"THE FRENCH CONNECTION" (1971)

-

THE FRENCH CONNECTION

April 26, 1971

Rev. April 26, 1971

'

THE FRENCH CONNECTION

by

ERNEST TIDYMAN and WILLIAM FRIEDKIN

·DIRECTOR: William Friedkin

PRODUCER: Philip D'Antoni

Revised 4/26/71

OMIT l

Opening shot - High ahgle on Lincoln along small bay with boats.

Detective comes out eating pizza, looking around. He crosses street and stops against wall of impasse Michel•

His POV - L. S. of Lincoln behind fishing nets.

Waist shot of Detective looking and eating.

M. s. of Lincoln.

C. s. of Detective looking o. s. Left.

Pan Right to Left with Charnier coming out from Fonfon with three friends and they walk to the Lincoln.

Pan Left to Right with Lincoln passing in front of the Detective.

High angle from balcony. Zoom on Detective seated at the cafe, reading a newspaper.

Cut on Lincoln along sidewalk of the cafe, then zoom back to discover Detective seated.

Low angle from stairs Rue des Repenties and Pan Left to Right to Rue Sainte Francoise following the Detective.

Pan Left to Right with Detective from Rue des Repenties to Rue Baussenque.

Low angle between Rue des Moulins and Rue des Accoules with Detective passing by.

bakery camera Right and starts to climb up Rue des Moulins with his bread.

High angle - on No. 50 Rue des Moulins. Pan Left to Right with Detective coming up the street with his bread and going inside his house, starting to open his letter-box.

High angle - complete reverse. As the Detective starts to open his letter-box in B. G. a hand pointing a gun moves in foreground and blows off half of the French Detective's head with the first shot.

Cut to Nicoli c. s. who just fired.

A large man in a Santa Claus suit and white beard is entertaining a group of black children. He leads them in the singing of a Christmas Carol (Hark the Herald Angels Sing). The man is DETECTIVE Fu"RSTGRADE jIMMY DOYLE, His attention is split between the children and the activity inside the bar.

The place is crowded with mid-day drinkers. Dimly outlined at the far end of the bar are 11~0BLACK MEN involved in some kind of transaction in which a package is exchanged for money. As the transaction seems to be completed, cut to

Santa Clause (DOYLE) starts to ring his big Christmas bell, above the singing. The bell is a signal to DETECTIVE SECOND GRADE BUDDY RUSSO. At this moment 7D RUSSO is in the clothes of a hot dog vendor and is in fact working behind a hot dog ~agon. At the ringing of DOYLE's bell he takes off his apron, leaves the wagon, and runs toward the bar.

DDY-i..E (as RUSSO passes him)

The guy in the brown coat.

•

RUSSO enter the bar on the run. He stops and looks over the ~oom.

RUSSO'S POV 7F

'

There are TWENTY orTHIRTY MEN at the bar, at least TEN are wearing brown coats! The TWOMEN involved in the deal see RUSSO and start to run. One (THE Bu"YER) takes off out of the back door. The other (THE PUSHER) jumps over the bar and heads for the front entrance .

THE PUSHER dashes out past Santa Claus (DOYLE). RUSSO follows him and all three give chase.

THREE FIGURES running down a New York tenement alley, the first in flight, the others in pursuit. We pick up the incredible clutter of such an alley, mounts of rusting beer cans, paper bags of garbage bulging and ripping open, old bed springs, burned out mattresses, etc.

Close shot of BLACK PUSHER tripping on the tangle of trash going up against_ thewall in his stumble, face toward the camera, and the figures of RUSSO and DOYLE leaping upon him from off-camera. There is a blurr or fast struggle as DOYLE and RUSSO try to get his arms and put him against the wall. BLACK PUSHER writhes loose and we close in on a knife in his hand, plunging rapidly into RUSSO'S left forearm.

RUSSO

Son of a bitch!

The words are Loth warning and a grunt ofpain~ As RUSSO takes the blade and utters thewords, we simultaneously got~ DOYLE crouching and snatching his .38out of the right ankle holster.

~

Close shot of DOYLE and the BLACK PUSHER, DOYLE pistol-whipping him into submission with three lightening chops of ttlegun to the PUSHER'S head. DOYLE continues to beat the man mercilessly into submission.

3-shot of BLACK PUSHER sitting between DOYLE and RUSSO. DOYLE .isat the wheel. BLACK PUSHER is · sitting on his hands, wrists manacled behind him, his head down and dripping blood onto the jacket and the canary- yellow turtleneck. All three are breathing hard.

DOYLE

What's your name, asshole?

BLACK PUSHER

Fuck you, Santa Claus!

DOYLE hits him across the face.

RUSSO

Your name is Willie Craven.

BLACK PUSHER doesn't look up.

DOYLE

Who's your connection, Willie? What's his name?

No response.

RUSSO

Who killed the old Jew in the laundromat?

BLACK PUSHER's brow furrows, looks up just a little.

BLACK PUSHER

I don't .•.

DOYLE

Ever pick your feet in Poughkeepsie?

CONTD. 11

BLACK PUSHER

What?

DOYLE

Did you ever pick your feet in Poughkeepsie?

• BLACK PUSHER

I don't know what you're talkin' about.

DOYLE

Were you ever in Poughkeepsie?

BLACK PUSHER

No••• yeah •••

DOYLE

Did you ever sit on the edge of the bed, take off your·socks ·andstick your fingers between your toes?

BLACK PUSHER

Man, I'm clean.

DOYLE

Yoμ made three sales to your roaches back there. We had to chase you through all this shit and you tell me you're clean?

RUSSO

Who stuck up the laundromat?

DOYLE

How about that time you were picking your feet in Poughkeepsie?

The BLACK PUSHER'S eyes go to RUSSO in panic, looking for relief from.the pressure of the inquisition.

You better give me the guy who got the old Jew or you better give me something or you're just a memory in this town.

CONTD. 11

BLACK PUSHER

That's a lot o' shit. I didn't do nothin'.

The BLACK PUSHER's ey~s are on DOYLE, frozen in confusion and fear.

DOYLE

You put a shiv in my partner. Know what that means? All winter I gotta listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those three bags - then I'm gonna nail you for pickin' your feet in Poughkeepsie.

DOYLE and RUSSO standing side by side on the front· steps of the old First Precinct on the Lower East Side of Manhattan. RUSSO has his overcoat over his shoulders as a cape. The sleeve of his left arm is rolled up over a blood-stained bandage on the left forearm.

DOYLE

Havin' trouble? You're a dumb guinea.

RUSSO

How'd I know he had a knife.

DOY-LE

Never trust a nigger.

RUSSO

He coulda been white.

DOYLE

Never trust anybody. You gain' sick?

•

RUSSO

Not a chance.

RUSSO nods in acceptance of the remark. The easy, synical rapport between them is obvious: they are partners in a business where somebody is always getting hurt and pain is part of the inventory.

CONTD. ll

BLACK PUSHER

That's a lot 0 shit. I didn't do nothin'.

The BLACK PUSHER's eyes are on DOYLE, frozen in confusion and fear. •

DOYLE

You put a shiv in my partner. Know what that means? All winter I gotta listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those three bags - then I'm gonna nail you for pickin' your feet in Poughkeepsie.

DOYLE and RUSSO standing side by side on the front steps of the old First Precinct on the Lower East Side of Manhattan. ·RUSSO has his overcoat over his shoulders as a cape. The sleeve of his left arm is rolled up over a blood-stained bandage on the left forearm.

DOYLE

Havin' trouble? You re a dumb guinea.

RUSSO

How'd I know he had a knife.

DOYLE

Never trust a nigger.

RUSSO

He coulda been white.

DOYLE

Never trust anybody. You gain' sick?

•

RUSSO

Not a chance.

RUSSO nods in acceptance of the remark. The easy, synical rapport between them is obvious: they are partners in a business where somebody is always getting hurt and pain is part of the inventory.

CONTD 12

DOYLE

Let's popeye around the Chez for a half hour, catch the end of the show and a couple drinks.

, RUSSO

Some other time Jimmy, I'm beat.

DOYLE reaches into the right side pocket of BDDDY's suitcoat for a cigarette and matches. He lights up two in the pause, sticks one in RUSSO's mouth.

DOYLE

Come on -- one drink. Whatta you say?

RUSSO

Drink this.

llOYLE ·

Whip it out.

THE TITLES COMMENCE

THE FRENCH CONNECTION

Titles over a close shot of a chorus line, with lots of tits and ass and lean, long legs in a brassy blare of music. We zoom back to the area where OOYLE and RUSSO are beginning to occupy a table. RUSSO takes the seat on the right, eyes immediately on all that ginch, while DOYLE standing, gives their order ...We do not hear the dialogue but DOYLE asks RUSSO what he

wants BUDDY looks up and says Cinzano'!. DOY-LEturns and says "Two of those". DOYLE slips into ·the chair opposite RUSSO and the titles roll on. Unlike RUSSO who is concentrating on the girls~ DOYLE is digging the ro= and the people who occupy the tables in it, as if he is the sor~ of man who cannot relax until he kno·wswho is around him, why they are there.

A long view from DOYLE's position of the room, a quick certain survey that stumbles twice; on laughter that seems too ra"Wand then over a flurry of activit:yby WAITERS and CAPTAINS serving a table on the main floor. OOYLE's attention is apprehended by the noise and activity that emanate from the same large table.

CONTD 14

DOYLE

I make at least two junk connections at that table in the corner. The guy,is the stripe combo, I know him too. •

RUSSO

Hey, I though we come for a drink

A long view of the table with DOYLE and RUSSO very close foreground, left and right. DOYLE is leaning on an elbow.

DOYLE

Who is that guy?

RUSSO

Policy man in Queens

DOYLE

What about the last of the big-time spenders. You make him?

RUSSO's eyes come off the show. It is a direct line from DOYLE's gaze to the round, ruddy and arrogant face of SAL BOCA, the apparent host of the table of EIGHT MEN AND WOMEN, the Men in dinner jackets with ties tucked under the collars of blue or white lace-trimmed shirts, the Women in a mixture of pant suits and Catskills cocktail party dresses, their hair coiffed towers.

RUSSO

No, you?

DOYLE

Hunh-uh. Check the bread. He spreads it like the Russians are in Jersey.

RUSSO

He probably sells insurance. Ow-nsa chicken farm in Hackensack.

CONTD 15

Zoom in slowly on SAL as he deals tips and orders. Through DOYLE's eyes, we go from Guest to Guest at SAL's table, taking apart their manners and styles as they talk a9d laugh, lost in the show chatter.

DOYLE finishing his drink, still looking at the table.

DOYLE

Dig who's 'justcome over. The creep on the end.

The camera pans dow-nthe table to dig the creep on the end".

RUSSO (VO)

3ewish Lucky from the Bronx ••• He don't look the same without a number across his chest.

DOYLE close in right profile, SAL's table in the far blurred background.

DOYLE

Whatta you say we wait and give him a tail?

' RUSSO

Give who a tail?

DOYLE

The greaser with the blonde.

RUSSO

What fo, you wanna play Hide-~he Salami with his old lady?

DOYLE

Come on -- just for fun --

I1'"T/EXT:DOY-LE'sCAR -NIGHT

The view from the back seat of DOYLE's car. DOYLE is at the wheel, RUSSO packed uncomfortably in~o

1 1

the corner at DOYI.E s right. Seventy-five yards away on the other side of the street the canopied entrance of the Club. A Continental is parked in front of the club. The DRIVER leaning on a fender talking with the DOORMAN. DOYLE frisks his o""' pockets for a cigarette, coming up with a collection of laundry slips, crumpled notes, toothpicks and

as he is going through the ritual of the cigarette mooch, a slip beari~g the name of a girl. His attention is really on the entrance of the Club and both his conversation and the•cigarette business are detached and incidental to the art of wait~ng through the stakeout. He stuffs the cards back into his pocket.

DOYLE

Monfca? Who's Monica?

A and A, that's all you're interested in - Arrests and Ass.

As soon as DOYLE has finished lighting the cigarette SAL and his PA.~TYcome bubbling out of the Club noisily, a little drunkenly. SAL waves to the attentive D00Ri.'1A.N.

'

DOYLE close, leaning forward over the wheel to put his hand on the ignitiion key. He does not tu:;:;uit. He is waiting for the cover of noise from the starting of SAL's car. RUSSO is turning the opposite corner of the car into a bed, his head back, arms across his ~hest.

DOYLE

Cloudy, I'll lay odds he takes us to Little Italy.

DOYLE reaches under his seat for the straw surveillance hat - throws it up to read ledge of car.

OMIT 20

RUSSO

I'm telling you, Popeye, he owns a bagel mine in the Bronx.

A long view of the Club entrance. SAL and ANGIE, 21 a well-built "classy" blonde with good legs, get into their black Mercury sedan. The Mercury takes off towards First Avenue. We hear DOYLE's car start and we move off after them on the last blink of tail-lights at the corner.

Cabs, Daily News and Times delivery trucks, bakery vans and a few cruising cabs, one or two passenger ·cars and a coasting green and black police cruiser this is the 4:30 a.m. traffic through which DOYLE moves.

A rear-window view of SAL and ANGIE BOCA, 23 in animated conversation. His head is turned toward her, his hand raised in a gesture. ANGIE is sitting in a cornerwith her back to the door, in profile to the back window. Her blonde head bobbles with laughter over some remark SAL has made.

A long overhead view of the two cars wheeling in 24 and out of the sparse traffic.

OMIT 25

OMIT 26

Close shot of the license plate on BOCA's car. 26A

Close shot DOYLE staring at license plate, 26B memorizing it.

BOCA and ANGIE exit restaurant, get into their car and drive off. Hold for OOY-LE'scar as it passes through after them.

Side close view of SAL turning south into Mott Street panning to pick up the Italian names on the candy stores, funeral parlors, bars, grocery stores, social clubsa

A long view of SAL's car from the DOYLE-RUSSO 28 auto, over the shoulders of the two cops. DOYLE is leaning on the wheel of his car. He's against the curb about 100 ya.ds behind SAL.

Medium close view of SAL in the middle of Mott 29 Street, walking quickly toward the opposite side of the street, hands in the pocket of his white raincoat. He glances over his shoulder in the direction of DOYLE's car.

Close of RUSSO who has come awake. The smart-ass 30 demeanor has dropped away. DOYLE turns to him and smiles. This district is the heart of every illegal activity in New Yark.

Close rear view of DOYLE and RUSSO ducking down 31 to the level of the dashboard, a reflex action. He couldn't see them at that distance. although SAL, lighted by his own headlights, can be seen in the background walking around the cars, across the sidewalk and stopped at a recessed doorway.

Medium close shot of SAL and partially visible 32 FIGURE at the doorway. With another glance up the street, SAL takes something out of his raincoat pocket an~ steps up and into the doorway.

