held aloft by two waiters wedging their way toward the stage and plant the table smack in front of what had until that moment been a ringside table. As Henry leads Karen to their seat, she sees that he is nodding and shaking hands with many of the other guests. We see Henry quietly slip twenty dollar bills to the waiters.

We see the Captain approach with champagne.

Karen watches Henry turn around and wave at a 28O-pound hood.

Henry turns to the stage where the lights begin to dim and Henny Youngman walks out.

On loading platform we see Henry and Tommy dressed in Air France coveralls.

Henry is carrying a large suitcase.

Suddenly we see Frenchy McMahon come through a door, slip Henry a key and lead them back into the office area near the entrance.

Henry goes to the door marked "SECURITY AREA" that Frenchy points out and opens it with the key. Henry and Tommy go inside.

HENRYAND TOMMY

coming out with the suitcase, close the door and walk right past Frenchy without saying a word.

We see the suitcase open on the desk. We see Cicero, James, Henry and Tommy standing around, wreathed in smiles. Henry is counting stacks of cash, spreading them all over the desk.

Henry counts up $420,000 and slides ten packages of $100 bills in front of Cicero who stands up and proudly kisses Henry on the cheek.

James and Tommy, both aglow with the moment, look on. It is clear that Henry has come of age.

HENRY'S FACE

Henry andKaren are at a sun-drenched table after paper- cup and paper plate lunch where Henry is trying to pay cash.

We see athletic young men and women in white clothes carrying tennis and squash rackets walk by. One young man, Bruce, says hello to Karen. She introduces him to Henry.

CHAMPAGNE

being sent to table.

CAMERA PANS TO stage where we see singer's back and Henry and Karen at a luxurious ringside table with linen, silver, and crystal.

Henry and Karen are sipping champagne from Copa glasses in car parked outside her house.

SALON - ANGLE ON MORRIS'S TELEVISION COMMERCIAL - DAY

We see Morris swimming the length of a pool, surrounded by adoring models in bathing suits.

We see Morris and Henry standing near TELEVISION set, COMMERCIALis repeated over and over. Morris is taking bets on the phone and complaining to Henry.

We see an agitated James Conway in b.g. poking at wigs and looking toward Henry and Morris.

We see James in b.g. start toward Henry and Morris when he hearsHenry raise his voice.

We see James come up behind Morris and wrap the long telephone extension cord around Morris's neck. We see Morris's eye begin to pop. We see Henry try to get his hands between the wire and Morris's neck while trying to get James to stop.

We see Morris nodding in agreement that he will pay.

Suddenly, the PHONE RINGS.

We see James, Henry and Morris frozen for.a second. We see James relax the cord. We see Morris pick up the phone. The extension cord is still loosely wrapped around his neck.

Henry takes the phone.

Henry races out the door, leaving Morris and James docilely looking after him as he runs out the door.

53 EXT, ROADSIDE TELEPHONE BOOTH ON HIGHWAY 53

We see Karen waiting at booth as Henry pulls up.

cl"" I

Henry's car is parked at the curb. A new red Corvette is parked across the street.

When Karen gets out of the car, we see Henry reach under the seat for a snub-nose .38 revolver.

We see Henry walk down driveway to the back yard area where BRUCE and two of his brothers are talking. Bruce seesHenry and walks toward him. Bruce's two brothers are smirking.

They get close.

With absolutely no warning, Henry reaches out and grabs Bruce's hair with one hand and pulls his gun out of his waistband with the other. In almost one motion, Henry smashes the gun across Bruce's face. Teeth fall from Bruce's mouth. The two brothers, still not seeing the gun, start toward Henry, but Henry continues to pound the gun into Bruce's face like a dinner gong. Bruce's head is still off the ground only because Henry refuses to let go ofhis hair. Bruce's brothers realize Henry has a gun. They freeze and back off.

Henry dropsBruce to the ground.

We see Karen standing at the side door as Henry races up andputs something in her hand.

We see Karen look down.

CUT TO:·

KAREN'S HAND

holding gun.

CLOSEUP -GUN

We see Karen look around to make sure no one else has seen her. She then leans over and hides the gun in the milk box at her feet.

We see hands carefully wrapping a white linen table napkin around some object. We see the napkin and object placed on the floor. We see a man's heel come down and smash the object, which turns out to be a wine glass. We are at a small Jewish living room wedding with a canopy and rabbi and it was Henry who broke the glass as a part of the ritual. Karen's parents are glumly looking on. Henry's parents are even glummer. Only Michael, Henry's brother in the wheelchair, looks pleased.

Paulie Cicero, Frenchy, Morris Kessler, Tommy DeVito, and all of their wives and fiancees are present.

PAN FROMHenry's and Karen's parents sitting uneasily at different tables.

PAUL CICERO

presiding at a sort of line, introducing Karen to the Cicero family and guests. Henry stands behind Karen, smiling proudly.

HENRY ANDKAREN'S TABLE

Seated nearby are abeaming James Conway and his wife, MICKEYCONWAY

We see Cicero approach and hand Karen an envelope.

We see that Cicero's envelope is richly embossed with hearts and flowers andhas a clear window in front through which she can see several neatly-folded hundred dollar bills. When Karen looks up, she sees that every wiseguy and his wife are lined up before her and that they are all holding envelopes with clear windows in front.

