"MIDNIGHT COWBOY" (1969)

Produce~: Jerome Hellman

Director: John Schlesinger

A JEROME HELLMAN-JOHNSCHLESINGER PRODUCTION

A Susskind-type MODERATOR is speaking_into camera:

,An IRATE WOMAN speaks into camera :

A COOL WOMAN speaks into camera:

A SAD WOMAN speaks into camera:

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4. CONTINUED

·SAD WOMAN No, Inever had, well, whatever it isyou call it. BUt the hours• he works, I can• tblame him•••

s. INT. CAFETERIA SCULLERY ('reXAS) DAY

Pull frame -- a scandal sheetpicture of a sex-starved•wife, naked while her husband sleeps, captioned I BUY WHAT MY H'OSBANDCAN'T GIVE.

·· -·· - ·SAD WOMAN'S VOICE ••• butit'sa problem. Abig problem. With somany women I know •••

Camera pulls back to show the picture among .otherpinups of women -- rich, beautiful or naked, but allblonde -- steam- wilted on the wall over a disbwasbing machine • JOE BUCK grillsat the wall as he scrapes garbage.

"JOE J'Ustkeep your pant~ on, ladies •••

6. MULTIPLE SPLIT SCREEN

A LADY COMMENTATOR, gradually surrounded by lonely -women•••

BEAOT'fPARLOR · ··LADY COMMENTATOR

Before World war One --

FASHION SBOW American men outnumbered ·

women by over six percent.

PSYCHIATRIST'S COUCH Today American women not

onl.youtnumber me:1,but

COCKTAIL BAR

live five years longer -- leaving them in control of

o GYMNASIUM

vast corporate wealth and seve~ty-five percent of

STATUE OF LIBERT'i America's purchasing power •••

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6 • CONTINUED

The Lady Commentator 1.sreplaced by Joe _,stackingdishes, surrotmded by frustrated ladies. Be laughs tolerantly.

' JOE Y'all line up and take your tw:n•••

The Moderator smiles 1.ntocamera.

..···- ..·..-··MODERATOR My· questioil"1s · this--·w111American know-how · comeupwith a marketable · male to replace al.lthe·men who are 'WOrryingthemselves into an early grave over w"Omen•sincreasing sexual demands?

a. INT. STALL SHOWER DAY

Joe sings as he soaps himself, "Whoopee ti yi yo, git al ong little dogies, for you know Ne~ York will be your new home!N Sound and image freeze on Joe's open mouth.

SUPERIMPOSED MA.INTin.E AND CREDITS

TITLES follow as indicated, sound and action continuing after each credit.

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

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wrapped in a towel, singing 1n front of his dresser mirror, Joe spraysh.1.mselfwith deodorant,·aiming a last play:.: ·ul blast atthe unseen crotch freezing song and image as CREDITS continue over•••

•••acalendar girl on the wall blushing,orange, mouth frozen in a tiny o, · staringWide~yea. Joe• ssong continues as •••

••~Joe rips the wrapping from a new Stetson and sets 1t on his head, freezin_gsong and image as C.'qEDITScontinue.

RALPH, an agingblack man, faces a mounta.illofdirty dishes.

- --·..·RALPH Where's that Joe Buck?

Singing ashe buttons ··his·newcowboy shirt, Joe interrupts himself to .answer Ralph•••

••• continuinghis song ashe pulls up and zips his tight- thighed black slacks, freezing song and image for CREDITS.

13. I.NT.REMEMBERED BEAUTY PARLOR ANOTHER TIME

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

·SALLY BOCK You look real nice, Joe baby•••

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Joe sings a~ he pulls · onhisnew cowboy boots, arranging his cuffs to show off the yellow sunburst atthe ankl.e,freezing song and image for CREDITS •

The pink MANAGER scowls at his pocket watch.

Joe hums as he piles a complete wardrobe of cowboy clothes, still 1n their wrappers, into a shiny new suitcase 0£ black and white horsehide.

17 • INT. SUNSli!NECAFE'n:RIA DAY

'Boldinghis watch, the Manager wags a finger at camera.

MANAGER · You're ·duehere at fouro'clock. Look at those dishes, look!

Joe laughs as he locks his suitcase.

Joe picks up his su~tcase, a porta!:>letransistor radio, walk s awny from the mirror, then p~uses to run acomb through his

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18. CONTINUED

hair,·hook · acigaretteat the corner of lus mouth and strike a match on his thumbnail before he turns·back for one admir~ng glance at himself in the mJ.rror-- proud, exuJ.tant,ready freezing the image as CREDl:TSEND.

Joe leaves the hotel, carrying his suitcase.

The pink Manager points at his watch angrily•

Four to midnight, understand?

Angle widens to include Joe, ·holdinghis suitcase and radio. Ralph stares at him curiously, stacking dishes.

·· MANAGER Later. Later maybe.

The Manager hu....-riesaway,carryinga basketof dishes.

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

WAITRESS

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20. CONTINUED

••·.butshe disappears·without noticing Joe. Ra1ph offers his hand. Joe takes it, holds it~

··RALPB What you gonna do back there, East?

Yeah?

..· ··JOE Men, they mostly faggots.

···RALPH .. Must be some mess back there.

· JOE .. . :Igot me two hundred twenty-four bucks of flat ·foldingmoney ••• · ·· (slapship) Be know what he can do with that chickenshit day's pay. And if he ai.n'tman enough to do it for himself, I be happy to oblige!

The door marked EMPLOYEES ONLYswings open and Joe appears, measuring his effect on tbe customers and his fellow em- ployees as he crosses the sterile white diningroom, ob- serving the drab details of the life he has left behind -- garbage on greasy dL ~1es,li.inpfoodin steam table tra ys,

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,, 21. CONTINUED

co££ee-soaked cigarette butts, caked mustard and catsup on formica table tops --two pimply high $Chool girls slurping susgestive noises afterJoe through the· strawsof empty coke glasses. o.s. a Tiomkin-tradition chorus sin9s,·•From this valley they sayyou a.regoing -- we will miss your bright eyes and sweet smile~- for they say you are taking the sunshine••••

22• EXT • .TEXASTOWN MAIN STREET DAY

'l'hesongends as Joe comes £rem the ca£eteria • •••that brightened our pathway a while.•.

From a high angle -- Joe starts nis long walk toward the bus depot a.longthe street of a small Western town strugglin gt o urbanize itself. The click-clacl·-clickof l'μsboots is loud but somehow l onely. The ·radioat his ear drones grain prices on the CommoclityExchange. Joe's pace slows as be passes•••

23. filCT.SALLY BUCK'S BEAUTY SALON DAY

•••a gilt-lettered sign i.nthe window, glittering in the sun, u:iomentarilyhiding the fact that the shop is deserted. Joe grins as he hears re.'llemberedsoundsandvoices - incomple te flashes,I'llOresignificantin tone than content -- a 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, G.ra.mma""'gonnabuyyoua mockingl::>i_rd••••

••• ashiftof light revealing a row of ta.mi.sheddriers, a broken mirror, a FOR RENT sign in the window. Joe turns toward thebus depot, radio pressed to his ear.

ANNOUNCER1 s · voICE Benson and Hedges one Hundreds makes special a ward sfr...rnti.-net otimefor anything that's longer than anything•••

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23. CONTINUED

At the same moreer.t,arecognizable variant of the "Big Country• theme blares loud.

24• INTERCUT i-."ESTEP..NFILMCLIP

Gary cooper (or Joh.~Wayne) walks a frontier st:eet.

High angle of the departing bus,· intercut"Big Country• fashion, alternating high shots with closeups of the bus whee ls.

26. EX:T. FREEWAY CLOVERLEAF DAY

...~

Thr oughthebus windshield -- a dizzying montage of traffic lin es ,arrows and signs. asthebus sweeps around and up onto the freeway.

Joe sits at the fr o nt,opposite·the driver, cracking his gum as he watch esthe huge billboards streakingby, promising him power, happiness and beautiful women if he chooses the risht breakfast food, hair oil or automobile. Joe listens to · the h'WM\ingtires, the r o arofthe engine, shaking his head.

Ignore dby the d::-:~ver,Joerisesand walks back to his emp ty double seat, glancing aroun .dtosee what impression he• smade on his iIMlcdiatefellow traveiers -- an OLD LADY in fr o ntof h !m-- a hostile yo ungsailor with acne behind him -- two teen y - bop?cr:;flirtin-;withJoehy s t e r_ c.-a lly--aPALEBLO!m== di rectlyacro s sth ea isle ,s~~lingatJoe weakly.

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27. CONTINUED

Joe leans across, ·sn~ppinghis gum as he offers her a stick. He watches her nil>bleit daintily on her front teeth.

"PALEBLONDE Thank you, no, it's just till the Dramamine works. I get carsick.

JOE · I only get carsick on boats. (waits,then} But seems to me that's more the fish smell than the bouncing •••

Joe real.izesthat her eyes are closed.· Mildly depressed, he stretches himself across both seats and turns on his radio, finds only static and snaps it off. Further depressed, he examines his reflection in the bus window, ·squeezes ablack- head and runs the comb through his hair, picks a piece of tobacco off his tooth and lights a cigarette, watching the flame die in reflection, forgetting to discard the burnt-cu~ match as he stares out · atavast- lonelyprairie, a ·solitary cowboy in the distance, a row of sharecropper shacks appar- ently de~erted, a barefoot little girl motionless at the roadside, watching the bus pass. Th.roughthis,leading into the next scene, · SallyBucksings ·softly ••••itthat mocking- bird don't sing, Grammaw· gonnabuy you agold~n :ing ••••

Sally Buck, relaxing in the middle of abusy day, eyes closed wearil·-· .whileLittleJoe massages her neck. Her song con- tinues over the noises of the busy beauty parl~r "••~if t..,a~

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28. CONTINUED

golden ring turns brass, Gram.mawgonna buy you a looking- glass••••

"SALESMAN'S VOICE You gotta sell yourself, that's the whole trick•••

..•·.

A 'seedyTRAVELI!7GS,ALESMANvithbadly-fitted dentures and a frayed colla.rhas taken the aisle seat next to Joe. As he lectures Joe . onsalesmanship,he figures his expenses i.:la worn leatherette notebook, nervous fingers and eyes uncon- sciously revealing the extent of his failure.

It ain't the product and it ain't the price, no sir, and it ain't what you sell, it'spersonality, pure and simple. I ain't shined my own shoesor shaved my own face in fortyyears, how's that? Not bad for akid that didn'tpass the eighth grade,right?

··SALESMAN And that's my golden rule. Make 'emlove you. Put yourself over and you can sell them anything. If they like you, they'll buy horsemeat for prime bee£ •••

30 • I NT.RE:-1E.!·1BEREDDE>'(urrSALO?lANOTH;:RTIME

A gawky, adoles centJoe sits sprawled on the couch, leafing through a magazine while Sully Buck bleaches the roots of a

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30. CONTINUED

young "WOman'shair.

SallyBuck turns, pretending to be stern as Joe laughs.

The headlights of thebus flash past a hhge sign, painted on the slant roof of a:barn: JESUS SAVES.

Joe is alone <lga.i.n.TheSalesman has disappeared. The bus is dark, most ·passengerstrying to sleep. only one reading light still burns, over the head of the Old Lady in the seat ahead of Joe. Joe squinns, resUess, trying to lu.1.lhimself to sleep with the music of a revival.1stgospel group on the radio.

SALLY BOCK S VOICS ··· I>on•t · forgettosayyour prayers, honey•••

Joe leans forward to help 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 sw i tchesiton ag a in,fak e sagc-·. ·.--natu=edgrin,s ettles back with his radio, aware of an OLu COWHA?IDseated opposite

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32. CONTINUED

him, replacing the Paie Blonde. _TheOld cowhand is apprais- illgJoe's wardrobe curiously. He looks away when he sees Joe watching him. Joe settl.esback, unabl.eto ·.thinkof a way to open a ~onversation.

'EVANGELIST'SVOICE Oh, 'ff::!friends,Isayunto you, inveot with Jesus, put your dollars to work where they'll pay off at compound interest. Tb.eGood Book says .moneyanswereth all.things•••

The Old Cowhand hc.srolled ·himself a cigarette. Joe quickly lights amatch ou his thumb and .holdsit across the aisle.

The Old Cowhand's •thanks• is lost in a fit of coughing as he inhaleshis firstdrag. He settl.esback, wiping bis watery eyeson a fadedbandana.

Joe glances across the a.isle. The Old Cowhand manages a faint, humorless smile.

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32. CONTINUED

·JOE · I'm bound for New York City.

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

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

33 • :INT.REMEMBERED BEDROOM ANOTEER TIME

4-ttleJoe's head is lost •ina beatup cowboy hat, similar to the one worn ·bythe Old Cowhand. Sally Buck smiles on WOODSY NILES -- a long-legged c o1.,,boywithashock ofblack hai::-- who stands at her dressing tal:>le,admiringhimself in a new Stetson.

' WOODSY · You do me · good,Sal~you dome real good. ·You know what I gonna give you for that Stetson?

Woodsy grabs Sally Buck, ll.ftingher off her feet, ca.rryi.n.g her to the bed. · strugglingithey fall acros& the c~vers to- gether, Little Joe laughing with them. :·.,...:

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Joe shakes his head, grinning, of£erj.ngthe Old Cowhand a cigarette.

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

Littl.eJoe is cuddled in Sal.lyBuck's axms, under the covers, watching Woodsy, sitting cross-legged on the bed, naked except for his Stetson and guitar, singing drunkenly.

From a high angle the bus slows to a stop.

Joe awakens, stiff-necked, momentarily confused. Be straight- ens 1n his seat as he sees the Old Cow~and lifting a sweat- stained saddle down from the overhead rack; starting toward the front of t.'lebus. Joe calls after him•

.. .JOE Nice talking to you, old timer.

