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+FADE IN:INT. TV STUDIO - DAYA Susskind-type MODERATOR is speaking into camera: MODERATOR Tonight we'll discuss a subject most of us seem to consider either bad taste or frivolous or funny. But if our experts are right, we face what might be called a masculinity crisis. Every fourth American man uptight, threatened by the increasing sexual demands of American women...EXT. SIDEWALK INTERVIEW - DAYAn IRATE WOMAN speaks into camera: IRATE WOMAN They always put it that way, but well, all it means, you know, is every fourth American woman's never satisfied. That's it. I never am -- have been, you know...EXT. SIDEWALK INTERVIEW - DAYA COOL WOMAN speaks into camera: COOL WOMAN This, this image of the, the man eating woman. It isn't our increasing demands. I think it's the shrinking American male...EXT. SIDEWALK INTERVIEW - DAYA SAD WOMAN speaks into camera: SAD WOMAN No, I never had, well, whatever it is you call it. But the hours he works, I can't blame him...INT. CAFETERIA SCULLERY (TEXAS) - DAYFull frame -- a scandal sheet picture of a sex-starved wife,naked while her husband sleeps, captioned I BUY WHAT MYHUSBAND CAN'T GIVE. SAD WOMAN'S VOICE ... but it's a problem. A big problem. With so many women I know...Camera pulls back to show the picture among other pinups ofwomen -- rich, beautiful or naked, but all blonde -- steamwilted on the wall over a dishwashing machine. JOE BUCK grinsat the wall as he scrapes garbage. JOB Just keep your pants on, ladies...MULTIPLE SPLIT SCREENA LADY COMMENTATOR, gradually surrounded by lonely women... BEAUTY PARLOR FASHION SHOW PSYCHIATRIST'S COUCH COCKTAIL BAR GYMNASIUM STATUE OF LIBERTY LADY COMMENTATOR Before World War One -- American men outnumbered women by over six percent. Today American women not only outnumber men, but live five years longer -- leaving them in control of vast corporate wealth and seventy-five percent of America's purchasing power...The Lady Commentator is replaced by Joe, stacking dishes,surrounded by frustrated ladies. He laughs tolerantly. JOE Y'all,line up and take your turn...INT. TV STUDIO - DAYThe Moderator smiles into camera. MODERATOR My question is this -- will American know-how come up with a marketable male to replace all the men who are worrying themselves into an early grave over women's increasing sexual demands?INT. STALL SHOWER - DAYJoe sings as he soaps himself, "Whoopee ti yi yo, git alonglittle dogies, for you know New York will be your new home!"Sound and image freeze on Joe's open mouth.SUPERIMPOSED MAIN TITLE AND CREDITSTITLES follow as indicated, sound and action continuing aftereach credit.INT. SUNSHINE CAFETERIA - DAYJoe's song continues over a sweating WAITRESS, glancing up. WAITRESS Where's that Joe Buck?INT. HOTEL ROOM - DAYWrapped in a towel, singing in front of his dresser mirror,Joe sprays himself with deodorant, aiming a last playfulblast at the unseen crotch -- freezing song and image asCREDITS continue over...... a calendar girl on the wall blushing orange, mouth frozenin a tiny O, staring wide-eyed. Joe's song continues as...... Joe rips the wrapping from a new Stetson and sets it onhis head, freezing song and image as CREDITS continue.INT. CAFETERIA SCULLERY - DAYRALPH, an aging black man, faces a mountain of dirty dishes. RALPH Where's that Joe Buck?INT. HOTEL ROOM - DAYSinging as he buttons his new cowboy shirt, Joe interruptshimself to answer Ralph... JOE Yeah, where's that Joe Buck?... continuing his song as he pulls up and zips his tightthighed black slacks, freezing song and image for CREDITS.INT. REMEMBERED BEAUTY PARLOR - ANOTHER TIMESALLY BUCK, a pretty middle-aged blonde, smiles down atcamera, SALLY BUCK You look real nice, Joe baby...INT. HOTEL ROOM - DAYJoe sings as he pulls on his new cowboy boots, arranging hiscuffs to show off the yellow sunburst at the ankle, freezingsong and image for CREDITS.INT. SUNSHINE CAFETERIA - DAYThe pink MANAGER scowls at his pocket watch. MANAGER Where's that Joe Buck?INT. HOTEL ROOM - DAYJoe hums as he piles a complete wardrobe of cowboy clothes,still in their wrappers, into a shiny new suitcase of blackand white horsehide. JOE Yeah, where's that Joe Buck?INT. SUNSHINE CAFETERIA - DAYHolding his watch, the Manager wags a finger at camera. MANAGER You're due here at four o'clock. Look at those dishes, look!INT. HOTEL ROOM - DAYJoe laughs as he locks his suitcase. JOE Know what you can do with those dishes? And if you ain't man enough to do it yourself, I'd be happy to oblige...Joe picks up his suitcase, a portable transistor radio, walksaway from the mirror, then pauses to run a comb through hishair, hook a cigarette at the corner of his mouth and strikea match on his thumbnail before he turns back for oneadmiring glance at himself in the mirror -- proud, exultant,ready -- freezing the image as CREDITS END.EXT. TEXAS TOWN MAIN STREET - DAYJoe leaves the hotel, carrying his suitcase.INT. CAFETERIA SCULLERY - DAYThe pink Manager points at his watch angrily. MANAGER Four to midnight, understand?Angle widens to include Joe, holding his suitcase and radio.Ralph stares at him curiously, stacking dishes. JOE Say, look, uh, I gotta have a word with you, if you got a second. MANAGER Later. Later maybe.The Manager hurries away, carrying a basket of dishes. RALPH You ain't coming to work? JOE Don't guess. Just come for my day's pay owing and to tell you I'm heading East.Joe tilts his Stetson as the Waitress appears at the door... WAITRESS Cups!... but she disappears without noticing Joe. Ralph offers hishand. Joe takes it, holds it. RALPH What you gonna do back there, East? JOE Lotta rich women back there... RALPH Yeah? JOE Men, they mostly faggots. RALPH Must be some mess back there. JOE Well, ain't no use hanging around here. RALPH Ain't gonna collect your pay? JOE I got me two hundred twenty-four bucks of flat folding money... (slaps hip) He know what he can do with that chicken-shit day's pay. And if he ain't man enough to do it for himself, I be happy to oblige!INT. SUNSHINE CAFETERIA - DAYThe door marked EMPLOYEES ONLY swings open and Joe appears,measuring his effect on the customers and his fellowemployees as he crosses the sterile white dining room,observing the drab details of the life he has left behind -garbage on greasy dishes, limp food in steam table trays,coffee-soaked cigarette butts, caked mustard and ketchup onformica table tops -- two pimply high school girls slurpingsuggestive noises after Joe through the straws of empty cokeglasses. O.S. a Tiomkin-tradition chorus sings, "From thisvalley they say you are going -- we will miss your