Close from the front of DOYLE and_RUSSO low against the dashboard.

DOYLE

It's a drop:

DOYLE's face, close, light smile. 34

Long view of SAL walking dow-nthe sidewalk quickly 35 for about a quarteT of a block while the headlights of his car, wi~h ANGIE apparently driving, move up with him. At another doorway, he looks back and then steps inside.

Long view of SAL's Mercury moving over Brooklyn Bridge.

Close shot of the DOYLE-RUSSO car frOIDRUSSO's 37 side. B!jJJDYnowinterested, watching.

Overhead view of cars circling block, first Mercury turning corner, then DOYLE's Ford.

Long shot of the Mercury pulling up beside line 39 of parked cars (as seenfrOIDDOYLE-RUSSO car) stopping and parking. Hold on Mercury as SAL and ANGIE get out of it. SAL locking it up, and starting to walk toward a line of parked cars.

Close shot from rear seat of DOYLE and RUSSO 40 glancing at each other.

SAL and ANGIE stop in the street beside beat-up 41 white Dodge. Without a word they get in. Hold as they get in, SAL starts and they begin to drive out of the spot. •

Close on DOYLE. 42

DOYLE

It's start.in'to cook, Cloudy, my.man is.cook.in' •..

A series of impressionist travelling shots of 43 the white Dodge And DOYLE's Ford moving through Brooklyn Streets, picking up street signs of areas.

Medium close shot of the white Dodge pulling into 44 the curb. In near background, a candy-confectionary store.

Close shot of DOYLE and RUSSO in profile driving past the candy store as SAL and ANGIE open door and go in •

Close shot of DOYLE and RUSSO parked. DOYLE is 46 looking in the rear-view mirror while BUDDY is turned around on the seat, looking out the rear·window.

•

A long shot, from the DOYLE-RUSSO viewpoint of the 47 candy store. The door is open, the street is deserted. Lights are.going on in the little shop. Hold on the storefront as SAL appears, this time in a candy store operator's smock over a white undershirt, baggy slacks. He's carrying a stack of newspapers. Zoom in on SAL stacking the Sunday Times and the Daily News on the rack in front of the store as ANGIE appears in the doorway. She's blackhaired now, the blonde wig gone, also wearing a grey cotton smock over a plain skirt and sweater, holding a cup of coffee. We hold on them for a beat, then

DOYLE and RUSSO close just looking at each other. 48 The look says everything about the freak case they have stumbled into.

Rev~sed3/23/71 12A

49-50.-E;\"T..OUA??·URSZILLESF.IPYARD

1)Tight two shoi.then 12) cut intobl--.eprints.

,.

..

• Ci:iAIDiIER

..

En prolongeant lesquaisd'une

trentainede metreson pcurra

\ • recevoir desunitesd'une

• car6aisonde 500 tonnes•

3) 'Whileheshows the extension 1cleanP.O.V'.ofeach

quay• • 4) DollyLeft to Rightw:i.thNotre-Daoeinbac~-round.

~h~y foldthe blue prin~sand ~ove.

FO:RENAN?-1ARCEL

Et coobiend'hoa~es supple~e~~aires?

CHAR?UER

Ca £era environ10 hoo~esde plus

•

par eql'ipe.

Hf.RCEL •

Le Syndicatexige~a un ~ini~=i:

de 12.

CHAllliIER

Q.uellei~~ortance.Ce quico~te

pour moi ctestd'avoir un chantier

qui puisse rece'voir!.•;Splus;g;rar.ds

bateaux duaonde•

•

Revised 3/23/71

49-50 Cont.

MARCEL

Di~ moi vieillebrD.Ilche•?CocQent

fais tu pour rester sijeuneavec •

•..

la vie que tUmenes?

• \ Cl!ARNIER •

Quelle vie M.arcel?J'ai plus rien

foutu depuis que je suisdescendu

de ces cabines.

•

•

• •

Revised 3/23/71 13A

,

Pan Left toRight Lincoln drivenby Jeanwi.tn.Ch.ll:"nicr

'behind.

•

Lincol~ passingby.

• '\Pan Right toLeft With Lincolnpassingby •

•

..

53• ~lT. C!,SSISROADLEADiiiGTOVILLA 53

Pan Right toLeft with Lincolnarriving fro~Qain road • to Villa •

• ..

' 54. EXT. VILLACASSIS 54

Ca-:nerainfrontof'garagewht:!retheLincolnstops.

Charnier comesout with giftand walks Rightto Left•

• 55• EXT• VILLACASSIS1 55

PaziLeff toRight with Charnierwalki~g alo:gterrace

with Cassisbay in B.G., a.."l.dwediscover hiswife1Marie.

She gets up.Dolly back.

Cl!ARN,ER

Bonjour cherie.

IJ:beykisseachother and walk-.a.:-:-1!inarmbac::'ktous ..

• ,

Revised}/23/71

Close 2-shotfavouring her.He gives her thegift.

'. .

• CiiARNIER

h sais j'airer1echi longuecent -·.

'·

A ton cadeau pour levoyage.Je

• • \ l 1aichcisimoi-m€me. Ti.ens•

•

MARIE

Je peux 1 1ouv.rirtout desuite~

• CiiA.RliIER

Si tu veux•

•

MARIE

(openingthe gift)

Oh Alain tC'est cerveilleux !

Tu me gStes.Je t'aice.

Attends 1je vaiste-montrermoi

aussi ce quej 1aiachete•

•

Cl!ARNsER

Encore du shoping J

5?• EXT. VILLA • 57

L.s. Pan Right toleft freeunder the treesfollowing her

e.sshe 1eavesCba.rnierto enterin the house •

..

c.s. of Cbarnieralong the terrace.Eethrows a fishin&

pole in thesea•

l!evised3/23/71 14A

PAN RIGHTTO LEFT withNarie cociingbackwith a new coat •

• ' • HA!l!E • Eegarde•mon picheurde baleine •••

h saisil va faire tresfroid cet biver•

• ..

, I C!IARNsER

Avec ~atu pourras lesupporeer.

• MARIE

Mais non 1c'estpour toi.

• _..

Cl!Al!NlER

Pour moi?

MAl!IE

Begarde,il te va pa:-faite~e=~

•

CBA.Rr-b.ER

Fomidable I Sans toi jeQ'habillerais

encoreen docker.

(then,takinG offcoat)

Jesuis passe voirFra~~oise.

KARIE

Co~mentva-t-elle?

Je n'aija:tis vu tantde se~e~it2.

Ellem'a de~~nd2 detes nouv;~les

et.sinous ~tio~s heu:-eu:c.

•

58 Cont. r

MARIE

Le somr.i.esnous•• j •

..

..

• Non I ' • \

59-60. EXT.BOAT CAR PARK 59-60

of Samaritainecafe• • Driver pullsout. Ch~nier co~esout fromLincoln and we

follow him as he crossesLeftto Right andjumps into the • boat which moves out.

61. FRO?!BOAT 61

Bae~ shot. Charnierstandingin the movingboat and scoki~g

as Marseillediminishes inB.G.

,

62. OPENINGSEA SHOT

hoc the boatapproaching Chateaud'If.

63-64. ON PEE?. 63-64

Pan Right toLeft as Charnier"getsc.•Jtofboata."ldstarts • to clic.bup.

,.

-Highangle thrufirst stone doorwith sea inB.G.

Charnie~ co~as~p ar.dtur~sP.ig~tto left.

Revised3/23/71

6;3-6!fCont. 63-64

Righ angle --Pa:,.LefttcRight -- Low ane;leIwithCharnier

•

c:omingupfrot.i2n_darch to3rdarch tbruwhich we see the

tower inB.G•

•

..•

'\65. EXT.CHATEAU D•IF ..1STPLATFORM • • Pan Left toRight with Charnierarrivingon terrace.

Nicoli back to us.Be turnsleft shoulderas we approach

to him.

Dolly backpreceeding Charnierand Nicoliafter they • meet.andPan Left to Rightto the Rotonde• •

·• -Ca a carche"? •

NICOLI

Au poi1.

They turnaround.

CJ!ARlisER .. Sale boulot •

..• •

h"ICOLI

l f'allaitlefaire.

Rea"ised3/23/7~ l6A

67 Cont. r

Ci!ARNIER

Il est enretard. • ' • IIICOLI • Je crois qu'onfait une erreur

de le prendre avec nous. . ..

• ' ..

•

\ •

Ci!ARNIER

Une'erreur lC•est genial. C'est

une vedetteA la television.Il

peut aller partoutsans ~tre

• soupQonnB ••• En plus il a besoin

de .f.rio•

•

llCOLl

J 1aipas confianceen lui.

• Sois gentil avecltii.On nesait

• jamais.Il peut tefaire tra•1ailler

A la television•

• •

Cuton Devereauarriving. Eesees the~.

-..

PanLeft to Rightbringing Ch2.rnierandNicolitowards • Devereaux to finish in3-shot• •

·~

Revised ~/23/71 l6B

69 Cent.

CJ!AllllIER

Eenric•est gentild 1Gtrevenu• •

.. Je'vouspresente menassocie,

Pierre Nicoli.HenriDevereaux•

• '.

DEVEREAUX

• •

• EnchantB• \

(theyshake hands)

Alai.n,j'airBflBchi avotre

proiositionet j 1 aidecide

d 1 accepter•

•

• ,

•

• •

.. •

• •

SURVEILLANCE MONTAGE OF SAL BOCA's activities. 70 From time to time DOYLE and RUSSO are visible, but their dialogue is for the most part VOICE OVER.

Various shots of SAL and ANGIE. Several shots of DOYLE and RUSSO in the CAl~Y STORE: reading magazines, having lunch separately. They are also seen in the LEATHER FACTORY across the street obs~rving the CANDY STORE. Several CHARACTERS enter the CANDY STORE from time to time and go into the BACK ROOM. ·

Following are a series of cuts (MOS) to be used with 70A the V. O. dialogue of RUSSO and DOYLE.

SAL counts the receipts. Our friend s name is SALVATORE Two or three CUSTOMERS BOCA. They call him SAL. He's in the BG. a sweetheart. He once was

picked up on suspicion of

SAL removes a tray of Ziti armed robbery. Tried to hold 70B from the oven. ANGIE up Tiffany's on Fifth Avenue: makes an order to go. In broad daylight! Could

ha_ve got two-and-a-half to 70C

SAL removes garbage from five, but they ~ouldn t the back area. prosecute. Also downtown

they're sure he pulled off a contract on a guy named DeMarco. 70D

SAL putting garbage into

DOYLE and RUSSO in window of FACTORY across the street.

ANGIE carries bowl of DOYLE (V.O.) hard-boiled eggs from His old lady? rear of store to the front.

r ANGIE makes a tuna RUSSO (V.O.) 70G sandwich on a roll. A cigarette dangles Her name's Angie •• Fast filly ••• from her lips. SAL ie she drew a suspended for in BG at cash register shoplifting a year ago ••• · with customer. only a kid, nineteen according

to the marriage license.

From front of store 70H looking to back. DOYLE (V.O.)

Yeah, nineteen gain' on

RUSSO is at counter fifty. What else? eating lunch w-i.ththree others ••• ANGIE serving. RUSSO (V.O.) She wears a sleeveless sweater; He's had the store a year

shows lots of tit. RUSSO an a half ••• takes in digs ••• she digs him. A wise a fast seven grand a year. guy comes in, goes to the back room. SAL follows.

So what's he doin' with

POV from FACTORY window two cars and hundred dollar ••• Two Wise Guys in big tabs at the Chez? coats and hats pull up in a big car. They enter store •

The Merc's in his wi=e's name.

Angle shooting from back Dodge belongs to his brother. of store towards front. The Two Wise Guys enter, go to Back Room. SAL follows. They close door. DOYLE is at the magazine counter in f:ront. He sits down 'with magazine. Orders coffee.

WARD'S ISLAND - DAY RUSSO (V.O.) 71

Lou ••• he's a trainee at

A heavy-faced, dirty the Sanitation School on looking man in a Ward's Island. Served time a Sanitation Dept. uniform couple of years ago, on in a group of men practising assault and robbery raps. with Sanitation trucks.

' .

SEVERAL SHOTS - DAY 72

pulls up. As LOU picks If that's not a drop or a up SAL. They drive to pickup, I'll open a charge various buildings in for you at Bloomingdale's. Brooklyn. One or the other gets out briefly, RUSSO then goes on. Make it Alexander's, I like DOYLE and RUSSO watch the toy department. from DOYI.E'scar.

DOYLE

SUYDAM STREET Toy wit' this will ya.

I

EXT/INT : "MICKEY S TWO DOOR" - DAY 73

SAL arrives alone. DOYLE DOYLE and RUSSO in They treat our boy like a king. parked car across street. Wonder why he don't bring

his old lady?

SAL flirt~ with the BAR.'fAID. RUSSO

There's your answer ...

THROUGH RIDGEliOOD- DAY 75

DOYLE

Restaurants, stores, etc. Who's the greaser?

With SAL and his fATHER. RUSSO

It's his father.

DOYLE and RUSSO in parked car. DOYLE

I think we oughta burn him on suspicion.

CONTD. 75

r LOU joins them.. He and RUSSO SAL leave together after Lay off with that wop stuff, each kisses and embraces will you? the old man.

BUILDING - DAY 76

in the East 80's. SAL DOYLE exits. That's the third time he come

here this week. You got

DOY-J..EandRUSSO in anything on the building? parked car.

TIME LAPSE 77

Late day. WEINSTOCK DOYLE leaving building, You• re kiddin'. nodding to doorman.

RUSSO

DOYLE and RUSSO in No sir -- this is where parked car. Joel lives.

SAL and ANGIE ieaving. DOYLE

Whatta you know -- he's

DOYLE and RUSSO in takin' his wife out for parked car .. a change.

OMIT 79

across street from DOYLE Candy Store. DOYLE (at leather printing and RUSSO at the machine) printing machine. Got a job for me when this

is over, Mrs. Levene?

They have a view of the Candy Store across street. MRS •LEVEl<"E Various people go in and What are you fellows looking out. Next to DOYLE, at a far? What do you want from stamping machine, is that nice candy store? MRS. LEVEl<"'E,the factory owner. DOYLE

~e have reason to believe it's a front for the biggest counterfeiting operation in the country.

MRS •LE\l"ENE What?

OOYLE continues his work at the print-out machine, while observing the candy store.

We see SAL leaving the store. He crosses to 80A his car, near the RUSSO car. As he passes it, he sees RUSSO locked in embrace with a lady in a babushka, As SAL drives off, we get a closer look at the "LADYu in the babushka: DETECTIVE JAI-!ESDOYLE •

ON TRIBORO BRIDGE DOYLE CROSSING TO WARD'S What the hell am l drivin' for? ISLAl'© I'~ a first grade Detective.