Joe stuffs a stick of gum 1n his mou·th,turns to wave at the Old Co~hand through the window as the bus 'pullsaway.

WOODSY IsVOICE She-dogs squat, boy. '"Be-dogs· stand up and lift their leg•••

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,

(__, woodsy, in his new Stetson, watches.Littl.eJoe in his beatup cowboy hat; trying to balance on one foot, one leg lifted in front of the trough. Woodsy roars with laughter.

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

YORK, A WELC0!·1EAWAITSYOU AT THE TIME.SSQUARE PALACE BOTI:L~

_Joeis now sitting·in the wide rear seat~ between two young MARINES and a group of VETERANS wearing campaign caps and convention buttons, passing a bottle, singing •From the Balls of Montezuma to the Shores of ·Tripoli•••• ·Joefollows the conversation between a VETERAN and a MAR.I.NE,partici- pating only because he's sitting beside tb.em,adopting a remembered military stance.

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,. 41. CONTINUED

L

· • MMINE Big peni-goddam-cill.inbargain, right? .

So. You got it.

-"JOE·- Jesus goddam Christ, I ain't laughed sohard since Iwas out atFort Benning, Georgia.

- . .."'MARJ:NE. Did you make the Viet?

A plump, aging PROSTITUTE J.aughsup into camera.

·.PROSTITUTE Bey,hey, what you try to do to me? ·you gonna cost me money, soldier!

Joe laughs as hepasses · thebottle, trying to sing along without knowing the words as the Veterans segue into "Over hill, over dale,·wewill hit the dusty trai.l,as the caissons go rolling along•••"

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L Sa1ly Buck fondly wipes lipstick. fromJoe's lips.

..·-· .·-SALLYBOCK Keep your · meatbooksoff my operators, sugar, hear?

Joe slaps ·oneof the Veterans ·onthe back, •tryingto follow the song into "Off we go, into the wild blue yonder ••••

4 6. INT. R.E!1EMBEREDMOVIBBOUSE ANO'l'BER .TDtE

ANASTASIA clutches· ayounger Joe, eyes wild, gasping.

·ANASTASIA You're the only one; Joe, the only, only one ever!

4i7. INT. BUS DAY

Joe is leaning across the two Marines, staring out of the window as the Veterans switch to •Anchorsaweigh, my boys, anchors aweigh•••~

A stunning view through the bu.swindow past Joe's reflection.

· ·JOE'S REFLECTION Gonna swing my lasso ;uidrope that whole goddam island, yeah!

Orum majorettes leading the parade·-- ticker tape and con- fetti -- g.:..!'lsatskys r'~·aperwindows.

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50. INTERCUT NEWSREEL CLIP

Charles Linaberg (orJames Stewart) waving a ·i::.thecrowd•

•

Girls lining the piers · --flags,banners, bunting -- ship horns, whistles, bells.

Joe crowded as the Veterans prepare to leave the bus, li£t- ing down banners and flags.

5 3• EXT. LINCOLN TmlNEL Dlcr

The bus suddenly surrounded by converging traffic, horns honking, segue1ng into the noises of Times ·square.

Flag draped, reading: WELCOME VETERANS!

Flapping in the wind -- WELCOME VETERANS!

.. --~-.

The marquee announces TRANSIENTS WELCOME. o~s~ asinging radio station break blares •w-I-N-SNEW YORK ••••

The sign flashes WINS • ••• ten-tenonrour dial!• A torchy woman's voice sings from a lonely echo chamber --introducing a love thene ,,.:hichwillhauntJoe !1roughoutthe film.

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~NT. ROOM 1014 DAY

Joe sets his raqio on the dresser, hJ.ssuitcase on t:}le bed, then turns to examine his new home -- as anonymous ·ashis Texas hotel room -- but boasting ·acoin~perated television set. Fascinated, Joe inserts a quarter•••

••• thelove song continues over a television talk show feat- uring a POODLE WIGMAKER. defendinghJ.sprofession against a Joe Pyne-type PANEL BOST, ·• ••• well,:t·performarealservice, there's a need, so many people, you know, really live in their pets, I mean, lonely, I grant you, but their feeling is reaJ.. They want to lavish as much love, give them as much ,yes , pamper them like they were really ~uman children or whatever ••••

SALLY BUCK'S VOICE

There•s· aTV d11Ulerin the fridge, lover boy •••

Little Joe stares sullenly at an antique '1!Vboxwhile Sal.ly Buck puts her hat ou at the ~ireplace m;i.rror~There is a framed picture of Woodsy Niles on ·themantle•

....SALLYBUCK

You be okay, won•t ·you? Maybe I bring you · atreatif you're a good boy •••

O. INT. ROOM1014 DAY

Joe watches the· PanelBost, • ••• you'reanut 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. rop.nd,toots, think I'll stop in for a beer or two•••

62. Iln'.ROOM 1014 DAY ··

Joe sits on the edge of the bed, watching the poodles primp.

63. IUT. REMEMBERED PARLOR ANOTHER TIME

Little Joe stares unbli:ck.ing· atthe'1!VscreenasSally Buck kisses him on the forehead.,dressed for the street.

Expect me when you see me.. r,.ooks like I got me a new beau,· 1over boy,.how's that for an ·old·grammaw? I'11·leave you movie money•• .• .

Sally Buck tucks a aollaxibill wider a · framedpictureof Jesus,. who hasreplaced Woodsy Niles on the ma.~tle.

64. I.NT.ROOM 1014 DAY

As a fairy godmother's magic wand removes sticky hair spray from a pretty model's head, Joe's ~arter runs out and the screen goes blank. At the same _moment,the love·song· 1s · cut off by a singing station break •w-I-N-S NEW YORK~• ·Joerises, flipping the dial of the radio to a cuitured woman's voice reading ••••the·oow Jones averages, brought you by Morga.~Van- dercook.: up your income with sound investment counseling•••"

JOE

Op yours, lady•

•••but Joe leaves the lady on, savoring the expensive sound of her voice reading the stock quotations~ Joe seats him- self at the desk, ·?leasedto find a pos~card photog:nph of the hot =l. He ::-1{ :; ::s1.!?aballpointpen,countstenfloors up from the street and marks a huge X -- 'l'HISISME, then t _urnsthecard over, pen pcised over the address blank.

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Ralph stares at the card, surrounded by dirty dishes.

..RAI.Pl:f-.... . .-. . .

Bell, he know I can't read•••

Joe's pen wavers, starts to write atidstops.

As we saw•it last,-·deserted,a FOR.·tu:NTsign·inthe window. Joe's reflection appears; staring at himself, dressed in bJ.sdishwasher's clothes.

JOE•s - voIC~

After all them dishes are washed, what?

~- "JOE'S·lU::FU:CT.ION"

Then they bring some ·moredishes and Iwash them and then I; uh,·· sleep some and then·wash some more dishes and theD I •••

·-·- .--JoE~s.VOICE

Say it, loverboy!

JOB'S REFLECTION

Die.

t i

..- . --~-

Joe stares at thepostcard, bemused.

"JOE's· VOICE ... ..

Well, you better just shake your tail, loverboy, and root.,hog or die.

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i8 • CONTINUED

Joe r1ses abruptly, rips up the postcard and tosses it out the window.

...•'.. JOE '

Goddam if I came to th.istown to write postcards.

The torn fragments flutter down on the crowd -- a 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 0£ Fifth Avenue shoppers•••

•••passing a glassbank, lady tellers counting money•••

••• passinga display of imported luxury ears•••

••• passingawindow which features a single gem -- pausing ashorns blast o.s. and .arr.odblo; ,,'\~inastalledsportscar motions to Joe --she needs a P~wn. Joe grins, glances at

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CONTI?n.TED •

himself in the window, runs a comb through his hau, then turnsback to see~ cop helping the mod blonde.

Joe's hee1s·drag as he walks a deserted block of'luxury apart- ment houses. o.s. the torchy woman's voice sings Joe's love theme in counterpoint to the blasting borns, a siren, a fire bell, a screech of brakes. Joe's spirits rise as he hears the Uc-tac-tic of high heels overtaking the heavy click- c:lack-clickof his boots. Be adjusts his pace to arrive at the·ccrner at the smae ti.meas a smart and ·--in ~oe's eyes -- very RICH LADY. Joe grins boyishly, holding his Stetson over his heart.

The delicate profile gives no ·signof hearing. Joe follows her to t heparkway in the middle of the avenue. There she stop sand turns, neither friendly nor hostile.

RICH LADY· · Were you joking? About the Statue of Liberty?

Joking? .No,ma'am. Oh no! I mean business!

RICB ·Lru,y I'msorry. I thought you-were ·-- never mind -- I've never actually been there,but let me see, you take the Seventh Avenue subway, I think, tothe end of the line•••

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\

5. 'ON'l'INUED \_ The Rich Lady tries to frown, taken aback, blushi.Dg.

-• • ······RJ:caI.ADY · You're not looking for the Statue· of Lil:,ertyatall.

JOE··· No, ma'am, I'm net•

• R.ICH~.DY ·· . Why,·that•s perfectly dread...~. Aren't you ashamed of yourself?

A twinkle of amusement and sympathy reveals tbe ··agelinesat the corner of her eyes. 'l'hensbecontinues on quickl.y,just as the l.ighttu.""!ls.Joe•sview is blocked for a moment by traffic, then be sees•••

• • •theRiebLady, newly aware of her flanks as she c:licbsthe steps of a brownstone and searches for her key. · stillfrom j oe•sviewpoint, he sees himself move into frame and follow the Rich Lady up -:.hesteps.·T"nel.ove · the:neswel1so.s.as theRich Lady leads him into the house and closes the door •••

•••leaving Joe standillgalone on the parkway island, sur- · roundedby towering wealth. The love theme continues over•••

•••apair of high-heeled pink sl.ippers,"'al.kingaminiatu:e poodle --slowing slightly,reacting to Joe's c:owboyboots a.sthey pass, pause andturn back.

"CASSIs .VOICE Burry up, Baby. Do um goody- goods ·forMama •

CASS TREHUN'E,a blonde lady in a tight black dress, with the look of a movie star who wrecked her career with food.

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16. CONTINUED ..

JOE Begpardon, ma Iam• .J:•mbrand spanki.llg:t1ewtothistown,·come. fromHouston-·rexas and hoping to get a l.ookat the Statue of Lil:)erty_•••

"JOE . 'l'heStatueof Liberty.

But as she turns, Casswinks, dimpling the corners of her mouth, signalingJoe to follow her.

Cassholds the DOOR OPEN button till Joe enters the elevator, thenth edoors close with •a · softexpensivelittl.e·kl.looosh andCass turns with the smil.eof avery tiny girl•••

• ••herlipsclosing on ·Joe• sas ·thepoo~e yaps shrilly at their feet. Superimposed, almost subliminally, a goleen dollar sign appears, haJ.atinglike a star, andthe bell of apinbaJ.lmachine rings o.s.

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

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' .

• ••asJoe ,s_tepsfromthe elevator, which opens di.rectlyonto Cass's penthouse. Cass beckons him toward ·her, ·.hooksafinger 1.ntohis neckerchief and pu~ls his mouth toward hers while she talks on the phone.

CASS

Morey? Ili-e~,honey•••

Cass gurgles happily as her free hand unbuckles Joe's garrison belt.

CASS

I'm just out of breath, honey, rwming to C3tch the ~hone.

As her fingers reach for Joe's zipper, cut to.;•

•••Joe's hand unzipping her dress•

..CASS

I was walking Baby. Elimgot to do him goody-goods, ri9ht?

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

- CASS

Oh God, oh stop; I · can'tstand that. I just die•••

(quickly into phone)

It's Baby, Morey. Him trying to say hello. Say hel1o 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.

' CASS

Okay, old goosie? Now lookie, when do you want me to meet ·you? Whatever you say. I'll take a nap, watch '::V,youknow, kill tir:ie. Okay, but just one, a big wet one.

7 8 •CONTINUED

cass hangs up. ~1e poodle yaps hysterically, cilsentangli.ng himself from her tumbling dress -- hops onto .thecouch -- 91-ancesoff and flees again as an overturned lamp crashes o.s.

The poodle bounces onto the bed remaining long enough to establish a TV RE.MOTECONTROL TUNER lying on the satin cover-. let -- then leaps down in panic as be hears ·Joeand Cass explode into the_becirocm,laughing lustily•••

••• theremote control tuner buried suddenly under the full flesh of cass's hip, activating•••

••• atwenty-five-inch television ·screen,blasti:lgat £ull volume •••

••• cass'seyes widening, profoundJ.yimpressed•••

CASS

Ye gods •••

••• theimages and sound of the·television set flicking joy- fully from channel to channel•••

••• Joelaughing, engulfed by cass's abundance•••

•••Cass wild-eyed, overflowing the frame •••

••• agleaming slot machine -- three Sa.haracowgirls clicking into line for jackpot -- silver dollars overflowing the frame •••

••• theMutual of New York tower flashes MONY!

JOE'S VOICE o

Boly shee-it, this is a goddam penthouse you got here, Cass, a real goddil.mpen~house.

2/l./68 29.

Joe turns away from a small terrace, buckl.inghis belt, glancing off toward the sound of Cass in the shower. Be flicks the TV remote control, enjoy~ng his power, ignoring the silent images on the acreen -- battle casualties, a pretty girl recom.~endingaspirin, a man's stomach flashing · azumatedpain, starving war refugees, a dog eating pzazz -- flicking it off to concer.trateon the costume jewelry and perfume bottles on Cass•~ dressing table.

CASS'S VOICE

Don't look, baby•••

Joe turns to look as Cass comes from the bathroom, holding a towel around her as shb runs behind the closet door.

JOE

Say, Cass, I, uh, sure have enjoyed being here. Be1ieve it's as fine a time as I've had in my Jife!

Me, too, lover.