brighteyes and sweet smile for they say you are taking thesunshine..."EXT. TOWN MAIN STREET - DAYThe song ends as Joe comes from the cafeteria "... thatbrightened our pathway a while." JOE Tough tiddy, ladies, you had your chance.From a high angle -- Joe starts his long walk toward the busdepot along the street of a small Western town struggling tourbanize itself. The click-clack-click of his boots is loudbut somehow lonely The radio at his ear drones grain priceson the Commodity change. Joe's pace slows as he passes...EXT. SALLY BUCK'S BEAUTY SALON - DAY... a gilt-lettered sign in the window, glittering in thesun, momentarily hiding the fact that the shop is deserted.Joe grins as he hears remembered sounds and voices incompleteflashes, more significant in tone than content a girlgiggling sexily -- "Keep your meat hooks off my beautyoperators, sugar" -- tinkling noises of a busy beauty parlor - Sally Buck singing "Hush, little baby, don't say a word,Grammaw gonna buy you a mockingbird..."... a shift of light revealing a row of tarnished driers, abroken mirror, a FOR RENT sign in the window. Joe turnstoward the bus depot, radio pressed to his ear. ANNOUNCER'S VOICE Benson and Hedges One Hundreds makes special awards from time to time for anything that's longer than anything... JOE Care to get out your yardstick, gentlemen?At the same moment, a recognizable variant of the "BigCountry" theme blares loud.INTERCUT WESTERN FILM CLIPGary Cooper (or John Wayne) walks a frontier street.EXT. BUS DEPOT - DAYHigh angle of the departing bus, intercut "Big Country"fashion, alternating high shots with close-ups of the buswheals.EXT. FREEWAY CLOVERLEAF - DAYThrough the bus windshield -- a dizzying montage of trafficlines, arrows and signs as the bus sweeps around and up ontothe freeway.INT. BUS - DAYJoe sits at the front, opposite the driver, cracking his gumas he watches the huge billboards streaking by, promising himpower, happiness and beautiful women if he chooses the rightbreakfast food, hair oil or automobile. Joe listens to thehumming tires, the roar of the engine, shaking his head. JOE This is a powerful mothah, ain't it?Ignored by the driver, Joe rises and walks back to his emptydouble seat, glancing around to see what impression he's madeon his immediate fellow travelers -- an OLD LADY in front ofhim -- a hostile young sailor with acne behind him -- twoteeny-boppers flirting with Joe hysterically -- a PALE BLONDEdirectly across the aisle, smiling at Joe weakly. PALE BLONDE Do you have a stick of gum?Joe leans across, snapping his gum as he offers her a stick.He watches her nibble it daintily on her front teeth. PALE BLONDE (CONT'D) Thank you. JOE Plenty more where that came from. PALE BLONDE Thank you, no, it's just till the Dramamine works. I get carsick. JOE I only get carsick on boats. (waits, then) But seems to me that's more the fish smell than the bouncing...Joe realizes that her eyes are closed. Mildly depressed, hestretches himself across both seats and turns on his radio,finds only static and snaps it off. Further depressed, heexamines his reflection in the bus window, squeezes a blackhead and runs the comb through his hair, picks a piece oftobacco off his tooth and lights a cigarette, watching theflame die in reflection, forgetting to discard the burnt-outmatch as he stares out at a vast lonely prairie, a solitarycowboy in the distance, a row of sharecropper shacksapparently deserted, a barefoot little girl motionless at theroadside, watching the bus pass. Through this, leading intothe next scene, Sally Buck sings softly "... if that mockingbird don't sing, Grammaw gonna buy you a golden ring..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMESally Buck, relaxing in the middle of a busy day, eyes closedwearily, while little Joe massages her neck. Her songcontinues over the noises of the busy beauty parlor "... ifthat golden ring turns brass, Grammaw gonna buy you a lookingglass..." SALLY BUCK No, a little lower, sugar, yeah, yeah, that's good. Grammaw's beat. SALESMAN'S VOICE You gotta sell yourself, that's the whole trick...INT. BUS - DAYA seedy TRAVELING SALESMAN with badly-fitted dentures and afrayed collar has taken the aisle seat next to Joe. As helectures Joe on salesmanship, he figures his expenses in aworn leatherette notebook, nervous fingers and eyesunconsciously revealing the extent of his failure. SALESMAN It ain't the product and it ain't the price, no sir, and it ain't what you sell, it's personality, pure and simple. I ain't shined my own shoes or shaved my own face in forty years, how's that? Not bad for a kid that didn't pass the eighth grade, right? JOE Yeah, hell, yeah. SALESMAN And that's my golden rule. Make 'em love you. Put yourself over and you can sell them anything. If they like you, they'll buy horsemeat for prime beef...INT. REMEMBERED BEAUTY SALON - ANOTHER TIMEA gawky, adolescent Joe sits sprawled on the couch, leafingthrough a magazine while Sally Buck bleaches the roots of ayoung woman's hair. SALLY BUCK You get him to the church, honey. He ain't gonna find out you ain't a real blonde till after you're married, then's too late.Sally Buck turns, pretending to be stern as Toe laughs. SALLY BUCK (CONT'D) You getting too big for your britches, sugar.EXT. HIGHWAY - NIGHTThe headlights of the bus flash past a huge sign, painted onthe slant roof of a barn: JESUS SAVES.INT. BUS - NIGHTJoe is alone again. The Salesman has disappeared. The bus isdark, most-passengers trying to sleep. Only one reading lightstill burns, over the head of the old-Lady in the seat aheadof Joe. Joe squirms, restless, trying to lull himself tosleep with the music of a revivalist gospel group on theradio. SALLY BUCK'S VOICE Don't forget to say your prayers, honey...Joe leans forward to help the old Lady, irritably strugglingwith the release button on her seat. She scowls as Joe leansover to release her seat, then pulls her blanket around herand turns away from him. Joe switches off her reading light. OLD LADY I want it on.Joe switches it on again, fakes a good-natured grin, settlesback with his radio, aware of an OLD COWHAND seated oppositehim, replacing the Pale Blonde. The Old Cowhand is appraisingJoe's wardrobe curiously. He looks away when he sees Joewatching him. Joe settles back, unable to think of a way toopen a conversation. EVANGELIST'S VOICE Oh, my friends, I say unto you, invest with Jesus, put your dollars to work where they'll pay off at compound interest. The Good Book says money answereth all things...The Old Cowhand has rolled-himself a cigarette. Joe quicklylights a match on his thumb and holds it across