You're a second grade guinea.

SAL up ahead in the Nercury Oh, Oh.

BRIDGE RUSSO

He's gain' to Wardrs

The Mercury crossing Island. We'll get spotted. the bridge to the What the hell's he gain' there? Island.

DOYLE

DOYLE-RUSSO car B.G. Maybe he's gain' to see his

brother.

A Brooklyn slum street on a morning in November. It is about 11 o'clock and relatively quiet. A scattering of tenement URCHINS give the street some sound and life. There are a couple of dark shops on the street and a bar, all appearing to be closed. We look down the street and pick up DOYLE and RUSSO coming dow-nit, walking bery quickly. They are heading toward the bar. A young man is coming out - they grab him and throw hem back •

The Young Man is thrown in, followed by DOYLE and RUSSO. There are about 20 or 30 PEURTO RICAN and BLACK MEN in the joint, a couple of BLACK WOMEN. They are in all manner of dress. Half of them are wearing shades. The bar is noisy with conversation, laughter and music.

DOYLE and RUSSO standing in the doorway, 84

behind him. DOYLE's arms are at his sides. RUSSO's right hand is crossed over his belt, under his jacket and on the butt of his .38, ready, waiting to bac~ his partner's play or %espond to any move within the bar.

OOY-LEmoving into the bar alone. He pulls 85 the plug out of the Juke Box, plunging the room to silence.

OOYLE

Hands on your heads. Popeye's here!

..:.~.;:;__::...·......·

Twenty men raise hands to their heads as one. The raggle-taggle swarm plays a kind of human chicken, refusing to move until the last moment then stepping out of.his way. One of the customers doesn't.

DOYLE

What's my name?

1st MAN

Doyle.

DOYLE

What?

1st MAN

Mr.Doyle.

DOYLE

Ever pick your feet in Pough- keepsie?

1st MAN

What?

DOYLE raises his left arm and pushes the MAN aside. The MAN'S eyes go to RUSSO, off-camera at the door, and back to DOYLE. He doesn't resist; he gets in line with the rest of them, a line formed about four or five feet from the bar, running the length of it.

Close of DOYLE at the bar, holding an ashcan 86 and skimming the metal underrailing with one finger, knocking off the magnetized key boxes into the ashcan. He isn't even looking at them. His eyes are across the bar, staring down the customers.

Close shot c€ the ashcan and the little metal 87 boxes clinking into it.

Close shot of DOYLE, the ashcannow on the bar, 88 ' opening orieof the boxes, taking out the ten dollar bill, putting it on the bar. Then, opening another, taking out the glassine deck of heroin. Then another, containing a glassine deck. He empties the glassine envelopes on the bar into a cocktail mixer which he proceeds to shake. The shaker is half-filled with tomato juice.

DOYLE leaning over the bar toward the glaring 89 crowd, pours the mixture into the ashcan.

DpYLE

Milk shake anyone?

liewiggles his finger. It is a command for TliREE MEN to step forward. The MEN do not move at first.

DOYLE

Move ass when I tell you.

They move, shuffling, hesitatingly. But they move -- TWO BLACKS and A PUERTO RICAN.

DOYLE

Put it on the bar.

Hands of the THREE MEN going into pockets. 90

Close of a miscellany of keys, coins, cigarettes 91 going onto the bar -- with two hypodermics, six or eight marijuana cigarettes, a small plastic vial of barbiturates.

DOYLE 92 (collecting the works)

All right, you three clowns step into those phone booths, you're goin' in. Go on. Stand in there till I'm ready for you.

The three men turn and enter the individual phone booths. They stand, waiting, like contestants in the $64 Question.

DOYLE

Everybody goes when thewhistle blows.

RUSSO is with another man from whom he's just 92A taken a set of works.

RUSSO

What's your story?

CONTD. 92A

DANCER

Gimme a break,Mr. Russo. I'm in show business.

RUSSO

You're in show business.

DANCER

S'right.

DOYLE

What do you do in show business?

DANCER

I'm a dancer.

RUSSO

All right, get up on that bar and dance.

DANCER

What?

RUSSO

Get up on the bar and show me ho~ you work. If I like it you don't have to go in.

DANCER

Your for real?

JERRY LEON

Hey man, why don't you let the fella alone.

RUSSO (a shout)

Am I talkin' to you -

JERRY LEON

No, but I'm talkin' to you.

RUSSO

I'm tellin' you to shut up and stand over there.

RUSSO (to Dancer)

Get up there.

CONTD. 92A

The man climbs up on the bar.

DANCER

I got no music'.

RUSSO

Fake it.

The man goes into a fast tap dance. But he only gets in a few steps

DOYLE

All right, that's enough, yo~'re under arrest.

RUSSO pulls the man off the bar, sends him into one of the phone booths.

DOYLE coming down the front of the bar. He 93 stops before another man, who has just come out of the toilet.

DOYLE

What about you? Can you stand a toss?

2nd MAN

I'm clean.

DOYLE

You don't use shit?

2nd MAN

No. (he goes for his wallet)

DOYLE

Did I say you could move that hand -- I'm not gonna get stuck am I?

2nd MAN

No no.

DOYLE

Cause if I do.

DOYLE frisks the man. Comes up v:ithvial of pills and two roaches.

CONTD. 93

JXlYLE

Wise guy, huh1 Let's see what else you ~ot. (to RUSSO) - Buddy!

He collars the man and shoves him towards the toilet.

RUSSO, eyes moving everywhere, hand on the gun. 94

RUSSO

If I see any shit on the floor, it's yours, so keep your eye on your neighbor.

Inside the toilet of the bar. The MAN is up 95 against the wall. DOYLE is only inches away.

The MAN is an AGENT and this is the only way DOYLE can get immediate information from him without destroying the man's cover. Their conversation is in whispers. And very fast.

DOYLE

How's everything?

2nd MAl'l

Everything is everything.

DOYLE

How come there's nothing out there? That stuff is all milk.

2nd MAN

Therers nothing around. Nobody's holding.

DOYLE

I got a name - Sal Boca, Brooklyn

Boca?

DOYLE

B.O.C.A.

2nd MAN

Doesn't register.

DOYLE

Got a wife named Angie.

CONTD, 93

..

2ndMAN

No, nothing. There's only some talk.

DOYLE

wnat?

2ndMAN

Coming in this week, week after. Everybody going to get well,

DOYLE

Who brings it?

2ndMAN

w"hoknows?

DOYLE

Where do you want it?

2ndMAN

This side,

Door of toilet. There is a hell of a crash 96 and slamming behind it. Door opens and DOYLE steps q_utover the crumpled prostrate form of the INFORJ.'1ER.He has just decked the man to continue the protection of the cover. He pauses halfway dovm the line as if he's speculating on beating up another one because he didn't get any information. But he decides that would be futile too.

DOYLE

I'm gain' check on this add~ess in the Bronx, if you're bullshitting me, it's your ass.

RUSSO

Tell everybody we'll be back in an hour.

DOYLE (to all)

We're gain'now! Goodbye.

Close shot of DEVEREAUX,New York harbor in the background, being interviewed by television reporters on his arrival in the U.S. aboard a passenger ship. He is smiling, jovial, charming.

CONTD. 97

REPORTER l

How long will you be here?

DEVEREAUX

Not long enough. Two••• perhaps three ••• weeks at most.

Medium close shot of DEVEREAUX and THREE TV 98 REPORTERS, as they talk, a crane moves into action behind them and lifts out of hold. LA VALLE is with DEVEREAUX as Translator and Interpreter.

GIRL TV REPORTER

Why did you come by ship, Mr..Devereaux?

DEVEREAUX

The next several weeks will be very difficult and the middle of the ocean is the only place where the telephone isn•t ringing all the time.

REPORTER

What will be the viewpoint of your documentary.

DEVEREAUX

To make a Frenchman feel what it is like to be a New Yorker.

LA VALLE

That's enough now, ladies and gentlemen. M. DeVereaux is due at his hotel in half an hour ..

Overhead the Lincoln comes down from the hold 99 of the ship.

A long view of the pier from the opposite (east) side ofWest Street, beneath the steel trusses and girders of the West Side Drive and through the forest of cars that are parked there, the jam of traffic that develops around every unloading vessel. It is a view that takes in the front end of the Lincoln inching off the pier. HENRI DEVERL~UX at the wheel, turns to his right. We watch until

r

The point of view on the sidewalk. ALAIN CHARNIER 101 and PIERRE NICOLI are standing there watching. When the car (off-camera) turns east on the way to the garage, NICOLi glances to CHARNIER. CHARNIER does not look back.

Close shot of WALTER SIMONSON at desk in the large square office he occupies as a Lieutenant of Detectives in charge of the Manhattan Narcotics Bureau. He is the immediate superior of RUSSO and DOYLE, head of the 200-man narcotics squad that polices Manhattan.

SIMONSON (with coffee cup)

All that is great -- but you guys work Bed-Stuy. You're not supposed to be in Ridgewood,

DOYLE, RUSSO and SIMONSON 103

DOYLE

·Detach us. Let us have a shot at'it, at least until we see if there's anything here or not. Everybody wants Weinstock, right?

..

So maybe here's a lead. We deserve 1••

SIMONSON

You couldn't burn a three-time loser with what you're bringing in here. You kno~ you stiffs could run yourselves an entrapment xap. The guy has done nothing -- Brooklyn is full of Candy Store guys with two cars who like to go to ni.ghtclubs.

RUSSO

Put this little candy hustler together with Joel Weinstock and it could be we stumbled into a big score.

CONTD. 103

Big score! He's dealin' a few bags here and there on the side.

DOYLE

Simonson, I wouldn't be infringing on your coffee break if I thought he was a nickle and diner.

SIMONSON

Your hunches have backfired before, Doyle.

DOYLE, close, no comment. 104

Back to SIMONSON

SIMONSON

(moves back to stand at desk) Jimmy, what the hell's happening with you lately? (pause) You got more collars than any Narc in the bureau. What was it. Over 100 last year? Terrific. But who? You stop and.shake down a bellboy because he!s got three joints in his sock. You hit a high school kid in short pants who leaks like he's got a twitch.

RUSSO. Getting it back on the track. 106

We got information that there's no shit in the street -- it's like a desert full of junkies with a big score coming in to make everybody well.

DOYLE 107

DOYLE

This could be it, Walter, This Candy Store guy, putting on a big show in a fancy nightclub ivith knmrn connections all over him. Then on our own, after working the whole day and night, we tail him out to Brooklyn and sit on him for.a week practically, and

(more)

CONTD. 107

DOYLE (contd.)

who dowe come up with? Joel Weinstock. (he leans forward) You gotta let ns have it.

THREE SHOT - RUSSO, DOYLE, SIMONSON 108

You really believe all this crap?

RUSSO

I go with my partner.

A pause:

SIMONSON

What'll it take?

RUSSO

First a wire.

DOYLE

~ wires. One on the store and one on his house.

SIMONSON

You know I have to get a court order for wiretaps.

RUSSO

Try ••• okay?

DOYLE

We know you can di it, Walter.

They start to leave.

Close on SIMONSON 109

SIMONSON

Popeye •••

Close on DOYLE at the door. RUSSO beside him. 110

Back to SIMONSON 111

CONTD•.111

SIMONSON

You still pickin' your feet in Poughkeepsie?

WIRETAP SEQUENCE."A"' ,

RUSSO on phones -- checking notes on SAL. DOYLE reading cOIDicson cot. Tape machine clicks on -- tape is activated. RUSSO sits attentively.

Shot of wire.

you for the last year C mere and lissen to That's all I gotta do with your big connection. you guys -- next time it's (DOYLEcomes over) 114 be tlvocents on the cones, He's fightin' with then two cents on the seltzer somebody about a halfa

cent:.

w"llOLESALER(V.0. ) C'mon Sal, I got my orders, too --

RIVER)- DAY

HIGH A.t~GLE:Close shot of'CHARNIER, MARIE and LA VALLE walking slowly together toward the camera. They are at the auto graveyard and the scene of an auction of cars towed off New York streets by the Police Department. About twenty other men are walking around, looking at the cars.

A POLICEMAN blows a whistle and the prospective car buyers gather around the auction trailer in the b,g,

LA VALLE 116

There are four auto graveyards like this one in the other boroughs, handling about a thousand vehicles a month. Those that aren't claimed are auctioned here once a month.

MARIE

Just for mistakes of parking?

LA VALLE

No. Many are involved in crimes and confiscated •• or just abandoned. This is, as you know, your prime source of scrap metal, M. Charnier.

MARIE 117 (off camera)

Darling, may I have this one7

Medium close shot MARIE, standing next to an LTD.

MARIE

It looks so lonesome here.

CHARNIER and LA VALLE approach her.

CHARNIER

It would look even more lonesome in our garage.

Within the large trailer, aboutTWENTY MEN are seated at two long benches to each side. Some are standing to the rear. At the front, an AUCTIONEER stands at a lectern. To his left sits a CLERK at a small table. The AUCTIONEER wears a sweater and hat. The buyers are tough types, young and old. All have inventory lists. The atmosphere is informal. The C!IARNIERSand LA VALLE enter the trailer at the back.

AUCTIONEER

Every car sold today must be removed at the purchaser's own expense. We have no keys or anything to start the vehicles

with. You buy em as you see 'em and where you see 'em. All right, the first car offered is Number 24398. A Plymouth sedan. Do l hear fifteen dollars?

The bidding goes up to forty dollars. A large BURLY MAN wins the bid. He goes up to the CLERK and accepts the bill of sale.

AUCTIONEER

We go to 24399 --A Pontiac Station wagon. Do I hear ten dollars?

Notice he will never mention the year of the car.

AUCTIONEER

I got a fifteen dollar bid going ... Do I hear anymore ... Eighteen ••• who'll say Eighteen? Twenty .... Twenty-three •.. Anymore ... Twenty-five. Tuenty-five once -- Do I hear twenty-eight ••. All right, last call for twenty-five ...

CONTD. 118

Close shot of CHAR.~IER

CHAR,.~IER (asideto LA VALLE)

And these are the cars we're buying for shipment?

Close shot of CHARNIER, MARIE and LA VALLE, They are facing the AUCTIOh"EER.

LA VALLE

Yes, sir. That man in the dark jacket is our buyer.

Close shot of THE BUYER, LOU BOCA. He is very active and wins the present bid.

WIRETAP SEQUENCE "B"

DOYLE and RUSSO playing Gin Rummy, listening at each end of one phone - breaking up.

Shot of wire.

Where are you?

SAL (V.O.)

Takin' care o'business, honey.

ANGIE (V.O.)

Takin' care o' business it's after midnight.

SAL (V.O.)

You know l hadda meet some people tonight --

ANGIE (V.O.)

