"MIDNIGHT COWBOY" (1969)

, An IRATE WOMAN speaks into camera:

, IRATE WOMAN They aiways put it that way, but well, all it means, you know, is every fourth American woman's never satisfied, That's it. I: never am -~« have been, you know...

A COOL WOMAN speaks into camera:

SIDEWALK INTERVIEW DAY

A SAD WOMAN speaks into camera:

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Full frame -~ a scandal sheet picture of a sex-starved wife, naked while her husband sleeps, captioned I BUY WHAT MY HUSBAND CAN'T GIVE.

co ss" SAD WOMAN'S VOICE «+-Dut it's a problem. A big Problem, With so many women I know... Camera pulls back to show the picture among other pinups of women -- rich, beautiful or naked, but all blonde -= steam- wilted on the wall over a dishwashing machine. JOE BUCK grins at the wall as he scrapes garbage.

- JOE 2.

- Just keep your pants on, ladies...

MULIIPLE SPLIT SCREEN

ad a Ss moan woe ee

A LADY COMMENTATOR, gradually surrounded by lonely women...

BEAUTY PARLOR ' "" LADY COMMENTATOR Before World War One -~ FASHION SHOW American men cutnumbered -

' PSYCHIATRIST'S CoucH Today American women not La, only outnumber men, but COCKTAIL BAR live five years longer -- leaving them in control of ec GYMNASIUM vast corporate wealth and

seventy-five percent of STATUE OF LIBERTY America’s purchasing power...

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The Lady Commentator is replaced by Joe, stacking dishes, surrounded by frustrated ladies. He laughs tolerantly.

- ~ “JOE re . ¥‘all line up and take your turn...

The Moderator smiles into camera,

2 eens MODERATOR a My question is this -- will American know-how come up with a marketable male to replace alli the men who are worrying themselves into an early grave over women's increasing sexual demands? ;

Joe sings as he soaps himself, "Whoopee ti yi yo, git along little degies, for you know New York will be your new heme!“ Sound and image freeze on Joe's open mouth.

SUPERIMPOSED MAIN TITLE AND CREDITS

TITLES follow as indicated, sound and action continuing aiter each credit,

.-_ =

Joe's song continues over a sweating WAITRESS, glancing up.

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Wrapped in a towel, singing in front of his dresser mirror, Jee sprays himself with deodorant, aiming a last playful blast at the unseen crotch «= freezing song and image as CREDITS continue over...

oee& Calendar girl on the wall blushing.orange, mouth frozen in a tiny 0, staring wide-eyed. Joe‘’s song continues as...

«eevoe rips the wrapping from a new Stetson and sets it on his head, freezing song and image as CREDITS continue.

RALPH, an aging black man, faces a mountain of dirty dishes, “RALPH Where's that Joe Buck?

Singing as he buttons’ his new cowboy shirt, Joe interrupts himself to. answer Ralph...

JOE * Yeah, where's that Joe Buck?

»eecontinuing his song as he pulls up and zips his tisht- thighed black slacks, freezing song and image for CREDITS.

SALLY BUCK, a pretty middle-aged blonde, smiles down at camera,

‘SALLY BUCK . You look real nice, Joe haby...

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Joe sings as he pulls:on his new cowboy boots, arranging his euffs to show off the yellow sunburst at the ankle, freezing song and image for CREDITS.

The pink MANAGER scowls at his pocket watch. ae - MANAGER Where's that Joe Buck?

Joe hums as he piles a complete wardrobe of cowboy clothes, still in their wrappers, into a shiny | new suitcase of black and white horsehide.

JOE “ Yeah, where's that Joe Buck?

‘Holding his watch, the Manager wags a finger at camera,

You're due here at four o'clock, Look at those dishes, look!

Joe laughs as he locks his suitease,.

enough to do it yourself, I'd be happy to oblige...

Joe picks up his suitcase, a portable transistor radio, walks — away from the mirror, then parses to run a comb through his

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hair, hook'’a cigarette at the corner of his mouth and strike a match on his thumbnail before he turns back for one admiring

glance at himself in the mirror -=- proud, exultant, ready -- freezing the image as CREDITS END.

Joe leaves the hotel, carrying his suitcase.

The pink Manager points at his watch angrily.

_ - RANAGER - Four to midnight, understand?

Angle widens to include Joe, holding his suitcase and radio.

Ralph stares at him curiously, stacking dishes.

. JOE Say, look, wh, I gotta have a word with you, if you got a second.

’ - MANAGER Later. Later maybe.

The Manager hurries away, carrying a basket of dishes.

Joe tilts his Stetson as the Waitress appears at the door...

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eo Dut she disappears without noticing Joe. Ralph offers his hand. Joe takes it, helds it. ’

Les - -BAppR What you gonna do back there, East?

° , ‘JOE

Lotta rich women back there...

soe RALPH Yeah?

7" FOE Men, they mostly faggots.

_ “" RALPH 7 - Must be some mess back there.

. a ' - RALPS — Ain't gonna collect your pay?

- ~ 7” JOE I got me two hundred twenty-four bucks of flat folding money... “(slaps hip) | Be know what he can do with that chickenshit day's pay. And if he ain't man enough to do it for himself, I be happy to oblige:

The door marked EMPLOYEES ONLY swings open and Joe appears, measuring his effect on the customers and his fellow em- ployees as he crosses the sterile white dining room, ob- serving the drab details of the life he has left behind -- garbage on greasy di.ues, limp food in steam table trays,

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coffee-soaked cigarette butts, caked mustard and catsup on formica table tops -- two pimply high school girls slurping suggestive nolges after Joe through the straws of empty coke glasses, 0.5. a Tiomkin-tradition chorus sings, “From this valley they say you are going -- we will miss your bright eyes and sweet smile -- for they say you are taking the sunshine..." — .

Tha song ends as Joe comes from the cafeteria "...that brightened our pathway a while.”.

7 ‘ "JOE . Tough tiddy, ladies, you had your chance.

From a high angle -- Joe starts nis long walk toward the bus depot along the street of a small Western town struggling to urbanize itseif, The click-clach-click of his boots is loud but somehow lonely. The radio at his ear drones grain prices on the Commodity Exchange. Joe's pace slows as he passes...

eee@ Glit~lettered sign in the window, glittering in the sun, momentarily hiding the fact that the shop is deserted. Joe gtins as he hears remembered sounds and voices -~ incomplete flashes, more significant in tone than content -~- 4 girl giggling sexily ~- "Keep your meat hooks off my beauty operators, sugar” -- tinkling noises of a busy beauty parlor ~~ Sally Buck singing "Hush, Little baby, don’t say a word,

. Grammaw gonna buy you a mockingbird...”

eeea Shift of light revealing a row of tarnished driers, a broken mirror, a FOR RENT sign in the window. Joe turns teward the bus depot, radio pressed to his ear.

ANNOUNCER'S* VOICE Benson and Hedges One Hundreds makes special awards friin time to time for anything that's longer than anything...

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-

At the same moment, a recognizable variant of the "Big Country” theme blares loud, ;

INTERCUT WESTERN FILM CLIP

Gary Cooper (or John Wayne) walks a frontier street.

High angle of the departing bus, intercut “Big Country” fashion, alternating high shots with closeups of the bus wheels. sO

Through the bus windshield -- a dizzying montage of traffic lines, arrows and signs as the bus sweeps around and up onto the freeway.

doe sits at the front, opposite the driver, cracking his gum as he watches the huge blllboards streaking by, promising him power, happiness and beautiful women if ke chooses the right

’ breakfast food, hair 041 or automobile, Joe listens to the

humming tires, the roar of the engine, shaking his head.

Ignored by the driver, Joe rises and walks back to his empty double seat, glancing around to see what impression he's made on his immediate fellow travelers -- an OLD LADY in frent of him -- a hostile young sailor with acne. behind him -- two teeny-boppers flirting with Joe hyster.cally -- a PALE BLONDE directly across the aisle, smiling at Joe weakly.

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. PALE BLONDE Do you have a stick of gum?

Joe leans across, smzepping his gum as he offers her a stick. He watches her nibble it daintily on her front teeth.

~ - PALE BLONDE Thank you.

mr IGE Plenty wore where that came from,

a -" “PALE BLONDE Thank you, no, it's just till the Dramamine works. I get carsick. ,

- . JOE: Sones

Iooniy get carsick on boats.

. (walts, then) -

But seems to me that's more the

fish smell than the bouncing... Joe realizes that her eyes are closed. Mildly depressed, he stretches himself across beth seats and turns on his racio, finds only static and snaps it off, Further depressed, he examines his reflection in the bus window, squeezes a black~ head and runs the comb through his hair, picks a piece of tobacco off his teoth and lights a cigarette, watching the flame dia in reflection, forgetting to discard the burnt-out match as he stares out at a vast-lonely prairie, a ‘solitary cowboy in the distance, a row of sharecropper shacks appar- ently deserted, a barefoot little girl motionless at the roadside, watching the bus pass. Through this, leading into the next Scene, Sally Buck sings softly "...i£ that mocking- bird don*t sing, Grammaw gonna buy you a golden ring..."

Sally Buck, relaxing in the middle of a busy day, eyes closed wearily while Little Joe massages her neck. Her song con- tinues over the noises of the busy beauty parlor *,.,if thas

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golden ring turns brass, Grammaw gonna buy you a looking-

glass.. ."

SALLY BUCK

Ko, a little lower, sugar, yeah,

yeah, that’s good, Granmaw's beat. 7: ++ + *SALESMAN'S VOICE

You gotta sell yourself, that's the whole trick...

DAY

A seedy TRAVELING SALESMAN with badly-Sitted dentures and 2 frayed collar has taken the aisle seat next to Joe, As he lectures Joe.on salesmanship, he figures his expenses in a worn leatherette notebook, mervous fingers and eyes uncon- sciously revealing the extent of his failure.

~ st Ft JOE Yeah, hell, yeah,

- * ° SALESMAN

And that's my golden rule. Make ‘em love you. Put yourself over and you can sell them anything. If they like you, they‘1ll buy horsemeat for prime beef...

A gawky, adolescent Joe sits sprawled on the couch, leafing through a magazine while Sally Buck bleaches the roots of a

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young woman's hair.

" cr = SALDY BOCK You get him to the church, honey. Be ain't gonna find out you ain't a real blonde till after you're married, then’s too late.

Sally Buck turns, pretending to be stern as Joe jaughs .

° SALLY BUCK You getting teo big for your britches, sugar.

The headlishts of the bus flash past a huge Bisn, painted on the slant roof of a barn: JESUS SAVES.

Joe is alone again. The Salesman has disappeared. The bus

is dark, most passengers trying to sleep. Only one reading

lignt still burms, over the head of the Old Lady in the seat ahead of Joe. Joe squimms, restless, trying to lull himself to sleep with the music of a revivalist gospel group on the

radio,

Joe leans forward to nelp the Old Lady, irritably struggling with the release button on her seat. She scowls as Joe leans over to release her seat, then pulls her blanket around her

and turns away from him, Joe switches off her reading light.

Joe switches it on again, fakes a ge. --natured grin, settles back with his radio, aware of an OLy COWHAND seated opposite

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him, replacing the Pale Blonde, The Old Cowhand is apprais— ing Joe's wardrobe curiously. He looks away when he sees Joe watching him. Joe settles back, unable to think of a way to open a conversation.

‘EVANGELIST?S VOICE Oh, my friends, I say unto you, invest with Jesus, put your dollars to work where they'll pay off at compound interest. The Good Book Says money answereth all things... The Old Cowhand has rolled himself a cigarette. Joe quickly lights a match op his thumb and holds it across the aisle.

sm JOE Light? The Old Cowhand’s "thanks" is lost in a fit of coughing 4s Re inhales his first drag. He settles back, wiping his watery eyes on a faded bandana.

“~ EVANGELIST'S VOICE - ---everyone who sends a dollar to the Evangelical Congregation of the Air will get free gratis a genuine leatherette hymm book S0 you can sing along with Sister Rosella and the Evangelical Cholr...

- JOE” You throw in Sister Resella and you got a deal, right, old timer?

Joa glances across the aisle. The Old Cowhand manages a faint, humorless smile.

. JOE Ging far?

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32. CONTINUED

2 ct ‘JOE Itm bound for New York City.

The Old Cowhand reappraises Joe's wardrobe even more curiously.

; JOE ~ P Ever happen to come across a cowman mame of Woodsy Niles? Friend of my. grammaw Sally Buck... ,

The Old Cowhand considers, shakes his head. Joe leans back, laughing to himself.

Little Joe's head is lost in a beatup cowboy hat, similar to the one worn by the Old Cowhand. Sally Buck smiles on WocDsy NILES == a long-legged cowboy with a shock of black hair -- who stands at her dressing table, admiring himself in a new Stetson. 4 ,

77 te ‘WOODSY - You do mée'good, Sal, you do me real good. You know what I gonna _ give you ba that Stetson?

Woodsy grabs Sally Buck, lifting her off her feet, carrying her to the bed. Struggling, they fall across the cover $ to- gether, Little Joe laughing with them. +

WOooDSY He don't know what makes little

apples by now, it’s time he found out.

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Joe shakes his head, grinning, offexing the 01d Cowhand a cigarette.

- JOE Smoke?

The Old Cewhand shakes his head, showing the rolled cigarette Joe lit for him. Joe nods, still bemused.

Little Joe is cuddled in Sally Buck's arms, under the covers, watching Woodsy, sitting cross~legged on the bed, naked except for his Stetson and guitar, singing drunkenly.

‘" WOOoDSY —-~- - ee -git along little degies?

From a high angle -- the bus slows to a stop.

Joe awakens, stiffi-necked, momentarily confused, He straicht- ens in his seat as he sees the Old Cowhand lifting a sweat- stained saddle down from the overhead rack, starting toward the front of the bus, Joe calls after hin.