· . JOE

That's good, it is, cause, well I ·guessI didn't tell you why I came to New Yol:k,·didI?

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

CASS

Zip this thing, will you, Tex?

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

JOE

Truth is, Cass, I'm, well, I'm in business.

CASS

Oh, po o:::you.Morey's got terrible ulcers.

2/l/68 30.

-1..CONTINUED

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

JOE

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

-·- CASS (lipsstretched)

Bers•n zodda mega livig.

JCE

Beg pardon, ma•am?

-CASS

Said, a person's gotta make a living.

JOE

You-sure you heard what I said?

·-CASs · -·

Scuse me, ·hon,£raid I'm on.ly half here. Maybe you oughta run on along~ But why don•t you take this phone number?

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

CASS

Darn! I didn •tget to the bank Tex -- could you let me have a little coin for the taxi-waxi?

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

CASS

You're such a doll. I hate mo~ey, don't you? God, it's been fun.

2/l/68 31.

81. CONTINUED -

J oetries to l au ghbutit sticks in his throat·as Cass speaks an impassion~d whisper still holdillgJoe's chin.

·CASS You·bastard.! You son of a bitch! You think you 'redealing with some old slut? Look at me! ·you·t h ink •justcauseyou're a longhorn bull you can get away with this crap? Wel1, you're out of your mind. I am a gorgeous chick ,thirty-one, that's ri _ght, you said it!

Sobbin gsuc denly,she th:ows herself on the bed. Joe stands be wil de r edbyth evastnessofher grief.

Joe wave shis wal letat he r,but she · onlycrieslouder. Be band sher a kleenex. She clutches it to her face, wailing. Joe leans over the bed, whispering in her ear:

2/1./68 3~.

31. CONT:tNUED

Joe tucks a twenty-dollar bill into her boso~, tilts his Stetson and starts out.· Cass blows her nose, looking after him. o.s. chorus sings, •From this valley they say you are going -- we willmiss yourbright eyes and sweet smile•••

82. LEXINGTON AVENUE . DAY

From ·ahigh angle, Joe walks away from the apartment house, chorus continuing o.s. •.~.they say you are.taking the sunshine thatbrightened our pathway a while.•

Joe sits at thebar, staring morosely at his image in the mirror, already quite_drunk, oblivious to the assorted typeshiding from ·daylightin the barn-like saloon, waiting forni ght to f a ll.

RATSO studies Joe across the corner of the bar -- a sickly, child-si z eo ldmanof twenty-one -- hopefully nursing an empty b e erglass,contemplating the money on the bar in front of Joe.

2/l./68 33.

CONTI?TUED --· Ratso spits·as JACKIE leans on the bar next to Joe -- a feminine young per s on,heavily~ade-up, ha..irteased,wearing earrings and a lace-trimmed blouse over shocking pink levis.

JACia.E

Got a cigarette, cowboy?

More god.dam ·_faggotsinthistown.

Reaching fo= a cigarette, Joe glances at Jackie, startJ.ed as J a ck i etwitche shispi:lklevisangrilyand turns away.

JOE

Shee-it•••

(shakes his head)

Kee-rist, you :eal.lyknow the ropes.· Wish to hell! bumped into you before. I'm Joe Buck fro:nTexas and I•·mgonna buy you a d:.i.nk,whatdo you say to that?

Enrico Rizzo from the Bronx. Don't mind if I do.

Same all around! For my friend, too!

The TV screen over the bar features a mating game program as Jackie cruises down to join a ta.llfarm boy with plucked eyebrows. The TV HOST points to three young men, visi.l:)le only from the shoulders. up,from whom a pretty DATE GIRL in b.l.indfoldmustchoo s eanescort. ~+·

2/1/68 34.

'1:VROST

•·••andfor the losers,·who don •t get the girl, we_•11 · giveascon- solationprices_..,;a six month supply ofunderarm deodorant•••

In abooth now -- the ·TVscreen in the background, continuing the game -- Joe is refilling Ratso's beer glass as he speaks, loud over the laugh~er of the TV audience.

JOE

••~you see what I'm gett.ingat here? She got .apenthouse up therewith color·-rvand more goddam diamonds than an arch- bishop and shebusts out bawling when I ask formoney!

RATSO

For what?

JOE

For money.

RATSO

For money for what?

JOE

I'm a hustler, hell, didn't you know that?

RATSO

How would I know? You gotta tell a person these tlungs

(shakeshis head)

A hustler? Picking up trade on the street like that -- baby, believe me -~-you need management.

JOE

I think you ju s tputyo urfinger on it, I do.

2/1/68 3S.

3 CONTINUED

My·friend O'Daniel·~..That'swho you need. Operates the biggest stable in town. In the whole goddam metropolitan area. A · stud like you -- paying! -- not that I blame you -- a dame starts crying, I cut my heart £or her •• .•

-JACKIE'SVOICE

I'd call that a very minor operation•••

R.atsog:-absthe neck of a bottle, sliding back in the booth. Joe scowls as Jackie appears with the ,tallfa:rmboy.

JACKIE

•••infact, you just sit comfy and I'll cut it out with my fingernail file. You won't even need Blue Cross, Ratso.

RATSO

The name is Rizzo.

JACKIE

That's what I sa4,d,Ratso.

·JOE ·(suddenly)·

Bey now, you heard him.

•on the TV screen the Date Girl announces:

TV DATE GIRL

I pick Number Two! Be's cool!

RATSO

That's okay, Joe. · I'mused to these types that like to pick on cripples. Sewers're full · of'em.

2/l/68 36.

d3. CONTINUED

· · - ··JACICtE

May z · askonething; cowboy? If you sit there and be sits way over there, bow•s he gonna get his hand into your pocket? BUt I'm . surehehas that all figuredout •••

(toRatso)

Goodnight, sweets.

TVHOST · .

May present your chosen mate!

The TVhost pul.lsaside the screen...,hichhasconcealed the lo...,erhalfofthethree young men.. Number 'l'WO,herchosen mate, is a dwarfsitting on · ahigh stool. The girl's spontaneous dismay startseveryone laughing hysterically, including thedwarf.

Joehas difficultykeeping up with Ratso, who swings him.self alongwith surprising· agility,his half skipping little gate fayoringone gameleg.

·RATSO

Look, with these chicks that. _want tobuy it,most of •em ar~older, dignified ,•right? Socialregister types. They can•t be trottiDg down to Times Squareto pick out themerchandise. Theyneed amiddleman. right_? That'sO'Daniel.

Joe hesitates asRatso darts into traffic against _ared light,

horn. Joe runsrecklessly forward as Ratso slams the taxi fenderwith his fist,pretending tobe hit, falling into Joe's arms. Thetaxi stops,halting traffic. Rat~o recovers, strollsc as u a lly1:1frontofthecub ,biting his '.L umbat the d=iver.

2/1/68 37.

c34• CONTINUED

RA'l'SO. It's a cr1me,· astud like ~ou passing out double sawbucks to a chick like that. With proper management you should be taking home fifty, a hundred bucks a day. More if you wanta moonlight•••

At · thecornerof Central Park south, Ratso·points towa •rd: ·.a young man with diamond cuff-links; sitting with a blue-haired matron who puffs on a small cigar. Ratso waves jauntily at the young ro.an,:a.isinghisthumb and forefinger in a circle, leaving the young man ba=fled as Ratso hurries Joe on.

8 6 •EXT. CENTRAL PARK SOUTH COCKTAIL BOUR

Ratso automatically checks the coin return boxes of the phone boo -r.hstheypass. Wal.kingthe park side of the street, looking across at the limousines and taxis waiting outside ~uxury hotels and apartmentbuildings.

· JOE · Bey, listen, how about you ·take me tomee this Mister O'Diddle bird right now?

2/l/68 38.

86. CONTINUED

Ratso stops opposite the· PlazaBotel, pointing across at an aristocratic blonde stepping- outof a Rolls Royce.

a Fifth Avenue townhouse, where ll your pal Rizzo be? Ned1cks•

Bold it, just hold· it. You think ·I•mthat kinda sombitch? Just name your cut, whatever you · want,yougot it right now. Five? Ten, how's that?

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

Mr~ Q D~iel, :r11 · havetohave another ten, Joe~ just to like cover expenses•••

Ratso is on the phone. Joe holds the doc,ropen, listening.

RA'l'SO·· · ·..·· This boy is just your meat, Mr. O'Daniel, believe it, I'm · telling you -- what? -- Enrico Rizzo from the Bronx. ·Thepoint is he needs you. Right now• . Tonight••• ( asideto J o e ) I got his tongue hanging out •••

2/l/68 40.

89. CONTINUED

·RATSo · Sherry-Netherlands Betel. Now · get ·yourass ~n there. Be's waitj.ng!

Ratso startsthe elevator down, leaving Joe alone, repeating to himself "Cherryl,everl.in"as he looks for 901.

91. Er?.,WEST SIDEHO'!EL DUSK

Ratsobursts f=om thehotel, almost running as be disappears.

Joe finas 901 at a dark end of the corridor, knocks confidently, hearing a fewbars of his love theme as he stuffs a fresh stick of gum i;nhis mouth. ·Then the door is·ehrown open l:>yO'DP..Nl:~L -- for an instant appearing to wear a diamond-studded skull.- cap, the · nakedoverheadlight bulb bright after the dark corridor, hal.atingin Joe• seyes llke the earl.ierdo.lla.rsign.

O'DA.Nn:L' You ·mustbe Joe Buck. Come in.

O'Daniel, 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.

·0 DANIEL Am I tickled to find you, boy! Come on in and let•s· geta look at you. Turn around.· Good ·strong back. You'll need it. So ·youwant help -- take a seat, relax, tell me a::>outyou=-se lf.Cowboy,huh?

2/1/68 41.

~J. CONTINUED

O'DAN:tEL Take it •easy;boy ••• ·•(laughs)· Seems tQ me you're different than a lottaboys that come to me •.Most 0£ 'em seem troubled, confused, but I'd say ·youknew · exactly what you want•

You bet I do, sir•

But I'll. betyou got one thing in·comm.onwith them other boys. I~llbet you're lonesome.

· JOE Well, :cottoo,-I mean, a little.

O'Daniel rises suddenly in a fury.of self-righteousness, pacing, his voice simpering, "1b1D1ngsarcastically.

·• ·····O'DANIEL I'mlonesome. I'm·1onesome so I'm a drunk.· I'm lonesome so I'm a dope fiend. I'm·lonesome so I'm a thief, a fornieator;_a whore-monger. Poop, I say,··poop! I've neard it all and I'm sick of it, si~k to death.

2/l/68 42.

•

JOE ·

Well, uh, I'm raring to go •

Yes, I believe you are.. Cowboy, huh?

JOE

Ch, yessir.

··o'DANJ:EL

Ready for hard work, son?

-· JoE·

Ready for anything•

I · gota· hunch,JoeBuck, it's gonna be easier for you than most.

....~o~ -

Go:c.nal:>elikemoneyfrcm home.

O'DANIEL·

Money from ·bome,· see,there's your ·strength,you put things 1n'earthy·tezinsany man can understand, sori.·· Iwarnyou r•m gonna use you, I'm gonna run you ragged!

Joe laughs, driving an obscene uppercut into the air. o'Daniel laughs with him. j

···o'DAN:CEL

You're a wonderful boy.· You•n me gonna have fun; daminit,it · don't have to be joyless. Say, why don ' tweget right down on our knees now?

2/l./68 43.

CONTilroED --·

JOE ·

Get down - where?

O'D.ANIEL

Right ·here,why not? I prayed in saloons, I prayed in the street, I prayed on the toil.et. Be don't care where, what Be wants is that prayer!

o •Daniel.dropson all·fours, crawling to fi.ndthepl.ug of an electric cord. Re shoves it into a wall socket, switches of: the overhead light and suddenly a hollow, tinted plastic Jesus glows on the dresser. o.s. a revivalist congregation sings. And now we notice, with Joe, placards and f1ags, horns and tracts, all the paraphernalia o:fa street corner evangel.ist.

JOE

Shee-it •••

O'DANIEL

That's the ticket, just open your heart and let it flow. It ain"t ~e ·words,it's the love beyond •em!

94• EXT• RE..'1EMBEREDBAPTISM

Sal.ly-Bucksings with the congregation while a ra'Nboned preacher stands in the river, preparing to immerse little Joe.

O'DANIEL'S VOICE

Don't fight it, boy!

95. !NT. WEST SIDE HOn:L ROOM DUSK

O'Daniel tries to pull Joe down beside him.

O'DANIEL

Pray and you shall be heard!

2/1/68 44 •

...

camera bec0tt1eslittleJoe, glilllps1n9thefevered facesof Sally Bucked ue·congregat1on singing oa the riverbank, Ju.stbefore being-plunged under the river. O'I>aniel'•vcice reechoes, filtered throughwater.

O'~NIEI,

J)on•tbe f.rigbtenec!,•oD!.

Joe runs in aimlesspanic, pushing th..~ughthecrowd.,pursued by O'Oaniel's voice and the ai.nginqcongregation~

0'l)JUnEL'

I>on•tran :fromJesust

Joe st.opsshort a.s·beseesthe froritpageof atabloid on a newsstand. There is apicture of Joe being l•d away by two deputies, tmd.erabeacllineALAB~.A MtlRI)£ll~S~TGONS Ea~.

Joe sea:ches the facesof the crowd, -n,nnirigfo:-..rard.suddenly u he sees.Jackie•andthe fa.:=oy pi.c:ked ·upbytwt)meni.na large convert.ible.Joe chases the car to Eighth Avenue but stops, frightenedas he sees himself 1n mult!ple 1:Ul;eon the front of everynewspaper displayed o:na newssta.z:u:l.