KAREN

perspiring a little as she accepts and thanks the dozens of wiseguys giving her the envelopes. We also see Henry has opened a plastic supermarket shopping bag under the table where he is stuffing the envelopes just as soon as Karen accepts them.

HENRY AND KAREN

getting up to dance.

59 CONTINUED: ( 2) 59

We seeKaren propped up, awake, in a chair. Her father is seated on a sofa, asleep. KAREN'S MOTHER is looking out the window.

FATHER

dozing on sofa.

FATHER

sleeping on sofa.

TITLE UP - .6:30 A.M.

We hear CAR DOOROPEN in front of house.

KAREN AND KAREN'S MOTHER

open the door together and we see Henry standing in door- way, a little drunk.

Behind Henry we see a car with ToounyDeVito still parked at the curb.

Karen is happy to see him. She smiles.

We see Henry look at Karen, look at Karen's Mother and turn around and get back in the car and drive away.

Karen begins to cry.

Karen's father sleepily comes to the door.

ROOM - NIGHT

Karen andmost of the women we saw at the wedding are at Mickey's cosmetic party. There are large cardboard posters of glamorous models using the cosmetics at Mickey's feet.

MICKEY

brushing another woman, ANGIE's, hair while showing off anew brush.

ANGIE'S TIRED FACE

black-ringed eyes and thin mouth.

WOMAN #1 The red-haired guy? He looks like a farmer?

We see thewomen laugh.

WOMAN #1 That's the problem. How can you mention it? Vince'd kill him.

CLOSEUP -WOMEN

talking.

We see they are getting ready for bed.

Karen looks down. She's listening.

Henry puts his arm around Karen and begins to hug her.

who is.carrying a brown paper bag as though it were a gun, pulling a driver out of his truck and shoving him toward another hood who pushes him into the rear seat of a carwhere we see another hood.

HENRYAND TOMMY

getting into the truck.

ROAD

where we see the truck drive off.

TRUCK

where we see the paper bag in Tommy's hand explode in a red burst as he wildly FIRES SHOTS into the air.

We hear Henry's laughter.

We seeKaren looking at a search warrant being shown to her by detectives who are being very polite. The children are looking on.

The detectives smile and, taking off their hats, walk into the house where kids and Karen resume watching TV.

In background we see the detectives going through the house.

We see James and Mickey and Henry and Karen and Tuddy and wife, Tommy and girlfriend, Morris and Karen Kessler, Franky Carbone and wife and the assorted children, all wearing party hats and blowing out the candles on nine- year-old James Conway Jr.'s huge layer cake.

SNAPSHOT

of James hugging Karen and Mickey at table.

SNAPSHOT

of beaming James, Mickey and Henry embracing against the window of maternity hospital while a nurse holds up a baby. Mickey is in tears.

SNAPSHOT

of James and Mickey and Henry and Karen in bathsuits standing next to their poolside chairs holding tall Trader Vic's-style drinks with tiny umbrellas and pineapple sticking out of them.

HENRY'S BEDROOM CLOSET - DAY

CAMERA TRACKSrow after row of neatly hung suits and sports jackets and racks of sharp shoes.

We see Henry getting undressed. He neatly hangs his jacket and then lifts the front of his sport shirt to his neck, revealing thick packets of crisp $50 and $100 bills he has wedged all around his waist.

KAREN'S BEDROOM CLOSET

CAMERA TRACKSPAST rows of Karen's dresses, pants suits, blouses, shoes and fur coats.

KITCHEN

We see Henry, now shaved and dressed in a different suit. He is on his way out.

We seeKaren hold her thumb and forefinger about an inch apart.

We see Henry take about an inch and a half of money from his inside jacket pocket, slap it on the table and go out the door.

A plush, overdecorated cocktail lounge and nightclub on Queens Boulevard, where we hear Sergio Franchi on thejukebox.

(NQTI'.:Replay the opening of the film at 9 times normal speed --Henry slamming the truck closed.)

TOMMY

smashinggun into Bill Batt's head.

SILHOUETTE OF TOMMY, HENRY AND JAMES

stuffingBilly's body into the truck.

TOMMY'SMOTHER'S KITCHEN

andbreakfast.

TOMMY

smashing shovel into soft, bloodied mattress cover in the trunk of the car.

We see Tommy, Henry and James burying Batts.

Henry slamsdown trunk.

being quickly set up by waiters and maitre d' as Henry, Tommy, Franky Carbone, and Joe Manri sit down. In b.g., we see older hoods with young showgirl types.

We see JANICE, a cherry California blonde, and some girl- friends seated at a table directly behind Henry's table.

STAGE

and as stage lights dim:

HENRY'S TABLE

Henry is now sitting next to Janice. Tommy is with GIRL #1. Carbone is with GIRL #2.

GIRL #1 Last week I saw Sammy Davis. What a performer. You gotta see him. You gotta catch him. He does imitations I swear you'd think it was the real people.

GIRL #2 Yeah, the way he moves. It's unbelievable. I mean, you can understand how a white girl could fall for him.

GIRL #2 I don't mean me. Not me. I just mean, you can see how some girls could. Like that Swedish girl. You can see how she fell for him. You can see how he has this, this, personality.