“JOE ~~ ot Nice talking to you, old timer,

Joe stufés a stick of gum in his mouth, turns to wave at the O14 Cowhand through the window as the bus pulls away.

WOODSY'S VOICE _ She-dogs squat, boy.» He-dogs’ stand up and lift their leg...

—~

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Woodsy, in his new Stetson, watches Little Joe in his heatup cowboy hat, trying to balance on one foot, one leg lifted in front of the trough. Woodsy rears with laughter.

Joe laughs, flushes, checks his hair in the mirror.

The bus streaks past a brightly-colored billboard -~ IN NEw YORK, A WELCOME AWAITS YoU AT THE TIMES SQUARE PALACE HOTEL!

Joe is now sitting’in the wide rear seat, between two young MARINES and a group of VETERANS wearing campaign caps end convention buttons, passing a bottle, singing “From the Halls of Montezuma to the Shores cf Tripoli..." doe follows the conversation between a VETERAN and a MARINE, partici- pating only because he’s sitting beside them, adopting a remembered military stance,

MARINE © Instant Vegoddam-D,

This Pensacola teeny-bopper -- jail bait <= but Built? Ten bucks she wanted. Three of us made a deal for: twenty-five, see, big goddam bargain?

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a 41, CONTINUED - MARINE Big pent-godden-ciliin bargain, Eigpee VETERAN You got it.

—— -' “yop _— Jesus goddam Christ, I ain't laughed so hard simce I was out at Fort Benning, Georgla.

ee eR Did you make the Viet?

42, INT, REMEMBERED WHOREEOUSE ANOTSER TIME

A Plump, aging PROSTITUTE laughs up into camera.

* PROSTITUTE Hey, hey, what you try to de to me? You gonna cost me money, soldiar:

43, INT. BUS DAY

Joe laughs as he passes the bottle, trying to sing along without knowing the words as the Veterans segue into “Over hiil, over dale, we will hit the dusty trail, as the calssons go rolling along..."

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Sally Buck fondly wipes lipstick from Joe's lips.

“"-"" SALLY BUCK Keep your meat hooks off my operators, sugar, hear?

Joe slaps ‘one of the Veterans'’on the back, trying to follow the song into “Off we go, into the wild blue yonder..."

ANASTASIA clutches a younger Joe, eyes wild, gasping.

Youtre the only one, Joe, the only, only one ever!

Joe is leaning across the two Marines, staring out of the windew as the Veterans switch to “Anchors aweigh, my beys, anchors aweigh...”

moe

me * ° JOE'S REFLECTION Gonna swing my lasso and rope that whole goddam island, yeah!

Drum majorettes leading the parade -- ticker tape and con- fetti -- girls at skyscraper windows,

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INTERCUT NEWSREEL CLIP

Charles Lindberg {or James Stewart) waving act the crowd.

Girls lining the piers -- flags, banners, bunting -~- ship horns, whisties, bells.

Pare 24

Joa crowded as the Veterans prepare to leave the bus, lift- ing down banners and flags.

Tne bus suddenly surrounded by converging traffic, horns honking, segqueing into the noises of Times Square.

Flag draped, reading: WELCOME VETERANS!

EAT. STREET -- BANNER DAY

Flapping in the wind -=- WELCOME VETERANS!

The marquee announces TRANSIENTS WELCOME. 0.5. a singing

‘radio station break blares "W~I-N-S MEW YORK...”

The sign flashes WINS ".,.ten~-ten on your diali" A torchy woman's volce sings from a lonely echo chamber -- introducing a love theme which will haunt Joe hroughout the film.

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Joe sets his radio on the dresser, his suitcase on the bed, then turns to examine his new home -- as anonymous as his Texas hotel room -= but boasting a coin-operated television set. Fascinated, Joe inserts a quarter...

eeethe love song continues over a television talk show feat~ uring a POODLE WIGMAKER defending his profession against a

Joe Pyne«type PANEL HOST, “...weil, I perform a real service, there's a need, so many people, you know, really live in their pets, I mean, lonely, I grant you, but their feeling is real. They want to lavish as puch love, give them as much, yes, pamper them like they were realiy human children or whatever...”

“ - SAUtY BUeK'Ss vozcr There's a TV dinner in the fridge, lover boy...

Little Joe stares sullenly at an antique TV box whie Sally Buck puts her hat oa at the Sireplace mirror. There is a framed picture of Woodsy Niles on the mantle. ' SALLY BUCK You be okay, won't you? Maybe I

bring you'a treat if you're a

Joe watches the Panel Host, “...you're a nut case, fella, a real nut case..."

Little Joe massaging Sally Buck's neck -- continuing the earlier scene.

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-- * SALLY BUCK . I'm so beat, no point you waiting roand, toots, think I'll stop in for a beer or TWO 2

TET. ReCM 1014 ‘Dar "

eas

Joe sits on the edge of the bed, Gacching the poodies primp.

Little Joe stares unblinking at the TV screen as Sally Buck kisses him on tha forehead, dressed for the street,

who SALLY: BUCK . Expect me when you see me.. Looks like I got me @& new beau, lover boy, how's that for an old grammaw? : Hi 11 leave zou movie MONEY os

Sally Buck tucks a dolla? bill umder a framed picture of Jesus,. who has replaced Woodsy Niles on the mantle. ,

AS a fairy godmother's magic wand removes sticky hair spray from a pretty model's head, Joe's quarter runs out and the screen goes blank. At the same moment, the love’seng is cut off by a singing station break "W+I-N-S NEW YORK!" ‘Joe rises, flipping the dial of the radio to a cultured woman's voice reading "...the Dow Jones averages, brought you by Morgan Van- dercook.. Up your income with sound investment counseling..."

«e-but Joe leaves the lady on, savoring the expensive sound of her voice reading the stock quotations. Joe seats hin- Self at the desk, sleased to find a postcard photograph of the hotel. He misxs up a ballsoint pen, counts ten floors up from the street and marks 2a huge X -- THIS IS ME, then turns the card over, pen poised over the address blank.

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a

Ralph stares at the card, surrounded by dirty dishes.

wee “ RALPH -' - me rte ae Hell, he know I can't read...

66, INT. ROOM 1014 DAY

Joe’s pen wavers, starts to write and stops.

As we saw it last, deserted, a FOR-RENT sign in the window. Jvoe's reflection appears; staring at himself, dressed in his dishwasher‘s clothes.

JOE'S" VOICE After all them dishes are washed, what?

sw" FOE'S REFLECTION Then they bring some more dishes and I wash them and then I; wh,” sleep some and then’wash some more @ishes and then I...

"'JOE*S VOICE Say it, lover boy!

~ JOE'S REFLECTION Die.

i

Pom oe “5

Joe stares at the postcard, bemused.

: : “JOE'S” VOICE well, you better just shake your tall, lover Bboy, and root, heg or aie,

ee

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Joe rises abruptly, rips up the Posteard and tosses it out the window, .

moro + —*- Jor Goddam if I came to this town to write postcards,

The toxm fragments flutter down on the crowd -=- 4 woman

brushing irritably at her hair -- aman grimacing, glancing up -— a cop removing his hat to examine it.

From a low angle -~ identical with the postcard photograph -- an unseen hand scrawls a huge X°-—~ THIS IS ME, Camera zooms up to a closeup of Joe at the window.

From on high == as though Joe were watching himself --'the Stetson moves through a crowd of Fifth Avenue shoppers...

..-passing a glass bank, Lady tellers counting money...

os <badeing a display of ‘nported luxury cars...

o«spassing a window which features a aingle gem -- pausing 45 horns blast 0.S. and a mod blo::2 in a stallea Sports car Motions to Joe =- she needs a push. Joe grins, glances at

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himself in the window, runs a comb through his hair, then turns back to see a cop helping the mod blonde.

Joe's heels drag as he walks a deserted block of luxury apart~ ment houses, 0.5. the torchy woman's voice sings Joe's love theme in counterpoint to the blasting horns, a siren, a fire bell, a screech of brakes. Joe's spirits rise as he hears

the tic-tac-tic of high heels overtaking the heavy click- clack-click of his boots. He adjusts nis pace to arrive at the commer at the smae time as a smart and -- in Joe's eyes

“~ very RICH LADY. Joe grins boyishly, holding his Stetson over his heart,

- «JOE Beg pardon, ma'am, I'm new here in town, just in from Eouston-~ Texas, and ‘iooking for the Statue of Liberty.

- -

The delicate profile gives no sign of hearing, Joe follows her to the parkway in the middle of the avenue. There she stops and turns, neither friendly nor hostile.

Were you joking? About the Statue of Liberty?

~ JOE 7 - ss om Joking? No, matam. Oh no! I mean business!

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‘ONTINUED The Rich Lady tries to frown, taken aback, blushing.

we os pTeE papy _ You're not leoking for the Statue of Liberty at all.

we JOE" No, ma’am, I’m net.

~ RICH LADY - why; that’s perfectiy dreadful. Aren't you ashamed of yourself? A twinkle of amusement and sympathy reveals the-age lines at the corner of her eyes. Then she continues on quickly, just as the light turns. Joe's view is blocked for a moment by traffic, then he SEES. +4

eeethe Rich Lady, newly aware of her flanks as she climbs the eters of a brewnstone and searches for her key. Still from joe's viewpoint, he sees himsalz meve into frame and follow the Rich Lady up the steps. The love theme swells 0.5. as +e leaving Joe standing alone on the parkway island, sur- rounded by towering wealth. The love theme continues over...

e+ea Pair of high-heeled Pink slippers, walking a miniature poodle -= slowing slightly, reacting to Joe's cowboy boots as they pass, pause and turn back. ;

‘CASS'S VOICE Burry up, Baby. Do um goody~ goods for Mama,

Joe grins, holding his hat over his heart as he approaches CASS TREHUNE, a blonde lady in a tight black dress, with the look of a movie star who wrecked her career with food.

-

K-

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CASS ; You're hoping to get a look at what?

- “JOE The Statue of Liberty.

oe . CASS It's up in Central Park, taking a leak. “If you hurry, you'll make the supper show. Now get lost.

But as she turns, Cass winks, dimpling the corners of her mouth, signaling Joe to follow her.

Gass holds the DOOR OPEN button till Joe enters the elevator, then the doors close with a soft expensive little’klloocosh and Cass turns with the smile of a very tiny girl...

oe eher lips closing on Joe's as the poodle yaps shrilly at thelr feet. Superimposed, almost subliminally, a golden

dollar sign appears, halating like a star, and the bell of

& pinball machine rings 0.S,

A princess telephone is ringing on a gold and white desk. Cass runs to grab it...

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oe e8S Joe. steps from the elevator, which opens directly onto Cass's penthouse. Cass beckons him toward her, hooks a finger into his neckerchief and pulls his mouth toward hers while she talks on the phones.

As ner fingers reach for Joe’s zipper, cut to... »- Woe's hand unzipping her dress,

7 ' " CASS i was walking Baby. Him got to do him goody-goods, right?

The poodle tugs at Joe's slacks until they fall. Cass atsers her ear ta Joe's mouth, shuddering deliciously.

- "GASS 7 2 Oh God, oh stop, I'can’t stand that. I just date... (quickly inte phone) It's Baby, Morey. Him trying to say hello, Say hello to Morey, Baby. Cass holds the phone toward the yapping poodle, twisting her- Self against Joe as She wriggles out of her dress, passing the phone from one hand to the other.

Bo,

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Gass hangs up. Tue poodle yaps hysterically, disentangling himself from her tumbling dress -- hops onto the couch -- glances off and flees again as an overturned lamp crashes 0.S.

The poodle bounces onto the bed -= remaining long enough to establish a TV REMOTE CONTROL TUNER lying on the satin cover-. det -= then leaps down in panic as he hears Joe and Cass explode into the bedrocm, laughing lustily...

eeethe remote control tuner buried suddenly under the full flesh of Cass's hip, activating...

o..a twenty-five-inch television screen, blasting at full volume...

«+-Cass’s eyes widening, profoundly impressed...

; ~ CASS

Ye gods... «esthe images end sound of the television set flicking joy-~ fully from channel to channel,.,

«..Joe laughing, enquifed by Cass's abundance...

«+-Cass wild-eyed, overflowing the frame... eeead Gleaming slot machine -~ three Sahara cowgirls clicking anto line for jackpot -- silver dollars overflowing the frame...

eeesthe Mutual of New York tower flashes MONY!

JOE'S VOICE cs o- Holy shee~it, this is a goddam penthouse you got here, Cass, a real goddam penthouse,

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Joe turns away from a small terrace, buckling his belt, glancing off toward the sound of Cass in the shower, He flicks the TV remote control, anjoying his power, ignoring the silent images on the screen -- battle casualties, a pretty girl recommending aspirin, a man’s stomach flashing ‘animated pain, starving war refugees, a dog eating pzazz -~ flicking it off to concentrate on the costume jewelry and perfume bottles on Cass'sy dressing table.

CASS’S VOICE Don't look, baby...

Joe turms to look as Cass comes from the bathroom, holding

a towel around her as she runs behind the closet door,

77 ’ CASS'S VOICE Me, too, lover.

"7 * "FOE That's good, it is, cause, well Ioquess I didn't tell you why I came to New York, did 1?

A tower of black bugle beads emerges from the closet door.

f

° CASS — ~ Zip this thing, will you, Tex?

Joe zips her dress, follows her to the dressing table, where she sprays her hair with lacquer,

2/1/68 30,

“\. CONTINUED

Cass stretches her upper lip across her teeth and she smears it with orange lipstick.

a . JOE Don't know what line Morey's in, but myself now, fact is -=- I'm a hustler.

~ 7 CASS {lips stretched) Hers'n zodda meg a livig.

“ "t+ CE Beg pardon, ma‘*am?

~: - -) weaSs Said, a person's gotta make a living.

a “CASS ~~" - Scuse me, hon, fraid I'm only half here. Maybe you oughta tun on along, But why don't you take this phone number?