The saloonis almost empty dur!.ngth ,eafterc!.imlerlull. The SARTE?IDE.Rdoesn•tlookup from h.1.sJ:lewspaperasJoeapproac:?les•

JOE

Say, you know that runty little bastard I wa.sWith?

BAlt~?1I)EJl

I don't lalownothing.

2/l./68 45.

99. CONTI.NUED

Joe tenses as he sees the tal:>i01d•pictureof himselfon the bac:kof the bartender's paper. ··Joe'shand .c _losesaroundan empty beer bottle, a terril:>leviolence surgingvery near the surface. o.s. women scream.

Refleeted •inthe mirror, we see little Joewildly smashing bottles and·glass display cabinets --the voices ofwomen screaming o.s. -- little Joe hurling a perfume bottle which shatters the mirror and his own image.

Tbe _emptybeer bottle stands wher~ itwas. Joe has disappeared. On the TV screen over the bar, sound drowned outby the juke box, we see a Dlowup of the tabloid photograph; revealing a young man very simiJ.arto, but clearly not Joe.

102. ~XT. TIMES SQUARE

f/

colorful lights still flash seductive promise. The vertical li~hts on the M0NY tower reach bottom and freeze momentarily.

103. STILL PHOTOGRAPH

Joe at his hotel window staring out blankly. Gun fire o.s ••••

The radio at Joe Isear is drowned out by akid in cowboy hat, shooting alone in the _gallery. Two policemen idly slap their thighs with nic_;htsticks.: ·-~oemoveson,unconsciously checking the coin return box of a pay phone.

2/l./68 46•

•6• STILLPHOTOGRAPH \ Joe ·curledup on his bed like ababy, fully-dressed, his radio on the night stand. o.s. his love theme, remote, hollow•••

Joe's radio is athis ear ••••never too late to · lookgreat, Ben'sBargain Basement'sopen 'till five ·a.m.,,milesand miles of Western styles,worth more at any store, money talks andnobody walks.• · For ·the£i:st time, Joe is aware 0£ t.he other midnight cowboys lurking in doorways, the cruising queens,the middle-age men in sport shirts. Joe moves on self-consciously ashe sees a scar-faced policeman, un- consciouslymassaging hisnight stick. Camera holds on a window displayof gag buttons, featuring NEW YORK WILL BREAK YOUR SEART, BABY.

107 • ·· STILLPHOTOGRAPH

Joe soaking in the tub, eyes closed.

Joe's radio promises job 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 thewindow of SERGEANT PEPPER'S LONELY HEART CLUB.

109. STILL PBOTOGRAPB

Joe staring in the mirror. o.s. static over his love theme.

llO. EXT. SIXTH AVENUE NIGHT

By work-light, the tarrier in metal helmet ·ieans·on a jacx hammer, beyond the sign DIG WE MUST, dro~ng out Joe's radio.

,.l. STILL PHOTOGRAPH

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

2/l/68· 47.

_.i.2.EXT. T:tMESSQUARE PANCAKE BOUSE DAY

Joe•s radio continues the super-break commercia1 while a fry cook flips flapjacks in the window. But Joe's eyes are on a sign DISHWASEER WANTED. Joe looks up and his eyes meet those of the young man scraping garbage behind the counter. It's Joe.

113. STILL PEOTOGRAPR

Joe sits in·thehotel lobby, staring out at the street, unable to concentrateon his comic ·book. On two-way radio, a woman's voice giggles as she speaks, •When I can't sleep, well, I Just dial t..~eti.-ne:andlistentothose old seconds cl.icr..ingbylike, you know, countil:lgsheep?•

114. SIDEWALK CAFE COCKTAIL BOOR

Joe watches a young man hold a taxi door for an older lady, at the's~e corner where Ratso waved to·another young man. The W"Oman•spredatory eyes linger momentarily on Joe before she leads the y~g man into the Ca£e. The two-way radio continues over, • ••• that'swhatI do about insomnia.•

JOE

Well, now, ma'am, next time you

got that feeling coming ·on,you

c:U14...JoeBuck.I'l.lshow you what to do •••

115. STILL PHOTOGRAPH

Joe stradles a chair, staring at a blank TV screen.

SINGING COMMERCIAL

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

2/l/68 48.

_.6. E-Z LOA.1--lCOMMERCIAL

As the jingle continues, we·follow Joe and his radio into t.'le loan office, the depressing reality photo .graphedandedited in the style of a TV commercial:

JINGLE: Joe arrives confident

Easy locations to get to Harassed E-Z receptionist Easy ladies to · greetyou 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''ssneer, says on Easy Street ·Joe has to be kidding

Joe's image frozen -- as if another still photograph standing at the desk, waiting,_forhis key.

Key to 1014 •••

Action continues as the DESK CLERK hands Joe a folded paper instead of a key. Joe opens·it, deeply perpl~ed.

118. INTERCUT

Room 1014 warm and inviting, Joe's suitcase on the bed.

2/1./68 49.

119. I.N'l'ERCUT

The postcard photograph ~arked X -- TRIS IS .ME.

· ·DESK"'CLE:RK•- ..--. We keep everything. Bouse rules.

120. TIMES SQUARE NIGHT

Joe stands outside the hotel, s~.mned, seeing the bright- colored lights turn suddenly ~ey. The film continues in bl.ackand white as Joe walks into the crowd.

The FOR RENT sign flapping in the wind.

122. EVERETT'S BAR DAY

Joe nurses a short beer, like the regulars. Be looks up as a crippled panhandler approaches. vaguely reminiscent 0£ Ra tso.

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

Joe is stretched on a bench, h:Ls· stetsonoverhis 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 so.

'l\,,'omatchingIvyLeaguersex~hange a glance as they see Joe washing bis feet·in the basin. Joe stares back witll a belligerent grin.

·JOE Any objection, gentlemen?

126. ALL NIGHT CAFETERIA NJ:GHT

Joe balances a cup·of coffee, wal.kingpast 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 ma..""e contact with reality. But Joe is only concerned with t."le plastic-wrapped crackers left by their empty soup bowls.

JOE

Y'ain't gonna eat them?

The wornaristaresat Joe blankly. The boy runs a toymouse across the table, u:phis mother's a.rmand around her face. With a polite nod, Joe opens the crackers and squirts one wi.thketchup. Joe upsets his chair as a great gob of ketch'1.•-rp spills onto his pants•••

JOE

Shee-it•

• • •glancingaroundwith an embarrassed laugh, but the only one; looking is a cop, scratching his calf with a night stick •

clispenser,wets a paper napkin and t:ies to wipe away the ~tain. But the water has only spread the stain across his pants and down ·hisleg. He blushes as a blonde young street- walker giggles.

SALLY BUCK'S VOICE

Wet your britches, lover boy?

2/l./68 SJ;.

~oe 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 hand.cuffsin front 0£ a bakery window display of bride-and-groom wedding cakes. Joe barely giances at a confused MIDDLE-AGE LADY.

· JoE Shuttle~ Follow the green light.

Automatically ·checkingthe·trough of a gum vending cacbi.ne, Joe unexpectedJ.yfaces himself in the mirror, the eyes staring at him tired and hopeless. Bis band reaches un- consciously for ·acigarette. The package is empty. Ee crumples it in his fist but bolds it.

·JOE Allright, cowboy1 Enough of this shee-it. You know what you got to do? ·(nods)· Then go do it.

128. r'ORTY-SECONDSTREET

Joe hurls the crumpled package into a DON'T BE A LITl'ERBUG basket as he emerges from the subway, his radio at his ear. The torchy voice belts his love ·song,merging with street noises crying danger -- an ambulance, a burglar alar:n, a policeman's whistle - the lights ~lashing lurid color :or

but threatening, clashing, warning as •••

••• froma high angle, across the street, Joe joins the other midnight cowboys, offering himself to all comers. Bis !igu=e is momentarily obliterated by traffic then •••

2/1/68 52.

128. CONTINUED

~. ·.zooming'in,wesee Joe self-<::onsciouslytryingto hide the•stain on his pants, embarrassed as a large sedan slows· then moves on to stop in front of a motorcycle freak. Joe is briefly obliterated again by a passing police car•••

• • •therecedingflash of its turret light revealing Joe in cl.oseconversation with a frightened young FAT BOY, whose eyes plead for reassurance as Joe scowls.

Joe's black and white ~uitcase gleams on the bed.

····JOE's··VOICE· ,:wenty-threebucks~· Igot to have twenty-three bucks•••

Pr oman.apparenily empty balcony -- an old science fiction film grinds endlessl.ythrough the night -- a lost spaceman trying to make contact with a tantalizing Martian maiden across an invisible time barrier, theremin voices call.ing, •Earthling, where are you?"

·.P'A'l' BOY'SVOICE-···· Okay. Sure. I got twenty-five·••• ...- . ..

At the top of thebalcony, Joe leans back, turning his face away as the Fat Boy emb~aces him, kissing Joe's cheek and neck, his head moving down out of frame to show -- on the · screen-- the spaceman and Martian maiden meeting, arms outstretched. But the Martian maiden.moves right on through th espaceman, crying, "Earthling co~e back, however many centuries it is, I' 11wait!" Joe ctc:,seshis"_eyes,forcing his memory back•••

2/l./68 53.

•

••• repeatingthe rememb~ redimage of Anastasia and a younger Joe, behind the movie sere.en•••

ANASTASU

You're the only one, Joe, the only, only one ever!

•••the remembered passio~ continuing, mounting intercut with flash impressions, like flipping pages ofa nudie magazine -- naked, half-draped blondes gazing into car.iera with sultry eyes, includ.i.."lgonecomicst.ripsexpotand the c~endar gi=l in Joe's Texas hotel room •••

1.NASTASIA'SVOICE

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

••• Joe'sface in extreme closeup, sounds of both movie houses merging, confused. dominated by the voices 0£ adolescent boys •••

BOYS'. .VOJ:CES·

Bey, Joe, give someone else a chance!

I

What s he doing for chrisake? Be kissL~g Anastasia? You better swallow a whole goddam drugstore, man!

•••an adolescent ratpack waiting in line behind the screen; laughing in co ·arsewhispers,watching Joe and mastasia. o.s. theremin voices call "Earthling, where are you?•

On screen, the Martian maiden moves through the spaceman, crying, "Earthling, come back, however many centuries it i .s, I'll wait!"

2/1/68 54.

33. mT. ALL NIGHT MOVIE RESTRQOM NIGHT _ Joe watches the Fat Boy doubled·over, retching.

JOE .-· ·. I'm · awfuldarensorryyou•re sick, kid, but you gonna have to gimme that mo~ey like you said.

"PAT BOY :t·waslying. I ·don•thave it. What're you going to do to me?

Eagerly, the boy produces a fami1y photograph, a subway token, a dirty hamkerchief. Joe grabs his wr;is"t;,reve~g a watch.

j f OE Bow much•s that worth?

FAT BOY · I can't go home without my watch! My mother'd die ·!·She •ddie! Take my books! Not my watch! She'd die!

But Joe has a.lready•kickedopen the door. Theremi.nvoices drown out the Fat Boy, calling •Ea.""thling,whereare you1"

134 • INT. ALL llIGBTMOVl'.E NIGHT

Joe sprawls, trying to 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 bear the voice of a desperate '-'Omanontwo-way radio. As she speaks. a policeman moves along the aisle, slapping his palm with his night stick. ·

2/2/68 ss.

34• CONTINUED

DESPERA'l'.EVOICJ:: Bill,· canI·eall you Bill; Mister Bonner? I feel like I know you from listening. What I called about, Bill, I'm gonna kill myself •••

From a high . angle,onlyJoe's Stetson and radio canbe seen abovea passing bus, its side panel advertising BILL BOtrnER'S STRAIGHTLINE, A STRAIGHT TALK SBOW • .

·· ··- -·-- ···· ·BONNER'SVOICE Why ·caJ.l.me,·baby?·I£you want to ·doit; just do iti don't ta1k about it. ·Are we drunky? · Feeling a little sorry for ourselves maybe?

Joe appears in full figure as thA bus passes. Be stands looking at the suitcases in a luggage shopwi!ldow.

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

be back in exactly sixty · seconds.

Aft e rthismes sag ~from•••

2/2/68 56.

136. CONTINUED

A taxi horn blasts, interrupting the sponsor•~ Message.

Joe's fist slams a fender violently, using Ratso's fake in- jury trick to stop· traffic,running across the street toward•••

••;Ratso 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 pan.ic-- one al.most subliminal flash of each reveal.ingsomething like pleasure at finding a long-lost friend•••

••• Ratsostaring up into camera, holding his breath•

Don't hit me, I'm a cripple.

Joe's hand fallson Ratso•s shoul.der.

·JOE Oh, I ain't gonna hit you, I'm gonna strangleyou to death•••

Thecigarette in Ratso's mouth burns into his lip. Be jerks spasmodically,choking on smoke as he rips skin away with the butt and drops it in his coffee cup.

r.:-.::lUghing,eyestearing,Ratsoempties~ ispocketson the counter, finally producing: sixty-four cents, a few sticks

2/2/68 57.

139. CONTINUED

of gum, an almost empty cigarette package, a book of matches and two pawn tickets. Be .raiseshis 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 m'fmother's eyes.-

Ratso removes his loafers and shakes them, glancing •atthe counte rman. 1llssocl;sdon't even conceal his toes. Dis- gusted, Joe shoves R~tso's small pile back at him•

···RATSO· • You Keep the sixty-four cents. I want you to have it.

Joe s houldleave -- Ratso obviously has nothing tangible ~o off e r but Joe hesitates, lighting a cigarette as Ratso ·pulls on his loafers.

RA'l'SO Bow do you like that O'Daniel, fl.ippingout like that? I wanted to get in touch with you when I heard, but ·Ibeen laid up With this cold•••

Ratso touches his chest, forcing a cough which continues itself beyond his intention.

2/2/68 58.

139. CONTINUED

The black and white suitcase lies open on the bed.