COPA STAGE

spotlight. Bobby Darren is singing.

Henry's convertible pulls up.

Henry has his arm around Janice's neck. We see them go into the building.

SAME - DAWN

Sunday. There are lots of relatives and friends present. Henry andKaren arrive. Karen is carrying their new baby andHenry has his two-year-old daughter by the hand. A great fuss is made over the new baby and over Karen by thewomen, including Cicero's wife. Cicero puts an arm aroundHenry and leads him into an alcove.

,I"' '

Henry andJanice, with the crew, are drinking. Morris Kessler is reluctantly paying off a bet at the bar. James callsHenry aside.

HEnY (surprised) Paulie was just taking about him.

HEnY (shocked) What?

A hot summer night. The car trunk is open. Henry, James and Tommy are struggling with shovels. Henry, sickened by the stench, is wearing his handkerchief over his nose and mouth. Henry looks at James and Tommy. They do not appear to be bothered by the stench.

Henry ishosing out the trunk of his car. He has all of the mats, the spare tire, and jack out of the trunk.

Henry sprinkles in a bottle of perfume and slams the trunk shut.

We see Janice showing off her new apartment to the girls, including SANDY, a sexy, dark-haired girl. We hear Henry, Tommy, Carbone and Manri laughing in b.g. The apartment is decorated in Ocean Parkway Ming. There are thick velvet-covered sofa and blue-glass ·coffee table inbedroom and we see a satin-covered, king- size bed with a doll propped against the pillows. We see Janice lean over and show her girlfriends, including Sandy, the red ruffles. ,,,,-..

Henry is strangling the owner of a bridal shop with his own tie while Tommy and James laugh.

We see Janice suddenly lifted off her feet and thrown on the bed. We see Henry and the gi.rlslaughing. As Henry liftsJanice off her feet, he winks at Sandy, who smiles back.

Glazed walls, ornate sconces, and a rumpus room bar. Henry, James, Tommy and other wiseguys are playing cards. Tommy is a little drunk. Spider, a 22-year-old apprentice hood, is waiting on the players, bringing them drinks. The sort of thing we saw Henry doing earlier. Tommy is feeling expansive. He throws his jacket open to reveal a gun tucked in his belt.

We see Spiderdeliver a drink to Henry and slowly back toward the bar.

We see Tommy taking outhis guns.

The GUN EXPLODES and we see Spider shot in the foot.

We see a set of keys come flying out the window. TILT DOWN TO keys.

BEDROOM

Henry is furious. He pushes past Karen and looks out window.

We see Henry pick up a large lamp and throw it at Karen. He misses.

We see Karen sit down on bed and begin to cry. We hear the CHILDRENCRYING in background.

NIGHT

with bandaged foot, and Henry walking in, and TILT UP TO both of them.

James, Tommy and some hoods are playing cards. Tommy is already drunk.

Spider ignores him.

The card game is going on. Shirts are unbuttoned. The table filled with empty glasses. Spider limps over with drinks.

Spider puts the drinks down and tries to ignore Tommy again.

Spider starts to limp proudly back to the bar.

The players are all laughing loudly. Spider is proudly standing near the bar. And, before anyone has any idea of what is about to happen, Tommy pulls out one of his two GUNS and puts THREE DEAFENING SHOTS into Spider's chest.

Everyone is frozen in ~ilence. Henry is upset by shooting. There is a long pause.

We see a frowning Tommy get up from table and slowly begin moving chairs around to get ready to dig the hole.

We see Janice in the apartment.

JANICE'S DOOR

We see Karen pressing the buzzer while holding two hysterical children.

- NIGHT

CAMERAis LOOKING AT him. Feel a presence on top ofhim.

We hear a CLICK. Henry's eyes open. Henry looks up.

HENRY'S POV

We see the gun aiming right THROUGH the LENS. We can see the bullets in the chamber.

BACK TO SCENE

COVERED BY SERIES OF QUICK CLOSEUPCUTS

Karen sweating, Henry's profile, the hammer of the gun, etc.

KAREN

sweating.

•· {CONTINUED) J

82 CONTINUED: ( 2 ) 82

HENRY'S PROFILE

KAREN'S TRIGGER FINGER

We see Henry slap Karen across the face and knock her off the bed.

We see Karen crying.

We see Henry hit her. He is about to hit her again, but stops. He turns his back on her and opens the door of his closet roughly grabbing some clothes as if getting ready to pack.

Henry opens the door and Paul Cicero and James enter. They walk toward the kitchen. The place is in disarray.

Janice leaveswithout saying a word.

Henry looksdown.

James nods in agreement.

We see MAN's bleeding face being punched.

We PULL BACK to seeJames and Henry beating a Man who is squashed between them.

We see James and Henry beat him more.

We see James and Henry look at each other.

We hear the ROAR of LIONS.

We see James and Henry drag the bookie out of the car by his arms and legs just outside the zoo.

We see the Man finally begin to squirm and scream.

NIGHT

on phone with James and Henry waiting outside.

NEWSPAPER PICTURE

of Henry and James getting arrested.

NEWSPAPER PHOTO

ofman they beat being arrested with his head bandaged.

GOVERNMENT OFFICE

where sobbing typist is surrounded by men in business suits.

Henry and James before judge. Karen and children crying in court: Other family members present and crying.