-- Well finish all your meetin' people and get back here now and bring a pizza with you.

SAL (V.O.)

Wb.erc'm l goinna get apizza this timeo' night?

CONTD. 121

ANGIE (V.O.)

Well try, okay?

SAL (V. O.)

I don'tknow where I'm gow.,a find a pizza joint open.

ANGIE (V.O.)

Sal --

SAL (V.O.)

Yeah?

ANGIE (V.o.)

Don't forget anchovies. (She hangs up)

SAL (V.O.)

This bread's crazy!

I 122

THE HELLGATE BRIDGE)

Pick up CHARNIER, MARIE and MAURICE LAVALLE

As the camera plays over the bridge: (in French)

CHARNIER (V.O.)

It's beautiful.

LA VALLE (V.O.)

It was built in 1917 - and was one of the two heaviest bridges in the world. The arch is still the largest in the world.

CHARNIER

Who financed it?

LA VALLE

Two railroads as part of a connecting railway which provided passage from New England to the South. It was actually the first railroad through New York City.

MARIE

Why is it called Hellgate?

CONTD. 122

LA VALLE

The river at this point is the most dangerous.on the East Coast. Years ago, hundreds of ships went down here.

CHARNIER

If this bridge were in Europe, it would be on every tourist's sight- seeing list.

LA VALLE

most Americans have never heard of it.

CHARNIER

Look how gracefully they conceived that arch. Like a bowstring. It was built from both ends. With no support in the middle. Beautiful.

LA VALLE

Mmm.

MARIE

Al?in is the only man I know who can become as enthusiastic about a bridge as he can about a woman.

CHARNIER

Not any woman, Marie. Just one.

CHARNIER, MARIE and LA VALLE walking.

(NEAR GARAGE) LA VALLE I'm afraid the rest of Ward's Island

isn t nearly as romantic - a pollution plant, a hospital, a training s~hool for garbage men and that area over there, where the old cars are kept, prior to being processed for shipment to, among other places, The Charnier Shipping Company, of Marseilles, France.

r (NEAR CREl-!ATORIUM) 122B

MARIE

What is that oJd building?

LA VALLE

Oh, it's been abandoned for years.

MARIE

what was it?

LA VALLE

It was a crematorium

MARIE

For garbage?

LA VALLE

For dead bodies.

WIRETAP SEQUENCE "C"

DOYLE on phones.

~"'ilER (V.O,) Allo ••• Salvatore •••

cigarettes. DOYLE

SAL. cv.o.) waves him to the phone . ••• Oh ••• yes ••• yeah ••• hello ••• this is RUSSO Sal .•• How are ya? Who is it?

CHARNIEr, DOYLE Very well •• you meet me Sounds like a foreigner ... Wednesday at the hotel ••• Okay? RUSSO

(Listening at the other phone)

CONTD. 122D

waitin' for -- the

•

The phone clicks off. DOYLE and RUSSO ound each 122E

other and jump up and down like two kids.

Close shot of NICOLI's face. He's being whipped, and is caught in an ecstacy of pain and pleasure. The tempo of the strokes rises. Suddenly it reaches a crescendo and he screams out in orgasm.

Close, full-length shot of a nude BLONDE GIRL, 124 wearing only black boots and silk panties. SOe's walking away from the camera, throwing aside a small cat-a-nine-tails flagellant whip. We can hear NICOLI's heavy breathing until the girl speaks as she moves toward a couch.

Medium close shot of NICOLI, tying his tie 125 shrugging into overcoat.

OMIT 12"6

Medium close shot of NICOLI, looking at the bills 127 with a pause to sort out the currency differe:mces, then taking out five twenties.

Close shot of the w11IPGIRL taking the five 128 then moving u, to the look of annoyanc~ and disappointment on her face.

WHIP GIRL

You're Fifty Dollars short.

The look of anger turns to one of consternati~n as NICOLI reacts to her.

CONTD.128

w1!IPGIRL

M'sieru - the tab for this scene is a hundred and a half, (He moves to door). Hey Frenchie -.if you don't come up with the scratch, you're gonna run into my man downstairs.

Medium close shot of NICOLI advancing on the w1iIPGIRL as she backs away and begins to cringe. He grabs her and hurls her back across the couch.

Close shot of the GIRL. 130

WHIP GIRL

Don't hit me. Don't. Please.

We hear the door slam as she sobs.

WHIP GIRL

You filthy faggot sonofabitch.

Close shot of two pro football players smearing each 132 other on the field, others falling on top of them.

Medium close shot of DEVEREAUX at a Movie-ala 133 working out his narration (DIALOGUE TN FRENCH)

DEVEREAUX

This is the new .Americanreligion, professional football. It is where everybody goes instead of church on Sunday to express that peculiar American taste for blood- shed and violence.

Several close shots of the violent action. 134

lntercut ~ith faces of the crowd.

Close shot of DEVEREAUX. 135

DEVEREAUX

These men, playing a "game" - make more money each year than many important business leaders, artists or government officials. (Zoom out) It tells us something about this country and how its men live, or go to war with a smile, and sometimes die without a cause.

CONTD. 135

,.

The phone rings - it is CHARNIER.

EDITOR

It's for you -•Alain Charnier.

Hold close up of DEVEREAUX.

In Lower Manhattan. There are SIX or EIGHT MATRONS still there, stevedores and truck drivers. Most of them are clustered at the far end of the bar, where MUTCHIE, a gray-haired gone-to-paunch Irishman with spectacles as thick as pop-bottle bottoms stands behind the mahogany bar. The cluster of customers is involved in a typical New York saloon argument.

OOYLE is ignoring the debate and watching the television. He is approached by a smallMAN in a long coat and baggy suitwith suspenders. This is JESUS THE BOOSTER.

JESUS

Hey, Bo.

DOYLE

Hiya, Jesus.

JESUS

Can you use a new suit for Christmans?

DOYLE

Whatta you got?

JESUS reaches into his trousers and pulls out 137 three suits (jackets and pants). They are of the latest style and color, and still on hangers!

JESUS

Whatta you? ••• a 44 ••• 46?

DOYLE examines one of the jackets.

DOYLE

Where'd you get this fag shit?

CONTD. 137

JESUS

This is what the tough guys are wearin'. You know I only steal from the best ..It's Bonwit Teller.

DOYLE

Pass.

JESUS

Forty dollars -- was $250.

DOYLE

Whyn't you get it dry cleaned and burned.

JESUS blends into the crowd and we pick up the_ 138 dialogue of MUTCHIE and his cronies, BAD EDDIE, LEE and PUGGY.

FfiJTCHIE

A big man could alluz beat a little man. That's why Wilt Chamberlain could murder Jim Brown if they ever fought.

BAD EDDIE

No chance. Brown'd kill him.

MUTCHIE

Chamberlain's seven foot tall, right? He's got a twelve-foot reach. It's geophysics. He's punchin~ down on you with leverage. He cave your chest in.

BAD EDDIE

Best I ever seen was The Rock.· He was the calmest and the meanest. Guys like Sugar'd be pukin' before a fight.

I

Jake LaNotta d be puk.inr. Marciano was calm like he was goin' to church. What about the night he fought LaStarza? He hit him so hard he broke the blood vessels in LaStarza's arms. He was the strongest meanest bastard ever lived.

PUGCY

Hey, Mutchie, give us another bullet.

MUTCHIE pours him a straight Scotch in a 139- shotglass. 141

MUTCHTE

Blackjack Bucis coulds been the greatest ever --

PUGGY

-- He was a stone tanker.

MUTCHIE

That's right, he couldn't fight legit. One night at the Garden about 1950, '51-- he fought either Jake LaMotta or Gus Lesnevich, T think it was -- he took one o' those cream puff punches in the sixth -- the laziest left you ever seen --missed him• entirely. Down goes Blackjack without even workin' up a sweat and the whole Garden gets up on its feet and I swear to Crhist, everybody starts singin' "Dance With Me Henry".

LEE

I £ought a guy in Cleveland once. I knew he was a dirty fighter so I stick a crowbar in my crotch. Right here. Second round he gives me a shot -- Boom -- he breaks his hand, the fight's over.

PUGGY

Fuck it, I like nitroglycerin, that'smy game.

MUTCHIE

What aboutyou, Doyle? Who's the best fighter you ever seen?

Willie Mays.

BAD EDDIE and LEE

Willie Mays?!

CONTD. 139-

DOYLE

With abaseball bat! One swing! Knock your fuckin' head off.

TIME LAPSE. The DRINKERS are gone.' MUTCHTE 142- is at the bar cleaning up. DOYLE is in the 144 open adjoining kitchen area cooking breakfast.

MUTCHIE

What ya doin' out so late? Hidin' from the cops?

DOYLE

I hear the health department is going to close this joint for selling dirty beer. I come by to help you carry out your money.

MUTCHIE

They'll close you do·wnif they ever get a l~ok at those busted- valise broads you run with.

DOYLE

You want some eggs.

MUTCHIE 145

Why not?

Hey, Mutch! You want bacon?

MUTCHIE

Yeh!

Where the hell is it?

MUTCHIE

Where the hell do you think it is, potato head?

DOYLE opens the door to the icebox.

MUTCHIE

No wonder there's so many Mafia around. Ya couldn't find a Peurto Rican in Spanish Harlem.

O~IIT146-

,r

TIME IAPSE. Almost morning. Close on DOYLE 148- and MUTCHTE eating bacon and eggs. MUTCHIE is 150 standing behind the.bar as he eats, DOYLE is sitting in front of it. They both have a bottle of beer.

MUTCHIE

I got this little chick T'm tryin' to hit on. She's about 20,21 ••• I take her to Jilly's last night and she's tellin' me about how she wants to settle down one day, get married •• I says, "Hey, this is 1971, baby, I'm just a dirty old man lookin'to score with some pussy".

OOY-i.E

Strike out, eh?

MUTCHIE

Yeah. In the late innings. Ya look like a night's sleep wouldn't kill ya.

A piece of ass wouldn t kill me,

MUTCHTE

When ya go back on?

DOY-t.E

Morning. Sometime.

MUTCHIE

Whyn't ya stretch out on the pool table for a couple hours. The kid comes in at six will wake ya. A couple eggs and a beer is cheaper than keepin' a dog aroand the joint.

Close of DOYLE going to his car. He stops for a light. DOYLE is red-eyed and in need of a shave. He fidgets through his pockets looking for a cigarette but doesn't find one. AS he drives along a GIRL CYCLIST comes into view alongside.

Our view is DOYLE's view of her long, lean 152 tapered legs. If he looks further, and DOYLE always looks further, he will see there is a bra-band sweater covering her well-fanned breasts. The pendulous swing is there as she bends over the handlebars.

Close front view of DOYLE looking back to the 153 light, then back to the legs.

Close outside view, the cyclist, of DOYLE leaning 154 out the window with his badge in his hand.

DOYLE

You got a pedaller's license?

GIRL

What?

DOYLE

You're under arrest.

Medium close shot of RUSSO and SIMONSON, PHIL KLEIN a federal narcotics agent, is reading aloud from an article in the New York Daily News. M!J-LDERTGis listening and sipping coffee.

Close shot of BILL MULDERTG, a Fed narcotics agent. 156

MULDERIG

Whatta you got -- four more years, Walter?

Medium close of SIMONSON and RUSSO 157

SIMONSON

Three

Close shot of MULDERIG. 158

CONTD. 158

MULDERTG

Christ, by the time you g•:tout all this shit'll be legal.

I

Wide shot of room, taking in SL~ONSON, RUSSO, i59 MULDERIG and PHIL KLEIN. SIMONSON hands BUDDY a stack of warrants.

SIMONSON (rises)

(to RUSSO) The judge gave you ten days on these. Klein and Mulderig will be sitting in for the Federals. Tell Doyle they'll make all the buys, and that they're to be kept informed of everything that goes dow'n.

SIMONSON turns to MULDERTG, 160

SIMONSON

You know Doyle, don't you Bill?

Close of MULDERIG. 161

MULDERIG (rises)

Sure, I know Popeye. The Master of. undercover,whose brilliant idea of disguise is to limp into a room on his left foot and limp out on his right. Whose brilliant hunches cost the death of a good officer --

Close of RUSSO 162

If that's how you re coming in, why not stay home and save us all a lot of grief.

MULDERIG, cl.Jse. i.63

That's just my opinion.

RUSSO, close.

RUSSO

Whyn't you shove it up your ass!

Long shot of RUSSO approaching housing project group of buildings. This•is where OOYLE lives.

RUSSO rings the bell. No response. He knocks. Again nothing. He hears a shower working inside the apartment.

RUSSO

Popeye.

No answer.

RUSSO

Popeye.

Yeah.

Rt'SSO

It's Cloudy. Open the door.

l can't.

RUSSO

Why not?

Let yourself in.

RUSSO reaches into his jacket pocket and gets a celluloid card, his PBA card, which he slides into the door at the lock. He gives it a juggle and the lock is free but the door moves grudgingly.

The door to DOYLE's apartment, a close view from inside. There's a ~ike propped against it and BUDDY RUSSO is trying to push it open frorathe outside.

CONTD. 167

What the hell you got holding

•

the door?

The bike teeters and falls with a crash and RUSSO comes into the room puzzled, exasperated.

DOYLE is anklecuffed to the bedpost at the foot of the bed.

RUSSO

What happened to you?

The crazy kid handcuffed me to the bwd. With my own cuffs.

The shower goes off. RUSSO puts the bike upright on its stand and squeezes the horn, which makes a loud beep.

The BIKE GIRL appears in the bathroom door, 167B wrapped in a towel.

BIKE GIRL

Oh!

RUSSO sees key on dresser - tosses it to DOYLE. There are clothes all over the place, the GIRL's cycling outfit, OOYLE's pants and shoes and socks. The decor is completely impersonal. RUSSO looks up.

You oughta get plastic covers for this stuff like I did - your scrapbook's a mess like everything else in your life.

I;,

RUSSO goes to chair.

DOYLE 168

Gimme my pants.

CONTD. 168

RUSSO, who is half sitting on them, pulls the pants loose and hands them to DOYLE.

DOYLE' •

You got the warrant?

RUSSO (sitting)

We also got Bill Mulderig and Phil Klein.

Close on DOYLE.~buttoning his pants. 169

DOY-LE

What do we need those pricks for?

Medium close on RUSSO picking around through the clothes, coming up with a pair of panties. He holds them out.

RUSSO

Because by actual count our bureau has exactly nine hundred eighteen dollars and fifty-four cents to make buys and Mulderig's Feds can get all of Uncle Sam's mopey he wants by just asking.

DOYLE sitting on bed, strapping theholster 171 on his ankle. He checks his gun.

DOYLE

Throw 'emin the bathroom, will you? How good are the warrants?