Joe turns abruptly alldwalks away•

• JOE Shee-it. I got better things to do than talk to you.

Joe stt!desnorth, pretending he doesn' thear•••

Bey, wait up, for crissake!

••• Ratsohop-skipping to overtake Joe at the traffic light.

2/2/68 59.

~3. EXT. TENEMENT STREET DAY

A contractor's sign a..."l.nouncesLUXURYAPAR'l'MENTSAVAILABLEt::i a high-rise co-op,· underconstruction beyond a row of tene- ments with ·x•staped on the windows. ·Ratso's voice cont.!..nues over the click-clack-click of Joe's ~oots and the flip-flap- squeak of Ratso's loafers as camera moves toward a condemned building.

RATSo•s VOICE . The x ·onthe Wi.lldowmeansthe landlord can't collect rent - which is a convenience, hey? -- on account of it's condemned.

·-

Footsteps ciimb past rubbish piled outside empty flats.

- ·-·--'RATSO'SVOICE '· The ·e1ectrie'soff. Another · convenience . ..Idon't·messwith con Edison~ hey? ·What the hell, I got candles, right?

Light from the X window shines on aFlorida tourist poster as Ratso leads Joe into · anal:>andcnedtub-in-kitchenflat, barely furnished with a · tableandchair, arumple of blankets on a burnt-out mattress.

be in Florida. Stretch out; Make

yourself com.fortal:>le.Youhungry? I'll put up scraewater forcoffee.

Ratso fills a saucepan from the tub-sink, setsit on a Sterno stove. Joe sits h!~elf on the mattress-bed, pretending to test it, weeks cf exhaustion and tension overwhelming him sud de nl y ,hisonlyi ~~ edi~ f '.problembeingtheeffortto restrain a large, comfort:..:.:..,leyawn.

2/2/68 60.

145 • CONTINUED

Joe stretches himself, yawning, his eyelids dr~oping heavily. The sounds of the _cityrecede. Joe's love theme plays softly on a distant radio. Joe's eyes close momentarily in spite of

lwnself.

146• . INT.R.£?-f.EMBEREDCAR ANOTHER ~ME'

A vintage dashboard, radio dial glowing,_Ana~tasia's face.

Love me, Joe?

Ahuge metalball arcs on chain, demolis~g a brick facade.

Ratso's faceseems to radiate · evilas he lights a Sterno can. Joe forces his eye~ half-open.

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

2/2/68 6l..

•8 •CONTINUED

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

- 'JOE . Want me to stay here. y'after something. What y'after7

149. I.NT.REMEMBERED CAA NIGHT

Joe's thumbnail flares a .match,exposing Anastasia on the car sea~ with Joe, both nearly naked. Anastasia butter£ly- kisses Joe's chest as he lights a cigarette.

ANASTASIA · Say you love me • .Justsay it.

··JOE ·. Okay• .Ilove you.

Anastasia purrs as her lips find Joe's breast, trying to nurse. A flashl.ight£lares suddenly through the car window.

150. NIGH'.IMARE MULTIPLE SPLIT SCREEN

Low angle Ratso bending over Joe, into camera •••

••• SallyBuck s~ocked,· hand' stiilonswitch •••

••• Anastasia'smouth screaming soundlessly... r: ••• flashlightsmultiplying on car window •••

Full frame -- Anastasia catatonic in hospital · gown- a _woman's voice "What'd he do to you. Annie?• •••

•••gang-bang ratpack surrounding car with flashlights ••• ••• Jackieshrieking •He loves her he · lovesher•••• ••• handsclosing on Joe's buttocks ••• ••• handclosing on Joe's naked left foot ••• •••hand on naked right foot••• ••• dentistleaning over Joe's mout.~••• ••• handspulli.ngJoe's legs apart •••

2/2/68 62.

O. CONTINUED

zoom closeup Anastasia screaming soundlessly•••

•••thermometer under Little Joe's tongue••• • • •SallyBuckshoves c.hoeolatein her mouth••• ••• bewig gedpoodl~licks her f.ingers••• • • •sallyBuckhangs ene macan on bedpost••• ••• Ratsoleads ratpack chasing naJtedAnastasia••• ••• coronaof flash.lights•••

Anastasia screaming soundless.ly-- flashlight shoved into her mouth -- electronic :ock blasting•••

• • •blank-eyedgo-gogirl in danc ,:hallwindow••• ••• Joeheld naked by ratpack••• ••• Ratsobreaking beer bottl.eon Everett' sbar••• •••dwarf !aughing on television... . •• ·. Ratsoaimsbrokenbottle at Joe's crotch••• ••• shootinggallery cowboys riddl.eJoe's pel~is•••

Anas tasiacatatonic in courtroom -- between gaunt parents whining singsong "Raped her raped her Joe Buck raped her••••

•••Fat Boy's rr.outhfindsJoe's·breast, tries to nurse••• ••• SallyBuck kisses him open-mouthed••• ••• slugcra wlsup Joe's stomach, trailing mucus••• ; •• Cass'spoodlelaps at his toes••• ••• butterfliessettle on his eyes•••

Anastasia catatonic in courtroom between parents who are now o•n~el and Sally Buck •••

•••drawling voice •evidence. ofrepeated •violations"••• ••• BillBonner in flag-cloth judge's robe••• ••• policeadv ancing,swingi.ngnight sticks••• ••• Joerunning into Times Square, suddenly naked••• ••• Anastasiasitting in all-night cafeteria••• •••freaky child running toy mouse over her naked body •••

Sir~n screaming -- Anastasia staring catatonic from rear window of ambulance•••

2/2/68 63.

lSO. CONTINUED

•••ambu lanceracing away~•• ••• Joechasing na k edafterambulance••• • • • runningintothearm.sof the police••• ••• Ratsolaughing aspolice beat Joe •••

Joe a~aken sin a c o ldsweat,fighting theblankets, wild-eyed as h es eesRatso at the table, ex _amini ngJoe'sradioby c and l e - light. Jo e lunges across the r oom:to .snatchtheradio frora ·:Ratso'shands.

Still wil d -eyed,J o esuddenlypointsat his stocking f ee t.

lS2. EXT. TIMI; SSQU~ OAY .

Joe fac i ngthecr owd,naked exc eptfor bis boots.

Ratso point sto the boots on the floor by the mattress.

2/2/68

CONTINm:D

Joe ·1.nSpectstheboots, seatsl:umse1fon a battered 'Arrll<.{cot - ~ch has been addedwh.1.l•beslept - swi.ngi.ngaboot by its at.rap,consideringwhether to atay or go. ··

RATSO

I drug in acot, if you want to stay.

'JOE .

Well now, Jtatso,I'mgonna tell you soruethi.ngforyourown good, only first qi::lmeacigarette.

llatsooffers a cigarette fromh.iserus~ed package. Joe strikes a match onbJ.s thu:.::r-~a.ndlightsup,staring at R.atso.

JOE

You'lot'alltmetostayheretonight, • isthat the idea?

MTSO

I aJ..n'tforc:ing•you,li.Jce,Imean, "'ho'sforei.ng_you?

JOE

Oh. Guess Igot the wrong impression.

• Joe makes a slowmove to pull ,onone boot.

llA1.'SO

Iwant you to stay, okay? ? goddam 1.nVitedyou,d.idn'tI?

·JOE

Well, I hope ycu know what you•:a 1n for. I'm a very dang-erous·person. Someonedces r:ebad like you. lf I caught . upWithyou that night.,there'd be one dead ltatsolong about now. Bear?

RA:'SO

l'm impressed. You're a.killer.

2/2/68 65.

,3• CONTINUED

Joeyawns, picks up a few -blanketsand spreads them on the cot. Hepuzzles out the faded printing on one'bla.nket.

Ratso blows out t."'lecandleandwraps himself in blankets.

Rico then, at least call me Rico inmy own goddam place.

· JOE Rico! Rico! Rico! Is that enough? (then) And keep your meat books 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 -- till the GREENGROCER spots him.

2/2/68 66•

•54• CONTINUED

Theother shoppers deliberately turn their backs, avoiding involvement. As the .Greengrocergrabs Ratso, ,Joeambles into the scene, -wearinghis dangerous little'smile.

"JOE · Bey, looka here, that ain't nice, picking on a cripple•••

Joe intervenes just long·enough for Ratso to escape, then ~les on, leaving the Greengrocer in frustrated fury. Camera holds on a tray 0£ coconuts.

Joe .lieson his cot, watching Ratso struggle to penetrate the· fil:>roushuskofa coconut, experimenting with a variety 0£ rusty too1s in an old cigar~ox •.

··-RATSO The two basic items necessary to sustain life· aresunshine and coconut milk. That's a known fact. If I can find the goddam hole the milk squirts 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?

Joetakes his time rising to hold the coconut while Ratso tries topoke ahole with a bent icepick.

2/2/68 67.

(. 5 5 •CONTINUED

RATSO · In Florida, they come smooth,·. ready toeat • .Down there, your only problem is, diet-wise, you gotta lift an arm to wipe warm milk off your · chin. Tough, bey?

Joe jerks hishand awayjust in time to avoid the icepick. Thecoconut bounces on the floor. Ratso picks it up, bolas it,'wl?J.leJoetries tocrack it, swinging his boot like a hammer.

'JOE What's all this.sweet ta.l.kabout Florida? Your friend O'Daniel gota stable down there now?

· Joe swings violently. Ratso yelps, hopping on his one good

Ratso holds his thumb under the tub-sink faucet.

2/2/68 68.

t55. CONTINUED

· RATSO

•·••thecowboybit's out, except among fagsof acertain type, which take a certairrtype hustler toexploit. Like I could hand.1e it --being a stealing operation basically --but take your average fag, ·veryfew of them want a cripple.

Joe holds the coconut like Yorick's skull, tlμnking ha.rd.·

JOE

Well, I arudum!),that's for· sure. J:· don'ttalkright. :Ican't think too good. Just only one thing I ever been good £or's loving. Wo~en go crazy for me. Fact• .crazy Annie• ·Bad ·tosend her away. So I don't cash in on that, what am I? ·I•m sbee-it. May's well flush me down that hole with the dishwater.

Joe sets the coconut on the floor, holding 1t.with both hands whil e he tries to smash it with t.'leheelof his boot.

JOE ·

That's why you gonna stop crapping about Florida and get your skinny butt ro.ovingtoearn twenty bucks 'Werthof management youOi¥eme •••

The suitcase lies open, displaying Joe's wardrobe.

JOE'S ·voICE

Make that twenty-three bucks.

2/2/68 69.

·.,,0J:NT.X FLAT DAY

Joe slams his heel down. The c~conut shoots out from under

·RATSO

·r.ookat yourself, Joe, no offense, but frankly, you're beginning to smell. For a stud in th4-stown that's a handicap.

JOE

You talk like a man wi.tha tin twat.·

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

' RATSO

You ain't got ·achance in hell. You need threads and glitter, baby. A front, hey?

JOE

Well, uh, my manager's gonna manage all that crap, or else he gonna get a coconut up his flue.

Joe· s lamsthewindow down. 'Ihecoconut flies down to crash o.s. on the sidewalk below.

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

159. ~XT. TIMES SQUARE FANTASY

Joe stands naked in the middl.eof traffic. A siren shrills. Anasta sia,catatonic in a hospital smock, moves toward Joe like a s leepwalker,passing through him.

2/2/68 70.

..,O•INT. LAUNDROMAT DAY

wearing only hisboots, Joe sits like an :r.ndianchief,wrapped in ablanket -- anglewidening to show Ratso, spotting Joe's jacket, slacks and shirtwith cleaning fluid -- his eyes on a verypregnant Italian lady. As she starts to load a coin cleaning machine, Ratso intervenes solicitously,.speaking in Italian•••

shouldn t · dothat. Let me help•••

••• adroitlyslippingJoe's cleaning in with her load as she turns to seatherself beside Joe.

·JOE'S VOICE Itain't right, steal.ingfrom a pregnant .lady.

l.61. U,T. HAT CLEANERS DAY

Joe and Ratso stand waiting atthe counter.

The owner brings Joe's clean and blocked Stetson fromthe rear of · theshop. Joe sets it on his head and examines hilllSelfina mirror as the owner hands Ratso the bil.l.

:aATSO

Where's mine? The black homburg? I brought it in the same t~e.

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

2/2/68 71.

reach a shoeshine stand, locked forthe night. They loiter till a young couple has disappeared, thenJoe kicks loose ·thepadlock on the equipment drawer, mounts one of the chairs and Ratso goes to ~rk on his boots with furiQUS expertise, flourishing double brushes, snapping the ragl.J.lceajazz drummer.

Ratso demonstrate sa chJ.mpanzeewal.k. Joe 1aughs. R.atso turns back ;inpanic· asanotherman takes a chair next to Joe. Ratso is about to re'fusewhen a cop takes the third chair, swing i nghishandcuffs around·to the front, tapping his shoe with his night · stick.Ratso quickly drops a rag over the brokan padlock, cursing under his breath as he starts working on all threecustomers at the same time.

· RATSO'SVOICE You think it•s funny?

163. mT. X FLAT DAY

towel tucked around his neck as Ratso trims his ha.ir,al.most as expert a barber as shoeshine boy.

2/2/68 72.

-:3. CONTINUED ... As if by conditioned reflex, Rat~o chokes on the cigarette in his trouth,coughing painfuJ.iy. Be 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.

Joe .perfo rmshisritua1 ashe speaks, but more relaxed, faintly laughing athimself With Ratso. The wall mi.ror has~ ~e nadded since we last saw the flat, along with a legless overstuffed chairwith burnt-out cushions, a tas- selled t..ablecover,pl.Ilups,ea1endargirls and several· new Florida touristposters~ Ratso moves to Joe's side, ar- ranging the neckerchief, nodding.