Joe grins, relieved as she takes out a gold lame purse and opens it. He frowns as she folds it upside down, empty.

dee stands mute as she cups his chin in her hand, seductively.

2/1/68 31,

wee SOR Punny thing, you mentioning money. I was just akout to ask your for some... Joe tries to laugh but it sticks in his throat: 2s Cass speaks -- an impassioned whisper -~ still holding Joe's

chin.

oT," “ASS You “bastard! You son of a bitch! You think you're dealing with some old slut? Leok at me: You think just cause you're a longhorn bull you can get away with this crap? Weil, you're out ef your mind. I am a gorgeous chick, thirty-one, that's right, you said it} Sobbing suddenly, ashe throws herself on the bed. Joe stands bewildered by the vastness of her grief.

Joe waves his wallet at her, but she only cries louder, He hands her a kleenex. She clutches it to her face,

wailing. Joe leans over the bed, whispering in her ear:

al.

2/1/68 32.

Joe tucks a twenty-dollar bill into her boson, tilts his Stetson and starts out. Cass blows her nose, looking after him. 0.5. chorus sings, “From this valley they say you are going -- we will miss your bright eyes and sweet smile...

LEXDUGTON AVENUE DAY

From'a high angle, Joe walks away from the apartment house, chorus continuing 0.S. “...they say you are taking the sunshine that brightened our pathway a while."

Joe sits at the bar, staring morosely at his image in the mirror, already quite drunk, oblivious to the assorted types hiding from daylight in the barn~-like saloon, waiting for night to fall.

7s RATSO'S VOICE Exeuse me, I'm just admiring that eolossal shirt... .

RATSO studies Joe across the corner of the bar -= a sickly, child-size old man of twenty-one ~+ hopefully nursing an empty beer glass, contemplating the money on the bar in front of Joe.

RATSO a That is one hell of a shirt. I bet you paid a pretty price for it, am I right?

we

2/1/68 33.

%

Ratso spits as JACKIE leans on the Dar next to Joe -- 4 feminine young person, heavily made-up, hair teased, wearing earrings and a lace-trimmed blouse over shocking pink levis.

" RATSO (a stage whisper) More goddam faggots in this town.

Reaching for a cigarette, Joe glances at Jackie, startled as Jackie twitches his pink levis angrily and turns away.

(shakes his head) Kee-rist, you really know the ropes. Wish to hell I bumped inte you before. I'm Joe Buck from Texas and I’m gonna buy you a drink, what deo you say to that?

- ~" “RATSO EBnrice Rizzo from the Bronx. Don‘t mind if I do.

Same all around! For my

friend, toot The TV screen aver the bar features a mating game program as Jackie cruises down to join a tall farm boy with plucked eyebrows, The TV HOST points to three young men, visible only from the shoulders up, from whom a pretty DATE GIRL in blindfold must choose an escort.

2/1/68 34.

In a booth now == the TV screen in the background, continuing the game -- Joe is refilling Ratso'’s beer glags as he speaks, loud over the laughter of the TV audience.

- JOE eoeYOu Sea what I'm getting at here? She got a penthouse up there with color TV and more goddam diamonds than an arch- bishop and she busts out bawling when I ask for money:

a —_ RATSO For what? JOE For money. _ sO ' RATSO

For money for what?

‘ “" JOE . ° I‘m a hustler, hell, didn't you know that?

° ° RATSO co ; How would I know? You gotta i tell a person these things (shakes his head) A hustler? Picking up trade on the street like that -= baby, believe me =-- you need management.

2/1/68 35.

RATSO

My friend O'Daniel. That's who you need. Operates the biggest stable in tewn. In the whole goddam metropolitan area, A - stud like you -= paying! == not that I blame you -= a dame starta erying, I cut my heart for her...

operation...

Ratso grabs the neck of a bottle, sliding back in the booth.

Joe scowls as Jackle appears with the tall farm boy.

' JOE - (suddeniy)- Hey now, you heard him.

ee

On the TV screen -= the Date Girl announces:

“ TV DATE GIRL ~— ~~. i pick Number Two! He's cool!

‘of ‘ean,

d3.

2/1/68 36.

- - 7 JACKIE

May I-ask one thing, cowboy? If you sit there and he sits way over there, how's he gonna get his hand into your pocket? But I’m.sure he has that all figured out...

(to Ratso) Good night, sweets.

i ’ TY HOST ~ “* May present your chosen mate?

The TV host pulls aside the sereen which has concealed the lower half of the three young men. Number Two, her chosen mate, is a dwarf sitting on'a high stool. The girl’s spontaneous dismay starts everyone laughing hysterically, including the dwarf.

‘EXT, SIXTH AVENUE DAY

Joe has difficulty keeping up with Ratso, who swings himself along with surprising agility, his half skipping little gate favoring one game leg.

_ ‘RATSO Look, with these chicks that. want to buy it, most of ‘em are older, dignified, right? Social register types. They can't be trotting dewn to Times Square to pick out the merchandise. They need a middleman, right? That's O’Daniel.

Joe hesitates as Ratso darts into traffic against a red light,

-yelling unheard obscenities at a cab driver who blasts his

hern. Joe runs recklessly forward as Ratso slams the taxi fender with his fist, pretending to be hit, falling into Joe's arms. The taxi stops, halting traffic. Ratso recovers, Btrolls casually in éront of the cab, biting nis °:iumb at

the driver,

a4.

2/1/68 376

es pa msE . It's a crime,-a stud like you passing out double sawbucks to

a chick like that, With proper management you should be taking home fifty, a hundred bucks a : day. More 1f you wanta moonlight...

At the corner of Central Park South, Ratso points toward.a young man with diamond cuffelinks, sitting with a blue-~haired matron who puffs on 4 small cigar. Ratso waves jauntily at the young man, raising his thumb and forefinger in a circle, leaving the young man baffled as Ratso hurries Joe on.

Him I placed with oO'Daniel just two weeks ago. And look. Not much of a stud either, what I heareece

Ratso automatically checks the coin return boxes of the phone booths they pass. Walking the park side of the street, looking across at the limousines and taxis waiting outside luxury hotels and apartment buildings, |

a ‘JOR: -- - : Hey, listen, how about you take me to mee this Mister olpedase bird right now?

2/1/58 3B.

86. CONTINUED ; Ratso stops opposite the Plaza Hotel, pointing acroga at an aristocratic blonde stepping ont of a Rolis Royce. —

'RATSO —- Tomorrow when some piece like that's scratching your back in a Fifth Avenue townhouse, where’1ll your pal Rizzo be? MWedicks.

- 7 "7" JOE Hold it, just hold it. You think I'm that kinda sombitch? gust name your cut, whatever you want, you got it right now, Five? Ten, how's that?

goe peels a ten from his wallet and offers it to Ratso.

“~ RATSO Joe, please, You know what I'd ask anyone else? Oh hell, tell you what I'll do, I'll take the teNas. ° . {fhe does) es-but-when I hand you over to Mr. O'Daniel, I'll’ hava to have another ten, Joe; just to like Gover expenses...

om = - ~ 4 om

‘ Ratso is on the phone, Joe holds the door open, listening.

" RATSO "> ° This boy is just your meat, —- Mr. O'Daniel, believe it, I'm: telling you -=- what? -- Enrico Rizzo from the Bronx, The point is he needs you. Right now.. Tonight...

(aside to Joe) I got his tongue hanging out...

f

- 2/1/68 40.

’ RATSO’ Sherry-Netherlands Hotel. New get your ass in there. He's waiting!

Ratso starts the elevator down, leaving Joe alone, repeating to himself "Cherry Neverlin” as he looks for 301.

Ratso bursts from the hotel, almest running 2s he disappears.

Joe finds 901 at 2 dark end of the corrider, knocks contidently, hearing.a few bars of his love theme as he stuffs a fresh stick of gum in his mouth. Then the deor is “thrown open by O'DANIZL -- for an instant appearing to wear a diamond-studded skull- cap, the naked overhead light bulb bright after the dark corridor, halating in Joe's eyes like the earlier dollar sign.

. O' DANIEL’ ° 7 _ You ‘must be Joe Buck. Come in.

O'paniel, fat in a worn-out bathrobe, examines Joe like a

prodigal son as he leads him into the room == as anonymous as Joe's own room. :

‘O' DANIEL Am I tickled to find you, boy: Come on in and let's’ get a look at you. Turn around. Good strong back. You'll need it. So you want help =- take a seat, relax, tell me about yourself, Cowboy, huh?

f

Yo

2/21/68 41.

" FOE No'sir, I'm no cowboy really, but I'm a first class stud.

' O* DANIEL

Take it easy, boy...

~ {laughs) ° me Seems ta me you're different than a lotta boys that come to me. Most of ‘em seem troubled, confused, but I'd say you knew - exactly what you want.

- a -~J0E- You bet I do, sir.

“" QO'DANIZEL ° “ But I'll bet you got one thing in common with them other hoys. I'il bet you're lonesome.

7 “ JOE 7

Well, not too, I meaan, a little.

O'Daniel rises suddenly in a fury of self-righteousness,

pacing, his volce simpering, whining sarcastically.

or 7) OT DANTED I'm lonesome, I'm Lonesome so I'm a drunk.~ I'm lenesome so I'm a dope fiend. I'm lonesome s©> I'm a thief, a fornicator, a ~ whore=monger, Poop, I say, poop! i've heard it all and I'm sick of tt, sick to death,

CONTINVED

Joe laughs, . laughs with

2/1/68 42.

. . . JOE ‘

Uh, yessir.

_— " “-O"' DANIEL Ready for hard work, son?

mee we ma Ready for anything.

“ss "Of DANIEL | I’get &@ hunch, Joe Buck, it's gonna be easier for you than most.

Gonna be like money from home,

7 “"" QO DANIEL: Money from ‘home, see, there's your ‘strength, you put things in’eaxzthy terms any man can understand, son. -I warn you I'm gonna usé you, I'm gonna run you ragged! driving an obscene uppercut into the air. oO'Daniel him, , .

-'Q'DANTEL . You're a wonderful boy. You'n mé gonna have fun, dammit, it - don‘t have to be joyless. Say, why don't we get right down on our knees now?

2/1/68 43.

~-« CONTINUED

95,

ct O‘ DANIEL ct Right here, why not? I prayed in Balloons, I prayed in the street, I prayed on the toilet. He don't care wheres, what Ha wants is that prayers

O'Daniel drops on all fours, crawling to find the slug of an @lectric cord. He shoves it imto a wall socket, switches off the overhead light and suddenly a hellow, tinted plastic Jesus glows on the dresser. 0O.S. a revivalist congregation sings. And now we notice, with Joe, placards and flags, herns and tracts, all the paraphernalia of a Street corner evangelist.

’ JOE

O* DANIEL That's the ticket, just open your heart and let it flow. It ain't the words, it's the love beyond ‘emt

Sally Buck sings with the congregation while a rawboned Preacher stands in the river, preparing to immerse little Joe,

O'Daniel tries to pull Joe down beside him.

2/1/68 a4.

Camera becomes little Joe, glimpsing the fevered faces of Sally Buck and the congregation singing on the riverbank, just before being plunged under the river. O'Daniel’s voice reechoes, filtered through water.

Joe rans in aimless panic, pushing through the crowd, pursued

“by O'Daniel's voice and the singing congregation.

aan ' 8 DANIEL Den't run from Jesus!

Jce steps short as he sees the frent page of a tabloid on a newsstand. There is a picture of Joe being led away by two deputies, under a headline ALABAMA MURDERER SE2TGUNS ELEVEN.

Joe searches the faces of the crowd, running forward sudtenty as he sees Jackie and the faraboy picked up by two men in a large convertible. Joe chases the car to Eighth Avenue but stops, frightened as he sees himself in mitiple imase on the front of avery newspaper displayed on a newsstand,

TNT. EVERETT'S BAR HIGET

bins : - be *

‘The saloon is almost empty during the after dinner lull. ‘the -

BARTENDER doesn‘t look up from his newspaper as Joe approaches.

Say, you know that runty little bastard I was with?

; BARTENDER I don't know nothing,

100,

2/1/68 45.

Joe tenses as he sees the tabloid picture of himself on the

back of the bartender's paper.’ Joe's hand closes around an

empty beer bottle, a terrible violence surging very near the surface, O.S. women screan.

Reflected in the mirror, we sea little Joe wildly smashing bottles and'glass display cabinets -- the voices of women Screaming 0.5. -=- little Joe hurling a perfume bottie which Shatters the mirror and his own image.

The empty beer bottle stands where it was. Joe has disappeared. On the TY screen over the bar, sound drowned out by the juxe box, we see a blowup of the tabloid photograph, revealing a young man very similar to, but clearly not Joe.

é oe, be

‘

Colorful lights still flash seductive promise. The vertical’

lishts on the MONY tower reach bottem and freeze momentarily.

STILL PHOTOGRAPH

Joe at his hetel window staring out blankly. Gun fire 0.5....

The radio at Joe's ear is drowned out by a kid in cowboy hat, shooting alone in the gallery. Two policemen idly slap their thighs with night sticks. “Joe moves on, unconsciously checking the coin return box of a pay phone,

107 7

109,

"1 cd

2/1/68 46.

STILL PHOTOGRAPH

Joe curled up on his bed like a baby, fully dressed, his radio en the night stand. ©.S5. his love theme, remote, hollow....

Joe's radio is at his ear “...never too late to’ look great, Ben's Bargain Basement'a open ‘till five a.m.,, miles and miles of Western styles, worth more at any store, money talks and nobody walks." For the first time, Joe is aware of the ~ other midnight cowboys lurking im doorways, the cruising queens, the middle-age men im sport shirts, Joe moves on self-consciously as he sees a scar-faced policeman, un- consciously massaging his night stick. Camera holds on a window display of gag buttens, featuring NEW YORK WILL BREAK YOUR HEART, BABY,

STILL PHOTOGRAPH

Joe soaking in the tub, eyes closed,

Joe's radio promises fob opportunities for young men eighteen to twenty-five in the U.S. Air Force. He stands with a crowd Staring up at a girl go-go dancing in the window of SERGEANT PEPPER'S LONELY HEART CLUB,

STILL PHOTOGRAPH

Joe staring ln the mirror. 9.5. static over his love theme.