Sixty days. Here. Don'tmention it.

DOYLE is checking various items that go in his briefcase - 11ot"ebook,handcuffs, boc.kof laws, field reports, pencils, binoculars, candy bars, etc.

Medium close shot of RUSSO looking toward the 172 bathroom door.

RUSSO

H. 'L

CONTD. 172

RUSSO looks back to DOYLE. There is the sound of a kickstand being kicked back in place, the door opening and the GIRL leaving.

Medium close shot of DOYLE tying the shoes, 173 wincing. Looking up to the departing GIRL.

RUSSO

Drive carefully!

'E:t:r/I1'1"T:RUSSO SCAR-DAY 175

Close shot of BILL MULDERIG in back seat. BUDDY is in front, next to DOYLE at the wh~el.

MULDERIG

Strictly small potatoes.

We can see DOYLE working to keep up with the black 176 Mercury as they cross the Brooklyn Bridge in fairly heavy traffic. The Mercury cuts around in and out, OOYLE plunges after him.

MULDERIG

You really know how to pick 'em, Doyle.

RUSSO turns his head in anger.

MULDERIG

Still wearing your gun on your ankle?

No answer.

MULDERIG

Somebody told me the reason you did that was so's when you met a chick a..~drubbed againsther she wouldn't know you were a cop.

No·answer.

MULDERIG

I said that was bullshit. It must be some kind of fast-draw gimmick or something.

CONTD. 176

RUSSO

Knock it off, Bill.

MULDERIG

He's gettin' too far ahead. You're gonna lose him.

OOYLE cuts i,ntothe next lane to a lot of horn- blowing and comes to a dead, screeching stop. DOYLE sits up sharply erect in the seat, craning to see where SAL is going. He throws open the door and hurls himself out.

Rear medium close shot of DOYLE climbing up on the side of the car to look ahead, thenjumping down and running off.

DOYLE run.~ingas hard as he can. 178

Medium close side shot of SAL turning off the 179 bridge onto the FDR Drive, moving quickly and smoothly uptown.

DOYLE running to a stop, and staring ahead. 180 Breathing hard, Horns are blowing on the bridge and they drown out the words as he curses, "Dirty Sonofabitch".

OMIT 181

RUSSO is on the blower.

RUSSO

Phil it's Cloudy -- we lost him --

Static comes over the two-way radio.

KLEIN is parked on Pearl Street below the Brooklyn Bridge.

CONTD. 181B

RUSSO (V.O.)

Re just got off the Bridge - He's all yours if you can find him. Sonofabitch!

KLEIN starts his car.

SAL emerges from the garage and heads toward Madison Avenue. He passes a man looking in a store window, PHIL KLEIN. KLEIN follows him.

SAL stops abruptly at the corner and turns around. KLEIN is forced to pass him and cross the street.

SAL crosses the street to his left, at a right angle to KLEIN.

SAL moving north on Madison Avenue. He is walking in a triangular trap of foot surveillance. We begin to learn this when we fall back twenty feet behind SAL and pick up the figure of JIMMY DOYLE, moving at exactly the same pace. While he keeps looking forward after SAL, he also looks regularly to the left, across to the West side of Madison where we quickly zoom in on the figure of BILL MULDERIG, who is on an even line opposite SAL and moving almost precisely in step with the subject of their surveillance. MULDERIG keeps an eye on SAL but is also glancing north ahead of SAL to BUDDY RUSSO, who is 20 or 30 feet ahead of SAL, thus forming the triangle of the A-B-C tail.

SAL bobbing along. 183

DOYLE following. lo4

MULDERIG keeping pace. 185

RUSSO up front. 186

~AL suddenly turning East at the Northeast corner 187 of 46th Street, the block occupied by the Roosevelt Hotel.

MULDERTG yanking at•his right ear. 188

•

RUSSO spinning around, hurrying back toward the 189 corner.

DOYLE turning East at the Southeast corner of 190 46th Street.

RUSSO coming around the corner looking to DOYLE. 191

DOYLE indicating the Roosevelt entrance with his 192 chinwhi+e MULDERIG comes up to join DOYLE.

RUSSO moving quickly into the Roosevelt entrance 193 on 46th Street between Madison and Vanderbilt.

Roosevelt lobby stairs with ALAIN CHARNIER, PIERRE NICOLI, SAL greeting.

CHA&,IER

Excuse me.

Excuse me.

We move into the lobby of the Roosevelt and then spin around quickly, to watch CHARNIER, NICOLI and SAL moving upstairs and out the door.

A distant view from the Northeast corner of 46th Street and Madison Avenue of the Roosevelt Hotel marquee and -chet:hreemen ur.derit, CtlARNIER, NICOLI and SAL. They are in animated conversation.

DOYLE and MULDERIG on the point-of-view corner 196 across Madison, MULDERIG with his back to the camera, OOYLE talking and watching over }1ulderig'sshoulder.

Close shot DOYLE'S face, eyes bright with 197 excitement.

,. Long view of CHARNIER, NICOLI and SAL under the 198

marquee from DOYLE s view, zooming in on CHARNIER, who continues to talk, look up, then look back to SAL. ,

• DOYLE

You take Sal. I'll stick with the beard if they split.

Rear view of ALAIN CHA!u~IERand PIERRE NICOLI strolling slowly downMadison Avenue in the Forties.

An overhead view of the pair, CHARNIER and NICOLI, 200 including DOYLE 20 or 30 yeards behind, RliSSO across the street, even with him.

CHARNIER and NICOLI window-shopping at Walter's 201 Electric, 49th and·3rd Avenue.

RUSSO looking quizzically, puzzled, from a doorway. 202

CHARNTER and NICOLI are engaged in a running 203 conversation that we cannot hear. But what CHARl~IERis saying is simply that he wants to get a pack of cigarettes before they turn back and stop foi-dinner.

RtiSSO looking toDOYLE for a signal. 204

DOYLE already beginning to feel the cold, rubbing his hands together, at the front of the place CHA!u~IERand NICOLI have entered, trying to figure it out as CHARNIER and NICOLI emerge, CHA!u~IERripping the cellophane off a pack of cigarettes, and they tum back in DOYLE's direction.

DOYLE, face to face with CHARNIER and NICOLI. 206 Straining to hear, he picks up a few words of French, Without losing stride he steps off the curb and cuts across the street, moving south, away from them, as they come north. But halfway across the street, ·wepick up RUSSO corning in his direction, sharp enough to pick up the tail where DOYLE had to drop it.

Medium close view through window of ALAIN CHARNIER and PIERRE NICOLT sitting at a table near the front

•

windows of a small restaurant.

A long shot of street zooming in on JIMMY DOYLE who is freezing his ass off in the shadows of a doorway across the street from the restaurant. He is dancing from one foot to the other, his shoulders hunched, occasionally cupping his hands to his ears. ·

A medium close shot of~AITER holding a bottle of Sainte Emillion out for CHARNIER's inspection. CHAR.i.~IERlooks,frowns, shakes head negatively.

DOYLE's feet. He's standing on one foot, the 210 other raised and he's squeezing it with a chapped hand, as if trying to get circulation back into it.

Medium close shot of NICOLI watching the WAITER scoop coq au vin onto his plate.

Close shot of CHAfu~IERtaking a large forkful of 212 food into his mouth, chewing and nodding at NICOLI.

Medium shot of DOYLE looking up to RUSSO who comes bearing apaper bag which he hands to DOYLE.

Medium cloee shot of RUSSO standing in front of 214 DOYLE while OOYLE fishes a piece of pizza out of the bag and lets it fold into his mouth, then licks his fingers.

CONTD. 214

RUSSO

You want the red or the white?

Jl!)YLE

Pour it in your ear.

Medium close view of CHARNIER through the window of the restaurant, sipping expresso.

Close shot of the pastry tray, rows of Napoleons, strawberry and peach tarts, a frothing-frenzied rum cake, etc.

NICOLI close, looking like he's about to have 217 an orgasm, glancing toward CHARNIER and then the tray.

Close shot of RUSSO peering at the restaurant. DOYLE's face right behind him, peering over RUSSO's shoulder, trying to drink coffee from a paper container and also moving slightly against the cold and the.pain of the shoes.

Rear long view of CHARNIER and NICOLI on Madison in the Forties strolling to a corner where NICOLI is splitting for the Edison Hotel (West 46th Street) while CHARNIER goes on to the Westbury on upper Madison. they part with a wave and a nod. Hold on them as BUDDY RUSSO comes into view, moving off after NICOLI. DOYLE follow CHARl'IIER.

Close shot of the elevator floor indicator rising frornl to 6:•.

Medill.Lucloseshot ofOOYLE turning away from the 221 elevator doors and walking toward the registration desk. •

Close shot of the DESK CLERK. 222

DESK CLERK

Yes sir?

Medium close shot of DOYLE leaning on elbow on the 223 counter, half-turned to keep an eye on the elevators.

DOYLE

That guy just walked in. What's his name?

Close on CLERK and DOYLE. 224

CLERK

I'm sorry, I don't know who you mean.

DOYLE (showing badge)

He got off on six.

CLERK

We have four rooms and six suites on six. There's a man in almost every one of them.

Close of DOYLE. 225

DOYLE

Little shorter than me. Well-dressed. About forty-five or fifty with salt~ and-pepper hair, abeard.

OMIT 226

Close of CLERK. Thinks it over. 227

CLERK

There's nobody like that on six.

r

DOYLE and CLERK 228

CLERK

Perhaps he's ~isiting a guest.

•

DOYLE

No, I figure be stays here.

Where s your registration?

CLERK gets out registration log book, goes through list as DOYLE waits.

CLERK

There may be two . . .no,three who could fit it.

DOYLE

Names.

CLERK

A Mr. Paul Ganapolos, he's here alone.

DOYLE

Where from?

CLERK

De?sMoines.

DOYLE

What's be do?

CLERK

Businessman. Owns a department store in Des Moines, I think.

DOYLE is taking down the information on a pad.

CLERK

Mr. and Mrs. Alain Charnier, would ~e another. He's in shlp?ing.

DOYLE

Yeh? Who else?

CLERK

And a Nr. Michael Lot.,;enstein,I

I

don t know what he does.

CONTD. 228

DOYLE

This Charnier guy. He's in shipping?

CLERK

I think so. But they're in Room 408. On the fourth floor,

Close of DOY-J...E. 229

DOY-J...E

Where's he from?

CLERK 230

CLERK

Marseilles.

DOYLE and CLERK 231

CLERK

That s in France.

DOYLE

Yeah, Iknow.

Medium close shot of DOYLE standing in another doorway, this one in Madison Avenue, opposite and a little up the street from the Westbury. It is about 2 o'clock in the morning and there's not much traffic. DOYLE looks like a man aL~ost too tired to stand. We hear a car pull up (off camera).

n..-T:RUSSO'S CAR - NIGHT 233

View from the front seat of a sedan o~ DOYLE falling into the corner of the back seat. RUSSO reaches across the seat from the camera to hand DOYLE a brown paper container of coffee. He opens it between his knees and scalds his mouth with it. RUSSO hands over another gift, a pint of Canadian Club. DOYLE takes a big swig.

Rear close view of BILL MULDERIG at the wheel of 234 the car, looking at DOYLE in the rear-view mirror.

MULDERIG'

You about ready for a break?

A view of MULDERIG at the wheel, RUSSO twisted 235 around in the seat, looking back at DOYLE and putting the cap back on the bottle. When DOYLE isn't sipping at the coffee-whiskey, he's looking out the window of the car at the entrance of the hotel. He looks beat.

DOYLE

The guy's a frog -- I'm pretty sure. Also he made me. Stayin' on four but went up to six cute.

RUSSO

The other guy's a grog too. Checked in at the Edison. Had a hooker sent up.

MULDERIG

Christ you should 0 collared him right there.

DOYLE

Who's on him?

RUSSO

Phil Klein • •

DOYLE

What about Sal?

RUSSO 236

RUSSO

We put him to bed for the night.

MULDERIG 237

MULDERIG

Why don't you do the same, Doyle? You look like shit.

DOYLE and }IlJLDERIG-INTERCUT 238

CONTD. 238

Look. My partner and I found this case and_I don't want no

Feds screwing it up.

MULDERIG

Case? So far I haven't seen a damn thing.

DOYLE

Bill, keep shootin' your mouth off and.I'll knock you into the middle of next week.

RUSSO, close. 239

RUSSO

Jimmy, cool it. Nothin's goin' down tonight. Cop a few zzz's while you can.

Close shot, DOYLE. 240

Close shot of CHEMTST with a small lab layout spread in front of him -- burner, test tubes, etc.

The MAi.~ swearing an ordinary business suit and both the table and the background indicate that this is not a lab, but somebody's library or den -- and a fashionable one, with photos, a signed picture of Lyndon Johnson, etc., on the panelled walls.

The CHEMIST is running a Thiele test on a small mound of powder. Heroin from CHARNIER's shipment.

Medium close shot of JOEL WEINSTOCK and SAL BOCA 242 sitting opposite the CHEMTST. SAL has a glass of beer in frcnt of him, WEINSTOCK a bra~dy snifter containing a splash of amber cognac. Both are interested; SAL quite nervously.

The.CHEMIST immerses a capillary tube, a tiny 242A instrument the size of a needle into an open kilo of heroin.

He pours a small quantity of mineral oil into a 242B burnmeister test tube and preheats the oil over the open flame of a.tiny alcohol lamp.

He removes a 15-in thermometer from its leather 242C case, fastens the capillary tuve (now totally immersed in the heroin) to the bulb of the thermometer with a rubber band.

He places the bulb, with capillary attached, 242D into an open rubber stop and inserts the entire apparatus into the burnmeister tube, about three inches in.

With a small metal clamp he holds the rig over the 242E lamp.

We watch closely with the Cl!fil!IST,WEINSTOCK and 242F BOCA as the white heroin powder slowly, agonizingly dissolves into the mineral oil and

The mercury rises slowly up the thermometer to 242G 220° - 230°.

The faces of the three men are filled with wonder 242H and anxiety. As the mercury continues to rise they become a cheering section, rooting the hometeam home.

The longer it takes for the powder to dissolve, 2421 the purer the heroin. The mercury stops at 240°!

CHEMIST 242J

Absolutely dynamite! 89.5 proof! Best I've ever seen! If the rest is like this, you'll be dealing for two years on this load.

Close on WEINSTOCK, relaxed, smoking a large 243 cigar.

WEINSTOCK

Retail is not my end of the business. Are you telling me it's worth the half million?

Medium close of the CHEMIST. 244

CHEMIST

How many kilos?

BOCA

Sixty.

CHEMIST

Six kilos at eight big ones a kilo •••

(he nods)

I'd say it should be able to take a seven to one hit in the street.

BOCA

By the time it gets down to nickel bags it's at least thirty-two million!