What I'm gonna do, I m gonna make a cowboy outta you, kid. Bow 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 Ratso's head, tilts it, hooks Ratso's th umb si nhi ::3j e ansandsh o vesacigaretteintothe,:orner of Ra ts o'smou th.Ratso l au ghstillhe chok es-- for one

2/2/68 73.

instant, self-consciously, t:lirnickingJoe--then removes the hat anelreaches for his threadbare black raincoat• .

·JOE

Okay, you got yourself 'one handsome, sweet-smelling cowboy, strut your st~ff•••

-.64. EXT. CONVERTED TOWN HOOSE DAY

Joe and Ratso peer down through a basement bay window, into the.office of TEE P:eRF'ECTGENTLE.'1ANESCORTSERVICE-- en- dorsed by leading travel agencies and credit clubs -- offer- ing disc=eet cocpanionship 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 t.~ememo into his topcoat pocket- asbe · comesfromthe office a."'ldhai.lsacab. Ratso darts forward, limping ex- aggeratedly, holding the door, lifting the memo as he brushes off t.'1-ie~scortIstopcoat.The young man waves him away with- out a tip. Ratso slams the door and bites his tbuznbafter the cab, unfolding the memo as he joins Joe on the sic!ewal.k.

RATSO

Bow doyou .like that? Cheap bastard •••

(reads, then)

I·.thinkwe st....-uckgold.This isone high-class chick. The Barbizon forWomen!

-65. EXT. MANHATTAN SKYLINE DUSK

The Mutual of New York tower flashes MONY.

Ratso consults the memo as he speaks into thephone.

2/2/68 74.

<;6. CONTINUED

· RATSO

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

A doormanhelp~ ayowlg lady into a limousine.

RA'l'SO'SVOICE

Would you believe a whole goddam hotel with nothing but lonely chicks?

Joe andRatso watch from across the street.

RATSO

Score once inthat setup; the way chicks talk, Christ •••

Joe cracks his _gum,ti1ts his hat, starts across the street.

RATSO

Get the money! ·Remember Cass 'l'rehune?cash!· These rich bitches write a check ·atnight,_ .. call the ·bankand 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 stairs, two at a time. A BELLHOP grabs him.

BELLHOP

Hey! No men upstairs!

2/2/68 75.

.._69.EXT. BARBIZONFOR WOMEN NIGHT

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

•••zoomcloseup, a lady _in awindow gral:lbingJoe.

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

Ratso seesJoe zip fromroom to ~oom in wild animation.

Thelobby watches Joe blow a gumbubble at the elevator.

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

••• Ratso,likea model in a travel poster, in gaudy sport-· shirt, talkiDg on the phone against a back~round of hotels•••

•••Ratsolike James Bond, surrounded by bikinis, dictating while girls serve-coconut milk and massage his game leg•••

••• RatsolikeGeorge Raft, in evening clothes, running a 'poshcasino, £licking a coin •••

•••Ratsosimply himself, dressed as he is, sitting on the beach, at peace in the sun •••

••• thesameidentical picture with Joe sittingbeside Ratso.

2/2/68 76.

Joe facesMISS BEECHAM, a rese~ivedand rather plain young lady in evening dress. She tries to speak softly.

'KISS BEECHAA

I'm afraid there's been a terril)le mistake•••

Ratso leans against the window, flipping a coin.

177• INT. BP-RBIZONFOR WOMEN NIGHT

Miss Beecham is flushed with humil~ation,·the entire lobby · watching Joe in the hands of two bellboys.

· JOE

I want rrrymoney,goddam:!.t,you owe me my money whether you get laid or not, lady, shee-it!

The lights in the window suddenly switch off, blacking out Florida. Ratso glances toward the growl of a siren o.s.

l 7 9 .EXT.BARBIZON FOR WOMEN NIGHT

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

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

-· From a high angle ~he two figures move slowly along the deserted avenue, their rhythmic musical duet growing more and more faint in the distance, a broken grassho•.1,e:randa

2/2/68 77.

•

siX-foot tarnished cowboy -- passing a tuxedo rental store, next to a lighted sign -- -TEMPERATUREIN MZAMI BEACH, FLORIDA 89 DEGREES -- their pace slowing to a dead stop •••

Bl. INT. X FLAT N:IGHT

••• JoeandRatso frozen rain on the X windowpane · freezing into sheet ice. o.s. a radio commercial plays warm, senti- mental music while a cozy voice explains how easy it is to heat with Bumble Oil. .

Joe and Ratso frozen·in anarrow shaft of sunlight,·watching the huge metal ball demolish the building next door. o.s. a radio announcersel.lsFROZEN SONSBI:t-.""EORANGEJOICE.

Joe andRatso frozen, staring·s -ignif.icantlyatJoe•sradio. o.s. a singingcommercial, wDon't wheeze and sneeze the winter away! Drink Frozen Sunshine every day!•

Throughthe window -- Joe and Ratso watch the pawnb~oker examine Joe's radio, "Be healthier,· wealthier,life can be fine,when you •drinkFrozen" - Sunshine is clicked off by the pawnbroker.

Joe and Ratso frozen, wrapped in blankets as•••

•••the canned heat dies with a faint puff•••

••• waterdripping in the tub-sink freezes into an icicle••

••• thecandleburns down and out, leaving the screen da~k.

2/2/68 78.

'6. EXT. CONDEMNED TENEMENTS DAY

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

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

188. INSERT

A huge hypodermic fills the frame, sucld.ngJoe's blood. o.s. Ratso coughs uncontrollably.

Ratso leans over the tub-sink, ·dry-heavingwhile he coughs, wearing a sheepskin coat much too iarge for him. ae con- trols the cough with effort -- hearing the door open and close c.s. - wipes his mouth and turns to grin at •••

••• Joe,trying .tolight the empty Sterno· can,deliberately ignoring Ratso. Ratso shrugs, washes his mouth at the faucet, finds a cigarette butt and lights it, carefui to avoid inhal.ingthe first puff.

"JOE

Shee-it. Cough yourse1£ 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.

2/2/68 79.

189• CONTINUED

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. Rats9 glances at Joe with curious concern.

··RA'l'SO Where'd that come from?

RA~O ;!ouwanna know the truth? You dumb bastard, I got it for you. Look at it. Goddam thing's ten sizes too big £or me. -

Ratso pulls off the coat and throwsit at Joe.

Joe throws it back at Ratso.

Ratso hurls it in a corner. Joe shoves the ten at Ratso.

· · JOE Go get your medicine_- Before you die on my goddam hands•••

iugh angle -- Joe and Ratso cross on foot, chilled by wind, neither wearing the shc€pskin coat. The Queens ri vcr : ~6n t and factories appear cold and bleak, dese~ted on Sunday.

2/2/68 80.

...... camera moves into acr t softombstones, piled like low-rent housing projects forthe dead, the various faiths segregated by crumbling boundaries. .

l92. EXT. PROTESTANT CEMETERY DAY

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 b1ack raincoat as he darts· toward a low diViding walJ.and swings himself over into•••

•••an endless section of plain stone markers. Joe touches· his hat to two nuns, guiltily hurrying to ·overtakeRatso at ,his father's grave, indistinguishable from the other graves e~cept 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 littl.ebastard, Ratso.

JOE · Respect shee-it! You even steal flowers for his grave•

c .Lnhesmell the difference, eh?

Joe reads from the ribbon on the floral display.

2/2/68 SJ..

"'j• CONTINUED

JOE

Well, uh, he dam well know he ain't 'be-loved.AuntWinifred'.

RATSO

He can't read.· Even dun:iberthan you. couldn't write hi.sc;>wnname. X -- that's what it ought to say there on that goddam headstone. one big lousy . Xlikeour flat. Condemned. ey order of City Ha.l.l..

Joe is frowning, standing at the·headstone, momentarily de- pressed with anundefined sorrow.

JOE

My Grammaw Salty Buck, she died without l.ettin'Jmeknow.

Through thewindow, past the·FOR F.ENTsign, the tarnishing driers are lined up like tombstones.

Joe frowns, puzzled, as Ratso pulls out · ablackskullcap, leading Joe toward a group of professional mourners, whisp- ering:

P..A'l'SO

Just keep your hat on and cry a little. They tip you when it's over.

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

••• Joestanding self-cotj~~iously,aware of the covert glances of the other mourners, ~~~~omaticallyreaching up to remove his hat, remembering when Ratso elbows him in the ribs•••

2/2/68 82.

••• Joescowling, tight-lipped, embarrassed by .thetip that is thrust in his hand.

196. IN'.l'.LUNCHCOUNTER EVENING

A wea..rySantaClaus, in a rented beard and over-'largecostume, warms his hands over the steam of his. coffeecup. Joe and Ratso are arguing farther down the counter.

JOE

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

In the backgrou."ld,asRatso· speaks,HANSEL and GRETEL MAC- ALBERTSON enter the lunch counter, inspecting the customers one by one. Both wear black-turtlenecks and jeans, dressed as twins, both bl.ondand pr~tty.

· · RATSO

You and my old man. Sainekinda mind. Putting me down t.il.1the day he died.·••

(mimics)

brothers? Sons a father could be pro.udof. Yeah, ·sure~ My brothers. Too goddam busy making something of themselves to show up when the old man's dying!

Conditioned reflex, Ratso starts to cough. Joe sees the MacAlbertsons in t.~emirror, standing behind him, ·studying him. Gretel nods. Hansel hands .Joea large black card, smiling vaguely, then moves on.

RATSO

What was that all al::>out?

Joe studies the black card, frowning at first, suddenly smil- ing, turning as if to call after the MacAlbertsons, but they are disappearing around the cornP.~. Joe hands the card to Rat so .

2/2/68 83.

l96• CONTINUED

Shockingpink letterson theblack card readYOU ARE INVITED TO HELP US BURY LOVE -- TO!TIGHTAT BROADWAY ANDHA..-q;·10NYLA!.E -- HANSEL AND·GRETELMACALBERl'SON.

·JOE Theypicked me. Theonly one •in tbe whole goddar.place. You see bow they looked me over, up and down before they give me that?

Joe sees a young man washing cups behind the counter. Joe sh akeshis head, wonderingly, turning to study himself in th emirror.

Now I'm here. I'm in New York City. Getting picked for things. Don't you see what I'm driving at?

-,

2/2/68 84.

· RATSO

Don•t say nothing about you either• .

·- JOE

But they picked me, right? So what I• lldo, I• lljust say, now look,· youwant me? Well, I don't go nowhere without my buddy here.

We.].l,whatthe hell, I got nothing better to do.

Snow swirls in the aureole of a sueet light as Joe c:r.ndRatso run, heads lowered, turning into•••

-98• INT..LOFT BUILDING NIGHT

• ; .adrabentrance hall, dimly lit· --sic;nsidentifying var- ious commercial.tenants -- a pink-on-black"placard reading MACALBERTSON,.TllOFLIGHTS OP. Joe.has started up before he notices Ratso, ·1eaningon the banni.sterat the foot of the stairs, struggling to catch his breath. Elisface 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,- unal::>letospeakoroffer l='eassurance. \

JOE

Better dry your hair some • You sweating all over the goddam place.

Joe pulls out his shirttail, grabs Ratso by the neck and rubs his head dry.

JOE

'Yo ugo tac o;;i;::>?

2/2/68 as.

198. CONTINUED

RA'l'SO Don't need acomb.

·JOE ·· Few dozen cooties ';t,'On'tkillme, don't guess.

Joe hands Ratso his own comb. Ratso swipes at his tangled hair angrily until two teeth break in the comb. Be 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 'amoment of silence, distant sounds can be heard -- a siren, the grinding teeth of a garbage truck, t!ketwang of an ·electricguitar upstairs at the party -~ _thenRatso makes a quick gesture of impatience and starts up the stairs, pul.l- ing ,himselfon the bannister.

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

Ratso points to his ear -- he can't hear -- following Joe acro§S the room. The huge loft is crowded with a random selection, gathered to serve as dress extras in an under- . ground film. The party is the scene.,_ 'rheMacAlbertsons merely supply t.}:left.ngredientsandallowitto happen; w;.th came r ass trategttallyplacedto record the happening•••

2/2/68 86.

199. CONTINUED

••• Hanselwith tape recorder,.Gretel with hand-held camera -- drifting through the crowd -- catching "WOrdsand images in a detached, whimsical fashion. Gretel turns her camera on Joe and Ratso as they approach.

·JOE Well, I made it. This . hereis Ratso R:izzoand I •••

Gretel smiles without recogniti.on. Hansel gestures vaguely.

· ·· ··..BANSEL DO'you - needanything? I mean there's beer and so forth. Whatever your th.ingis•••

The twins move away together, pausing to confer w1th the operator of a tripod camera -- focused on an emaciated flower girl with longhair and dirty feet, stretched in a sarcopha- gus, clutching a dead daffodil, her eyes glazed. Scrawled inhuge letterson the wall over her bead -- LOVE!