the aisle. JOE Light?The Old Cowhand's "thanks" is lost in a fit of coughing as heinhales his first drag. He settles back, wiping his wateryeyes on a faded bandana. EVANGELIST'S VOICE ... everyone who sends a dollar to the Evangelical Congregation of the Air will get free gratis a genuine leatherette hymn book so you can sing along with Sister Rosella and the Evangelical Choir... JOE You throw in Sister Rosella and you got a deal, right, old timer?Joe glances across the aisle. The Old Cowhand manages afaint, humorless smile. JOE (CONT'D) Going far? OLD COWHAND Up the line. Not far. JOE I'm bound for New York City.The Old Cowhand reappraises Joe's wardrobe even morecuriously. JOE (CONT'D) Ever happen to come across a cowman name of Woodsy Niles? Friend of my grammaw Sally Buck...The Old Cowhand considers, shakes his head. Joe leans back,laughing to himself.INT. REMEMBERED BEDROOM - ANOTHER TIMELittle Joe's head is lost in a beat-up cowboy hat, similar tothe one worn by the old Cowhand. Sally Buck smiles on WOODSYNILES -- a long-legged cowboy with a shock of black hair --who stands at her dressing table, admiring himself in a newStetson. SALLY BUCK Like it, honey? Does it fit? WOODSY You do me good, Sal, you do me real good. You know what I gonna give you for that Stetson?Woodsy grabs Sally Buck, lifting her off her feet, carryingher to the bed. Struggling, they fall across the coverstogether, Little Joe laughing with them. SALLY BUCK Woodsy Niles! The boy! WOODSY He don't know what makes little apples by now, it's time he found out.INT. BUS - NIGHTJoe shakes his head, grinning, offering the old Cowhand acigarette. JOE Smoke?The old Cowhand shakes his head, showing the rolled cigaretteJoe lit for him. Joe nods, still bemused.INT. REMEMBERED BEDROOM - ANOTHER TIMELittle Joe is cuddled in Sally Buck's arms, under the covers,watching Woodsy, sitting cross-legged on the bed, nakedexcept for his Stetson and guitar, singing drunkenly. WOODSY ... git along little dogies!EXT. MIDWEST TOWN - MORNINGFrom a high angle -- the bus slows to a stop.INT. BUS - MORNINGJoe awakens, stiff-necked, momentarily confused. Hestraightens in his seat as he sees the old Cowhand lifting asweat-stained saddle down from the overhead rack, startingtoward the front of the bus. Joe calls after him. JOE Nice talking to you, old timer.Joe stuffs a stick of gum in his mouth, turns to wave at theOld Cowhand through the window as the bus pulls away. WOODSY'S VOICE She-dogs squat, boy. He-dogs stand up and lift their leg...INT. REMEMBERED MEN'S ROOM - ANOTHER TIMEWoodsy, in his new Stetson, watches Little Joe in his beat-upcowboy hat, trying to balance on one foot, one leg lifted infront of the trough. Woodsy roars with laughter. WOODSY ... but he-men stand and shoot from the hip.INT. BUS RESTROOM - DAYJoe laughs, flushes, checks his hair in the mirror.EXT. HIGHWAY - DAYThe bus streaks past a brightly-colored billboard -- IN NEWYORK, A WELCOME AWAITS YOU AT THE TIMES SQUARE PALACE HOTEL!INT. BUS - DAYJoe is now sitting in the wide rear seat, between two youngMARINES and a group of VETERANS wearing campaign caps andconvention buttons, passing a bottle, singing "From the Ballsof Montezuma to the Shores of Tripoli..." Joe follows theconversation between a VETERAN and a MARINE, participatingonly because he's sitting beside them, adopting a rememberedmilitary stance. VETERAN Ever stationed at Kennedy? Those Florida chicks... MARINE Instant V-goddam-D. VETERAN This Pensacola teeny-bopper -- jail bait -- but built? Ten bucks she wanted. Three of us made a deal for, twenty-five, see, big goddam bargain? MARINE Big peni-goddam-cillin bargain, right? VETERAN You got it. MARINE No. You got it. JOE Jesus goddam Christ, I ain't laughed so hard since I was out at Fort Benning, Georgia. MARINE Did you make the Viet? JOE What? Oh, hell no. Motor pool mostly... (shakes his head) Kee-rist...INT. REMEMBERED WHOREHOUSE - ANOTEER TIMEA plump, aging PROSTITUTE laughs up into camera. PROSTITUTE Hey, hey, what you try to do to me? You gonna cost me money, soldier!INT. BUS - DAYJoe laughs as he passes the bottle, trying to sing alongwithout knowing the words as the Veterans segue into "Overhill, over dale, we will hit the dusty trail, as the caissonsgo rolling along..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMESally Buck fondly wipes lipstick from Joe's lips. SALLY BUCK Keep your meat hooks off my operators, sugar, hear?INT. BUS - DAYJoe slaps one of the Veterans on the back, trying to followthe song into "Off we go, into the wild blue yonder..."INT. REMEMBERED MOVIE HOUSE - ANOTHER TIMEANASTASIA clutches a younger Joe, eyes wild, gasping. ANASTASIA You're the only one, Joe, the only, only one ever!INT. BUS - DAYJoe is leaning across the two Marines, staring out of thewindow as the Veterans switch to "Anchors aweigh, my boys,anchors aweigh..."EXT. MANHATTAN SKYLINE - DAYA stunning view through the bus window past Joe's reflection. JOE'S REFLECTION Gonna swing my lasso and rope that whole goddam island, yeah!EXT. BROADWAY PARADE - DAYDrum majorettes leading the parade -- ticker tape andconfetti -- girls at skyscraper windows.INTERCUT NEWSREEL CLIPCharles Lindberg (or James Stewart) waving at the crowd.EXT. NEW YORK HARBOR - DAYGirls lining the piers -- flags, banners, bunting -- shiphorns, whistles, bells.INT. BUS - DAYJoe crowded as the veterans prepare to leave the bus, liftingdown banners and flags.EXT. LINCOLN TUNNEEL - DAYThe bus suddenly surrounded by converging traffic, hornshonking, segueing into the noises of Times Square.EXT. MARQUEE - DAYFlag draped, reading: WELCOME VETERANS.EXT. STREET - BANNER - DAYFlapping in the wind -- WELCOME VETERANS!EXT. TIMES SQUARE PALACE HOTEL - DAYThe marquee announces TRANSIENTS WELCOME. O.S. a singingradio station break blares "W-I-N-S NEW YORK..."EXT. RADIO TOWER - DAYThe sign flashes WINS "... ten-ten on your dial!" A torchywoman's voice sings from a lonely echo chamber -- introducinga love theme which will haunt Joe throughout the film.INT. ROOM 1014 - DAYJoe sets his radio on the dresser, his suitcase on the bed,then turns to examine his new home -- as anonymous as hisTexas hotel room -- but boasting a coin-operated televisionset. Fascinated, Joe inserts a quarter.... the love song continues over a television talk Showfeaturing a POODLE WIGMAKER defending his profession againsta Joe Pyne-type PANEL HOST, "...well, I perform a realservice, there's a need, so many people, you know, reallylive in their pets, I mean, lonely, I grant you, but theirfeeling is real. They want to lavish as much love, give themas much, yes, pamper them like they were really humanchildren or whatever..." SALLY BUCK'S VOICE There's a TV dinner in the fridge, lover boy...INT. REMEMBERED PARLOR - ANOTHER TIMELittle Joe stares sullenly at an antique TV box while SallyBuck puts her hat on at the fireplace mirror. There is aframed picture of Woodsy Niles on the mantle. SALLY BUCK You be okay, won't you? Maybe I bring you a treat if you're a good boy...INT. ROOM 1014 - DAYJoe watches the Panel Host, "... you're a nut case, fella, areal nut case..