Tommy,Morris Kessler, Joe Manri, Stacks Edwards, Frenchy McMahon, etc., are all having drinks with Henry before he goes off to prison.

We see by the bar clock that it is four o'clock.

Suddenly,Karen comes charging into the bar. She is angry. She has tracked Henry down.

Henry looks at his pals, ordershis last Screaming Eagle for a while, and gently touches the tips of Karen's fingers. He swallows his drink, hugs and kisses a tearful Karen and walks out of the bar to a long, white stretch limo waiting at the curb.

Henry gets in the rear seat of the limo.

GARLIC

being sliced razor thin.

HOT PLATE

with a pot full of tomato sauce and meatballs being stirred.

FRYING PAN

with smoking steaks.

HOT PLATE

hooked up by long extension cord to an electric outlet in the toilet. There are huge kitchen knives, a block ,.,,..... of ice in a tin pail covered with a cloth and large pots \ and colanders necessary for cooking pasta dishes.

PULL BACK TO a large dorm with four beds separated by shoulder-height partitions. The room does not look like a prison. There are curtains over the bars. The room is filled with smoke from the pan-fried steak.

HENRY

in grey prison garb, carrying a heavy canvas mail sack marked "LEWISBURG PRISON." He dumps the sacks on one of the beds.

HENRY

opens the sack on his bed and pulls out bottles of wine, Scotch, andbrandy, and holds them aloft.

We see Henry reach in the sack and pull out cheeses, dried sausages, a large jar of vinegar peppers and dried mushrooms.

We see Henry begin to set the table.

,~ \ CICERO AND REST OF MOB BOSSES • playing cards, and sipping wine, Scotch and brandy. Henry issitting on his bed with his back to the group. When he sees thatno one is watching him, he pulls a black plastic garbagebag out of the sack. Henry opens the bag and quickly counts the clear plastic bags of marijuana, glassine envelopes of heroin and bottles of pills. Henry quickly repacks the drugs and slips them under his covers.

Visiting day. Henry is in a guard's booth watching the visitors' gate through awindow. We see a GUARD in the room with Henry. There is a KNOCK. The Guard opens the door and looks atHenry. Henry nods. The Guard lets the inmate enter. While the Guard watches, the inmate gives Henry some cash andHenry gives him one of the plastic bags filledwith marijuana and a bottle of pills. The inmate is then escorted out by the Guard who closes the door.

We see Henry casually stuff some bills into the Guard's shirt pocket.

coming through. She iswearing such a large, oversized coat that Karen looks twice as big as she was when we last saw her. She has the two children with her. She is carrying a large purse and some empty shopping bags. The guards see her and immediately help her get through the metal detection device andpast the table where other women are emptying the contents of their bags and packages.

REGISTRATIONDESK

t where Karen quickly signs thevisitors' book.

GUARD'S GRINNING FACE

We see him turn page ofbook soKaren can see the name of another of Henry's visitors.

PAGE OF BOOK

We see name, "Janice Rossi" written next to HILL, HENRY.

PAN BACKTO a large gymnasium filled with formica tables and cheap plastic chairs atwhich we see prisoners and their wives and children eating, talking, crying and, in discreet corners --hidden behind makeshift screens of shopping bags and scarves -- having oral sex.

We see that the bored guards are indifferent to what is happening.

TABLE

Henry and Karen are talking while we see the children playing in the distance at the commissary food machines.

HENRY

I (acting dumb)

What areyou talking about?

HENRY

..,-.. Jezuz Christ!

' KAREN

You want her tovisit you? Good! Let her stayup all night crying and writing letters to the parole board.

We see Karen open her coat revealing large inside pockets where she has stowed salamis, wine, cigarettes, cartons etc.

We see Karen slam a salami on the table with such a thud that the other prisoners and wives turn around.

92 CONTINUED: ( 2) 92

We see Karen slam down cigarettes and wine with a thud, this timewe see a guard turn around and look at Karen and Henry and the contraband on the table. Pause. We see the guard turn his head away.

We see Karen boldly wave a baggie filled with mariJuana and some plastic medicine containers with pills.

Henry grab the narcotics out of Karen's hand and grabs her. We see Henry hug Karen to him and we see her drop her arms and hug him.

We see Henry take the drugs from Karen's hand and slip it intohis shirt.

I finds out.

• I don't want to hear about her

anymore.

TITLE - FOUR YEARS LATER

Henry comes out in civilian clothes. We see his face drop. PAN OVER to the beat-up old car. Karen is behind the wheel. Henry gets in.

The signs of wealth are long g-0ne. Henry sees that Karen has been living four tough, lean years.

Their daughters are watching as Henry looks around the house.

•

• listening to me? Now, come on.

We gotta go see Paulie.

comingout of the kitchen and placed on the table.

DOCK -IN REAR OF CICERO'S HOUSE

CICERO AND HENRY

walking toward the edge of the dock.

Henry nods.

Henry nods again.

- DAY

mixing coke in metal bowl. We see Henry standing behind her. Sandy is an intense, sexy, JO-year-old, divorced, ex-airport clerk. (Sandy is described earlier in Scene ment is a jumbled mess and even the table where she is cutting the drugs is littered with old coffee cups, newspapers, and day-old dirty dishes.

where stubby pencil calculations are being scribbled.