RATSo· Ifyou want theword on that brother and sister act, I'll give you the "-'Ord. That Hansel's a fag andGretel's got the hots for herself. Sowho cares, right? Load up on the Salami •••

Ratso heads for the refre~hment table. Joe starts after him ·b~t pauses, intrigued by . analcoveunder thebalcony where a 'lightshow is i~ progress -- surreal images of nakedbodies projected against abstract currents of color and strobe light•••

•••abored fat lady in a muu-muu, squatted like a Buddha at a low table, rolling joints for the guests. She lights a joint and offers it to Joe as he wanders in to watch the show. Joe laughs delightefly when he realizes what it is•••

2/2/68 87 •

••• glancingaroundat the others, imitating their techniques -- the quickinhaler, who fol ·lowswith sharp gulps of air -- thedeep inhalerswho draw airas they inhale - the stylist who lets t.~esmokedrift out and inhales through the nostrils --Joe puffing himself slightly dizzy, starting to laugh at the silent flickeffect of the strobe light -- the action aroundhim slowingalmost imperceptibly, overcranked -- a veilof smokehanging over the fatwoman's face, transforming her into alaughing witch -- a similar veil arou:idJoe's head, relaxing the self-conscioustension of his face, spontaneously curious aboutthe play of light on hi.sband, grinning at•••

• • •aseriousyoungtechnician handling the 11·ghtshow, scat- teringpsychedelic starsacross a sky of magenta flesh•••

••• Joereachi.ngforthe stars as be rises and wanders back to the crowd edloft, fascinated to see •••

••• acrewwith cameras and lights, on the balcony at one end of the loft,photographing the scenebelow •••

•.• •ada::-k-hairedladybythename of SHIRLEY -- chic in the styleof agangster's moll -- drinking beer from the bottJ.e, predatory eyes searchingthe crowd•••

•••Ratso surreptitiously stuffing his pockets from the buffet table, glancingnervously over his shoulder, unaware of Gretel andher band-held camera, photographing Ratso as he steals, turning awaycasually, disinterested •••

••• Joelaughingas he dances for amoment with a ta.l.lblack girl --the lights swinging around them faces swimming••••

••• Shirleyin fleetingcloseup, gone in an instant, reap- pearing •••

2/2/68 ae.

•••herface in the mirror sm11ing in a dark,provocative way -- · Joestandingat the bathroom door, forgetting t;obe em- barrassed as Shirley turns away from themirror, unhurriedl}',. running her fingers through her hair,boldly meeting Joe's eyes.

SB::IRLEY I can -tell,can't you?

·.JOE Yeah, oh yeah.

Wbat'll we do? Leave now ·orwhat? Your place · ormine? Oh God, the second Ilooked at you I knew. Did you?

Joe •grins,watching Shirley's iips move, unable to keep"her 1n sync, startled to bear Ratso's voice.

······RATSO•SVOICE She's booked •••

Joe realizes he is back at the party, Ra.tsowhispering hoarsely.

"RATSO ••• I'dsayshe was good forten bucks, but I'll ask for twenty •••

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

SHJ:RLEY'SVOICE Did you know? We were going to make it? ()

' I

Joe glances down to see himself flankedby Ratso and Shirley.

2/2/68 89.

"''J.l.CONTINUED

RATSO

You really want to · dobusiness?

SBIRL.c.-Y

Who's he? Oh God! Don't tell me you two are a couple -- ?

The flower girl, hypnotfca.llydazed, accepts a broom dipped · i.nblack paint and smears a huge X across LOVE. Joe laughs.

HANSEL'S VOICE

Why are you laughing, Joe?

Hansel holds a micropho~e toward Joe, who shrugs, gri.nni.ng at Ratso and Shirley. Gretel's camera moves down Joe's body.

HANSEL

Are you for real, Joe?

JOE

Well, I ain't a f'rea1·cowboy, but I'm one hell of a stud!

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

A veey ·e,cpensivestud. AlldI 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 raind•••

••• Shirley'seyes unnaturally bright, illspectinghis body, lingering on his thighs, moistening her lips•••

SlilRLEY

It's too mu.~h-- to come face to face with ~ .'w~kingtaJ.kingsex fantasy -- to buy a man's -- God~

•••the tall black girl dp.l'}cinginstroblelic;ht,stc1.t·t..ingto remove her clothes -- Gretel following her with a camera •••

2/2/68

11. CONTINUED

·SB.IRLEY'SVOICE

I can't wait to tell rayman Monday. ~ should be taking notes. Look at my arm!

••• Shirley'stalon-like fingernails caressing.the gooseflesh on her tannedarm •••

···· -··RATSO' S VOICE

Igotta sit down. I feel crummy•

•••Rats ostretchedout on aVictorian love seat -- the flower girlwal kingw:isteadily,passing out dead daffodils, placing one inRat so•shand Gretelphotographing his reaction•••

SB:IRLEY'S .VOICE". .

Eat it -- a man inyour line of work has tokeep his strength up •••

••• Shirleybringing Joe a massive sandwich on a paper plate , watching him bite into it•••

SHIRLEY

It's fantastic,now I know, everything yo udo 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?

•••the tall black girl and a fewothers are trying to promote _anorgy. A scrofulousold wino dances spastically, working his toothless gums,preparing to expose himself to two girls dancing together•••

\

We want you, Joe. You"vebeen chosen•

• • •fiveyou thsstandbeside the sarcophagus -- two sail_ors, t"-'Ocyclefre a.ks ,aweig h t-lifter--waitingto be pall- bearers. Joe j oinsth em. All lights and cameras are turned on th es lowfunera lprocession, carryi ngthe flower girl out of th eloft to the tune of "Moonlight and RosesN. Strobe l igh tadd sto~he un r ea lityo fthescene•••

2/2/68 91..

21.• CONTINUED

··SHIRLEY'S VOICE

:rbad a thing for him. Before I knew. Why should knowing m'akeit more of a i;hing?

•••Shirley taJ.ksto Gretel as she photographs th~ funeral.

::;BIRLEY

Naturally-I'll have to ask myself why a cowboy? And why a cowboy whore? But not tonight.

Shiriey is pulling her coat out of the pile on the bannister.

····· ·· SBIRLEY :tncidental.ly,howmuch ~s this going ~ cost ineanyway?

Joe turns t oRatso,whose attention is fixed on the coats.

·JOE ·

Tell her, Ratso.

·RATSO

~ty bucks •••

· sB:IRLEY

Sold. Let's go.

RATSO

•••and taxi fare for me.

SHIRLEY

Get lost.

RATSO

I agree. And forthat service Icharge one dollar taxi fare.

2/2/68 92.

202. CONTINUED (

She takes a dollar from her purse and hands it to Ratso, takes Joe's arm and starts down the stairs. Ratso lingers, starting ·quicklythrough the coats, frisking them for loose change.

At the foot of the sti.l.irs,ShirleykissesJoe violently.

·SHIRLEY ·Yourname• .sJoe. Which 1s fabulous • Joe ·cou1dbe anyone. ·Kiss me, Joe, move over, Joe, go away, Joe • It's just perfe:ct.

They glance up as Ratso appears,·swinging down too rapidly on the bannister. Be 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 of the stairs.

·- · RATSO ·(rises,mimics) Is he all right!

2/2/68 93.

RAT,;)O · (shouts) I said yeah! Yeah, yeah, yeah!

Joe and Shirley are k!ssing. Shirley .rollsaway, flushed, fanning herself. Joe rolls down the window.

Joe·.leansout of the taxi window, waving his Stetson, bel- lowing at the snow.

whistling between his teeth sharply, hailing a cab. The cab ·slowsto a stop. Then the driver sees Ratso, shifts into gear and drives on. Ratso bites his thumb after tbe 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 lean son one elbow, looking at Joe sympathetically, fighting an a.lr.'~stir~epressibledesireto laugh. Still avoid.in~Shirley's ey~~ 'Joe finds a ci garetteon the side table, searches for m~l~c hes .

2/2/68 94.

'07. CONT:tNOED

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

Therepressed laugh finallybreaks through. Shirley stifles it quickly asJoe sitsup, lookillgat her.

JOE · You think I'm lying!

··sEIRLEY ·· (controlsherself) No. Of course not. Just something struckme funny•••

Closeon Joe watch.ing Shirley closely, reacting.

SE:CRLEY' 'S·VOICE· Ijust put myself in your shoes. Ihad this image of a bugler without a horn, a policecan without a stick, etcetera, etcetera and I ••• (giggles) I think I'd better shut up, I'm making it w10rse.

Shirley composesher face, re~ching out to touch Joe. But that doesn't help ei .t."ler.He reactssharply.

2/2/68 95.

207. CONTINUED

·SRIRLEY Maybe we should take a litt1e nap, see what happens?

·· . JOE I ain't sleepy•

I know. Scribbage!

Extreme closeup of Joe -- fro:wning,puzzled•••

~••camera pulling back to show Joe concentrating on a game, spread out on the sheet, consisting •ofnine dice lettered on al.lsides, the object being to build as many ~rds as possi:ble,Scrabble fashion, whi1e a sancltimer counts the seconds. Shirley watches Joe's effort~ to think with sympa- thetic_amusement. The only word Joe bas c~mposed so far is MAN.

That's pretty Freudian, Joe.

If you didn't talk so much, maybe you could think more.

2/2/6 8 96.

Joe spells out MONY, down from the Min MAN.

SEIRLEY

There's an E in MONEY. If that's your word.

JOE

M.:.0-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-0-N-Y.

okay. Never argue with a man.

··JOE

Y - what in hell starts with Y?

Shirley sl y lytrailsthe tips of her fingernails a..:rossJ o e' s chest as sh eleans over to study the game, br e athingsoft1y into his ear as sh espeaks.

·s:URLEY

It can end in Y -- day, pay, lay

hey, pay lay!

One pr ed at o ryhandrestsonhis knee -- as if by accident -- disartju)..gingthesheet,talon nails lightly brushing his thigh.

JOE

teasing me so I can't think. Just one bitsy Y word and I <]Onnabeat you!

SHIRLEY

You gonna beat me, Joe?

JOE

Beat yo urbu t t,youdon't lemme think !

2/2/68 97.

7 • CONTINUED

SHIRLEY

Gay·ends inY. Fey~ You like that --gay fey --is that your problem?

JOE

I show you what problem

But the end of his sentence 1s swallowed by Shirley, taking his kiss in her open t:lOuth,c:-ushedby itaimpact, an animal noise snariing deep in her throat -- the · agonizedalley cat wail of pleasure -- Joe•s problem is solved. Joe•s love theme swells triumphant. At the same time, Shirleyha.lf- rises, trying to force Joe's head down, her own on top. The issue is joined. Shil:'leybasnamed the game. Ber 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•••

• • •Joe':sel.l:>owspinninghershouJ.ders•••

••• hereyesbright, accepting the challenge •••

•••histight smile revealing clenched teeth •••

••• herfingers searching out then t.ickl..inghisunderarm•••

••• Joelaughing as he falls lopsidedly•••

•••Shirley laughing triumphantly•••

••• hishand closin~ on her wrist•••

••• hertalon-nails clawing the air•••

••• hertoes walking up his calf•••

••• herlegs suddenly locking around his knees•••

•••her free hand·gr#J:>binghishair•••

• • •he rsho u l derrisinga ssheforceshishead back•••

2/2/68 98.

207. CONTINUED

••• herlips pressing down on his•••

an unidenti£ied mass of flesh•.-._.

•••his hand sw~tting

eyes popping, te _ethclampinghis ear lobe••• ••• her

••• hishand catching her ~kle •••

••• herteeth losing the ear lobe as she screams •••

••• herfootappearing upside down beside her face •••

••• hertalon-nailsfurrowing flesh, drawillgblood •••

•••hisbead rearing back, roaring •••

•••bothrolling to the f~oor, out of view •••

••• herfeetsuddenly flying up into view •••

••• herhandtugging rbythmical.ly a.ttheblanket •••

••• herotherhand wildly exploring Joe's back •••

••• herankleslocking spasmodically •••

••• hereyesand mouth wide, gaping•••

••• theblanketsuddenly ripping free, flying into the air asher arm flings itself around Joe •••

••• thebedclothes spilling down around them, muffling her ascending-shrieks.

O

208. I.NT•SHIRLEY'S BEDROOM itMORN:ING

Shirley.has difficulty ~'~vertingt'':11·tohernine-to-fiverole as a Madiso =-i?\venueca ,/O.r girl.Balf-'dressedforwork,she

2/2/68 99.

-:08. CONTINUED

is tal'ki.ngonthe telephone, her eyes on theopen door to the bathroom, through which Joe's voice continues singing.

SEllRLE'Y Well, Ireal.lycan't talk now, if you know what Imean, but believe me when I say, Myra, it's anexperience every emancipated woman owes herself. I'm not. I'mnot exaggerating. Well, wat's Phil'spoker night? (yellsoff) Joe -- . areyouavailable next Thur s day,eight-thirty?

MORNING

Thor oughlyshaved,b a thedand groomed, Joe is sprinkling an expensive cologne intohis b oots. Be yells back enthusiast- ically.

Shir l eyturnsback to the phone. Joe appears, grinning.

SlllRLEY Why don't you just come here? I'll be working ev e rynight th.is week. I'll leave a key with the super •••

I

Shirl eyop enshe rpu r se,s avorin;th emome nt. As s hepl a ces the money in J o e'shan d •••

2/2/68 100.

••• Joeslaps a bill on the counter, admiring a fine new cow- boy shirt in the mirror, wriggling new wh.itesocks into his ' boots. Suddenly remerabering,he goes to the sock rack _and buys two pairs, one large ·;uidonesmal.l. Gradually dominat- ing, Joe's love them~ recurs, continuing over •••

••• Joesl~psdown money to pay for anassortment of medicine. ·

i i , 213. :INT.CONDEMNED TENEMENT DAY

Joe takes the $tai.rstwo at a time to burst inon •••

••• Rat sohuddledinthe overstuffed chair --wearing the stolen sh e ep skinc o at--wrappedinblankets, his teeth chattering ;in spite of the sweat on his _forehead~ Joe stops al:,:uptly,hismood shattered by Ratso's ala.r:ni.ng condition. T'neysimply stare ateach 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•••

·JOE

See what you think of that· crap. I'll pour your soup. Got someof that junk you like to swill, too. Mentholatum. Aspirin. All that shee-it •••

Ratso opens the paper bag, trying to controlhis shivering, pulling out the socks and a suit of lon ·gunderwear. He sees Joe watching him for a reaction. Thebest Ratso can do is a slight sh akeof his head.

JOE

They wrong?

2/2/68 101.

'.4•CONTINUED

Joe hands Ra t sothesoup. · Ratsoseems steadiedby the warmth · in h.ish ands .Be nods ,sipping the soup.