By work-light, the tarrier in metal helmet leans on a jack hammer, beyond the sign DIG WE MUST, drowning out Joe's radio.

STILL PHOTOGRAPH

Joe flexing his muscles in his jockey shorts while -- LIVE oN TV SCREEN -- a physical culture personality finishes push-ups and starts pitching his own extra protein bread.

ers *

115,

2/1/68 47.

Joe's radio continues the super-break commercial while a fry cook flips flapjacks in the window. But Joe's eyes are on a Sign DISHWASHER WANTED, Joe looks up and his eyes meet those of the young man seraping garbage behind the counter. It's Joe.

STILL PEOTOGRAPH

Joe sits in the hotel lobby, staring out at the street, unable to concentrate on his comic book. On two-way radio, a woman's wolce giggles as she speaks, *When I can’t aleep, well, I just g@ial the time and listen to those old seconds clicking by like, you know, counting sheep?" ,

SIDEWALK CAFE COCKTAIL HOUR

Joe watches a young man hold a taxi door for an older lady, at the’ same corner where Ratso waved to ‘another young man. The woman's predatory eyes linger momenterily on Joe before she leads the yeang man into the Cafe. The two-way radio continues over, “"...that's what I do about insomnia,"

JOE ; ae Well, now, matam, next time you got that feeling coming on, you adtui" Joe Buck. I'll show you what to do...s

Need a little easy money? It's E-Z & Want a little easy cash? It's EZ

ut.

11s.

2/1/68 48.

E-2 LOAN COMMERCIAL

As the jingle ‘continues, we follow Joe and his radio into the loan office, the depressing reality photographed and edited in the style of a TV commercial:

JINGLE . doe arrives confident Easy locations to get to Harassed E-Z receptionist Easy ladies to greet you Lines of uneasy customers Easy chairs to seat you Desperate, angry faces Easy payments to meet Reams of E-Z forms to fill Let E-Z set you Clerk's sneer, says On Easy Street ‘Joe has to bea kidding

Joe's image frozen -~ as if another still photograph -- standing at the desk, waiting for his key,

‘JOE'S VOICE Key to 1014...

Action continues as the DESK CLERK hands Joe a folded paper instead cf a key. Joe opens it, deeply perplexed.

INTERCUT Room 1014 warm and inviting, Joe*s suitease on the bed.

JOE a Listen, tell you what, +Lau can keep all the rest of the goddam junk if you let me have just the suitcase, That suitcase means a lot to me,

i120,

pi

2/1/68 49.

INTERCUT The posteard photograph marked X -~= THIS IS ME.

3 ‘DESK CLERK “TS We keep everything, House rules.

TIMES SQUARE BIGHT

goe stands outside the hotel, stunned, seeing the bright- colored lights turn suddenly grey. The film continues in black and white as Joe walks into the crowd,

The FOR RENT las flapping in the wind.

EVERETI'S BAR DAY

Jo@ nurses @ short heer, like the reguiars. He looks up as a crippled panhandler approaches, vagnely reminiscent of Ratsc.

“FOE Serew off.

The bed turned back, clean sheets, a soft night light.

Joe is stretched on a bench, his Stetson over his eyes. A loud speaker announces a bus "departing for Texas" but Joe does not move. A policeman taps Joe’s boots with his night Stick. Joe rises and Starts away with mixed anger and apprehension.

2/1/68 50.

Two matching Ivy Leaguers exchange a glance as they see Joa washing his feet‘in the basin. Joe stares back with a belligerent grin.

' JOE Any objection, gentlemen? ‘

ALL NIGHT CAFETERIA NIGHT

Joe balances a cup of coffee, walking past the other solitary night people, avoiding each other's eyes. Joe spots what he's looking for and seats himsel* next toagaunt woman and her ten year old son, both freaked out, erratically touching things, themselves, each other in a futile effort to make contact with reality. But Joe 1s only concerned witn the plastic-wrapped crackers left by their empty soup bowls.

The woman stares at Joe blankly. The boy runs a toy mouse across the table, up his mother's arm and around her face, With a polite nod, Joe opens the crackers and squirts one with ketchup. Joe upsets his chair as a great gob of ketchrp spills onto his pants...

_Joe keeps his back to the customers as he moves to the water

dispenser, wets a paper napkin and tries to wipe away the Stain. But the water has only spread the stain across his pants and down his leg. He blushes as a blonde young street- walker gigqgles.

_ A27.

L268.

2/1/68 Sle

Zoe tries to hide the stain with his jacket as he checks the coin boxes of vending machines, wary as he passes a burly policeman, abstractedly snapping his handcuffs in front of a bakery window display of bride-and~groom wedding cakes, Joe barely glances at a confused MIDDLE-AGE LADY.

: MIDDLE={AGE LADY How do I. get te Grand Central?

; * JOE ; Shuttle. Follow the green light. Automatically checking the trough of a gum vending machine, Joe vnexpectedly faces himself in the mirror, the eyes staring at him tired and hopeless. His hand reaches un- consciously for a cigarette. The package is empty. JEe crumples it in his fist but holds it.

‘JOE Allright, cowboy, Enough of this shee-it. You know what you got to do? i. (nods) - Then go do it,

rORTY-SECOND STREET NIGHT Joe hurls the crumpled package into a DON'T BE A LITTERBUG basket as he emerges from the subway, his radio at his ear. The torchy voice belts his love song, merging with street nolses crying danger <= an ambulance, a burclar alarm, a policeman's whistle -- the lights flashing lurid color sor

. the first time since Joe was lecked out; no longer promising

but threatening, clashing, warning as...

eee-trom a high angle, across the street, Joe joins the other midnight cowboys, offering himself to all comers, His <igure is momentarily obliterated by traffic then...

2/1/68 52.

5..zooming in, we see Joe self-consciously trying te hide the ‘stain on his pants, embarrassed as a large sedan slows:

then moves on to stop in front of a moterecycle freak. Joe

is briefly obliterated again by a passing police car...

ee ethe receding flash of its turret light rewealing Joe in close conversation with a frightened young FAT BOY, whose eyes plead for reassurance as Joe scowls.

Joe's black and white suitease gleams on the bed.

a --* JOE'S VOIcS: Twenty-three bucks, I got to have twenty-three bucks...

From an apparently empty balcony -- an old science fiction film grinds endlessly through the night -- a lost spaceman trying to make contact with a tantalizing Martian maiden - across an invisible time barrier, theremin voices calling, "Earthling, where are you?"

FAT BOY'S VOICE —- At the top of the balcony, Joe leans back, turning his face away as the Fat Boy embraces him, kissing Joe's cheek and neck, his head moving down out of frame to show -- on the

“sereen -= the spaceman and Martian maiden meeting, arms

outstretched. But the Martian maiden moves right on through the spaceman, crying, "Earthling come back, however many centuries it is, I'll wait:" Joe closes his‘eyes, forcing his memory back... .

\

2/1/68 53.

~-.repeating the remembered image of Anastasia and a younger behind the movie Scree@n.cs |

Joe, a ANASTASIA You're the only one, Joe, the only, only one ever:

eesthe remembered passior. continuing, mounting -- intercut

with flash impressions, like flipping pages ofa nudie magazine -~ naked, halfedraped blendes gazing into canera with sultry eyes, including one comic strip sexpot and the

calendar girl in Joe's Texas hotel room...

; FRNASTASIA’S VOICE You're the best, the very best, yes, yes, kiss me, oh God please kiss me, Joe, now, now, now!

es.00e's face in extreme closeup, sounds of both movie houses merging, confused. dominated by the voices of adolescent boys...

BOYS* VOICES Hey, Joe, give someone else a chances What's he doing for chrisake? He

kissing Anastasia? You better swallow a whole goddam drugstore, man}

ee eat adolescent ratpack waiting in line behind the screen, laughing in coarse whispers, watching Joe and Anastasia. 0.S,

theremin voices cali "Earthling, where are you?"

On screen, the Martian maiden moves through the spaceman, crying, “Earthling, come back, however many centuries it is,

I'll wait"

134,

2/1/68 54.

Joe watches the Fat Boy doubled over, retching. eo - o- wUE, wad . . . oo * I'm awful damn sorry you're sick, kid, but you gonna have to gimme

that money like you said,

“° “PAT BOY Iwas lying. I don't have it. What're you going to do to ma?

“* JOE - {controls fury) What you got in your pockets?

Eagerly, the boy produces a family photograph, a subway token, a dirty handkerchief. Joe grabs his wrist, revealing a watch, .

Pa FOE a Bow muchts that worth?

0 - PAT BOY - ot I can't go home without my watch! My mother’d die! She'd die! Take Wy books: Not my watch! She'd dies But Joe has already Kicked open the door. Theremin voices drewn out the Fat Boy, calling “Earthling, where are you?”

Joe sprawls, trying te sleep, his feet on the balcony rail,

the radio at his ear. On screen, once again, the Martian maiden moves through the spaceman, crying, but we hear the volee of a deSperate woman on two-way radio. As she speaks, a policeman moves along the alsle, slapping his palm with his night stick.

2/2/68 35.

34. CONTINUED

Prom a high. angle, only Joe's Stetson and radio can be séeén above a passing bus, its side panel advertising BILL SONNER'S STRAIGHT LINE, A STRAIGHT TALK SHOW,.

wo ssmes BONNER 'S VOICE — Why call me, baby? I£ you want to do it; just do it; don't talk about it. Are wa drunky? Feeling a little sorry for curselves maybe?

Joe appears in full figure as the bus passes. He stands looking at the suitcases in a luggage shop window.

136, INT. RADIO STATION DAY

BONNER, tough in a grey creéeweut, talks on the phone.

BONNER 7 ute Okay, baby, now listen, just hold on while I leave the line for a minute. And think about all the Kids that are dying overseag for you, okay, baby? Ger that? I'll be back in exactly sixty seconds. After this message from...

aad &

2/2/68 56,

A taxi hom blasts, interrupting the sponsor's message.

Joe's fist slams a fender violently, using Ratso's fake in-~ jury trick to stop traffic, munning across the street toward...

eesRatso Staring out at Joe, paralyzed in the act of lighting a cigarette -- intercut in flashing closeups -= Joe outside the window, Ratso inside -- reflecting their conflicting emo- tions ~- Joe‘s murderous rage -=- Ratso's panic =-= one almost subliminal flash of each revealing something like pleasure at finding a long-lost friend...

+» -Ratso staring up into camera, holding his breath.

’ RATSO Don't hit me, I'm a eripple.

Joe's hand falls on Ratso's shoulder. “os. gop Satan Oh, I ain't gonna hit you, I'm gonna strangle you to death...

-

The cigarette in Ratso's mouth burns into his lip. He jerks

_ Bpasmodically, choking on smoke as he rips skin away with the

butt and drops it in his coffee cup.

Coughing, eyes tearing, Ratso empties Eis pockets on the counter, finally producing; sixty-four cents, a few sticks

2/2/66 S7.

of gum, an almost empty cigarette package, a beok of matches and two pawn tickets. He raises his eyes, somehow ashamed. Joe kicks the toe of Ratso's loafer.

~ JOE What's in your socks?

~ RATSO Not a cent, I swear to God, I swear on my mother's eyes.

Ratso removes his loafers and shakes them, glancing at the counter man. His sociis doen't even conceal his toes. Dis- gusted, Joe shoves Ratso's small pile back at hin, ; t -- os Rams - . You keep the sixty-four cents. EZ want you to have it.

Joe should leave -- Ratso obviously has nothing tangible to offer =-- but Joe hesitates, lighting a cigarette as Ratso

‘pulls on his loafers,

140,

142,

2/2/66 58.

CONTINUED . ’ RATSO Okay, right, right, okay, Another subject. Where you living? Still at the hotel?

The Black and white suitcase lies open on the bed.

Joe turns abruptly and walks away,

Joe strides north, pretending he doesn’t hear...

++eRatso hop-skipping to overtake Joe at the traffic light.

2/2/68 59.

BK contractor's sign announces LUXURY APARTMENTS AVAILABLE im a high-rise co-op, under construction beyond a row of tene= ments with X's taped on the windows. Ratso's voice continues ever the click-clack-click of Joe's boots and the flip-flap- squeak of Ratso's loafers as camera moves toward 2 condemned building.

- - RATSO'S VOICE The X'on the window means the landiord can't collect rent — which is a conventence, hey? -~ on account of it's condemned.

In?r, TEREENT STAIRS DAY

Footsteps climb past rubbish piled outside empty flats. "oc" -RATSO'S VOICE The electrie's off. Another: convenience. “I don't ‘mess with Con Edison, hey? What the hell, I got candles, right?

Light from the X window shines on a Florida tourist poster

ag Ratso ieads Joe into an abandoned tub-in-kitchen flat, barely furnished with a‘table and chair, a rumple of blankets on a burmt-out mattress.

Ratso fills a saucepan from the tub-sink, sets it on a Sterno Stove, Joe sits himself on the mattress-bed, pretending to test it, weeks cf exhaustion and tension overwhelming him suddenly, his only immediar. problem being the effort to

restrain a large, cemfort tle yawn.

147,

2/2/68 60.

i - JOE Comfortable, kee~rist, I slept on subways softer than this..

Joe stretches himself, yawning, his eyelids drooping heavily. The sounds of the city recede. Joe's love theme plays softly on a distant radio. Joe's eyes close momentarily in spite of himself. - *% .

A vintage dashboard, radio dial glowing, Anastasia’s face,

- wee

A huge metal ball arcs on chain, demolishing a brick facade,

Ratso's face seems to radiate evil as he lights a Sterno can. Joe forces his eyes half-open.