{,-... kept getting the stuff from

never find out. But within a couple of weeks it got to be so big I needed help. I got James and Tommy to come in with me.

HENRY

opening a shoe box he has hidden in a plastic grocery bag. James and Tommy lean close to Henry in order to see inside.

OPEN SHOE BOX

filled with twenty dollar bills.

We see Henry's thumb run through the tightly-stacked twenties like piano keys.

PAROLEOFFICER

in tired business suit coming out of door, over which we see sign reading "UNITED STATES DEPARTMENT OF JUSTICE - PAROLEDIVISION" ...

And we see that Henry, James and ToDDnyare in the large brightly-lit parole office counting their drug profits.

We see James and PAROLEOFFICER walk into the office.

Door closes.

WHOLE FLOOR

filledwith ex-conparolees.

We see Morris Kessler and his wife, Belle, being taken on a tour of an over-decorated and expensive living room.

(NOTE: Shot almost like a commercial.}

Belle plops onto sofa.

(CONTINUED}

Karen's hand flicks a switch on table next to sofa, and wall slides back, revealing TV and stereo.

LARGEMARBLETOP TABLE

ON third object, PAN TO Karen.

As Karen and Belle Kessler disappear behind swinging kitchen doors, Morris and Henry drop onto the sofa.

a seedy mob hangout. We see all of the wiseguys who will be a part of the Lufthansa robbery. Morris, Henry, Tommy, and James are watching a basketball game.

TOMMY AND FRANKY CARBONE

who are leaning with their backs against the bar, their jackets open, bosses of all they survey.

FRENCHY McMAHON

who is playing shuffleball.

JOE BUDDHA

sprinkling sawdust on the shuffleboard table.

FAT LOUIE

who is about 300 pounds and is sitting backwards in a chair, watching the TELEVISION with a drink in his hand.

MORRIS

shoving his way between James and Henry at the bar and turning to the television basketball game.

STACKSEDWARDS

who is sitting at the bar, delicately stirring his drink with his pinky.

LOIS BYRD, a young, pale blonde woman, puts the baby and an overnight bag on the bed as Henry and Karen watch.

We see Lois Byrd unwrap the baby's pink snowsuit and take off its hood and mittens as Henry opens Lois's overnight bag and takes out some Pampers and then he takes out several plastic bags with cocaine and heroin.

HENR:Y They're okay and it's worth it. Ain't it?

We see Henry barely listening while putting the drugs in a paper bag.

COMEBACK to see Henry at table making "cokeballs" in a metal press.

LINE OF COKE ON MIRROR

shoved_under Henry's nostril.

We see straw inserted into Henry's nostril as he casually inhales. He never stops pressing the cokeballs.

TRACKOUT TO Sandy taking a snort herself, and the sloppy table with the drugs, scales, mixers, bowls and sieves. Sandy is razor-blading two more lines.

We see Sandy lick her finger and then run her finger across Henry's tongue. He licks, but does not react as he takes several golfball-size cokeballs out of the machine and puts them in a leather pouch. He gets up to leave.

,l""'- his crotch)

So do I.

We see Henry look at his watch.

Henry is listening to the RADIO while taking his SHOWER.

Henry slams the soap onto the shower floor andpounds the wall with joy.

Private Christmas party. As they arrive, Henry andKaren are hugged by James in the doorway. It is a Lufthansa victory party, but no one mentions the robbery;

James keeps his arms around Henry and Karen as FAT LOUIE CAFORAshows up with his new wife, Dolores, who is also over 200 pounds. They are beaming with pride.

We see a new pink Caddy convertible. The sticker is still in the window.

CUT TO:.

Cops in front.

JAMES

as he watches Fat Louie walk into the bar. (,-...

We see a smiling Franky Carbone walk in the door and we see that his WIFE is wearing a $30,000 sable coat.

Before Henry can answer, we see James start to grab the coat off MRS. CARBONE'Sback.

Meanwhile, we see James grabbing the coat off Mrs. Cabone's back and begin to roll it up and shove it under Carbone's arm.

...,-.,

Do you hear me?

We see Carbone angrily grab his wife's arm and leave.

At the bar, we see Stacks Edwards and his girlfriend drop- ping shot glasses of green creme de menthe into large glasses of chilled Dom Perignon. Tommy and his girl-for- the-night are standing with Stacks and his girlfriend. Tommy is wearing a shiny silk suit that practically glows with newness. We see Frenchy and Buddha with their wives. Everyone is dressed in new clothes and flashing gaudy rings.

James and Henry move toward a quiet corner of the bar.

We see Morris Kessler suddenly burst in on them.

103 CONTINUED: ( 3)" 103

Henry and James stare at Morris, blankly.

James gets up to walk away without even looking at Morris.

We see James walk toward small office in the back of the bar.

We see that Morris is about to follow James into the room, but Henry stops him.

BACKROOM·

James and Henry are alone.

We see James take a thick stack of bills from inside his jacket pocket and press them into Henry's chest.

103 CONTINUED: ( 4) 103

We hear a KNOCKon the door.

James stops as if caught.

James returns to normal.

TREE - NIGHT

We see Henry coming in with the tree.

HUGEWHITE TREE

all set up with large purple balls.