Medium close of WEINSTOCK and BOCA. 245

WEINSTOCK

Thank you, Howard. Take what's left there with you and goodnight.

The CHEMIST packs his apparatus and leaves. 245A

BOCA

I guess we got a deal, eh?

Medium close shot of WEINSTOCK alone, appraising 246 BOCA.

WEINSTOCK

We got a test. A deal for half a million dollars, maybe.

SAL, whose cool is easily shattered. 247

SAL

Joel, the man is in a hurry. He wants the bread and he wants to go back to France. He ain't gonna hang around and play games. He's one o' the shrewdest cats I ever run across.

WEINSTOCK, close. 248

·WEINSTOCK

What a.~I, a shmuck? What's the hurry? He could see a couple of shows and visit the top of the Empire State Building.

INTERCUT SAL, WEINSTOCK 249

SAL

joel, don't jerk me. I spent a

lot 0 time settin' this one up.

WEINSTOCK

So whatta you want a badge? It's your first major league game Sal. One thing I learned, move calmly, move cautiously. You'll never be sorry.

SAL

1 been damn careful up to now.

WEINSTOCK

Which is why your phone lines are tapped and the Feds are crawlin' all over you like flies.

SAL

T'm straight, Joel. They haven't got shit on me. Look, I'm tellin' you, he'll take the deal somewhere else.

l-iEINSTOCK 250

WEINSTOCK

He could go someplace else with his sixty kilos of heroin and see how easy it is to pull together a half million cash. He wouldn't find there was any hurry to do

'

this kind of business.

SAL, a little desperate. 251

CONTD 251

SAL

Look, the stuff is here. We could set up the switch in an hour. I;m tellin' you, Mr. Weinstock, he'll split if we don't move. This guy is everything they say he is.

WEINSTOCK taking SAL apart with his eyes over the 252 cigar.

WEINSTOCK

What about you, Sal? Are you everything they say you are?

Close of SAL's worried face. 253

Close side view of DOYLE driving; popeyeing right and left, looking for everything and nothing.

View over DOYLE's right shoulder through windshield 255 of a young Black HOOKER leaning against a lamppost, smiling at a passing PEDESTRIAN. Hold on her as the car moves on, OOYLE's head turning as he continues to move with the traffic.

Rear cl9se view of DOYLE leaning over the back seat, 256 looking as he backs the car.

Close shot of the HOOKER looking up smiling, then 257 the smile fading.

Medium close view of DOYLE and the HOOKER. 258

DOYLE

You ow-nthat lamppost?

HOOKER

No.

DOYLE

Then how come you're leaning on it. '

Close shot of HOOKER. 259

DOYLE

I ever bust you? 260

HOOKER 261

I never seen you before.

DOYLE and the HOOKER.' 262

OOYLE

Get your ass in the car.

DOYLE looking right and left, the fo:rmof the 263 GIRL climbing into the vehicle. He puts surveillance hat on back seat.

DOYLE is standing at an island counter in a coffee- doughnuts joint. The COUNTER}IANis paying no attention to him but is instead emptying coffee from a large dispenser into a pot.

OOYLE

You gonna wait on me or a..~I gonna sit here all day?

The COUNTERMA.t~responds quickly toOOYLE's voice.

Close s~ot of DOYLE biting into a huge jelly 264A doughnut, the jelly squeezing out onto his fingers.

A kid pushes a broom past, getting rid of a collection of cigarette butts, etc.

DOYLE

Hey!

Close shot of KID, about 16, looking up from the 266 broom toward OOYLE.

C'mere ..• C'mere!

'

Medium close shot of DOYLE and the KID, OOYLE 267 eating and drinking.

DOYLE

Can you stand a toss, Hector?

CONTD. 267

KID

l-.Thatyou mean?

DOYLE

You still dealin' shit?

KID

jesus, no, Doyle. Im clean. I'm working twelve hours a day here.

Close shot of DOn.E talking around a mouthful of 268 doughnut.

DOYLE

When they going to make you chairman of the board?

Medium close shot of DOYLE and the KID. DOYLE 269 puts down the coffee cup. Waves the KID closer. The KID moves closer, DOYLE frisks him quickly, expertly, then rips up the kid's jacket and takes a 12-inch toadsticker out of the kid's waistband.

Close shot of DOYLE looking at the knife, snapping 270 the·button and watching the blade flash out.

DOYLE

You clean your fingernails with this.

Close shot of KID. 271

KID

Rather be caught with it than without it.

DOYLE, pushing button and letting the blade fall into closed position. 272

DOYLE

Yeah, ! guess so..

DOYLE hands the knife back to the kid. HECTOR goes • back to work. DOYLE eats.

DOYLE climbing back into his car, knees on the seat, reaching over into the back.

Close shot over the rear seat of DOYLE picking 274 up the straw hat, which has been jammed into the corner by the contours of the Hooker's tail.

•

He straightens it as much as possible and throws it under the driver's seat.

Medium shot of DOYLE on foot popeyeing up Madison Avenue in the vicinity of the Westbury. As anob- trusively as possible, he's looking for the tail that should be there covering CHARNIER. DOYLE is on the East side of the street, and the Westbury is on the West. He pokes his head into a couple of doorways, checks the cars parked at the curb~ looks up to a couple of the mezzanine shops along the street. He sees PHIL KLEIN and ANOTHER AGEN"Ttalking together totally oQlivio~s to the front entrance. MULDERIG in a cigar store looks to his wristwatch, then goes inside the store.

Close shot of DOYLE frowning, puzzled. There 276 doesn't seem to be anybody alert. He looks over to the hotel.

Westbury Hotel entrance from DOYLE's Point of View. 277 CHAR.a.~IERsteps out of hotel entrance,turns south. The two AGENTS and :t-fuLDERIGhave not seen his exit.

Close on DOYLE in a doorway. 278

CHARNIER, carrying an umbrella, strolling 279 blithely down the street, in DOYLE's direction but on the opposite side of the street. Zoom in on his face, reflecting no concern, no problems 3 then zoom back to OOY-.LE'sposition. Pan to the hotel entrance as DOYLE looks for somebody else. Where the hell is CHARNIER's surveillance?

Very quickly, DOYI.E'snervous glances. 280

CHARNIER close. 281

A long view of the street. 282

CHAR.i.~IERmoving along. 283

The hotel entrance.

Close shot of OOYLE going through the glancing move- 285 ments, his eyes showing CHARNIER getting farther and farther down Madison Avenue. But there's still nobody following him.

Medium close shot of OOYLE scrambling out of the 286 doorway and moving down the street after CHARl~lER.

Rear view of CHARNIER stopping at a newsstand, 287 buying a copy of the Times.

DOYLE in a doorway, peering out and do~'"Ilthe 288 street.·

Medium close front view of CHAR.NIERstrolling 289 along, glancing at the headlines of the Times, an umbrella hooked over his left forearm as he walks.

Close shot of CHARNIER's polished shoes ,moving 290 quickly down subway entrance stairs. Hold on the •empty stairs. Then DOYLE's painful, scuffed shoes, follow.

Close shot CHARL~IERstanding on the subway plat- 292 form, looking at the Times, glancing toward the tracks and the rumble of a train in the distance.

Side rear view of CRARNIER close in the fore- 292 ground, DOYLE moving into view in the background, not looking toward CHARNIER, keeping his face turned mostly away from the Frenchman.

Long shot of the platform. DOYLE right, CHARNlER 293 left as the train pulls in. CHARl~IERis folding up his paper to board. DOYLE is moving toward the train.

'

CHARJ.''UERgetting on train toward camera.

Close side shot DOYLE getting on train, leaning 295 over to look after CHAR...1IER'smovements.

CHAR.i.~IERgetting off train.

DOYLE puzzled, hesitating, then getting off his 297 car.

Long shot of CHARNIER opening the Times again. 298

Medium shot of DOYI,E moving quickly to phone 299 booth against the wall.

DOYLE close) barking into the phone. 300

DOYLE

I'm sittin'on Frog One.

MULDERIG in phone booth at Westbury. 301

MULDERIG

Yeah, we got the Westbury coVered like a tent.

DOYLE 302

The Westbury? Balls. I got him down at the subway at Times Square. What the hell's gain' on? I amke him coming right out of the hotel free as a bird. Not a soul awake.

Close shot of CHARNIER strolling past the tele- 303 phone booth, DOYLE looking down.

DOYLE

I don't care how many bartenders are sick.· I don't work in that joint. What the hell kind of a union are you runni11~dow7lthe1:e?

Long view of C!IARNIERand DOYLE about thirty feet apart 304. on the platform, a second train approaching.

A close view of DOYLE just inside the doors of the car sneaking a peek at the platform. We can see that CHARL~IERis not there. He's on the train. Suddenly CHARNIER reappears on the platform. DOYLE steps off.

Long view from DOYLE's vantage point of CHARNIER standing with his back to the train, looking up like a man who can't make up his mind, then turning to his left, away from DOYLE and getting back on the train.

View from interior o~ DOYLE car of JIMMY DOYLE nipping back onto car.

Close view of subway doors hissing shut and an umbrella being raised at the last moment by an off-camera hand (CHARNIER's). The doors jerk open in the safety spasm. There is a blur of a fabric moving across the camera, blocking the view of the doors. It is only a moment.. When it clears, the doors are closed again, the umbrella is gone. But we don't know what happened and the train isn't moving.

Rear close view of DOYLE peeking into the forward car to see where CHARNIER is sitting.

Quick, shocked close view of that car, revealing that CHARNIER isn't there among the twenty passengers dozing or moping in their seats. There is a blurred flash as if DOYLE's ot-meyes are spinning frantically back to the windows of his own car.

OMIT 311

'

Medium shot of DOYLE jumping out 0.1..C•1..ra1n,• CHAR.NIERjumping back on - train takes off.

ONIT 313

A close view of CHAju~IER'sface. He is smiling directly at OOYLE 0 He gives him a little wave.

A view from CHARNIER's position of DOYLE chasing the 315 train, anger and hatred and frustration storming across his face.

A long view from the bottom of the steep embankments above Harlem River Drive in Washington Heights. Sprayed along the face of the cliff is a disaster -- an overturned city bus and a car with which it apparently collided. The scene is lighted with flares. Police rescue WORKERS and FIREMEN are scrambling up and down the face of the cliff. They are carrying BODIES out of the bus and the car, COPS pulling them out through the windows, leading them on stretchers. There are shouted orders and some moans and cries from the wreckage. In the foreground is LT. WALTER SIMONSON, involved in the operation, but also involved in a hassle with DOYLE, MULDERIG and RUSSO who are standing with him. An officer approaches Sl}!ONSONwith a set of heroin works.

This belonged to the kid who was drivin' the sports car. 17 years old. His girlfriend OD'd in the car. We found this set of works in her ann.

Medium close shot of DOYLE and SillONSON. DOYLE 317 couldn't care if Rome was burning on the hill; he's only interested in his case.

Where the hell was the surveillance?

I

"Go to bed." That s all you could say. You couldn't keep track of a bleeding elephant in a snowbank.

SIMONSON, eyes on the hill, glancing to DOYLE 318 with irritation..

SIMONSON

Jimmy, it doesn't matter anymore. If there was a deal it must have gone down by now. We blew it! We blew our cover and we blew the warrants --

MULDERIG

Charnier and his wife checked out of the Westbury. Nicoli checked out of the Edison

RUSSO

This fella Nicoli's got a reco~d in France, Walter. He's wanted for questioning in the murder of a French cap.

DOYLE

I say we keep sittin' on Boca.

MULDERIG

That's cra2y. You lost the Frog in the subway and you blew our cover. If they haven't moved already they're not gonna move now.

DOYLE

Walter2 I can make this case if the Feds will get the hell out of my way.

MULDERIG

With pleasure -- it's all yours. Walter, if anything develops outta this c~arade give me a call.

OMIT 319

Nedium shot of SIMONSON, DOYLE, ?-IDLDERIGand 321 RUSSO. Lights flashing around the~; stretchers going by with bodies.

CONTD. 321

My ass. The only reason you're in this is because you've got a big expense account for buying junk and you like to see your picture in the papers.

This is my case. Get these guys off my back and let me handle it.

SIMONSON 322

SIMONSON

For chrissake, will you come off that "my case" bullshit. This has been awhore's dream from the start.

DOYLE, close. 323

DOYLE

The deal hasn't gone down yet Walter -- I know it, I can feel it:.

Close shot of MULDERIG 324

MULDERIG

The last time you were dead certainwe ended up with a dead cop.

A fist, OOYLE's, comes from off-camera and connects with MULDERIG's chin. As his head flies back.

DOYLE and MULDERIG slugging and grappling with each 325 other, RUSSO leaping in to yank them apart. SIMONSON

I

grabbing MULDERIG sann and holding him back.

SIMONSON, close. 326

SIMONSON , (roaring)

That's enough. Get the hell out of here.

DOYLE 327

Shot of SIMONSON, MULDERIG, DOYLE, RUSSO, in a 328 cluster.

StMONSON (on way up hill, turning back)

Jimmy, you wasted two months ~ no collars are comin' in while you two been out jerkin' off. Now go back to work, you're off Special Assign.~ent.

Medium close side view of SAL BOCA's Mercury pulling to the Washington-Boston shuttle parking lot at La Guardia airport. SAL takes his ticket from the automatic vendor and drives in. We hold for the next car driven by PHIL KLEIN, a federal narcotics agent who is on his tail.

Medium close shot of SAL BOCA writing out the ticket order form.

Close shot of the form; SAL filling it out in an 331 almost illiterate scrawl. Under destination SAL fills in Washing ••• and the camera raises its eye to a close shot of PHIL KLEIN on the opposite side of the counter, filling in his form.

Close side shot of PHIL KLEIN standing right behind 332 SAL in the shuttle line.

OMIT 333-

CHARNIER and an UNDERSECRETARY on the steps of the building, shaking hands. Two other OFFICIALS are on hand and while we don't hear their conversation, their manner is extremely attentive to CHARL~IER.

CONTD, 336

C!IAR.l"'IIER

It has been highly informative and a personal pleasure to see you again.

,

UNDERSECRETARY

I only hope we cut through to some meaningful proposals in the next month or so. The pleasure was mine, Mr. Charnier. When will we see you again?

C!IARNIER

Soon, probably in the Spring.

Close shot of C!IARNIER. 337

C!IARNlER

Goodbye.

lJlli"])ERSECRETARY (off camera)

Goodbye. Good trip home.

Ell."T:WASHINGTON STREET - DAY 338

Medium long shot of CHAR.NIERwalking across street, diagonally toward the camera, removing the identification card from his lapel.

Rear clcse shot of CHAR.i.~IERjoining SALBOCA on 339 the sidewalk and the two of them moving off together.