JOE Ko .o Smart thing for me to do is haul ass outta here.

—-_ ' RATSO Whatsa matter now?

Joe shivers, pulls a blanket around him, resisting sleep, but the noises of demolition fade, the love theme lures Joe back,

“Bs

2/2/68 6l.

Joe's eyes close, hia voice continuing out of half-sleep.

- “JOE . . . Want me to stay here, y’after something. What y'after?

Joe's thumbnail flares a match, exposing Anastasia on the car seat with Joe, both nearly naked. Anastasia butterfly~ kisses Joe's chest as he lights a cigarette.

AWAS TASTA | Say you love me. Just say it.

' JOE Okay. I love yous

Anastasia purrs as her lips find Joe's breast, trying to nurse, A flashlight flares suddenly through the car window,

NIGHTMARE MULTIPLE SPLIT SCREEN

Low angle -- Ratso bending over Joe, into camera...

.. Sally Buck shocked, | hand still on Switch... es-J0@ blinded by halation...-

«». ANaStasia's mouth screaming soundlessly... rt «.eflashlights multiplying on car window...

Full frame -- Anastasia catatonic in hospital’ gown -- a

,woman's voice "What'd he do to you, Annie?*...

eeeGang-bang ratpack surrounding car with flashlights... »esackie shrieking "He loves her he loves her",.. «eshands clesing on Joe's buttocks...

+eshnand closing on Joe's naked left foot...

«eehand on naked right foot...

«.-dentist leaning over Joe's mouth... ..

»..hands pulling Joe's legs apart...

2/2/68 62.

Zoom closeup -- Anastasia screaming soundlessly...

-»ethermometer under Little Joe's tongue... ~+:Sally Buck shoves chocolate in her mouth...

+. bewigged poodle licks her fingers...

«+5ally Buck hangs enema can on bedpost... : ~.eRatse leads ratpack chasing naked Anastasia... «corona of flashlights...

Anastasia screaming soundlessly -- flashlight shoved into her mouth -=- electronic rock blasting...

»seblank-eyed go-go girl in danc:: hall window... -- Joe held naked by ratpack...

«..Ratso breaking beer bottle on Everett's bar... ««-dwarf laughing on television... .

e+eRatso aims broken bottle at Joe's erotch... »--Shooting gallery cowboys riddle Joe's pelvis...

Anastasia catatonic in courtroom =<= between gaunt parents -- whining singsong “Raped her raped her Joe Buck raped her”...

-o»Fat Boy's mouth finds Joe's breast, tries to nurse... +. eSally Buck Kisses him open-mouthed...

«»Slug crawls up Joe‘’s stomach, trailing mucus.., «.-Cass's poodle laps at his toes...

«+ eputterfiles settle on his eyes...

Anastasia catatonic in courtroom between parents -- who are now O'Daniel and Sally Buck... ». rawling voice "evidence of repeated violations"... »«+Blll Bonner in flag-cloth judge's robe...

‘ee ePOlice advancing, swinging night sticks...

eeeJOG Funning into Times Square, suddenly naked... ee Anastasia sitting in all-night cafeteria... «eefreaky child running toy mouse over her naked hody...

Siren screaming -- Anastasia staring catatonic from rear window of ambulance...

2/2/66 63.

150. CONTINUED

ee ambulance racing away... eeed0e chasing naked after ambulance...

«+erunning into the arms of the police... oeeRatso laughing as police beat Joe...

Joe awakens in a@ cold sweat, fighting the blankets, wild-eyed as he sees Ratso at the table, examining Joe's radio by candie- iight. Joe lunges across the room to snatch the radio from

“Ratso's hands.

“"* “T "" RATSO Por crissake}

Still wild-eyed, Joe suddenly points at his stocking feet.

Joe facing the crowd, naked except for his boots.

.

~*

Ratso points to the boots on the floor by the mattress.

ae JOE How'd they get off me?

+

2/2/68 64.

Joe inspects the boots, seats himself on a battered Army cot @- which has been added while he slept -—- swinging a boot by dts strap, considering whether to stay or go.

; “+ “JOE ; Well now, Ratso, I'm gonna tell you

_semething for your own good, only first gimme a cigarette.

Ratso offers a cigarette from his crushed peckage. Joe strikes a match on his thumnzil and lights up, staring at Ratso,.

You want me to stay here tonight, ‘ds that the idea?

. . JOE ’ ; Oh. Guess I got the wrong impression.

Joe makes a slow move to pull on one boot,

* RATSO Iwant you to stay, okay? I goddam invited yeu, didn't I?

. - 308 . Well, I hope yeu know what you'ra in for. I'm a very dancerous person, Someone does me bad like you. If I ecaught.up with you that night, there'd be one dead Ratso long about now, Hear?

RATSO ; I'm impressed. You're a killer.

2/2/68 65.

i JOE - So if you want me to hang around for a few days, I thought you should know. Joe yawns, picks up a few blankets and spreads them on the cot. He puzzles out the faded printing on one‘ blanket.

oa "JOE Property of the YMCA. You make me wanna puke sometimes, Ratso.

Ratso blows out the candle and wraps himself in blankets.

‘ ‘ RATSO Joe -- do me one favor -- this is my place, am I wrong? You know, in my own place my name ain't Ratso. I mean it so happens my name is Enrico Salvatore Rizzo.

7 JOE a ° Shee-it, man, I can't gay all that.

—inn “RATSO Rico then, at least call me Rico in my own goddam place.

a - JOE Rico: Rico: Rico! Is that enough? (then) And keep your meat hooks off my radio.

Ratso wears a threadbare raincoat of faded black, several sizes too large, as he shops with housewives at a sidewalk vegetable stand -- elbowing his way through the ladies, testing fruit, picking up vegetables and putting them back

2/2/68 66.

“- _ GREENGROCER You! out! out! I told you, I calla cops: .

The other shoppers deliberately turn their backs, avoiding involvement. As the Greengrocer grabs Ratso, Joe ambles into the scene, wearing his dangerous little smile.

“oo a “JOE - : Hey, looka here, that ain't nice, picking on a cripple...

Joe intervenes Just long enough for Ratso to escape, then ambles on, leaving the Greengrocer in frustrated fury. Camera holds on a tray of coconuts.

Joe lies on his cot, watching Ratso struggle to penetrate the fibrous husk of a coconut, experimenting with a variety ef rusty tools in an old cigar box.

“" RATSO -

The two basic items necessary to sustain life'are sunshine and coconut milk. That's a known fact. If I can find the goddam hole the milk smairts out.

- JOE , .

This is an okay setup you got here,

but I'd say you ain't just exactly,

uh, flush, is that right or not? RATSO

I been sick. Hold this, willya?

Joe takes his time rising to hold the coconut while Ratso tries to poke a hole with a bent icepick,

<

r ‘4

2/2/68 67.

ve - > + RAPSO In Florida, they come smooth, | ready to eat. Down there, your only problem is, dtet-wise, you getta Jift an arm to wipe warn milk off your chin. Tough, hey?

so JOE - . I think finding you's the smartest thing I ever did, for both of us. You just the crooked kinda sneaky little sidewinder I need to get me hustling in this town. Hey:

Joe jerks his hand away just in time to avoid the icepick. The coconut bounces on the floor. Ratso picks it up, holds it, while Joe tries to crack it, swinging his boot like a

hammer,

a RATSO — - Miami Beach is the only place for areal hustler. Florida has more rich chicks per square yard than any resort spet in the world.

They lie out in their pagedas and pergolas waiting to grab tha first jockstrap that passes.

JOR ne What's all this sweet talk about Florida? Your friend o'Daniel

got a stable down there now?

‘Joe swings violently. Ratso yelps, hopping on his one good -Leg, sucking his thumb. ;

RATSO ; Cowboy killers: Break my finger, Christ: I got news for you, baby, no chick with any class buys that big dumb cowboy crap...

Ratso holds his thumb under the tub-sink faucet.

2.55. CONTINUED

L356,

2/2/68 68.

- “RATSO waethe cowboy bit's olit, except ameng fags of a certain type, which take a certain type hustler to exploit. Like I could handle it «« being a stealing operation basically -- but take your average fag, very few of them want a cripple.

Joe holds the coconut like Yorick's skull, thinking hard,

t

JOE ’ Well, I am dumb, that's for sure. I-don't talk right. i can't think too good. Just only one thing I ever been gocd for's loving. Women go crazy for me. Fact. Crazy Annie, Had to send her away. So I doen't cash in on that, what am I7

‘I'm shee-it. May's well flush me

down that hole with the dishwater.

Joe sets the coconut on the floor, holding it with both hands while he tries to smash it with the heel of his boot.

_ The suitcase lies open, displaying Joe's wardrobe.

2/2/68 69.

ve. $INT. X FLAT DAY

Joe slams his heel down. The coconut shoots out from under . him and he Lands on his ass.

sr ess RATSO p - ‘Look at yourself, Joe, no offense, but frankly, you're beginning to smell, For a stud in this town that's a handicap.

: JOE You talk like a man with a tin twat.-

Ratso sets the coconut on the window sill, balancing it as he raises the X window. ’

ss ; . “RATSO You ain't got a chance in hell. You need threads and glitter, baby. A front, hey?

An alley cat laps up the miik of the broken coconut.

Joe stands naked in the middle of traffic. A siren shrills. Anastasia, catatonic in a hospital smock, moves toward Joe like a sleepwalker, passing through him.

aQ .

161,

2/2/66 70.

Wearing only his boots, Joe sits like an Jndian chief, wrapped in a blanket =-- angle widening to shew Ratso, spotting Joe's jacket, slacks and shirt with cleaning fluid -- his eyes on a very pregnant Italian lady. As she starts to load a coin cleaning machine, Ratso intervenes solicitously, speaking in

«-eadroitly slipping Joe's cleaning in with her load as she turns t® seat herself beside Joe,

* JOE'S VorIce It ain't right, stealing from a pregnant lady.

voe and Ratso stand waiting at the counter.

' RATSO. What did it°cost her? The laundromat syndicate lost a couple coins. I'm erying. c. The owner brings Joe's clean and blocked Stetson from the rear of the shop. Joe sets it on his head and examines himself in a mirror as the owner hands Ratso the bill.

~ RATSO ; ~ Where's mine? The black homburg? I brought it in the same time,

The owner glances at the Slip, puzzled, returns to the rear of the shop to search for the nonexistent hemburg. Ratso quickly drags Joe away from the mirror and out of the shop.

2/2/68 71.

The rhythmic duet of boots and leafers follows Joe and Ratso

reach a shoeshine stand, locked for the night. They loiter till a young couple has disappeared, then Joe kicks loose

‘the padlock on the equipment drawer, mounts one of the chairs

and Ratso goes to work on his boots with furious expertise, flourishing double brushes, snapping the rag like a jazz drummer.

Lo JOE . Hey, you're good! I bet you could pick up a living at this if you tried.

Ratso demonstrates a chimpanzee walk, dee laughs. Ratso turns back npanic as another man takes a chair next to doe. Ratso is about to refuse when a cop takes the third chair, swinging his handcuffs around to the front, tapping his shoe with his night stick, Ratso quickly drops a rag over the broken padicck, cursing under his preath as he starts working on all three customers at the same time.

“RATSO'S VOICE You think it's funny?

-Joe is seated in a straight=-back chair near the. X window, a

towel tucked around his neck as Ratso trims his hair, almost as expert a barber as shoeshine boy.

. if

2/2/68 726

As if by conditioned reflex, Ratso chokes on the cigarette in his mouth, coughing painfully. He crushes it out, opens the window to spit, shivering, then slams it and turns back to remove the towel from Joe's neck.

“JOE ‘ . . Kee-rist, you pretty damn clever for a skimpy little gimp.

You like it? Take a look.

Den't rush me. ‘How I do it, see, I get myself primed, like I was turning on the charm for some pretty little blonde lady, then kinda mosey away slow and easy and <= swing around! -- and there you are, you handsome devil.

Joe performs his ritual as he speaks, but more relaxed, faintly laughing at himself with Ratso. The wall mirror has been added since we last 3aw the flat, along with a legless overstuffed chair with burnt-out cushions, a tas- selled table cover, pinups, calendar girls and several new Florida tourist posters. Ratso moves to Joe's side, ar- ranging the neckerchief, nodding. ,

"' “JOE What I'm gonna do, I'm gonna make a cowboy outta you, kid. How about that? Build you up a little,. teach you couple little tricks'n turn y'out to stud, Rat-stuff.

“oe slaps his hat on Ratse's head, tilts it, hooks Ratso's thumbs in his teans and shoves a cigarette into the corner of Ratso's mouth, Ratso laughs till he chokes -- for one

2/2/68 736

instant, self-consciously, mimicking Joe ~~ then removes the hat and reaches for his threadbare black raincoat..

-" + JOE Okay, you got yourself one handsome, sweet-smelling cowboy, Strut your stuff...

Joe and Ratso peer down through a basement bay window, into the office of THE PERFECT GENTLEMAN ESCORT SERVICE -- en- dersed by leading travel ageneies and credit clubs -- offer- ing discreet companionship and personal guided tours in any language. A large-busted matron, on a French phone, fills out a memo and hands it to an immaculate young ESCORT, who slips the memo into his topcoat pocket as he comes from the office and hails a cab. Ratso darts forward, limping ex- aggeratedly, holding the door, lifting the memo as he brushes Off the Escort's topcoat. The young man waves him away with- out a tip. Ratso slams the door and bites his thumb after fhe cab, unfolding the memo as he joins Joe on. the sidewalk.

see

The Mutual of New York tower flashes MONY.

Ratso consults the memo as he speaks into the phone,

167,

168,

2/2/68 74.

‘RATSO Mr. McNeill, I'm calling for Miss Beecham at the Barbizon Hotel for Women. She won't need you tonight...

A doorman helps a young lady into a limousine.

7 “" ° RATSO'S VOICE _ Would you believe a whole goddam hotel with nothing but lonely chicks?