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMELittle Joe massaging Sally Buck's neck -- continuing theearlier scene. SALLY BUCK I'm so beat, no point you waiting round, toots, think I'll stop in for a beer or two...INT. ROOM 1014 - DAYJoe sits on the edge of the bed, watching the poodles primp.INT. REMEMBERED PARLOR - ANOTEER TIMELittle Joe stares unblinking at the TV screen as Sally Buckkisses him on the forehead, dressed for the street. SALLY BUCK Expect me when you see me. Looks like I got me a new beau, lover boy, how's that for an old grammaw? I'll leave you movie money...Sally Buck tucks a dollar bill under a framed picture ofJesus, who has replaced Woodsy Niles on the mantle.INT. ROOM 1014 - DAYAs a fairy godmother's magic wand removes sticky hair sprayfrom a pretty model's head, Joe's quarter runs out and thescreen goes blank. At the same moment, the love song is cutoff by a singing station break "W-I-N-S NEW YORK" Joe rises,flipping the dial of the radio to a cultured woman's voicereading "...the Dow Jones averages, brought you by MorganVandercook. Up your income with sound investmentcounseling..." JOE Up yours, lady.... but Joe leaves the lady on, savoring the expensive soundof her voice reading the stock quotations. Joe seats himselfat the desk, pleased to find a postcard photograph of thehotel. He picks up a ballpoint pen, counts ten floors up fromthe street and marks a huge X -- THIS IS ME, then turns thecard over, pen poised over the address blank.INT. CAFETERIA SCULLERY - DAYRalph stares at the card, surrounded by dirty dishes. RALPH Hell, he know I can't read...INT. ROOM 1014 - DAYJoe's pen wavers, starts to write and stops.EXT. SALLY BUCK'S BEAUTY PARLOR - DAYAs we saw it last, deserted, a FOR RENT sign in the window.Joe's reflection appears, staring at himself, dressed in hisdishwasher's clothes. JOE'S VOICE After all them dishes are washed, what? JOE'S REFLECTION Then they bring some more dishes and I wash them and then I, uh, sleep some and then wash some more dishes and then I... JOE'S VOICE Say it, lover boy! JOE'S REFLECTION Die.INT. ROOM 1014 - DAYJoe stares at the postcard, bemused, JOE'S VOICE Well, you better just shake your tail, lover boy, and root, hog or die.Joe rises abruptly, rips up the postcard and tosses it outthe window. JOE Goddam if I came to this town to write postcards.EXT. TIMES SQUARE - DAYThe torn fragments flutter down on the crowd -- a womanbrushing irritably at her hair -- a man grimacing, glancingup -- a cop removing his hat to examine it.EXT. TIMES SQUARE PALACE HOTEL - DAYFrom a low angle -- identical with the postcard photograph --an unseen hand scrawls a huge X--- THIS IS ME. Camera zoomsup to a close-up of Joe at the window.EXT. FIFTH AVENUE - DAYFrom on high -- as though Joe were watching himself -- theStetson moves through a crowd of Fifth Avenue shoppers...EXT. GLASS BUILDING - DAY... passing a glass bank, lady tellers counting money...EXT. CAR SHOWROOM - DAY... passing a display of imported luxury cars...EXT. JEWELRY STORE - DAY... passing a window which features a single gem -- pausingas horns blast O.S. and a mod blonde in a stalled sports carmotions to Joe -- she needs a push. Joe grins, glances athimself in the window, runs a comb through his hair, thenturns back to see a cop helping the mod blonde. EXT. PARK AVENUE - DAYJoe's heels drag as he walks a deserted block of luxuryapartment houses. O.S. The torchy woman's voice sings Joe'slove theme in counterpoint to the blasting horns, a siren, afire bell, a screech of brakes. Joe's spirits rise as hehears the tic-tac-tic of high heels overtaking the heavyclick-clack-click of his boots. He adjusts his pace to arriveat the corner at the same time as a smart and -- in Joe'seyes -- very RICH LADY. Joe grins boyishly, holding hisStetson over his heart. JOE Beg pardon, ma'am, I'm new here in town, just in from Houston, Texas, and looking for the Statue of Liberty.The delicate profile gives no signs of hearing. Joe followsher to the parkway in the middle of the avenue. There shestops and turns, neither friendly nor hostile. RICH LADY Were you looking? About the Statue of Liberty? JOE Joking? No, ma'am. Oh no! I mean business! RICH LADY I'm sorry. I thought you were -- never mind -- I've never actually been there, but let me see, you take the Seventh Avenue subway, I think, to the end of the line... JOE You sure are a pretty lady.The Rich Lady tries to frown, taken aback, blushing. RICH LADY You're not looking for the Statue of Liberty at all. JOE No, ma'am, I'm not. RICH LADY Why, that's perfectly dreadful. Aren't you ashamed of yourself?A twinkle of amusement and sympathy reveals the age lines atthe corner of her eyes. Then she continues on quickly, justas the light turns. Joe's view is blocked for a moment bytraffic, then he sees...... the Rich Lady, newly aware of her flanks as she climbsthe steps of a brownstone and searches for her key. Stillfrom Joe's viewpoint, he sees himself move into frame andfollow the Rich Lady up the steps. The love theme swells O.S.as the Rich Lady leads him into the house and closes thedoor...... leaving Joe standing alone on the parkway island,surrounded by towering wealth. The love theme continuesover...EXT. LEXINGTON AVENUE - DAY... a pair of high-heeled pink slippers, walking a miniaturepoodle -- slowing slightly, reacting to Joe's cowboy boots asthey pass, pause and turn back. CASS'S VOICE Hurry up, Baby. Do um goody-goods for Mama.Joe grins, holding his hat over his heart as he approachesCASS TREHUNE, a blonde lady in a tight black dress, with thelook of a movie star who wrecked her career with food. JOE Beg pardon, ma'am. I'm brand spanking new to this town, come from Houston, Texas, and hoping to get a look at the Statue of Liberty... CASS You're hoping to get a look at what? JOE The Statue of Liberty. CASS It's up in Central Park, taking a leak. If you hurry, you'll make the supper show. Now get lost.But as she turns, Cass winks, dimpling the corners of hermouth, signaling Joe to follow her.INT. APARTMENT HOUSE ELEVATOR - DAYCass holds the DOOR OPEN button till Joe enters the elevator,then the doors