Close shot of SAL, somewhat nervous about trying 340 to peddle his problems to CHARl~IER.

SAL

Everything s smooth. Beautiful. I will need a few more days though, the boys think we oughta cool it for awhile -- make sure there's no heat.

'

CONTD. 340

You must take me for an imbecile. Why do you think I asked you to meet me in Washington? I haven't spent five minutes in New York City without the company of a gendarme.

SAL

Look, I'll level with you -- I need a little more time -- I got to shift gears.

CHARNIER

Are you having trouble raising the half million?

SAL

Hell no -- my end is covered my associates just feel ~e ought to wait for a more opportune time to make the switch.

Stop, Cover.

CHARNIER

It has to be by the end of this ~eek.

SAL

Look, Mr. Charnier, you got to be reasonable.

CHARNlER

It's your problem.

SAL

It's your too!

Full length shot of CHARNIER and BOCA, CHARNIER leaning over to shake his hand. 341

CHARNIER

So nice to have seen you again.

-

CHARNIER turns and walks off, leaving SAL looking after him as we zoom back to a Point of View aboLlt a hundred yards down the street.

Close of PHIL KLEIN, just watching. 342

Close shot of MRS. piARNIER, sitting by the window of two seats on the shuttle, looking out and babbling at CHARNIER. (DIALOGUE IN FRENCH).

MARIE

Look, darling, they sell these at the Smithsonian.

She extracts a necklace and bracelet of shark's teeth from an elegant alligator bag.

Camera moves back to take in CHARNIER looking from the Wall Street Journal to the native craft bracelets.

CHARNIER

Are you sure it is dead?

MARIE

1 m going to put them on the cat.

CHARl'lIER

That's a relief.

Close shot of CHARNIER, tenderly, lovingly. 344

CHARNIER

You did find something for yourself, of course.

MARIE, close. 345

MARIE

Of course. But I am not going to tell you what it is until we are back in Marseilles.

CHARNIER and MARIE. He folds up the paper, smiling 346 at her.

CHARNIER

Excuseme a moment, darling.

CHARNIER s view of the plane interior, walking back 347 toward the rear of the cabin. The seats are occupied bymilitary-busines~-government TYPES making the shuttle run. Not every seat is filled. We come ~ to an empty one on which someone has deposited an attache case. It is the seat next to PIERRE NICOLI, whose hand reaches out to remove it and we follow the arm to NICOLI's face.

Close shot of CHARNIER and NICOLI sitting. 348 (DIALOGUE IN FRJ:.""NCH)

CHARNIER

I'm afraid they ve become a bit ••• over-cautious. Our American friends.

NICOLI

What happens to the schedule?

CHARNIER

We must follow it.

NICOLI

But will they?

CHA&'lIEJlshrugs.

CHARNIER

I don't know. Boca is scared. He's not strong enough. He sees policemen in his soup.

NICOLI

He is not wrong.

CHARNIER

Mwmwm. That bastard who followed me on the subway, he's the eager one.

NICOLI

Let me take him out.

•

Close of CHARNIER, 349

CONTD. 349

There'll be someone else.

NICOLI

What differenCe does it make? We'll be out of the country Friday.

Close shot of CHAR.NIERalone. 350

A complex of buildings similar to Lefrak City. A medium close view of a LITTLE GIRL about to run DOYLE down with a two-wheel bicycle. Two shots ring out in quick succession and tear up the concrete at a point where he would have been walking a moment earlier.

DOYLE diving for the cover of a·tree. The rifle 352 goes off a third time and MOTHERS begin to scream on the benches of the playground area.

Everybody, down! Get dow-n o!lthe ground!

OOYLE behind the tree, pulling his gun out of the 353 ankle holster. He holds the gun ready and tries to look around. Ping, another shot that drives him back.

Long panning view, OOYLE's view, from the ground, 354 of all the rooftops in the area. A blank. The background sound is still screaming, c-rying. "Call

the police". "Theman's got a gun • "Help! Help!" The view is still slow, careful under the pressure of the panic. There's another shot.

Long shot of rifle smoke rising from NICOLI's 355 sniper position.

Exterior view of the concrete tunnels, DOYLE 356 running from them toward the building, dodging and ducking behind playground equipment and benches as he does. He's shouting as he runs.

CONTD. 356

DOYLE

Get down! It s a sniper. Get down!

Medium shot of DOYLE dashing into the lobby of his building to a spanish kid in the window of building. 357

Exterior shot of rooftop door opening slowly, DOYLE coming·-throughthe opening, gun at the ready.

Panning shot of the rooftop, DOYLE' sview, stopping 359 for a beat at the rifle and box of cartridges lying beside the parapet, moving on. The roof's empty. DOYLE sees NICOLI below, grabs rifle and cartridge.

DOYLE running to ttiepara·pet,looking over. 360

OMIT 361

Shot of the street, traffic, elevated tracks in the 362 distance. Long searching look of the streets and the people. The view, which is DOYLE's, passes over one man.in a dark suit, stops and goes back. Zap! It's NICOLI walking quickly but not in any panic toward the El.

DOYLE's face. He runs to parapet, firesat NICOLI. 363 Misses.

OMIT 364

OOYLE running across the roof and through the door. 365

OOYLE bursting out of the elevator at the bottom, 366 through a crowd ofWOMEN and KIDS who scream as they did in the playground.

Medium close view of DOYLE running as fast as he 3C7 can.

Medium close shot of the entrance to the El. 368 , DOYLE corning intoview from off-camera, running to a stop deciding which to take. He runs across the street to the dm,mtown side from which he saw train approaching.

DOYLE going over the turnstiles in a leap, gun 369 still in his right hand.

Broad view of platform, DOYLE emerging looking right and left.

DOYLE's view across tracks. There's NICOLI, 371 standing with a group of people.

•

DOYLE looking up tracks to see if he can get 372 across.

Training pulling in on opposite side. Train pulling 373 in right in front of DOYLE.

DOYLE

Stop that guy. He's wanted by the police!

Side medium close shot of DOYLE turning and 374 plunging back through the doorway of platform exit.

In one corner of the train is a transit police- man. He's observed Doyle shouting and gesturing at NICOLI who sits nervously aware of the police- man's presence. Long looks between them. Finally, the officer decides to approach NICOLI.

NICOLI panics and runs. The officer goes after 376 him and traps him against the door between cars.

I1'"T:TOKl:.""'NBOOTH-DAY 377

Close shot of DOYLE with badge at token booth.

DOYLE

Where's the next stop? Going into the ·city? '

25th Avenue.

NICOLI and the TRANSIT POLICEMfu~struggle, as the handful of passengers watch. NICOLI pulls his .45 and clobbers the officer on the side of the head.

Close of NICOLI going from one car to another, 377B opening doors on the rear, moving through yet another crowd.

Medium close shot ofDOYLE running into the street, forcing a driver to stop. DOYLE moving so hard he falls against the hood of the car then dashes around to the doorand kerks it open.

DOYLE

Police!

Medium close shot of DOYLE dragging MIDDLE-AGED MALE DRIVER out from behind the wheel as he 379 shouts.

DRIVER

Wtlat the hell?

Police! Emergency!

DOYLE has a pistol in his hand. The man falls back sputtering. DOYLE jams car into gear and it roars off.

NICOLI pounds on the door of the Motorman's cab with his gun.

After a long moment - the door cracks open. 380A Close shot NICOLI pushing his way into the cab ' of the subway MOTOIU-l~N,sixtyish,~orn and frail looking.

MOTOID-IANlooksdown. He follows the glance to NICOLI's .45.

'

Side close view of PDYLE screeching to a stop to avoid plunging into a panel truck. DOYLE sticks his head out the window to look up at the tracks as the DRIVER of the truck screa.~s.

TRUCKDRIVER

Blind sonofabitch!

Overhead view of the tracks, train roaring along 382

I

them. DOYI.E s view.

The tracks racing by from the view of the train. We're approaching a station.

NICOLI' s close view of the MOT0&'1AN,the gun on the man.

NICOLI

Don't stop! Continue on to the n!3xtstation!

MOTORMAN

0 got to stop.

NICOLI

Touch the brake and I'll blow you in half.

MOTOR.'lAN

The signal lights are automatic. If I go through a red I'll be automatically braked.

The MOTORMAN pales, his hand goes to his left side in a gesture of anxiety, possibly pain.

'

·side close view of DOYLE screeching to a stop, the car bumping μp on the sidewalk and DOYLE plunging out the door which he leaves hanging open. He races around the car for the steps to the El.

Side view of train roaring through the station without stopping.

Medium close shot of CROWD on train pushing toward the MOTORI-!AN'scab. They are upset over the missed stop. The CONDUCTOR seems to be the most annoyed.

He's pushing hardest toward the camera to complain.

VOICES

Didn't stop. Went right through there •••• Hey, man, that's my station •.. Where the hell's he going? Hey, stop the car •••

Close shot of NICOLI's back, half in the MOTORMAN's 388 cab, as he faces the CROWD, Now the cries turn to:

VOICES

He's got a gun ... Themotorman's gone crazy ••. Oh my God!

NICOLI

Get back.

CONDUCTOR

Hey, you can't •••

Side view of NICOLI, the MOTOR!'!ANinthe background 389 the CONDUCTOR leaping at NICOLI. NICOLI burns him; one gut shot. The car turns to pandemonium of screams. The CONDUCTOR is hurled back into the crowd by force of the blast, The MOTORl'lAN throws back his head in fright, and the beginning of a coronary. '

EXT/INT: DOY-LE'SCAR - DAY 390

Close shot of DOYLE,from back seat, twisting, turning the car in a wild demonstration of pursuit driving around cars, braking, roaring ahead. We move out through the windshield for a lurching, spinning, twisting view of the tracks overhead, the street signs and lights flashing by in a reeling montage of movement, the train roaring above it all.

Close side shot of NICOLI turning to cover the MOTOR?-!AN,who is clutching inpain, slumping toward the controls.

I can't breathe ..

NICOLI glances quickly to his left, out the window to the next station.

Long, low view of the tracks, partially NICOLI's 392 view. There are red blinkers on the side of the tracks. Red lights up ahead. That's the back of another"train. It has stopped and we're hurtling toward it.

Wide shot of screa:mingpack of subway riders, 393 fighting their way back from NICOLI, succeeding only in turning themselves into a tightly contained mob, Now the words they cry are:

VOICES

We'll crash. Won't somebodyplease help me. Murder He's a killer, Crash. We'll crash! Stop. Stop the train.

'

Side close view of DOYLE driving while he's looking up. He skids through a red light,narrowly missing a pedestrian and an oncoming group of cars.

Long, low view of the train from DOYLE's position. 395

• OMIT 396

Close shot of cord dangling above a sign that says "Pull for Emergency Stop Only". It just dangles, wobbles, forgotten in the panic.

Close side shot of DOYLE driving, skidding on streetcar tracks, panning upward to show the car pulling ahead of the train.

Close shot of NICOLI from behind, looking out the window of the car where we see ourselves hurtling toward the other train, now only about 100 yards away. Hold on the train ahead. The MOTOfu'!AN collapses over the throttle.

Rear close shot of NICOLI plunging into the 400 panicky riders with gun in hand, trying to get out with them to some rear car.

Medium close of DOYLE arriving at the station.

Back end of subway car loawing up at high speed.

The leader train sits waiting about twenty yards out of the scation. As the onrushin5 train approaches, it passes through the yellow signal light at the rear of the station.

'

CO!ITD 403A

As the onrushing car pulls equal to the red signal light at the front of the station, the tiny trip lock on the track springs up, activating the safety brake. The trains avoid collision by a few feet as the front car screeches to a halt.

Il'i"f:THE ONRUSHINGTRAIN - DAY 403B

The passengers are thrown violently to the ground.

NICOLI gets to his feet and forces open one of the doors.

NICOLI makes his way out of the train and runs along the tracks for a few yards, narrowly avoiding the third rail. He climbs onto the station platform, to the shock and amazement of several onlookers. He is dazed and disheveled, no longer a hunter.

NICOLI staggers down the stairs to the street, unarmed.

DOYLE is waiting at the foot of the stairs.

NICOLI sees him, turns in desperation to run back up.

~OYLE has his .38 drawn. He fires three shots into NICOLI'S back.

NICOLI stiffens and falls backward coming to rest at DOYl.E'sfeet. OOYLE collapses next to him.

OMIT 404

'

SAL and ANGIE emerge and get into the :-tercury.

OMIT 407

Long shot of the Mercury stopped. SAL gets out and walks quickly to the garage entrance and down the ramp as ANGIE drives off in the Mercury. Pan to

EXT/INT: DOYLE's CAR - DAY 409

Close shot of DOYLE and RUSSO from the front. DOYLE looks after ANGIE's car.

Medium close shot of RUSSO from the rear as he walks dotm the ramp towarda glass attendant's booth in the background. We pan around the garage looking for SAL but don't find him. As RUSSO approaches the booth, we see the figure of a man partially obscured by the door and the entrance framework.

Close shot ofRUSSO from the front. 411

RUSSO

Hey, Mac, have you seen ....?

Close shot of the man turning. It is SAL BOCA. 412

Close shot ofRUSSO and BOCA in face-to-face 413 confrontation.

RUSSO

•••• the guy who runs this joint?

There's a tense pause as BOCA looks at RUSSO.

Close shot of BOCA. 414

BOCA

Yeh. He's over getting my car.

Medium close shot of GARAGE ATTENDANT holding 415 the door of the Lincoln open for SAL, shutting it and taking the ticket from the windshield. As ' BOCA puts car in gear and drives off, we pan to BUDDY RUSSO standing there watching. The ATTENDA..~T walks up.

CONTD, 415

ATTENDANT

Can I help you.,.?

Medium close shot of ATTENDANT and RUSSO. BUDDY, 416 ignoring the ATTENDANT, watching the Lincoln take off, then breaking loose and running toward the ramp.

Close shot of RUSSO from DOYLE's viewpoint, 417 piling into the car.

RUSSO

He's in the brown Lincoln - foreign plates.

Close shot of DOYLE throwing the car into gear 418 and shooting down the street.

Long view of the street from DOYLE's windshield 419 of the Lincoln in the distance. We pick up speed and weave through traffic in pursuit.

Impressionistic shot of Lincoln and OOYLE's car winding through Brooklyn streets.

Long shot of the Lincoln, SAL BOCA parking ,.,·- 421 getting out and locking the doors, looking around and walking away.

The Mercury comes around a corner, ANGIE at 422 the wheel, The car stops and SAL gets in.

As the Mercury takes off, Detective PHIL KLEIN 423 follows in his car.

Close shot of DOYLE and RUSSO in their car parked 424 several car lengths and across the street from the Lincoln.

NIGHT

Long shot of the Lincoln, zooming on on the 425 glittering car. In the BG, eight youngsters are playing a game of street hockey.