Joe and Ratso watch from across the street.

7 RATSO Scere once in that setup; the way chicks talk, Christ...

Joe eracks his gum, tilts his hat, starts across the street.

a '* RATSO - Get the money. Remember Cass Trehune? Cash! These rich bitches write a check at night, . call the bank and stop payment in the morning. Get the cash!

In RatSo's eyes -- as Joe enters the hotel -- its facade Suddenly wipes away to reveal rich ladies in negligee waiting in every room.

Joe starts up the staizs, two at a time, A BELLHOP grabs him,

i7l.

2/2/68 75.

Ratso warms his hands at a chestnut vendor's cart, seeing...

-+.z00m Closeup, a lady in a window grabbing Joe. |

Joe picks up a house phone, watched by the Bellhop.

Ratso sees Joe zip from room to room in wild animation.

The lebby watches Joe blow 2 gum bubble at the elevator,

Staring at a window display of Florida sportswear, Ratso's imagination soars, seeing...

»»-Ratso, like a model in a travel poster, in gaudy sport-' shirt, talking on the phone against a background of hotels...

«s-Ratso like James Bond, surrounded by bikinis, dictating while girls serve coconut milk and massage his game leg...

».-Ratso like George Raft, in evening clothes, running a

‘posh casino, flicking a coin...

oeeRatso simply himself, dressed as he is, sitting on the beach, at peace in the sun...

eoethe same identical picture with Joe sitting beside Ratso.

2/2/68 76,

Jee faces MISS BEECHAM, a reserved aa, rather plain young lady in evening dress. She tries to speak softly.

- MISS BEECHAM I'm afraid there's been a terrible mistake...

Ratso leans against the window, flipping a coin.

Miss Beecham is flushed with humiliation, the entire lobby watching Joe in the hands of two bellboys.

"JOE I want my money, goddamit, you owe me my money whether you get laid or not, lady, shee-1it?

EAT. EXCLUSIVE BRESS al (RIGHT

The lights in the window suddenly switch off, blacking out Plorida, Ratso glances toward the growl of a siren 0.5.

A police prowl car slows in front of the hotel. Ratso swings

across the street with incredible speed to meet Joe as he's

tossed onto the sidewalk, Ratso picks up the Stetson and Brushes it off, then helps Joe to his feet,

From a high angle -- the two figures move slowly along the

deserted avenue, their rhythmic musical duet growing more and more faint in the distance, a broken grassho": er and a

B25

a4,

Los.

2/2/68 77.

six-foot tarnished cowboy -- passing a tuxedo rental store, next to a lighted sign ~-' TEMPERATURE IN MIAMI BEACH, FLORIDA 89 DEGREES -~ their pace slowing to a dead stope.. —

aeeJ0@ and Ratso frozen ~~ rain on the X windowpane freezing into sheet ice. 0.5. a radio commercial plays warm, senti- mental music while a cozy voice explains how easy it is to beat with Humble oil. ;

Joe and Ratso frozen’ in a narrow shaft of sunlight, watching the huge metal ball cemolish the building next deor., 6.5. @ radio announcer sells FROZEN SUNSHINE ORANGE JUICE.

Joe and Ratso frozen, staring significantly at Joe’s radio,

Through the window -- Joe and Ratso watch the pawnbroker exanine Joe's radio, "Be healthier, wealthier, life can be fine, when you drink Frozen” == Sunshine is clicked off by the pawnbroker.

Jee and Ratso frozen, wrapped in blankets as...

eeethe canned heat dies with a faint puff,..

~..water dripping in the tub-sink freezes into an deicle../

e»sthe candle burns down and out, leaving the screen daik.

2/2/68 78.

“5, EXT. CONDEMNED TENEMENTS DAY

Joe and Ratso warm themselves on the smoke and steam rising from a subway grating -- watching two officials in fur- collared coats inspect the front of their X flat building. Reading their doom, Joe and Ratso continue on, disappearing into the subway.

Joe stands alone, watching the midnight cowboys ply their trade, Camera pulls back as Joe turns away and enters a ' store-front blood bank, offering ten dollars to bleod donors.

186. INSERT

A huge hypodermic fills the freme, sucking Joe's blood. 0.5. Ratso coughs uncontrollably.

Ratse leans over the tub-sink, ‘a@ry-heaving While he coughs, wearing a sheepskin coat much too large for him. de con- trols the cough with effert -- hearing the door open and close c.5. -= wipes his mouth and turns to grin at...

e+.0e, trying ‘to light the empty Sterno can, deliberately ignoring Ratso, Ratso shrugs, washes his mouth at the faucet, finds a cigarette butt and lights it, careful to avoid inhaling the first puff.

: " JOE

a Shee-it. Cough yourself inside out, then light a fag, a goddam fag. You make me puke. Where'd you steal it? In the movies?

RATSO ~ The coat? A guy I did a favor once gave it to me. Christ.

190,

2/2/68 73.

. "" - JOE Who'd you ever do a favor for? You just let some poor bastard freeze to death, wouldn't you?

Joe slams ten dollars on the table. Ratso glances at Joe with curious concern.

’ RATSO : Where'd that come. from?

‘ "+ JOE Forty-second Street. Where'n hell you think it come from?

- ° RATSO You wanna know the truth? You dumb bastard, I got it for you. Leok at it. Goddam thing's tea sizes too big for me.

Ratso pulls off the coat and throwsit at Joe. , '" JOE ° Wear it yourself. I wouldn’t Put dt on my back. Joe throws it back at Ratse.

° F RATSO ' Goddamned if I'll wear it!

Ratso hurls it in a cormer. Joe shoves the ten at Ratso. JOE

Go get your medicine. Before you die on my goddam hands...

High angle -- Joe and Ratso cross on foot, chilled by wind, neither wearing the sheepskin coat. The Queens riverfront and factories appear cold and bleak, deserted on Sunday.

2/2/68 Bo.

Camera moves into aerts of tombstones, piled like low-rent housing projects for the dead, the various faiths segregated by crumbling boundaries.

. JOE'S VOICE Shee-it. I hate boneyards.

—— , RATSO’S VOICE So split. He ain’t your goddam father.

Ratso leads Joe past a Negro family. at a grave -~ glances around -~ snatches an elaborate floral piece from a head- stone and hides it under his black raincoat as he darts’ toward a low dividing wail and swings himself over into...

eeean endless section of plain stone markers. Joe touches his hat to two nuns, guiltily hurrying to overtake Ratso at

‘his father's grave, indistinguishable from the other graves

except for the name on the headstone. Ratso places the floral piece on the grave with almost absurd solemnity. Joe laughs.

‘JOE Kee-rist, you sure are one twisty little bastard, Ratso.

JOE * Respect shee-iti: You even steal flowers for his grave.

.

: RATSO ci -2 he smell the difference, eh?

Joe reads from the ribbon on the floral display.

we

195,

2/2/68 el.

Joe is frowning, standing at the headstone, momentarily de- pressed with an undefined sorrow.

JOE ‘ * My Grammaw Sally Buck, she died without letting me know.

Through the window, past the FOR RENT sign, the tarnishing @riers are lined up like tombstones.

Joe frowns, puzzled, as Ratso pulls ont a black skullcap, leading Joe toward a group of professional mourners, whisp- ering:

Joe and Ratso join the mourners as the funeral’ moves to the grave, Ratso mouthing an authentic double-talk...

eesvee Standing seli-congetously, aware of the covert glances of the other mourners, arttomatically reaching up to remove his hat, remembering when Ratso elbows him in the ribs...

2/2/68 82.

...J0e scowling, tight-lipped, embarrassed by the tip that is thrust in his band.

A weary Santa Claus, in a rented beard and over-large costume, warms his hands over the steam of his coffee cup. Joe and Ratso are arguing farther down the counter.

JOE i Just ain't right, cheating someone dead and can't cheat back.

In the background, as Ratso speaks, BANSEL and GRETEL MAC-

ALBERTSON enter the lunch counter, inspecting the customers one by one. Both wear black-turtlenecks and jeans, dressed as twins, both blond and pretty.

"RATSO You and my old man, Sane kinda mind. Putting me down till the day he died... . (mimics) ssewhy can't you be like your brothers? Sons a father could be proud of, Yeah, sure. My brothers. Too goddam busy making something of themselves to show up when the old man's dying!

Conditioned reflex, Ratse starts to cough. Joe sees the MacAlbertsons in the mirror, standing behind him, studying him, Gretel nods. Hansel hands Joe a large black card, smiling vaguely, then moves on, .

Joe studies the black card, frowning at first, suddenly smil- dng, turning as 1£ to call after the MacAlbertsons, but they are disappearing around the corner. Joe hands the card to Ratso.

2/2/68 83.

JOE . oe You wanna read something, read this. I been invited somewhere,

Shocking pink letters on the black card read YOU ARE INVITED TO HELP US BURY LOVE -= TONIGHT AT BROBOWAY AND HARMONY LANE

@~ HANSEL AND GRETEL MACALBERTSON,

we: OE ob a They picked me. The only one’ in the whole goddam place, You seeé how they locked me over, up and down before they give me that?

- RATSO So?

Joe sees a young man washing cups behind the counter. Joe shakes his head, wonderingly, turning to study himself in

the mirror,

+

* JOE a Now I'm here, I'm in New York ° City. Getting picked for things. Don't you seé what I'm driving at?

2/2/68 84.

~

Yo, CONTINUED

~ JOE ; . But they picked me, right? So - what I'll do, I‘ll just say, now look, you want me? Well, I don't go nowhere without my buddy here.

- - RATSO

(shrugs) Well, what the hell, I got nothing better to do,

197, EXT. LOPT BOLLDING RIGHT

Snow swirls in the aureole of a street light as Joe and Ratso run, heads lowered, turning into...

~38. int. LOFT BUILDING NIGHT

+oe& Arab entrance hall, aimly lit -- signs identifying var- tous commercial tenants -- a pink-on-black placard reading MACKLBERTSON, TWO FLIGHTS UP. Joe has started up before he notices Ratso, leaning on the bannister at the foot of the stairs, struggling to catch his preath. His face and hair are wet with perspiration, his lips lavender-blue.

In swift flashes -~ intercut ~- Joe reads the panic in Ratso’s eyes, so intense that Joe shares it, unable to speak or offer ciimaieediae

2/2/68 B85.

oe RATSO Don't need a conb,

- . +e = DOE 7 -_ . Pew dozen cooties won't kill me, don't guess.

Joe hands Ratso his own comb. Ratso swipes at his tangled hair angrily until two teeth break in the comb. He hands the comb back, tugs at his hair with his fingers, pats it in place, then looks back into Joe's eyes.

RATSO

Okay? I look okay?

In a moment of silence, distant sounds can be heard -- a siren, the grinding teeth of a garbage truck, the twang of an electric guitar upstairs at the party -- then Ratso makes a quick gesture of impatience and starts up the stairs, puli- ing himself on the bannister.

A bank of lights blinds Joe and Ratso as they enter -- elec- tronic rock blasts their ears -=- a bearded cameraman on 4 step-ladder photographs them as they stand confused -- facing a monstrous collage of tabloid photos blown up, showing the murder of a hippie known as Groovy ~~ in huge black letters, LOVE WAS GROOVY «~ GROOVY IS DEAD. Joe shouts over the ampli- fied music, .

JOE oa Better get a hold of someone and tell them I'm here,

Ratso points to his ear -- he can't hear -- following Joe across the room. The huge loft is crowded with a random Selection, gathered to serve as dress extras in an under-_ ground film. The potty is the scene, The MacAlbertsons merely supply the Angredients and allow it ts happen, with cameras stratectitaily placed to record the happening...

2/2/68 86.

CONTINOED

«»-hansel with tape recorder, Gretel with hand-held camera -- a@rifting through the crowd -= catching words and images in a

detached, whimsical fashion. Gretel turns her camera on Joe

and Ratso as they approach,

Sot RATSO Rico. Rico Rizzo.

Gretel smilies without recognition, Hansel gestures vaguely.

"oc" —" HANSET, Do you*need anything? I mean there's beer and so forth. Whatever your thing is...

The twins move away together, pausing to confer with the operator of a triped camera ~~ focused on an emaciated flower girl with long hair and dirty feet, stretched in a sarcopha- gus, Clutching a dead daffodil, her eyes glazed. Scrawled

in huge letters on the wall over her head -- LOVE!

Ratso heads for the refreshment table. Joe starts after him

Bat pauses, intrigued by an alcove under the balcony where a ‘light show is in progress -- surreal images of naked bodies

projected against abstract currents of color and strobe light...

eee bored fat lady in a muu-mun, squatted like a Buddha at a low table, rolling joints for the quests. She lights a Joint and offers it to Joe as he wanders in to watch the Show. Joe laughs delighte-ly when he realizes what it is...

2/2/68 87.

CONTINUED ’

«»eGlancing around at the others, imitating their techniques ~- the quick inhaler, who follows with sharp gulps oz air -- the deep inhalers who draw air as they inhale ~- the stylist who lets the smoke drift out and inhales through the nostrils -- Joe puffing himself slightly dizzy, starting to laugh at the silent flick effect of the strobe light ~- the action around him slowing almost imperceptibly, overcranked -- a

veil of smoke hanging over the fat woman's face, transforming her into a laughing witch -- a similar veil around Joe's head, relaxing the self-conscious tension of his face, spontaneously curdeous about the play of light on his hand, grinning at...

e-sa serious young technician handling the light shew, scat- tering psychedelic stars across a sky of magenta flesh...

«.-Joe reaching for the stars as he rises and wanders back to the crowded loft, fascinated to see...

esead Crew with cameras and lights, on the balcony at one end of the loft, photographing the scene below...

«.ea dark-haired lady by the name of SHIRLEY -- chic in the Style of a gangster's moll -- drinking beer from the bottle, predatory eyes searching the crowd...

seeRatso Surreptitiously stuffing his pockets from the buffet table, glancing nervously over his shoulder, unaware of Gretel and her hand-held camera, photographing Ratso as he steals, turning away casually, disinterested...