close with a soft expensive little klloooshand Cass turns with the smile of a very tiny girl... CASS Hi.... her lips closing on Joe's as the poodle yaps shrilly attheir feet. Superimposed, almost subliminally, a goldendollar sign appears, halating like a star, and the bell of apinball machine rings O.S.INT. CASS'S APARTMENT - DAYA princess telephone is ringing on a gold and white desk.Cass runs to grab it... CASS Hello?... as Joe steps from the elevator, which opens directly ontoCass's penthouse. Cass beckons him toward her, hooks a fingerinto his neckerchief and pulls his mouth toward hers whileshe talks on the phone. CASS (CONT'D) Morey? Hi-ee, honey...Cass gurgles happily as her free hand unbuckles Joe'sgarrison belt. CASS (CONT'D) I'm just out of breath, honey, running to catch the phone.As her fingers reach for Joe's zipper, cut to...... Joe's hand unzipping her dress. CASS (CONT'D) I was walking Baby. Him got to do him goody-goods, right?The poodle tugs at Joe's slacks until they fall. Cass steersher ear to Joe's mouth, shuddering deliciously. CASS (CONT'D) Oh God, oh stop. I can't stand that. I just die... (quickly into phone) It's Baby, Morey. Him trying to say hello. Say hello to Morey, Baby.Cass holds the phone toward the yapping poodle, twistingherself against Joe as she wriggles out of her dress, passingthe phone from one hand to the other. CASS (CONT'D) Okay, old goosie? Now lookie, when do you want me to meet you? Whatever you say. I'll take a nap, watch TV, you know, kill time. Okay, but just one, a big wet one.Cass hangs up. The poodle yaps hysterically, disentanglinghimself from her tumbling dress -- hops onto the couch glances off and flees again as an overturned lamp crashesO.S.INT. CASS'S BEDROOM - DAYThe poodle bounces onto the bed -- remaining long enough toestablish a TV REMOTE CONTROL TUNER lying on the satincoverlet -- then leaps down in panic as he hears Joe and Cassexplode into the bedroom, laughing lustily...... the remote control tuner buried suddenly under the fullflesh of Cass's hip, activating...... a twenty-five-inch television screen, blasting at fullvolume...... Cass's eyes widening, profoundly impressed... CASS Ye gods...... the images and sound of the television set flickingjoyfully from channel to channel...... Joe laughing, engulfed by Cass's abundance...... Cass wild-eyed, overflowing the frame...... a gleaming slot machine -- three Sahara cowgirls clickinginto line for jackpot -- silver dollars overflowing theframe...EXT. MANHATTAN SKYLINE - DAY... the Mutual of New York tower flashes MONY! JOE'S VOICE Holy shee-it, this is a goddam penthouse you got here, Cass, a real goddam penthouse.INT. CASS'S BEDROOM - DAYJoe turns away from a small terrace, buckling his belt,glancing off toward the sound of Cass in the shower. Heflicks the TV remote control, enjoying his power, ignoringthe silent images on the screen -- battle casualties, apretty girl recommending aspirin, a man's stomach flashinganimated pain, starving war refugees, a dog eating pzazz --flicking it off to concentrate on the costume jewelry andperfume bottles on Cass's dressing table. CASS'S VOICE Don't look, baby...Joe turns to look as Cass comes from the bathroom, holding atowel around her as she runs behind the closet door. JOE Say, Cass, I, uh, sure have enjoyed being here. Believe it's as fine a time as I've had in my life! CASS'S VOICE Me, too, lover. JOE That's good, it is, cause, well I guess I didn't tell you why I came to New York, did I?A tower of black bugle beads emerges from the closet door. CASS Zip this thing, will you, Tex?Joe zips her dress, follows her to the dressing table, whereshe sprays her hair with lacquer. JOB Truth is, Cass, I'm, well, I'm in business. CASS Oh, poor you. Morey's got terrible ulcers.Cass stretches her upper lip across her teeth and she smearsit with, orange lipstick. JOE Don't know what line Morey's in, but myself now, fact is -- I'm a hustler. CASS (lips stretched) Hers'n zodda meg a livig. JOE Beg pardon, ma'am? CASS Said, a person's gotta make a living. JOE You sure you heard what I said? CASS Scuse me, hon, fraid I'm only half here. Maybe you oughta run on along. But why don't you take this phone number?Joe grins, relieved as she takes out a gold lame purse andopens it. He frowns as she folds; it upside down, empty. CASS (CONT'D) Darn! I didn't get to the bank -- Tex -- could you let me have a little coin for the taxi-waxi?Joe stands mute as she cups his chin in her hand,seductively. CASS (CONT'D) You're such a doll. I hate money, don't you? God, it's been fun. JOE Funny thing, you mentioning money. I was just about to ask your for some...Joe tries to laugh but it sticks in his throat as Cass speaks-- an impassioned whisper -- still holding Joe's chin. CASS You bastard! You son of a bitch! You think you're dealing with some old slut? Look at me! You think just cause you're a longhorn bull you can get away with this crap? Well, you're out of your mind. I am a gorgeous chick, thirty-one, that's right, you said it!Sobbing suddenly, she throws herself on the bed. Joe standsbewildered by the vastness of her grief. JOE Hey. Hey, Cass. Did you think I meant that? Christ, would I be asking you for money with a wad like that riding on my hip?Joe waves his wallet at her, but she only cries louder. Hehands her a kleenex. She clutches it to her face, wailing.Joe leans over the bed, whispering in her ear: JOE (CONT'D) Hey. You are a gorgeous-looking piece, Cass. Guy gets horny, just looking at you. It's a fact. How much you need for that taxi? Ten? Twenty? There you go.Joe tucks a twenty-dollar bill into her bosom, tilts hisStetson and starts out. Cass blows her nose, looking afterhim. O.S. chorus sings, "From this valley they say you aregoing -- we will miss your bright eyes and sweet smile..."EXT. LEXINGTON AVENUE - DAYFrom a high angle, Joe walks away from the apartment house,chorus continuing O.S. "... they say you are taking thesunshine that brightened our pathway a while."INT. EVERETT'S BAR - DAYJoe sits at the bar, staring morosely at his image in themirror, already quite drunk, oblivious to the assorted typeshiding from daylight in the barn-like saloon, waiting fornight to fall. RATSO'S VOICE Excuse me, I'm just admiring that colossal shirt...RATSO studies Joe across the corner of the bar -- a sickly,child-size old man of twenty-one -- hopefully nursing anempty beer glass, contemplating the money on the bar in frontof Joe. RATSO That is one hell of a shirt. I bet you paid a pretty price for it, am I right? JOE Oh, it ain't cheap. I mean, yeah, I'd say this was an all right shirt. Don't