We see Karen and the children excited by the presents revealed under the tree. We see Karen kiss Henry, who slips a thick packet of bills intothe front of her dress.

Karen shivers with excitement.

CAMERA DOLLIES INTO tree.

Stacks in bed.

We hear a loud KNOCKING at the door.

STACKS

opening the door.

STACKS

•.,,,......

(putting on his

trousers) Ball-busting sons of bitches.

STACKS

bending over to put on his shoes.

We hear WATER in the sink.

TOMMY

pulling out a .38 caliber gun with a silencer from his belt.

GOOD Firu.AS- Rev. 6/28/$9 · 90.

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, GUT TO:

106A BACK ROOM 106A*

.. HENRY- .. ....· What's gqing ont' ~~t h~j>f~'Aed ,to.Stacks.?Is .eyez-ytl:i,:i,.ngcpkay7

·J.AMES <s,•i1:i,.qg) Doll't.worfyaboutit •

..·.HENRY There are.cops ;111 overthe p.lace.

GOOD Fμ.LAS - Rev, 6/1-,8/J9 91.

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As Henry bugs TOIIIIIIYthflyhearalCNOCI{atthedoor.

Startled, Henry, To111111Y,andJamesstareat the door

a s_econdand leave the back roo111.

GOOD FELLAS - Rev. 6/28/89 92.

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I111ProvisewithMorris making Henry laugh and ..,

we see Henry exit and Morris _goesoff.

Henry.....looks'.',.upand/,seesJames:'.lookingatMorris..

We see Henry and .Jameswalkin~ toward the door.

HENRY {V,O.). I could see for the first time ,that Ja,meswas a nervou11wreck. His·mind wa.lJgoingin eight ,differe~ directions at once.

GOOJ>.FEIJ,AS- Rev.6/28/89 93.

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Jam~s t1.t;l.CiHenrycontinuewalkingt1>wardtablesinrear of the bat.: ·

·curTO:

CLOSEUP - HENRY

as he sits with James.

GOOD FELLAS.- Rev. 6/2.8/89 93A.

lt)6E· CONTINUED: 106£

with~$•jacket o:f£play{~ cards with

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107 EX'.l'.ROBERT'SLOUNGE- DAW 107

We see Morris, JaillisfndT?~lei:i,yin.g;t:hebar after the long night.· We see Morris lean over and whisper in J8J11es'ear.

GOQD nu,AS ~ Rev. 6/28/19 93B.

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w, see M<>J'.ris.slidei~t;.G>tile,:froJ>.1:s.etit.nexttoQarbone and the Second Ilecloses the door we see 'TDl!l!liY.reacn across.·thefront.seat, pull >(orris'shead ·ba~ ·by the eye .sbc};etsandslash his.thrl.).at.

Morris's blood spl;"aysthewindShie.ldand da~hboard.

We hear a DOOR»ELL, waitingllenryandKaren from sleep.

...•WOfWl.(O•.S.) Open I.JP·.Henry! Karen? It's me. Belle?

(CONTINUEl>)

GOOD¥~ -'.Rev.·f,/~8/89 .93C.

108 COJITUlUE,D:.{J4) 108

·,_._·-,,_--./<-}.,-

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Henry and James are leaving together.

Suddenly James spots two FBI men who had been tailing him, dozing in their unmarked car. He starts toward their car.

Henry watches James tiptoe up to the Agents' car and rap on the window. The startled agents look and see James staring·at them.

While Henry walks to his own car, we see James ROAR off and we hear the SQUEALof TIRES and brakes as James and still sleepy agents in pursuit speed away from the club.

NEAR SCHOOLBUS STOP - MORNING

We see some youngsters walk over to peek in the car. The youngsters are giggling. One boy sneaks up alongside the car door and peeks inside. We hear a yell.

We see the bodies of Fat Louie Cafora and his wife, Dolores, slumped against each other on the front seat. Blood has caked all over their faces from small bullet holes in their heads.

We see large garbage truck back up to the dumpster as garbage man lashes two steel cables to rings on top of dumpster.

We see garbage man signal for 0.S. to tighten cable and tip dumpster into truck.

CLOSEUPOF TOP OF DUMPSTER

as it is tipped over and we see an arm fall over the side and as dumpster tips more we see another arm and the dead faces of Frenchy McMahon and Joe Buddha as garbage man screams to helper O.S. to stop.

We see the open door of a large refrigeration truck.

We see bright lights and flashbulbs go off.

CAMERA STEADILY MOVESIN ON frozen body hanging from a rack inside the truck.

CAMERAS MOVESONTO a CLOSEUPof Franky Carbone's frozen face.

A bright sunny afternoon, Henry and James seated in a window booth. We see James eating eggs on pancakes with sausages and toasted English muffins.

We see Tommy is all dressed. He kisses his mother. Tommy walks down the stairs toward twowiseguys and into a waiting car.

James has finished his breakfast and spots Henry's untouched melon.

FLOOR

We see the car pull into basement garage and door close.

In window, we see James cross the parking lot to an out- door phone booth on the side of the road. TRUCKSare ROARINGpast.

As Tommy proudly walks into the room, followed by the two wiseguys.

Tommy proudly walks into the room. We see a hood sud- denly appear behind him, put a GUN to his head and FIRE.

We see Tommy inertly drop to the ground in a heap.