. «eeJ0e laughing as he dances for a moment with a tall black

girl -- the lights swinging around them -- faces swimming....

eeechirley in fleeting closeup, gone in an instant, reap- pearing...

200,

2/2/68 ae.

eeener face in the mirror smiling in a dark, provocative way

-= Joe standing at the bathroom deor, fergetting to be em- barrassed as Shirley turns away from the mirror, unhurriedly, running her fingers through her hair, boldly meeting Joe's eyes.

SHIRLEY ’ Iocan tell, can't you?

' JOE Yeah, oh yeah.

" 7 7" “ RATSO'S VOICE She's hooked...

Joe realizes he is back at the party, Ratso whispering hoarsely.

“RATSO «eet'd say she was good for ten bucks, but I'll ask for twenty...

But Joe is watching with terrible fascination as Hansel and Gretel lift the flower girl from her sarcophagus.

Joe glances down to see himself flanked by Ratso and Shirley. .

AOL »

2/2/68 89.

SHIRLEY i Who's he? Oh God? Don't tell me you two are a couple -= ? ; The flower girl, hypnotically dazed, accepts a broom dipred in black paint and smears a huge X across LOVE. Joe laughs.

. HANSEL'S VOICE Why are you laughing, Joe?

Hansel holds a microphone toward Joe, who shrugs, grinning at Ratso and Shirley. Gretel's camera meves down Joe's body.

_ HANSEL Are you for real, Joe?

- JOE Well, I ain't a f'real ‘cowboy, but I'm one hell of a stud!

Shirley glances at Ratso, who nods, whispering in her ear.

ae RATSO A very expensive stud. And I happen to be his manager,

The scene -- from Joe's viewpoint -=- becomes increasingly

confusing and fragmented, dialogue and image moving in and out of focus, cameras and lights surrounding him, keeping

the center of attention in his own blown mind...

»e-Shirley's eyes unnaturally bright, inspecting his body, lingering on his thighs, moistening her lips...

eeethe tall black girl dancing in stroble light, stating to Temove her clothes -- Gretel following her with a camera...

2/2/68 50.

iL. CONTINUED | : - $HIRLEY'S VOICE

I can't wait to tell my man Monday.

I should be taking notes. Look at

my arm!

.+-Shirley’s talon-like fingernails caressing the gooseflesh

on her tanned arn...

"oc" RATSO'S VOICE I gotta sit down. I feel crummy .

..eRatso stretched out on a Victorian love seat -- the flower girl walking unsteadily, passing out dead daffodils, placing one in Ratso’s hand -- Gretel photographing his reaction...

- SHIRLEY'S VOICE .- Eat it =- a man in your line of work has to keep bis strength up...

~« Shirley bringing Joe a massive sandwich on a paper plate, watching him bite into it...

SHIRLEY | it's fantastic, now I know, everything

you do has sexual implications, If I -= you know, bought it <= could I take pictures of you naked? That's part of

it, isn't it, kinky kinda things?

ee» the tall black girl and 2 few others are trying to promote A serofulous old wino dances spastically, working

an orgy. his toothless gums, preparing to expose himself to two girls dancing together...

- 3 HANSEL'S VOICE _ We want you, Joe. You"ve been chosen,

- fom

eostive youths stand beside the sarcophagus -=« two sailors,

two cycle freaks, a weight-lLifter -- waiting to be pall- Joe joins them, All lights and cameras are turned

bearers. on the slow funeral procession, carrying the flower girl out o£ the loft to the tune of “Moonlight and Roses”, Strobe light adds to the unreality of the scene...

2/2/68 9l.

2. , CONTINUED

' SHIRLEY'S VOICE I had a thing for him. Before Tf knew. Why should knowing make it more of a thing?

. Shirley talks to Gretel as she photographs the funeral. SHIRLEY Naturally I'll have to ask myself why a cowboy? And why a cowboy whore? But not tonight. 202, INT, MACALBERTSON LANDING NIGHT. Shirley is pulling her coat out of the pile on the bannister. ” ’ SHIRLEY , Incidentally, how much is this going to cost me anyway?

Joe turns to Ratso, whese attention is Fixed on the coats,

JOE: Tell her, Ratso, ‘RATSO Twenty bucks... ‘SHIRLEY - RATSO —- eesand taxi fare for me, SHIRLEY Get lost. RATSO

i agree. And for that service X charge one dollar taxi fare.

2/2/68 92.

She takes a dollar from her purse and hands it to Ratso, takes Joa's arm and starts down the stairs, Ratso lingers, starting

‘quickly through the coats, frisking them for loose change,

At the foot of the stuirs, Shirley kisses Joe violently.

They glanca up as Ratso appears, swinging down too rapidly on the bannister, He misses a step and falls -- a clown's fall, unable to stop but apparently not hurting himself, Shirley and Joe are laughing when Ratso lands at the foot ef the stairs.

* "“RATSO ‘(zises, mimics) Is he all right:

JOE ° Wall, if you're awright, why you hanging on the bannister. Can you walk or not?

206,

207,

2/2/68 93.

RATIO

* (shouts) I said yeah! Yeah, yeah, yeah!

Joe and Shirley are kissing. Shirley rolls away, flushed, fanning herself. Joe rolls down the window.

Joe leans out of the taxi window, waving his Stetson, bel- lowing at the snow,

“Ratso makes ‘his way slowly from the pudliding to the curb,

whistling between his teeth sharply, hailing a cab. The cab slows te a stop. Then the driver sees Ratso, shifts into gear and drives on, Ratso bites his thumb after the cab, rests for a moment on the lamp post, then starts painfully inching his way along the deserted street.

Joe lies on his back, staring fixedly at a fragile mobile hanging from the ceiling, stirring listlessly.

SHIRLEY'S VOICE , That happens. Don't worry about it...

Shirley leans on one elbow, looking at Joe sympathetically, fighting an almost irrepressible desire to laugh. Still

avoiding Shirley‘s eyds, Joe finds a cigarette on the side table, searches for miliches.

2/2/68 4.

; JOE

Well, that's something never happened to me before, you can bet your bottem dollar. Uh, where's the matches, ma‘am?

Joe finds the matches, lights up and lies back, staring at the mobile as he smokes, still not looking at Shirley.

~ . JOE . Pirst goddam time it ever quit on mé, Fact.

The repressed laugh finally breaks through. Shirley stifles it quickly as Joe sits up, looking at her.

* SHTRLEY™ (controls herself) Ho. Of course not. Just semething struck me funny...

Close on Joe -~ watching Shirley closely, reacting.

~ SHIRLEY 'S VOICE © I just put myself in your shoes, Io had this image of a bugler without @ horn, a policeman without a stick, etcetera, etcetera and ass

(giggles)

I think I'd better shut up, I'm making it worse.

Shirley composes her face, reaching out to touch Joe. But that doesn't help either. He reacts sharply.

2/2/68 95.

’ SHIRLEY Maybe we should take a little nap, see what happens?

". JOE I ain't sleepy.

'* SHTRLEY I know. Scribpbage!

Exttreme closeup of Joe -- frowning, puzzled...

“oY JOE Shee~-it wee

we.camera pulling back to show Joe concentrating on a game, Spread out on the sheet, consisting of nine dice lettered

on all sides, the object being to build as many words as possible, Scrabble fashion, wnile a sand timer counts the seconds. Shirley watches Joe's efforts to think with sympa- thetic amusement. The only word Joe has composed so far is MAN,

' SHIRLEY That's pretty Freudian, Joe.

+

2/2/68 960

» CONTINUED Joe spells out MONY, down from the M in MAN.

on “-" SHIRLEY ° There's an E im MONEY. If that's your word,

JOE , M-O-N-Y «- I'm'right! That‘s just exactly how they spell it up there on that big building, bet you could see it from here. M-0O-N-Y.

“JOE Y -- what in hell starts with Y? Shirley slyly trails the tips of her fingernails avross Joe's chest as she leans over to study the game, breathing softly into his ear as she speaks, .

‘SHIRLEY It can end in ¥ -- day, pay, lay w“- hey, pay lay:

One predatory hand rests on his knee -- as if by accident -- disarranging the sheet, talon nails lightly brushing his thigh.

-- JOE : te, “Cat it out. That's cheating, teasing me so I cant think. Just one bitsy Y word and I

gonna beat you!

2/2/68 97.

| SHIRLEY Gay ends in Y. Fey. You like that -- gay fey -- is that your problem?

But the end of his sentence is swallowed by Shirley, taking his kiss in her open mouth, crushed by its impact, an aninal noise snarling deep in her throat -<=- the agonized alley cat wail of pleasure == Joe's problem is solved, Joe's love theme swells triumphant. At the same time, Shirley half- rises, trying te force Joe's head down, her own on top.

The issue is joined. Shirley has named the game. Her objective is to force Joe onto his back. Joe's objective is to retain his initiative. Camera ignores the classic action on the central front, concentrating exclusively on peripheral tactical maneuvers...

«+-J0e"s elbows pinning her shoulders...

++eher eyes bright, accepting the challenge...

«sehis tight smile revealing clenched teeth..,

-.-her fingers searching out then tickling his underarm... »-Joe laughing as he falls lopsidedly...

ee+Shirley laughing triumphantly...

«-eQtis hand closina on her wrist...

e+eher talon-nails clawing the air...

e+sher toes walking up his calf...

eeeher legs suddenly locking around his knees...

eeeher free hand grabbing his hair..,

«+ehexr Shoulder iising as she forces his head back...

208,

2/2/68 98.

ee ener lips pressing down on his...

~esnis hand swatting an unidentified mass of flesh... .»sher eyes popping, teeth clamping his ear lobe... «eehis hand catching her ankle...

essher teeth losing the ear lobe as she screams... .-eher foot appearing upside down beside her face... ~e-ner talon=-nails furrowing flesh, drawing bDlood.+.+ e.nis head rearing back, roaring...

»»-both rolling to the floor, out of view...

«ewer feet suddenly flying up into vleWeee

ee ner hand tugging rhythmically at the blanket... es.her other hand wildly exploring Joe's back... eeeher ankles locking spasmodically...

. har eyes and mouth wide, gaping...

weethe blanket suddenly ripping free, flying into the air as her arm flings itself around doe...

«the bedclothes spilling down around them, muffling her ascending shrieks.

Shirley has difficulty aiverting to her nine-to-five role as a Madison Avenue car€lr girl. Half-dressed for work, she

2/2/68 99.

ds talking on the telephone, her eyes on the open door to the bathroom, through which Joe's voice continues singing.

mong oa SHIRLEY > . Well, I really can't talk now, 4= you know what I mean, but believe me when J say, Myra, it's an experience every emancipated woman owes herself. I'm not. I'm not exaggerating. Well, what's Phil's poker night?

{yells off)

Joe -<-.are you available next Thursday, eight=-thirty?

209, INT, SETRLEY'S BATHROOM MORNING

Thoroughly shaved, bethed and groomed, Joe is sprinkling an expensive cologne into his boots. He yells back enthusiast—- ically.

Shirley turns back to the phone. Joe appears, grinning.

JOE*S VOICE Well, ma‘am -- Shirley -~ I sure hate to trouble you, but...

| Shirley opens her purse, savorin, the moment. As she places the money in Joe's hand... "

“212. 223,

214,

2/2/68 100.

~eJoe slaps a bill on the counter, admiring a fine new cow- poy shirt in the mirror, wriggling new white socks into hig’ boots. Suddenly remembering, he goes to the sock rack and buys two pairs, one large and one small. Gradually dominat= ing, Joe's leve them? recurs, continuing over...

eeeJoe slaps down money to pay for an assortment of medicine.

Joe takes the stairs two at a time ts burst in om...

»-eRatso huddled in the overstuffed chair -~ wearing the stolen sheepskin coat -- wrapped in blankets, his teeth chattering, in spite of the sweat on his forehead. Joe stops abruptly, his mood shattered by Ratso's alarming eondition. They simply stare at each other for . moment, then Joe turns away to see soup heating on the Sterno stove.

Joe tosses one of his paper bags onto Ratso's lap...

Ratso opens the paper bag, trying to control his shivering, pulling cut the socks and a suit of long underwear. He sees Joe watching him for a reaction. The best Ratso can do is a Slight shake of his head.

‘4,

2/2/63 101.

RATSO a No. But while you was buying the underwear, I could have lifted the socks,

‘ JOE You couldn't lift fly specks from a Bugar bowl, Can you hold this?

Joe hands Ratso the soup. Ratso seems steadied by the warmth | in his hands, He nods, sipping the soup.

RATSO “ - Well, I don't think I can walk. (embarrassed) I mean, I heen falling down a lot and, wh...

2/2/68 102.

14, CONTINUED

“RATSO | I den't know. Cops. Or the -— : how should I know?

Ratso is trembling so violently that the soup starts to slop over, Joe takes it and sets it an the table.

~ RATSS No doctors. No, sir. Mot me. Decters are like goddam auta mechanics. Fix one thing, unplug another. Operate for piles and while they're there, they unscrew your liver. My old man, for God's Sake, wasn't any sicker‘n I am when he went to the doctor.

‘RATSO I‘m going to Florida, that's my only chance,

CONTINVED

2/2/68 103.

' RATSO T'll find the money. If you just get me on the bus, that’s all il ask.

° — JOE . Jast when everything's going my way, you gotta pull a stunt like this.

- 7 RATSO I don’t even want you to go. Whaddya think of that? I got ether plans for my life than dragging around some dumb cowboy that thinks he’s God's gift to women. One twenty-buck trick and he's already the biggest stud in New York City. It‘s laughable.

Joe sets his Stetson on his head.

- JOE When I put you on that bus down to Florida tonight, that'll be the happiest day of my life‘

Joe strikes a match with his thumbnail and watches it curl away while he waits, hearing a phone Ting. Then the phone is answered by a woman's voice.