like to, uh, you know, have a lot of cheap stuff on my back.Ratso spits as JACKIE leans on the bar next to Joe -- afeminine young person, heavily made-up, hair teased, wearingearrings and a lace-trimmed blouse over shocking pink levis. JACKIE Got a cigarette, cowboy? RATSO (a stage whisper) More goddam faggots in this town.Reaching for a cigarette, Joe glances at Jackie, startled asJackie twitches his pink levis angrily and turns away. JOE Shee-it... (shakes his head) Kee-rist, you really know the ropes. Wish to hell I bumped into you before. I'm Joe Buck from Texas and I'm gonna buy you a drink, what do you say to that? RATSO Enrico Rizzo from the Bronx. Don't mind if I do. JOE (slaps bar) Same all around! For my friend, too!The TV screen over the bar features a mating game program asJackie cruises down to join a tall farm boy with pluckedeyebrows. The TV HOST points to three young men, visible onlyfrom the shoulders up, from whom a pretty DATE GIRL inblindfold must choose an escort. TV HOST ... and for the losers, who don't get the girl, we'll give as consolation prices -- a six month supply of underarm deodorant...In a booth now -- the TV screen in the background, continuingthe game -- Joe is refilling Ratso's beer glass as he speaks,loud over the laughter of the TV audience. JOE ... you see what I'm getting at here? She got a penthouse up there with color TV and more goddam diamonds than an archbishop and she busts out bawling when I ask for money! RATSO For what? JOE For money. RATSO For money for what? JOE I'm a hustler, hell, didn't you know that? RATSO How would I know? You gotta tell a person these things (shakes his head) A hustler? Picking up trade on the street like that -- baby, believe me -- you need management. JOE I think you just put your finger on it, I do. RATSO My friend O'Daniel. That's who you need. Operates the biggest stable in town. In the whole goddam metropolitan area. A stud like you - paying! -- not that I blame you -- a dame starts crying, I cut my heart for her... JACKIE'S VOICE I'd call that a very minor operation...Ratso grabs the neck of a bottle, sliding back in the booth.Joe scowls as Jackie appears with the tall farm boy. JACKIE ... in fact, you just sit comfy and I'll cut it out with my fingernail file. You won't even need Blue Cross, Ratso. RATSO The name is Rizzo. JACKIE That's what I said, Ratso. JOE (suddenly) Hey now, you heard him.On the TV screen -- the Date Girl announces: TV DATE GIRL I pick Number Two! He's cool! RATSO That's okay, Joe. I'm used to these types that like to pick on cripples. Sewers're full of 'em. JACKIE May I ask one thing, cowboy? If you sit there and he sits way over there, how's he gonna get his hand into your pocket? But I'm sure he has that all figured out... (to Ratso) Good night, sweets. TV HOST May present your chosen mate!The TV host pulls aside the screen which has concealed thelower half of the three young men. Number Two, her chosenmate, is a dwarf sitting on a high stool. The girl'sspontaneous dismay starts everyone laughing hysterically,including the dwarf.EXT. SIXTH AVENUE - DAYJoe has difficulty keening up with Ratso, who swings himselfalong with surprising agility, his half skipping little gatefavoring one game leg. RATSO Look, with these chicks that want to buy it, most of 'em are older, dignified, right? Social register types. They can't be trotting down to Times Square to pick out the merchandise. They need a middleman, right? That's O'Daniel.Joe hesitates as Ratso darts into traffic against a redlight, yelling unheard obscenities at a cab driver who blastshis horn. Joe runs recklessly forward as Ratso slams the taxifender with his fist, pretending to be hit, falling intoJoe's arms. The taxi stops, halting traffic. Ratso, recovers,strolls casually in front of the cab, biting his thumb at thedriver. RATSO (CONT'D) It is a crime, a stud like you passing out double sawbucks to a chick like that. With proper management you should be taking home fifty, a hundred bucks a day. More if you wanta moonlight...EXT. SIDEWALK CAFE - COCKTAIL HOURAt,the corner of Central Park South, Ratso points toward ayoung man with diamond cuff-links, sitting with a blue-hairedmatron who puffs on a small cigar. Ratso waves jauntily atthe young man, raising his thumb and forefinger in a circle,leaving the young man baffled as Ratso hurries Joe on. RATSO Him I placed with O'Daniel just two weeks ago. And look. Not much of a stud either, what I hear...EXT. CENTRAL PARK SOUTH - COCKTAIL HOURRatso automatically checks the coin return boxes of the phonebooths they pass. Walking the park side of the street,looking across at the limousines and taxis waiting outsideluxury hotels and apartment buildings. JOE Hey, listen, how about you take me to mee this Mister O'Diddle bird right now? RATSO Well, Joe, you're a nice guy, and I'd be doing you both a favor, but why? What'm I dragging my bum leg all over town for? It's no picnic and what for, for me myself, what?Ratso stops opposite the Plaza hotel, pointing across at anaristocratic blonde stepping out of a Rolls Royce. RATSO (CONT'D) Tomorrow when some piece like that's scratching your back in a Fifth Avenue townhouse, where'll your pal Rizzo be? Nedicks. JOE Hold it, just hold it. You think I'm that kinda sombitch? Just name your cut, whatever you want, you got it right now. Five? Ten, how's that?Joe peels a ten from his wallet and offers it to Ratso. RATSO Joe, please. You know what I'd ask anyone else? Oh hell, tell you what I'll do, I'll take the ten... (he does) ... but when I hand you over to Mr. O'Daniel, I'll have to have another ten, Joe; just to like cover expenses...INT. PUBLIC PHONE BOOTH - DUSKRatso is on the phone. Joe holds the door open, listening. RATSO This boy is just your meat, Mr. O'Daniel, believe it, I'm telling you -- what? -- Enrico Rizzo from the Bronx. The point is he needs you. Right now. Tonight... (aside to Joe) I got his tongue hanging out...EXT. WEST SIDE HOTEL - DUSKCamera moves slowly up the anonymous wall of a drab hotel,following the line of dim red lights marking the fire exits. RATSO'S VOICE Name's Joe Buck. Cowboy. Just in from Texas, don't know the ropes, new to the city, but very promising material, sir, and ready, if you get what I mean. Fabulous. Right away. What's that room number there again? INT. WEST SIDE HOTEL ELEVATOR - DUSKAs ancient open cage lift rises at the same pace as camera inpreceding shot. Joe grins excitedly at Ratso, who nods butglances significantly at the elevator operator. Ratso followsJoe to door as the operator grinds to a stop. INT. WEST SIDE HOTEL CORRIDOR - DUSK Ratso