2/2/68 1.02.

1_4• .CONTINUED

x ·don'tknow. Cops. or the how shoul.dI know?

Ratso is trembling so violently that the soup starts to slop over. Joe ta.'<esitand sets it on the table.

' RATSO I'm going to Florida ,that's my onJ.ychance.

2/2/68 103.

214. CONTINUED

· RATSO I'll find the money. If you just get me on .thebus, that•s a.11J:ask ·.

that thinks he's .God sgift to women. One twenty-buck trick and he's al.readythe biggest stud in New York City. It's laughable.

Joe sets his Stetson on his head.

Joe strikes a match with his thumbnail andwatches it·curl away while he waits, hearing a·phone ring. Then the phone is answered by a woman•s voice.

Joe hangs up while the answering service's voice is still talking. The match has burned out. Joe flips it away.

2/2/68 .104.

2.16. INSERT

BeadJ.ine WALTER P. BOX TAKES NEW YORK BY SURPRISE!

Joe l oitersoutside a gag headline print shop, his eyes fol- lowing a man in homburg and chesterfield.

Joe lingers momentarily, iden4.:ifyingwiththe violence 1n a jazz drummer, his eyes searching for a pickup.

219. IN'l'.ARCJl....DEDUSK

Joe tests his skills in a shoot-down with a large metal cow- boy and kills him, a ::ecordedvoice speaks, •Gotme!" as the cowboy sl 1unps.Joe glances of£ as he hears polite applause •••

•••TOWNY -- a stout, round-faced man clasps Joe's hand between both of his own, like an old friend. ·

···TOWNY Bow are you? · (morequietly) 'l'ownsendP.Locke. from Chicago. Call ·meTowny. I'm here to attend a.paper manufacturers' convention . and, frankly, to have a little fun, dammit•••

Towny grips Joe's elbow, almost forcibly leading him away.

Towny !~face appears huge at Joe's shoulder.

2/2/68 105.

220. CONTINUED

Towny's mout.'1continuesspeaking at an incredible rate,but bis words are ·drownedout momentarily by the grinder of a sanitation truck, chewing up adiscarded Christmas tree with tinsel clinging to it. Towny is still talking when they've passed the t-..-uck.

Joe hardly notices O'Daniel on a far corner, bis whining scarcely audible . QYeare the saltof the earth,:Jesus said, but if the salt hath lost its savor,wherewith shall it be salted?•

·TOWNY But, dammit all, I .justremembered, we'll have to eat in my room because I have this ·phonecall coming at nine-thirty •••

An ancient open cage lift.

2/2/68. l.06.

A threadbare, carpeted but ~pacious hal.lway.

- TOWNY Fifty years ago this was the only hotel in Manhattan. My mother al.wayscalls me at her bedtime, so :r.'vegotto be there. ·

The ro omhas little to recomcend it except its size and large French wine.ow,through·whicb -- 19'?loredbyJoe -- the Mutual tower flashes MONY~ Towny waves Joe toward the coi.:c~,quic1~:: slipping several.phys ·icalculturemagazines from t.'l eco!::ee table onto a shel£ ben e ath.

'l'OWNY A drink? I've got some nice gin. If you' _dpre:Eetsomethingelse, they'll send it up •••

JOE · Gin's okay.

- TOWNY It's so exciting.· New York. ·The mad forward thrust of everything. My sense of time here is completely altered.

Joe carries Ratso down the stairs, wrapped in a bla.n~et.

Thecoffee table is littered with empty cartons of C.'unese food, soaked through with brown sauce. Joe finds the last e ggroll a."'l'deatsitas_.,.:,wny•svoicedroneson.

2/2/68 l.07.

226• CONTINtJED

Towny's dialogue moves out of sync. Towny's eyes seem to look into ·ca.~e~a--from Joe's viewpoint -- but slightly past it. The quality of the scene grows increasingly disjointsc. as Joe glances aroUDd the room, looking for something to steal, losing personal contact with Towny, vie-w1..nghimasan object to be used for a specific purpose.

·TOWNY Enough ahout me. I'm through taJ.kingfor the evening~ Now :r 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 illt~oduceyou 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 ··forJoe'spocket, prob- ably wor::hl2sJanyh ow. Towny' ·'arrayof ir.edicinesmerely recalls ~oc's purp o se.

2/2/68 108.

• --

'l'OWNY'S.VO::CCE

Mama, a eoincidence. Guess who was being discussed. Discussed. Not disgusted·. Discussed! Do you have that thing turned up? Why aren't you wearing it~ This i.s impossible!

?29/ EXT. GR..~OUND BOS TERl1.:i:NALDAY

Joe lifts Ratso from the taxi and carries him inside·•

Listen, ·Towny,did I mention J: got a sick kid?

NIGHT

Joe is rehe~rs;!.ngthespeech in the bathroom mirror.

JOE

Well, be is, he's sicker'n shee-it. And I've·gotta get him South quick as I can •••

,31. INT. GREYEOUND BUS TERMINAL DAY

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

Towny is stretched out on the couch, staring morosely.

TOWNY

I was so childish with her.

Joe mov~ ~i n tofra.-:'.epastc ~era,stand.ingi.n:.:rentofhirn, so t h at:\v'ecanseet.."l.ascenefrombehindJoe'swaist.

2/2/68 l.09.

'- ~32• CONTINU"'u>

·JOE What d'you want?

'l'OWNY Ob, difficult, it's so difficult. You're a nice person, Joe -- I shoul.dnever have asked you up -- a-1ovely person.··Oh, how I loathe life. · 1loatheit. Please go. Please.

' TOWNY No, yes. ·No, I mean yes please go. Belp me· tobe good • Come back tomorrow. Promise.

·· JoE· I'm going to Florida.

Joe's face is expectant, ~tin line at the ticket window. He nods reassuringly toward Ratso. ~

2/2/68 .l.10.

,

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

235. :INT.GREYEOUND BUS TERMINAL DAY

It's Joe's turn. The clerk 1ooks at him expectantly.

Joe's voice is angry.

·JOE Listen, I got~a have money.

Towny hurries across the room to thebed s id etable. Besi de the telephone is apicture of aprosperou~ pione e rwoman wearing ahea ring-aid. Towny t.riesto conceal his movemen ts ashe takes awallet from the dr~wer, lifts out d bill and tucks thewallet back and tur.ns-- terrified to s e eJo eclo s e behind hira-- al.mostknocking the'lamp off the table in hi s fright. Pressed against the table,protecting but calling attention tohis wallet, Townyholds out thebill.

2/2/68 l.l.l.

236. CONTINUED

· JOE {takes thebill) I gotta have more'n ten. I gotta have ·fifty-seven dollars.

· -·roWNY I simply don't have it, Joe •

Get outta my way.

· TOWNY You' re wasting your time. There's nothing in there.

Towny clutches the table, staring at Joe, shaking his head like abad 11 ttleboy. Joe backhands hil:langrily. Trying to duck theblow, TOwny stU!llOlesandsl.ipsto the . floor, but grabs the table in his arms, watching Joe out 0£ the corner of his eyes, whimpering. Joe grabs his hair, turning his face up.

JOE · Let go. Let goof the table.

·, Joe slaps him, but Towny clings more fiercely to the table as Joe tries to jerk it free. Joe strikes him with his .fis-:.

·TOWNY . I deserved that, I know I did.

But he clutches the table wildly• .His mother's picture falls ~oticed. Joe stands in panic, sickened, unable to fulfill

:2/2/68 l.12.

236. CONTINUED

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

Towny simply stares at the lamp.

Joe~eatens, swings the lamp down, but stops short of hit- ting Towny. 'l'OWDYshrieks -- eyes roll.ingback.as he falls limp --loosing his grip on the table, leaning on the bed, laughing andcrying hy stericall.y. Joe has to step over h:J:i to reach the wallet in the drawer. Be takes all.t.~emor.ey-- probal:llytwicewhat he needs -- desperate to get out of tile room.

2 37• INT. GlU:YBOUNDBUS TER.L'1.INAf.iDAY

Joe carries Ratso up the steps onto the bus•

Towny's shrill little whisper says•••

••• provokingJoeto 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 andcc.nfused, holding the use- less phone in two hands. • • ··

2/2/60 ll.3.

The bus driver revs the powerful engine, shifting gears.

••~Joe is about to hang th~ dead receiver on its hook when -- on sudden impul se-- he shoves.the small end of the · receiver into the toothless mouth of ·theman on the floor.

The bus roars into the tunnel.

Joe andRatso sitnear the rear of thebus. Ratso•s teeth chatter, wui.ppedin the blanket.

They ride a few moments in silence.

- RATSO The trip is. ·Nine-thirtyin the morning we get there. ·Not this morning but the next one at nine- thirty.

Both nod for a moment in silence.

2/2/68 ll4.

The bus tires sing as it speeds Sou .th.

Joe and Ratso have reversed places, putti~g Ratso by the window. Joe watches a rnidd.1e-agedcoupletry on the~r new straw hats, unaware that Joe is watching them.

·JOE Shee-it. You believe all you read?

The metal grating ring$ as the bus soars onto it.

~ aging yocng la.diesin brand-new resort wear are casually examining Joe, along with the other men on the bus, bu~ Joe is ~rowning at Ratso, who shivers despite the bright sun.

2/2/68 115.

246. CONTINUED.

· JOE ~ep the gocldam:blanketon.

Sounds like c::-~p,admit it. And I'm Dot gonna have it. I'mRico all the tim e ,okay, doyou blame me? That's agreed, okay? We're gonna tell ali these new people my name 'sRico?

Joe nods. Ratso closes his eyes, r.noroentari!yatpeace.

'rhebus passes a Florida hotel sign too swiftly to read it.

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

1'.

2/2/68 l.l.6.

248. CONTINUED

···RATSO I wet my pants! My seat's a.J.lwet!

·RATSO Here I am going to Fl.orida andmy leg ·burts,my butt hurts, my chest hurts, my ·£acehurts, andlike that ain't enough, I gotta pee all.over myself. ·

Joe l.~ughssuddeniy, uncont..roll.ably.

R~tso begins to laugh with Joe as .ifitwere the funniest thing they'd ever heard. Then Ratso's face pal.esas be starts to choke and cough. Joe pats him on theback.

The bus is parked in the distance. Joe comes from a cl.othing store, bare-headed, we a =ingplain slac~s and sportshirt. F.e carries the boots, Stetson and ·cowboysuit in one hand, a

2/2/68 117.

~ -'-9.CONTINUED

bundle under his a.rm. Be ,dmnpshis cowboy regalia in the trash bin of a sandwich stand and calls to the WAITRESS.

JOE

couple crullers'n coffee to go.

The Waitress draws co££ee, wraps crullers.

WAITRESS

Where you from?

Joe pays. She smiles, gives him change. Joe smiles, starts on toward the bus, hardly aware -thathehas ac1:omplishedsol.le- thing rare endremarkable for Joe -- a -le human contact without fear or th1;eat,a pleasant everyday happenj.ng.

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

RATSO

Bey, what the hell you doing?

hell you think I'm doing? ·

They both smile. It isn't funny enough to laugh at. Joe arranges the blanket, takes out .apackage of_.c.igarettes, glances at Ratso and ~uts lt away.

2/2/68

Palm trees are streakingpa-,t .the .window.'l'hesunisglaring hot. A group of·kids in bare feet and straw hats wave to the bus as it passes.

Ratso's eyes squint 1n · adazedhalf-sleep. Joe leans across to pull down the shade. Be hesitates a moment, watching•••

••• pasthis reflection, a group of young men on their way to 'NOrk,carrying lunch pails, dressed exactly as Joe is now dressed•••

•••then Joe lowers the blind and seats himself. Ratso nods slightly, his~ce practica1ly inaudible.

· JOE Shee-it, you know,· Igot this thing all figured out, Ratso. I mean Rico. When we. getto Miami,-.mt I'll do, I'll go to work. r ·gottado that, •cause see, I ain't no kind of a hustler~ I a.in't_.evenany·godd~ good as a 1:itmi~-:r:•manothing,that•s what I am. So reckon I'd better go to work and get me a goddam job. Okay?

Joe ·glances at Ratso,but there is no response. Sur=epti- tiously, Joe takes out a cigare~te, turns his £ace a~ay from Ratso andlights it,biding it cupped in his hand as he smokes.

2/2/68 119.

25.2. CONTIUUED

They ride for a moment in senu-aarllness,Joe smoking, looking at the other people on the bus, brighter without the shades down. Joe turns, checking the blanket a.roundRatso, notici~g that Ratso 1s sitting 1n a peculiarly stiff, awkward position. Joe learisover to straight~n Ratso•s head, blocking ou= view for a moment. Then Joe leans back, frownil:lg,..thought:ful.We still do not see Ratso's face. Joe rises slowly, starting forward in the bus •••

••• passingariolder couple, a schoolgirl, two ·ladieswit;i straw hats, a young man teying to read, pausing when he reaches•••

•·.·~the ·DRIVER,staringoutat the Sunshine ·Parkwaywith the Driver, leaning over so he won't have to speak too loudly.

Yes, sir?

JOE · My friend's dead in the back seat.

Be glances at J9e, then pulls off the road and stands up.

The passengers crane their necks as Joe follows the Driver to the rearo~ thebus. The passengers'at the rear are staring ahead, trying not to see what is going on. The Driver touches Ratso, straightens, touches his .hat,but doesn't ~emove it.

2/2/68 120.

: . 252• CONTilroED

··DRIVER Isbe kin to you?

Joe nods no.

'DRIVER JUst reachover and close them. That's all.

Joe closes Ratso's eyes.

-. JOE

No, sir. Not 'tillMia.mi. I'll see toburying then.

TheDriver moves to the front and turns to t.'lepassengers.

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

,;,;:.•