Suddenly, James slams down the phone with so much strength that the booth sudders.

When James turns around, we see that he is crying.

We see Henry hurrying toward James to console him.

COME UP ON DATE -- SUNDAY,JANUARY11, 1979.

TITLE UP -- 6:55 AM.

We see Henry putting a paper bag filled with guns into the trunk of his car. We hear the loud noise of a HELICOPTER. We see Henry look up. We see a redheli- copter. Henry slams the trunk closed. We hear the HELICOPTER.

As he drives he sees the helicopter.

Henry full face, car in b.g. We see James grab one of the guns in his doorway and try to screw on a silencer he had in his pocket. He can't.

HENRY

putting torn bag with guns back into car trunk.

TITLE UP - 8:05 AM.

We see Henry speeding toward top of a rise in highway approaching Queens Midtown Tunnel.

Henry looks up and sees the red helicopter. When he looks back at the road he is suddenly confronted with a huge traffic jam spread out before him.

We see him jam his foot on the brakes.

TITLE UP - 8:45 AM.

A bedraggled Henry arrives in his brother Michael's room.

Michael is all dressed and sitting in his wheelchair, waiting to go.

CLOSEUP - PILLS IN HENRY'S PALM

We see Henry driving Michael. Henry looks up and sees the red helicopter.

We see Michael, in his wheelchair, chopping celery. We see Henry making meatballs. Lois Byrd is also there, helping Karen shell peas. Lois's overnight bag is on the kitchen table, surrounded by food. The children are play- ing on the kitchen floor.

..,,......

TITLE UP - 11:30 AM.

We see Karen and Henry in car when Karen points out the window.

HELICOPTER

HENRY

putting the guns into garbage cans.

KARENAND HENRY

Looking up at helicopter.

PHONE - DAY

Nearby we see Karen standing outside of their parked car. In b.g., we see a large, busy shopping mall with cars and shoppers.

TITLE UP - 12:30 PM.

MALLPHONEBOOTH

We see Henry slam down the phone.

DOLLYINTO face.

TITLE UP - 1:30 PM.

MALLENTRY

Henry and Karen peek out the mall door surrounded by people with shopping carts and look into the sky for the helicopter. It is gone. He listens. No noise.

DAY

getting guns out of garbage.

TITLE UP - 3:30 PM.

13l INT. MOTELAPARTMENT - DAY 131

We see Pittsburgh DEALER laughing as Henry gives him the package of guns. A young man is also standing in the room.

Dealer puts his arm around Henry and motions him toward the bedroom where they snort some coke and laugh. After snorting the coke, we see the Dealer give Henry a plastic package of heroin he has taken out of a paper bag on the dresser. Henry casually puts it in his jacket pocket.

PHONERINGS in bedroom.

Dealer picks it up, listens a moment and offers it to Henry.

Henry covers the mouthpiece.

Henry hangs up the phone, pauses and dials again.

PHONERINGS. We see Lois Byrd answer the phone. We see Michael is stirring the tomato sauce.

DEALER'S BEDROOM

Henry is on thephone.

HENRY'S KITCHEN

DEALER'S BEDROOM

HENRY' S KITCHEN

DEALER'S BEDROOM

HENRY'S KITCHEN

We see Lois hang up the kitchen wall phone.

Lois Byrd takes a puff on her cigarette and starts to fish around in the bottom of her pocketbook which is on the kitchen counter near the wall phone.

We see Lois Byrd take out the airline ticket.

Lois Byrd reaches for the kitchen phone and calls.

TITLE UP - 6:30 PM.

,,,,,....,

' Henry is working in the kitchen.

We see Henry watching Sandy mix the half-kilo of heroin with milk sugar, doubling the amount. There.is silence between them. Henry looks at his watch. Sandy pauses for a moment and sniffs a line of coke she has cut on a mirror near the table.

Henry snorts some coke, too.

The table and room is a mess. Mixing bowls, scales, and sieves are strewn around the room.

·HENRY (watching the dope being mixed while stroking Sandy's . neck and shoulders) It's okay. I'll make it up. I promise. Just hurry it up a little. Okay?

We see Henry grab the two half-kilo packages off the table and start for the door. Sandy is startled.

We see Henry get out the door just before Sandy throws the scale at it.

TITLE UP - 8:30 PM.

After dinner. Everyone is feeling very expansive. Lois and Henry have left the table and are standing in the kitchen.

HENRY

nodding to Karen that the heroin is in the kitchen.

TITLE UP - 10:45 PM.

We see Henry and Lois get into his car. As they start to move out of the driveway, Henry notices that there is a traffic jam in front of his property. People are walking around with flashlights. It looks like an accident. Suddenly, a MANin Windbreaker appears at Henry's window and jams a gun against Henry's head.

We see Karen hurriedly flushing heroin down the toilet upstairs while we hear FBI MEN at the door downstairs. We hear Michael and children's voices downstairs.

We see Karen go to the bureau drawer and grab a small caliber gun, lift her dress and, grimacing, shove the cold metal into her underpants.

Henry is seated and surrounded by FBI Hen and PROSECUTOR EDWARD MCDONALD. We see Lois Byrd brought in past Henry and ushered into another room. We see the Dealer ushered past Henry and placed into yet another room.