steps out with Joe, gesturing to the corridor... RATSO Hold it a second...... but the operator slams the door and starts on up. Ratsoleans heavily on the down button, glancing at Joe. RATSO (CONT'D) Nine-oh-one, got it?Ratso glances up the elevator shaft nervously, rings againand turns back to Joe. RATSO (CONT'D) Let's see how you look. Fine. You look fine. Now I'm gonna have to have that other ten... JOE (digs in wallet) Ten, ten -- I got a twenty -- take that... RATSO Oh hell, forget it. JOE Now take it. Go on. (gives it to him) Listen, where can I reach you? Cause I'm gonna make this right with you soon's I get me set up... RATSO Forget it. JOE I mean, dammit, where you live?Ratso leans on the DOWN as the cage grinds slowly down intoview and stops. RATSO Sherry-Netherlands Hotel. Now get your ass in there. He's waiting!Ratso steps into the elevator as the door opens then closes,leaving Joe alone, repeating "Cherry Neverlin" as he startsalong the corridor looking for 901. EXT. WEST SIDE HOTEL - DUSK Ratso bursts from the hotel, almost running as he disappears. INT. WEST SIDE HOTEL CORRIDOR - DUSKJoe finds 901 at a dark end of the corridor, knocksconfidently, hearing a few bars of his love theme as hestuffs a fresh stick of gum in his mouth. Then the door isthrown open by O'DANIEL -- for an instant appearing to wear adiamond-studded skull-cap, the naked overhead light bulbbright after the dark corridor, halating in Joe's eyes likethe earlier dollar sign. O'DANIEL You must be Joe Buck. Come in. O'Daniel, fat in a worn-out bathrobe, examines Joe like aprodigal son as he leads him into the room -- as anonymous asJoe's own room. O'DANIEL (CONT'D) Am I tickled to find you, boy! Come on in and let's get a look at you. Turn around. Good strong back. You'll need it. So you want help -- take a seat, relax, tell me about yourself. Cowboy, huh? JOE No sir, I'm no cowboy really, but I'm a first class stud. O'DANIEL Take it,easy, boy... (laughs) Seems to me you're different than a lotta boys that come to me. Most of 'em seem troubled, confused, but I'd say you knew exactly what you want. JOE You bet I do, sir. O'DANIEL But I'll bet you got one thing in common with them other boys. I'll bet you're lonesome. JOE Well, not too, I mean, a little.O'Daniel rises suddenly in a fury of self-righteousness,pacing, his voice simpering, whining sarcastically. O'DANIEL I'm lonesome. I'm lonesome so I'm a drunk. I'm lonesome so I'm a dope fiend. I'm lonesome so I'm a thief, a fornicator, a whore-monger. Poop, I say, poop! I've heard it all and I'm sick of it, sick to death. JOE Yessir, I can see that. O'DANIEL Lonesomeness is something you take. You bear? Dammit, you take it and go about your business, that's all. JOE Well, uh, I'm raring to go. O'DANIEL Yes, I believe you are. Cowboy, huh? JOE Uh, yessir. O'DANIEL Ready for hard work, son? JOE Ready for anything. O'DANIEL I got a hunch, Joe Buck, it's gonna be easier for you than most. JOE Gonna be like money from home. O'DANIEL Money from home, see, there's your strength, you put things in earthy terms any man can understand, son. I warn you I'm gonna use you, I'm gonna run you ragged!Joe laughs, driving an obscene uppercut into the air.O'Daniel laughs with him. O'DANIEL (CONT'D) You're a wonderful boy. You'n me gonna have fun, dammit, it don't have to be joyless. Say, why don't we get right down on our knees now? JOE Get down -- where? O'DANIEL Right here, why not? I prayed in saloons, I prayed in the street, I prayed an the toilet. He don't care where, what He wants is that prayer.O'Daniel drops on all fours, crawling to find the plug of anelectric cord. He shoves it into a wall socket, switches offthe overhead light and suddenly a hollow, tinted plasticJesus glows on the dresser. O.S. a revivalist congregationsings. And now we notice, with Joe, placards and flags, hornsand tracts, all the paraphernalia of a street cornerevangelist. JOB Shee-it... O'DANIEL That's the ticket, just open your heart and let it flow. It ain't the words, it's the love beyond 'em!EXT. REMEMBERED BAPTISM - ANOTHER TIMESally Buck sings with the congregation while a rawbonedpreacher stands in the river, preparing to immerse littleJoe. O'DANIEL'S VOICE Don't fight it, boy!INT. WEST SIDE HOTEL ROOM - DUSKO'Daniel tries to pull Joe down beside him. O'DANIEL Pray and you shall be heard!EXT. REMEMBERED BAPTISM - ANOTHER TIMECamera becomes little Joe, glimpsing the fevered faces ofSally Buck and the congregation singing on the riverbank,just before being plunged under the river. O'Daniel's voicereechoes, filtered through water. O'DANIEL Don't be frightened, son!EXT. TIMES SQUARE - NIGHTJoe runs in aimless panic, pushing through the crowd, pursuedby O'Daniel's voice and the singing congregation. O'DANIEL Don't run from Jesus!Joe stops short as he sees the front page of a tabloid on anewsstand. There is a picture of Joe being led away by twodeputies, under a headline ALABAMA MURDERER SHOTGUNS ELEVEN.EXT. FORTY-SECOND STREET - NIGHTJoe searches the faces of the crowd, running forward suddenlyas he sees Jackie and the farmboy picked up by two men in alarge convertible. Joe chases the car to Eighth Avenue butstops, frightened as he sees himself in multiple image on thefront of every newspaper displayed on a newsstand.INT. EVERETT'S BAR - NIGHTThe saloon is almost empty during the after dinner lull. TheBARTENDER doesn't look up from his newspaper as Joeapproaches. JOE Say, you know that runty little bastard I was with? BARTENDER I don't know nothing.Joe tenses as he sees the . tabloid picture of himself on theback of the bartender's paper. Joe's hand closes around anempty beer bottle, a terrible violence surging very near thesurface. O.S. women scream.INT. REMEMBERED BEAUTY SALON - ANOTHER TIMEReflected in the mirror, we see little Joe wildly smashingbottles and glass display cabinets -- the voices of womenscreaming O.S. -- little Joe hurling a perfume bottle whichshatters the mirror and his own image.INT. EVERETT'S BAR - NIGHTThe empty beer bottle stands where it was. Joe hasdisappeared. On the TV screen over the bar, sound drowned outby the jukebox, we see a blowup of the tabloid photograph,revealing a young man very similar to, but clearly not Joe.EXT. TIMES SQUARE - NIGHTColorful lights still flash seductive promise. The vertical,lights on the MONY tower reach bottom and freeze momentarily.STILL PHOTOGRAPHJoe at his hotel window staring out blankly. Gun fire O.S....INT. SHOOTING GALLERY - DAYThe radio at Joe's ear is drowned out by a kid in cowboy hat,shooting alone in the gallery.Two policemen idly slap their thighs with night