Clo~e shot through windshield of DOY-LEand RUSSO. MULDERIG and KLEL~ in their car. •

DOYLE

Timezit?

RUSSO

Four.

Long view over the hood of OOYLE's car to the street. We can see the Lincoln. The lights of a car appear on the left and come down the street past the Lincoln, slowly, like a man looking for a place to park. We can make out, but just barely with the help of the street lights, four people in the car.

DOYLE in close profile, the foreground, picking 428 up a corner of the Lincoln in the background. While we are looking in silence, there is a glimmering flow in the far corner, the beginning of approaching headlights again. They grown brighter and DOYLE's foreground profile turns to watch it come.

Same car.

RUSSO

Third time around.

RUSSO and MlJLDERIGstraightening up, leaning close 429 to window to peer out.

Long vie~ over the hood of OOYLE's care of the 430 approaching ~ehicle, which suddenly switches off its lights and turns on its parking blinkers. It comes abreast of the Lincoln and stops. The men get out and case the Lincoln.

View through windshield at the four men. DOYLE is now 431 up straight and at the wheel. He's leaning forward, his hand on the key of the car. He glances back to fnJLDERIG.

DOYLE (to car radio)

Let's hit Iem•

r

View of the hood. All hell breaks loose, 432 headlights, including DOYLE's flash on and form a spotlight on the Lincoln and the figures around it. Frozen in the headlights, confused, startled, and disbelieving are FIVE PUERTO RICANS with a variety of auto-stripping tools in their hands: lug wrenches, tire irons, pinch bars, monkey wrenches, etc. DOYLE drives right up to them. The camera leaps out of the car with him and runs toward the men. We hear voices shouting.

VOICES

Police! Don't move ••• get you ••• hands up •••you •.reunder arrest •••

Close view of OOYLE holding his gun on one of the terrorized-looking-Puerto Ricans. The KID's hands are rising tentatively. He's too scared to move.

DOYLE

Up! Up, you sonofabitch!

In the background, the scene is being duplicated by two or three others.

Overhead view of this headlight and flashlight arena of about 10 or 12 DETECTIVES forming small clusters, throwing these guys up against cars, pulling their arms around behind them and throwing cuffs on them while others rapidly frisk them for ·weapons,taking away one pistol, a couple of knives.

MULDERIG and DOYLE looking at their MAl~up against 435 the Lincoln as RUSSO finishes snapping handcuffs o~ him.

DOY-LE

Of all the goddam cars they had to pick to steal hubcaps.

Close shot of the front end of the Lincoln, upended 436 on a hoist attached to a police tow truck. The area is less brightly lighted by headlights now. Some cars have departed with the Puerto Rican AUTO STRIPPERS. OOYLE's interest focuses on the car. We pick him up as we pan to him sitting on the running board of the tow truck, talking with its DRI'VER,who is making a report on a clipboard. ~ruLDERIGand RUSSO are standing nearby, talking to TWO PIAIN- CLOTHESHEN.

CONTD, 436

A bunch of loμsy little spic car thieves.

• MULDERIG

Nothing in there except a New York street map.

DOYLE

Tumble it. One end to the other.

RUSSO jotting in his note pad, then glancing up to 437 the off-camera DOYLE,

DOYLE, medium close, hands jamming into his pockets, 438 staring at the ground with RUSSO and MULDERIG.

A montage as the Lincoln is being disassemled. First it is weighed. We then see theMECHANIC drain the gas, pull apart the transmission and check through the brake drums, rip out the seats.

MECHANIC ducking out from under the car,moving 440 toward ?ff-camera DOYLE.

MECHANIC

Nobody s been un:1er therewith anything but a grease gun since if came off the line.

DOYLE's hand reaches out from off-camera and takes a cigaret package out of theMECHA.i.~IC'spocket.

DOYLE

1 don'tbuy it. The stuff is on this car.

MECHA!iIC

Then you find it. I can't.

Shot of DEVEREAUX and LA VALLE.

CONTD. 441

1A VALLE

The car was lost sometime this evening. First they send us to Pier One -- then they send us here

DESK SERGEANT

I don't understand why you had it parked on the waterfront. You're staying at the Doral and you lose your car somewhere out by the Brooklyn Bridge.

1A VALLE

In point of fact, M. Devereaux is scouting locations for a film for French Television. He left the car to look at some point of interest.

DEVEREAU (moving) (excitable)

We were told by the Police Commissioner's office that the car was brought to this garage. 1 demand its immediate return.

DESK SARGEANT

If you'll be patient, Mr. Devereaux.

DEVEREAUX (moving)

L have been patient enough. There is no reason I should have to waste timewith this red tape.

lA VALLE

Mr. Devereaux is an extremely important guest of this country. He is working with the absolute cooperation and participation of your gove:.nment. Here are his credentials from the French Consulate.

(showing rhem)

Unless you wish to see this episode portrayed in his film I suggest you locate his car immediately.

Shot of DOYLE and RUSSO near the Lincoln, now up 442- on"hoists. Police MECHANIC in background~ 444·

CONTD. 442

MECH&'UC

What are you looking for? Is it as big as an orange or an elephant's ass? I've been ovet every inch -- top to bottom. If you could give me a club -- to the size •••

RUSSO

(doing rough figures on a piece of scratch paper) What was the weight of the car when you gcitit, Irv?

MECH&\JIC (consulting his notes)

4,839 pounds.

You're sure?

(he does quick addition)

The manufacturer's spec says it should weigh 4,719 pounds. This one's carrying roughly 120 extra pounds somewhere.

He produces a copy of a ship's manifold.

RUSSO

When it was booked in at Marseilles it weighed the same. 120 pounds overweight. Jimmy has to be right.

The THREE MEN turn again to stare at the Lincoln. The MECHANIC lowers the hoist, thoughtfully.

MECHANIC

I ripped everything out except the Rocker panels.

DOYLE

What's that?

•

They look at each other for a long moment.

CONTD. 442-

r 444

MEC!!A.~ICstarts to undo the side Rocker pans. JillMY pulls the pan off and sticks his arm into the enclosure. Feeling.around inside he pulls out the first kilo-sized plastic container as several others start tumbling out after. BUDDY and DOYLE are smiling at each other as they continue to pull the bags out. Several of the other MECHANICS in the garage are gathered around the happy moment. They repeat this action on the other side of the car.

RUSSO enters garage sergeant's bullpen. 445 DEVEREAUX and LA VALLE are still arguing with the SERGEANT.

RUSSO

Got it for you, Randy -- it just came in from downtown. Who's Devereaux?

LA VALLE

This is M. Devereaux.

RUSSO

I'm sorry, Mr. Devereaux, but we get reports on a couple hundred vehicles a night. Sometimes it's a little tough to keep track.

You mean the car s here now?

RUSSO

Yeah -- fine -- it's okay -- not even a scratch. You're all set. (handing DEVEREAUX keys)

RUSSO walking with DEVEREAUX and LA VALLE.

RUSSO

Someone stole it right off the street, huh? ~ou're gonna have to pay the tow away charge.

DEVEREAU

I was told these things happen in New York -- but one never expects it.

CONTD. 445

RUSSO

Yeah. Well, it's in perfect ,. shape. You must lead a charming life.

•

Medium close shot of DEVEREAu'Xstriding through the lobby toward the camera. (DIALOGUE IN FRENCH)

CHAR.l'IIER

Henri •••

Medium close shot of DEVEREAUX turning to face 448 CHARNTER, who has been waiting for him.

CHARNIER

Did you pick up the car?

DEVEREAUX

It is waiting for You in the garage.

CHARNIER

Did they follow you?

DEVEREAUX

I.wasn't looking.

CHARNIER

Henri ••• I need one more favor from you. I know I am imposing •••

DEVEREAUX

My fria1d, I am not sure about -whatis going on -- but for me, I am finished.

CHAR.'ITER

Not quite -- you are in it whether you like it or not. The police know you brought the car into the country. This makes you an accomplice.

DEVEREAUX '

An accomplice to what?! What have you gotten me into, Alain? You asked me to do you a favor -- and I did what you asked -- but you've taken advantage of me. I have my reputation --

CONTD, 448

Cl!ARNIERpulls DEVEREAUX further aside.

CHA!u'IIER

Calm do,;,m-- Henri! You must trust me -- this is an extremely • com]licated situation to which there is a simple solution if you do exactly what I tell you. It's worth more money to you.

DEVEREAUX

Goodbye.

DEVEREAUX turns and walks into the crowded lobby leaving ALAIN standing alone.

Medium close shot of the Lincoln. We can't see the driver immediately. As we follow the car, it hesitates; horns sound and it moves ahead with a jerk.

Close shot of CHARNIER at the wheel of the Lincoln, trying to make out street signs and directions.

Medium shot fa the Lincoln going across the Triboro Bridge.

CHARNIER's vie~ through the windshield as he drives along the new road and turns left on the old service road. ,

Hellgate Bridge overhead in BG. Lin~oln drives along old road and into abandoned garage.

'

View fr0u1CHAR.'UER'sPOV out the window of the building. Faces appear beside the car. First BOCA's, then WEINSTOCK's, then LOU BOCA and two MECHANICS.

CONTD, 453

BOCA

Keep going. Right in there.

FIRST MECHANIC

Over there. On the right.

SECOND MECHA.c'iIC

The clear spot.

Medium close shot of the Lincoln. The Rocker panels are open and the junk is being unloaded. CHARNIER is standing by two suitcases of cash. He takes a bundle out of the suitcase, riffs the deck of bills with his fingers to make sure it's money all theway through; puts it in a separate stack that will go into the rocker panels of a nearby junk car. WEINSTOCK is standing next to the CHEMIST, with his testing equipment. The MECHANICS are under the Lincoln and passing out the kilos of heroin, BOCA is helping them. The kilos are concealed in the bloor boards of the old garage.

Close shot of CHARNIER's hands,working on the 455 money.

Close ~hot of the CHEMIST taking a sniff, then 456 a taste.

Close shot of LOU BOCA and MECHANICS continuing 457 to unload packet after packet of heroin.

Close shot of CHARNTER as the stacks of money 458 are loaded into the car.

Close shot of BOCA taking a bottle of Seagram's 459 Seven Crown out of a brown paper bag.

CHARNIER extc!ndshis hand. WEINSTOC!~ t:akesit; t:hey 4GO shake.

OMIT 461

CHARNIER close, looking back at the car as 462 the rocker panels are restored to the Lincoln. The junk car with t:he money secreted isremoved. 462A

Medium shot of SAL BOCA and CHARNIER getting in 463 the Lincoln. In the b.g. a tow truck hauls the battered junk car o~t to await shipment.

Long view from the bridge of the Lincoln coming toward the camera over a small rise.

View from Lincoln, between SAL and CHARNIER, 465 over the hood of the car and to the entrance to the bridge. There is a police blockade. Standing in front of it are DOYLE, RUSSO, MULDERIG and PHIL KLEIN.

CLOSE-UP CHA!u~lER. 465A

CLOSE-u-P DOYLE. He gives CHARNlER a little wave. 465B

Long view of the Lincoln stopping in the middle of 466 the bridge. Zoom in on it as SAL hurriedly turns it around, smashing into the side of the bridge as he does.

Medium shot of the Lincoln racing back across 467 the island. The Mercury roars past WEINSTOCK's car, heS.ding toward the bridge.

WEINSTOCK's car coming to a stop. 468

Close shot of the CHEMIST and WEINSTOCK in the car, 469 turning back to the island.

Close shot of CHARNIER and SAL. SAL driving, CHARNIER looking out the back window. The police cars, slowly, begin to gun engines and start the pursuit. The sirens begin to wail.

'

The Lincoln roaring into the asylum toward the camera, screeching to a stop. SAL and CHAR..i.~IER leaping out. They run toward Crematorium Building.

Medium long shot of LOU running off. 472 l

Bulls!

CHARNIER hesitates. Then runs into the darkness of the Crematorium.

Police cars screeching to a halt around the building. Some circling to the back to cut it off. DOYLE, RUSSO MULDERIG, KLEIN and others getting out and running toward the entrance, taken by the Lincoln.

Close shot SAL BOCA and the two MECHANICS at the auto graveyard. The MECHANICS start to run and are pursued by KLEIN and TWO OTHER COPS. SAL decides to shoot it out. RUSSO in pursuit.

After a chase around the graveyard RUSSO burns 475 SAL who dies among the wrecked cars.

WEINSTOCK and the CHEMIST emerge from the cars. Hands 476 in the air. They give up without a struggle.

RUSSO

Phil, you take that side, Bill, go around the other way.

urr : CREMATORIUM - DAY 477

Long shot, we can see somebody running, hear his footsteps, but can't tell who it is.

Shot of DOYLE entering. 478

Shot of DOYLE; gun in hand, going around corner of 479 long corridor, looking down it.

'

Shot of MULDERIG running down one of the 480 corridors and into a cell littered with abandoned furniture, sinks, toilets, etc.

Long view of the hallway. Halfway down, LOU pops 481 ; \ out and fires wildly at the camera.

DOYLE close, pulling back, then leaning out and 482 blazing away twice.

Long shot of LOU, staffering into the corridor 483 and collapsing.

DOYLE running down the corridor leaping over LOU's 484 body and continuing to run to bisecting corridor.

DOYLE comes down the stairs and into the cellar. In the foreground, behind a pile of ripped-out wall and floorboards, there appears to be the crouched silhouette of a man. OOYLE exits.

DOYI.E'sview down second corridor. At far end of it 486 a figure flitting past.

RUSSO

Jimmy?

Close shot of RUSSO at the head of a flight of 487 stairs.·

RUSSO

Jimmy?

DOYLE's P.O.V.: A shadow figure ducks into one of the rooms.

Close of DOYLE up against a wall. 489

DOYLE (a whisper)

Cover the other side -- Frog Number One is dowu there.

RUSSO scrambling along the Crematorium wall. 490

DOYLE moving slowly down the opposite wall. 491

Medium shot of DOYLE approaching the end rooms. 492 A figure slips out of one of them, shrouded with shadows.

Close of DOYLE firing twice into the camera. 493

Close shot of the figure. It s AGENT BILL MULDERIG 494 ' - spinning, dropping, his own service revolver clattering on the concrete. •

Medium close shot of DOYLE standing over MULDERIG's 495 body, two or three COPS coming up, including RUSSO.

Re's gone, Jimmy. Bill is dead.

DOYLE full figure, close. A long pause -- and 496 then --

DOYLE

The sonofabitch is in here somewhere. I saw him -- I'm gonna get~-

DOYLE exits down •thecorridor. The others staring after him.

Within the building no one is visible. Overhead, the Hellgate Bridge, sounds of Ne·wYork, jets, auto traffic, and an approaching Penn Central train.

'