We see Sandy brought in, followed by two cops carrying cardboard boxes filled with pots, sieves and scales from Sandy's table. The cops put the boxes on a table where Henry can see them. We see one of the Narks lick his finger after wiping it across one of the bowls. He smiles at Henry and rolls his eyes.

We see Henry slouch further in his seat while questioning continues.

We see Karen and Henry seated at a table in a visiting area. Henry is nervously looking around at the guards and whispering to Karen.

IN SYNCH

We see Mickey on the phone.

CAMERA PANS to sinister James Conway in b.g.

KAREN

Her face drops, but she's not sure.

We see Henry hurry out of the prison. He looks nervous over his shoulder.

We see Karen and her mother are waiting in the car.

HENRY - NIGHT

frantically looking around the bedroom.

We see Henry and Karen holding onto each other as they cry and scream, with the SCREAMS ECHOING out on the SOUNDTRACK.

THEIR FACES

asleep, and CAMERADOLLIES OUT to reveal a gun in Henry's hand as they sleep.

The place is closed, but inside we see Paul Cicero in the kitchen cooking peppers and eggs in a frying pan with olive oil. We see several hoods surrounding him at a distance. Various supplicants, a local butcher, an old lady, etc., wait for a papal audience.

We see Cicero stand, mute.

We see Cicero reach into his pocket and take out a thick wad of bills. Without counting the money he puts the cash in Henry's hands. Cicero clasps Henry's hands in his own.

CLOSEUP- HENRY

nervously pacing near the doorway. There are jukeboxes and pinball machines of.various sizes and hues on the sidewalk. Some are being loaded onto panel trucks and carted off.

KAllEN He's okay. They sobered him up.

We see James lead Karen to the edge of the sidewalk and point down the block toward a row of stores.

EMPTYSTOREFRONTS

with chalked windows.

147 CONTINUED: ( 2 ) 147

JAMES

standing on sidewalk.

EMPTYSTOREFRONT

with open door and dark figures waiting inside.

·I"" { We see Karen hurry down the block past the stores.

We see Karen's CAR SCREECHto a halt near the garage as Henry comes racing out of the house toward her. He has a gun pressed close to his side.

We see Karen is frozen to the wheel in fear. She is visibly shaking, crying.

We see Henry very gently pull her from behind the wheel. He has cradled her in his arms as, after a wary look around the street, Henry walks her toward the house.

CAMERA MOVESIN ON table.

HENRY'S POV - LONGTRACKINGSHOT THROUGH RESTAURANT

You don't know what you're tracking until you see all the food on the table and James looks up.

James stands to embrace Henry. We see a table with melon, eggs, sausage, toasted English muffins, etc. Henry notices that James has not touched any of the food. Next to James, we see a large legal folder.

HENRY {V.O.) He was jumpy. He hadn't touched a thing. (MORE)

I want you and Anthony to go down there and take care of that bastard. Without him, they've got no case.

CLOSEUP - JAMES'S HAND

giving a piece of paper to Henry.

TILT UP ON James and FREEZE.

149 CONTINUED: ( 2) 149

FREEZE OF HENRY, HEAD-ON

looking at James.

UNFREEZEon Henry and BACK TO ACTION like nothing is wrong.

CAMERA DOLLIES OUT and we see James and Henry sipping their coffee. We see James reach for some food. Henry passes James the salt. They are two guys finishing breakfast-in a diner.

arguing. Karen and some FBI agents are standing nearby.

McDONALD We' 11 packup everything and send it to you.

KAREN

(,-... I got dry cleaning.

McDONALD We'll pick it up.

We see a grim James getting into the rear seat of an unmarked FBI car while hoods watch silently.

Karen is now seated next to Henry on sofa. McDonald is leaning against the desk. In b.g., we see FBI men playing with the children. We see Henry and Karen's suitcases stacked near the sofa.

McDONALD We'll sell your house here and apply the money to your new name.

McDONALD I can't control that.

152 CONTINUED: , 152

I don't care who controls it. Nowhere cold.

We see FBI men filling the barroom and Cicero, surrounded by agents, being handcuffed and shoved toward the door.

arguing.

r

McDONALD Don't worry about the schools. We'll take care of the schools.

McDONALD They won't be left back. They'll stay in their grade.

and TRACK AROUND.

SLOWDOLLYIN TO Henry's face.

CLOSEUP -JAMES CONWAY

seated at defense table in grey suit and rimless glasses. He almost looks like one of his lawyers.

r stashed in thekitchen and a

sugar bowl full of coke next to the bed.

In b.g., we see Mickey Conway crying.

CLOSEUP -JAMES CONWAY

COME UP ON SCREEN --TWENTY-FIVEYEARS.

CLOSEUP - PAUL CICERO

looking older and grey. Cicero is looking down.

COMEUP ON SCREEN --FOUR YEARS.

EXTREME CLOSEUP - HENRY

as he speaks; in synch, directly TO CAMERA. DOLLYIN TO EXTREME CLOSEUPas he speaks.

TRACK DOWN the street.

CAMERA TRACKSPAST white picket fence.

CAMERA APPROACHES house and TRACKSIN TO:

DOOROF HOUSE

As it opens.

A man, still in his pajamas, leans out to get the milk and newspaper. He looks up. It'sHenry.