JOE * Bey, Shirley...Miss who? Oh, yeah, well, when will Missus Gardner be home? ...l'ma friend of hers, a goddam good friend... Shee-it, I can't walt till then...

Joe hangs up while the answering service's voice is still

talking.

The match has burmed out. Joe flips it away.

2196

220,

2/2/68 104.

INSERT

Beadline -~ WALTER P. BOX TAKES NEW YORK BY SURFRISE’

Joe loiters outside a gag headline print shop, bis eyes fol- lewing a man in homburg and chesterfield,

goe lingers momentarily, identifying with the violence in a jazz dremmer, his eyes searching for a pickup.

Joe tests his skills in a shoot-down with a large metal cow- Bboy and kills him, a recorded voice speaks, "Got me,“ as the cowboy slimps. Joe glances off as he hears polite applause...

oe TOWNY ~- 2 stout, round=-faced man == clasps Joe's hand between both of his own, like an old friend.’

" TOWNY Bow are you? -

(more quietly) Townsend P, Locke, from Chicago. Call'me Towny., I'm here to attend Aa paper manufacturers’ convention - and, frankly, to have a little fun, dammit...

Tewny grips Joe's elbow, almost farcibly leading him away.

Towny's face appears huge at Joe's shoulder,

. 221.

2224

2/2/68 105.

Towny's mouth continues speaking at an incredible rate, but his words are drowned out momentarily by the grinder of a Sanitation truck, chewing up a discarded Christmas tree with tinsel clinging to it. Towny is still talking when they've passed the truck.

Joe hardly notices O'Daniel on a far corner, his whining scarcely audible. "Ye are the salt of the earth,. Jesus said, but if the salt hath lost its savor, wherewith shall it be salted?"

' DOWNY But, dammit all, I just remembered, we'll have to eat in my room because I have this’ phone call coming at nine-thirty...

An ancient open cage lift,

224,

2/2/68 106,

BK threadbare, carpeted but spacious hallway.

ae ~ TOWNY — = oa = Pifty years ago this was the onl hotel in Manhattan. My mother always calls me at her bedtime, so I've got to be there. "

The room has little to recommend it except its size and large French window, through which -- ignored by Joe -= the Mutual tower flashes MORY! Towny waves Joe toward the couch, quickly slipping several physical culture magazines from the cofies¢ table onto a shelf beneath.

; TOWNY A drink? I've got some nice gin. If you'd prefer something else, they'll send it up...

~~“ POWNY It*s so exciting. New York. The mad forward thrust of everything. My sense of time here is completely altered.

Woe Carries Ratso down the stairs, wrapped in a blanket.

The coffee table is littered with empty cartons of Chinese food, soaked through with brown sauce. Joe finds the last egg roll and eats it as sowny'’s voice drones on.

228,

: : 2/2/68 107.

yO TOWNY Sometimes it seems to me time stopped twenty years ago. There was this war, there was this handsome young man with quite black hair and he was supposed to die. But he didn’t. Isn't that amusing?

JOE

What? Towny’s dialogue moves out of sync. Towny's eyes seem to lock into camera -- from Joe's viewpoint -- but slightly past it. The quality of the scene grows increasingly disjointed as Joe glences around the room, looking for something to steal, losing personal contact with Towny, viewing him as an object to be used far a specific purpese,

—_™ . “TOWNY Enough about me. I'm through talking for the evening. Now I want to hear about conditions in

the West. The romance of the West holds a tremendous power over me. ; Mother was actually a pioneer woman, can you believe it? When she calls, I*ll introduce you and she'll be so thrilled.

Ratso sits on a stoop while Joe hails a cab,

Towny's voice is only a shrill monotone from here. Joe searches with increasing desperation for something of value. An old electric razor is too bulky for Joe's pocket, prob- ably worsnhi2ss anyhow, Towny'* array of medicines merely recalls Joe's purpose,

229."

230,

i326

2/2/68 108.

Joe lifts Ratso from the taxi and carries him inside. ' JOE'S VOICE

Listen, Towny, did I mention I got a sick kid?

Joe is rehearsing the speech in the bathroom mirror.

Joe stands in a long line, glancing impatiently at the clock while Ratso waits on @ bench, wrapped in his blanket.

i :

Tewny is stretched out on the couch, staring morosely.

Joe moves ints frame past camera, standing in xtont of him, sO that we can see the scene from behind Joe's waist,

e

a

i32.

2/2/68

"JOE What d‘you want?

’ JOE What you got me up here for?

yt ‘ TOWNY No, yes. No, I mean yes please go. Help me to be geod, Come back tomorrow. Promise.

_— "FOE - I'm going to Florida.

ao

Joe! s face is expectant, next in line at the ticket window. Re nods reassuringly toward Ratso.

2/2/68 110.

Joe's face is puzzled then angry as Towny takes a Saint Chris- topher medal from his ack and hands it to Joe. His eyes are looking past Joe, his speech out of sync.

It's Joe's turn. The clerk looks at him expectantly.

—

Joe's voice is angry.

‘JOE Listen, I gotta have money.

* TOWNY mo Oh. Yes. Of course. I should have thought. You.shouldn't have to ask, That was thoughtless of me. Yes. Wait here...

Towny hurries across the room to the bedside table. Beside the telephone is a picture of a prosperous pioneer woman wearing a hearing-aid. Towny tries to conceal his movements as he takes a wallet from the drawer, lifts out e bill and tucks the wallet back and turns -- terrified to see Joe cicse behind him -- almost knocking the lamp off the table in his fright. Pressed against the table, protecting but calling attention to his wallet, Towny holds out the bill.

2/2/66 111.

‘ JOE {takes the bili) I gotta have more‘n ten. I gotta have fifty-seven dollars. ‘

I simply don't have it, Joe.

-* , JOE Get outta my way.

a - . DOWNY You're wasting your time. There's nothing in there.

Tawny clutches the table, staring at Joe, shaking his head like a bad littie boy. Joe backhands him angrily. Trying to duck the blow, Towny stumbles and slips te the floor,

but grabs the table in his arms, watching Joe out of the corner of his eyes, whimpering. Joe grabs his hair, turning his face up.

- SE - Let go. Let goof the table.

Joe ‘slaps him, but Towny clings more fiercely to the table as Joe tries te jerk it free. Joe strikes him with his fist.

I deserved that, I know I did.

But he clutches the table wildly. His mother's picture falls unnoticed. Joe stands in panic, sickened, unable to fulfill the role Tewny has assigned him.

2/2/68 1212.

fowny's eyes shine, teeth clenched in a crazy smile, blood trickling from his nose. Suddenly Joe jerks the lamp free of its socket.

TOE ° You wanna ginme fifty-seven dollars or you wanna busted skull?

Towny simply stares at the lamp.

. ; JOE Please let go cf that table.

Joe threatens, swings the lamp down, but stops short of hit- ting Towny. Towny shrieks -- eyes rolling back as he falls limp == loosing his grip on the table, leaning on the bed, laughing and crying hysterically. Joe has to step over hin to reach the wallet in the drawer. He takes all the money -- Probably twice what he needs ~- desperate to get out of the room.

Joe carries Ratso up the steps onto the bus.

Towny’s shrill little whisper says...

' Powny Thank you, Joe.

e+sprovoking Joe to glance back. Towny is reaching for the telephone, his eyes on Joe with wild brightness, holding his hand on the receiver. Joe knocks the phone from his hand, hits Towny in the mouth, jerks the cord from the wall as Towny falls -- gagging -~ finally dislodging his dentures on the carpet. Joe stands sick and cenfused, holding the use- less phone in two hands...

2/2/68 113.

The bus driver revs the powerful engine, shifting gears.

e+.J0e 45 about to hang the dead recedver on its hook when -- on sudden impulse ~~ he shoves the small énd of the receiver into the toothless mouth of the man on the floor.

Thea bus roars into the funnel.

Joe and Ratso sit near the rear of the bus. Ratso's teeth chatter, wrapped in the blanket.

They ride a few moments in silence.

~ RATSO The trip is. Nine-thirty in the morning we get there. Mot this morning but the next one at nine- thirty.

Both nod far a moment in sLlence,

JOE : Yeah *. =

2/2/68 114.

The bus tires sing as it speeds South.

Joe and Ratso have reversed places, putting Ratso by the window, Joe watches a middle-aged couple try on their new straw hats, unaware that Joe is watching then.

° RATSO You get your first palm tree in South Carolina.

; JOE Bow'n hell a dumb Bronx kid like you Know that?

*-* RATSO I read it.

a "JOE Shee~it. You believe all you read?

The metal grating rings as the bus soars onto it.

Two aging young ladies in brand-new resort wear are casually examining Joe, along with the other men on the bus, but Joe is frowning at Ratso, who shivers despite the bright sun.

247,

246,

2/2/68 115.

. - JOE . Keep the goddam blanket on.

; RATSO I mean New York's one ching, but Gan you see this guy, imagine it, running around the geddam beach all Buntan and he's going in swimming, like, and then somebody yells 'Hey, Ratso' == how does that sound to you?

. . Jor Sounds like they knew you.

mo ' RATSO Sounds like crep, admit it. And I'm not gonna have it. I’m Rico all the time, okay, do you blame me? That's agreed, okay? We're gonna tell all these new people my name’s Rico? ‘

Joe nods. Ratso closes his eyes, momentarily at peace.

The bus passes a Florida hotel sign too swiftly te read it.

Joe frowns in his sleep, awakens, lifts his Stetson to see Ratso wide awake, in misery, wiping tears from his eyes.

‘ JOE Hey -- whatsa matter?

245,

2/2/68 116.

" RATSO ' (barely audible) I'm wet.

' JOE You're what?

"77" JOE Hell, don't cry about it:

. a ‘RATSO " Here I am going to Florida and my leg hurts, my butt hurts, my chest hurts, my face hurts, and like that ain't enough, I gotta pee all over myself, .

woe Laughs suddenly, uncontrollably.

" = RATSO I'm falling apart, that's funny?

7 * JOE (nods, Laugh«ng) You just -- just -~ what happened, you just had a little rest stop wasn't on the schedule.

Ratso begins to laugh with Joe ag if it were the funniest thing they'd ever heard. Then Ratso’s face pales as he starts to choke and cough. Joe pats him on the hack.

JOE " Hey, what size pants you wear?

The bus is parked in the distance, Joe comea from a clothing

Store, bare-headed, wearing plain slacks and spertshirt. Ee carries the boots, Stetson and cowboy suit in one hand, a

mtg,

2/2/68 117.

bundle under his arm. He dumps his cowboy regalia in the trash Bin of a sandwich stand and calls to the WATTRESS.

¥ a JOE . * im Couple crullers'n coffee to go.

The Waitress draws coffee, wraps crullers.

os “WAITRESS Where you from?

a , JOE New York, Joe pays. She smiles, gives him change. Joe smiles, starts on toward the bus, hardly aware that he has accomplished sone- thing rare md remarkable for Joe -—- a simple human contact without fear or threat, a pleasant everyday heppening.

Joe and Ratso have moved to the seat farthest back, wider than the others. Joe blocks the view of the other passengers as he helps Ratso into a new pair of corduroy pants and a Florida shirt. In the middle of the operation, Ratso dozes off. Joe shakes his head, scowling, annoyed, but continues, lifting Ratso enough to slide the pants around his waist. Ratso awakens as Joe zips the fly.

. RATSO - Hey, what the hell you doing?

They both smile. It isn't funny enough to laugh at. Joe arranges the blanket, takes out a package of tigarettes, glances at Ratso and puts Lt Bway.

2/2/68 118.

Palm trees are streakingp=t.the window. The sun is glaring hot. A group of kids in bare feet and straw hats wave to the bus as it passes, .

Ratso's eyes squint in’a dazed half-sleep, Joe leans across to pull down the shade. He hesitates a moment, watching...

ee epast his reflection, a group of young men on their way to work, carrying lunch pails, dressed exactly as Joe is now dressed...

esethen Joe lowers the blind and seats himself. Raetso nods Slightly, his ywice practically inaudible.

- - RATSO Thanks, Joe,

2/2/68 119.

They ride for a moment in semi-darkness, Joe smoking, looking at the other people on the bus, brighter without the shades down, Joe turns, checking the blanket around Ratso, noticing that Ratso is sitting in a peculiarly stiff, awkward position. Joe leans over to straighten Ratso's head, blocking our view for a moment. Then Joe leans back, frowning, thoughtful. We Still do not see Ratso's face. Joe rises slowly, starting forward in the bus...

+e.passing an older couple, a schoolgirl, two ladies with straw hats, a young man trying to read, pausing when he reaches... ,

«esthe DRIVER, staring out at the Sunshine Parkway with the Driver, leaning over so he won't have to speak too loudly.

' DRIVER Your friend's what in the back seat?

- JOR - Dead. Dead as a doornail.

+> DRIWER- Is this some kind of...

He glances at Joe, then pulls off the road and stands up.

The passengers crane theix necks as Joe follows the Driver to the rear of the bus, The passengers ‘at the rear are Staring ahead, trying not to see what is going on. The Briver touches Ratso, straightens, touches his. hat, but doesn't remove it,

2/2/68 120,

252, GONTINVUED -- DRIVER Is he kin to you? -

goe nods no.

7 : JOE Close them?

° ‘DRIVER Just reach over and close then.

That's all.

-— oF

Joe closes Ratso’s eyes.

77 DRIVER I guess we'll just drive on, right? Nothing else to do.

. _ JOE No, sir. Not till Miami. I'll

eee to burying then. The Driver moves to the front and turns to the passengers,

. DRIVER gust a little sickness, folks, nothing serious. We'll be in.

(looks at watch)

eeeLn forty minutes,

t

°253, j§.IINT, GREYHOUND BUS DAY

Joe sits stiffly, very frightened, as the bus starts on. Then he glances at Ratso, frowning, reaches out an arm and puts it around Ratso, settling back, staring straight ahead,