sticks. Joemoves on, unconsciously checking the coin return box of a payphone.STILL PHOTOGRAPHJoe curled up on his bed like a baby, fully dressed, hisradio on the night stand. O.S. his love theme, remote,hollow...EXT. FORTY-SECOND STREET - NIGHTJoe's radio is at his ear "... never too late to look great,Ben's Bargain Basement's open 'till five a.m., miles andmiles of Western styles, worth more at any store, money talksand nobody walks." For the first time, Joe is aware of theother midnight cowboys lurking in doorways, the cruisingqueens, the middle-age men in sport shirts. Joe moves on selfconsciously as he sees a scar-faced policeman, unconsciouslymassaging his night stick. Camera holds on a window displayof gag buttons, featuring NEW YORK WILL BREAK YOUR HEART,BABY.STILL PHOTOGRAPHJoe soaking in the tub, eyes closed.EXT. TIMES SQUARE DANCE HALL - DAYJoe's radio promises job opportunities for young men eighteento twenty-five in the U.S. Air Force. He stands with a crowdstaring up at a girl go-go dancing in the window of SERGEANTPEPPER'S LONELY HEART CLUB.STILL PHOTOGRAPHJoe staring in the mirror. O.S. static over his love theme.EXT. SIXTH AVENUE - NIGHTBy work-light, the tarrier in metal helmet leans on a jackhammer, beyond the sign DIG WE MUST, drowning out Joe'sradio.STILL PHOTOGRAPHJoe flexing his muscles in his jockey shorts while -- LIVE ONTV SCREEN -- a physical culture personality finishes push-upsand starts pitching his own extra protein bread.EXT. TIMES SQUARE PANCAKE HOUSE - DAYJoe's radio continues the super-break commercial while a frycook flips flapjacks in the window.But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks upand his eyes meet those of the young man scraping garbagebehind the counter. It's Joe. JOE Shee-it.STILL PHOTOGRAPHJoe sits in the hotel lobby, staring out at the street,unable to concentrate on his comic book. On two-way radio, awoman's voice giggles as she speaks, "When I can't sleep,well, I just dial the time and listen to those old secondsclicking by like, you know, counting sheep?"EXT. SIDEWALK CAFE - COCKTAIL HOURJoe watches a young man hold a taxi door for an older lady,at the same corner where Ratso waved to another young man.The woman's predatory eyes linger momentarily on Joe beforeshe leads the young man into the Cafe. The two-way radiocontinues over, "... that's what I do about insomnia." JOE Well, now, ma'am, next time you got that feeling coming on, you dial Joe Buck. I'll show you what to do...STILL PHOTOGRAPHJoe straddles a chair, staring at a blank TV screen. SINGING COMMERCIAL Need a little easy money? It's E-Z. Want a little easy cash? It's E-Z.E-Z LOAN COMMERCIALAs the jingle continues, we follow Joe and his radio into theloan office, the depressing reality photographed and editedin the style of a TV commercial: JINGLE Easy locations to get to Easy ladies to greet you Easy chairs to seat you Easy payments to meet Let E-Z set you On Easy Street Joe arrives confident Harassed E-Z receptionist Lines of uneasy customers Desperate, angry faces Reams of E-Z forms to fill Clerk's sneer, says Joe has to be kiddingINT. TIMES SQUARE PALACE LOBBY - NIGHTJoe's image frozen -- as if another still photograph -standing at the desk, waiting for his key. JOE'S VOICE Key to 1014...Action continues as the DESK CLERK hands Joe a folded paperinstead of a key. Joe opens it, deeply perplexed. DESK CLERK Looks like you been locked out of your room, buddy. Till you pick up your tab. JOE Uh, what about my things'n all? DESK CLERK We keep them nice and safe till you get this straightened out.INTERCUTRoom 1014 warm and inviting, Joe's suitcase on the bed. JOE Listen, tell you what, you can keep all the rest of the goddam junk if you let me have just the suitcase. That suitcase means a lot to me.INTERCUTThe postcard photograph marked X -- THIS IS ME. DESK CLERK We keep everything. House rules.EXT. TIMES SQUARE - NIGHTJoe stands outside the hotel, stunned, seeing the brightcolored lights turn suddenly grey. The film continues inblack and white as Joe walks into the crowd.EXT. SALLY BUCK'S BEAUTY SALON - DAYThe FOR RENT sign flapping in the wind.INT. BAR - DAYJoe nurses a short beer, like the regulars. He looks up as acrippled panhandler approaches, vaguely reminiscent of Ratso. JOE Screw off.INT. ROOM 1014 - NIGHTThe bed turned back, clean sheets, a soft night light.INT. BUS DEPOT - NIGHTJoe is stretched on a bench, his Stetson over his eyes. Aloud speaker announces a bus "departing for Texas" but Joedoes not move. A policeman taps Joe's boots with his nightstick. Joe rises and starts away with mixed anger andapprehension.INT. PUBLIC MEN'S ROOM - DAYTwo matching Ivy Leaguers exchange a glance as they see Joewashing his feet in the basin. Joe stares back with abelligerent grin. JOE Any objection, gentlemen?INT. ALL NIGHT CAFETERIA - NIGHTJoe balances a cup of coffee, walking past the other solitarynight people, avoiding each other's eyes. Joe spots what he'slooking for and seats himself next to a gaunt woman and herten year old son, both freaked out, erratically touchingthings, themselves, each other in a futile effort to makecontact with reality. But Joe is only concerned with theplastic-wrapped crackers left by their empty soup bowls. JOB Y'ain't gonna eat them?The woman stares at Joe blankly. The boy runs a toy mouseacross the table, up his mother's arm and around her face.With a polite nod, Joe opens the crackers and squirts onewith ketchup. Joe upsets his chair as a great gob of ketchupspills onto his pants... JOE Shee-it.... glancing around with an embarrassed laugh, but the onlyone looking is a cop, scratching his calf with a night stick.Joe keeps his back to the customers as he moves to the waterdispenser, wets a paper napkin and tries to wipe away thestain. But the water has only spread the stain across hispants and down his leg. He blushes as a blonde youngstreetwalker giggles. SALLY BUCK'S VOICE Wet your britches, lover boy?INT. SUBWAY ARCADE - NIGHTJoe tries to hide the stain with his jacket as he checks thecoin boxes of vending machines, wary as he passes a burlypoliceman, abstractedly snapping his handcuffs in front of abakery window display of bride-and-groom wedding cakes. Joebarely glances at a confused MIDDLE-AGE LADY. MIDDLE-AGE LADY How do I get to Grand Central? JOE Shuttle. Follow the green light.Automatically,checking the trough of a gum vending machine,Joe unexpectedly faces himself in the mirror, the eyesstaring at him tired and hopeless. His hand reachesunconsciously for a cigarette, The package is empty. Hecrumples it in his fist but holds it. JOE (CONT'D) Alright, cowboy. Enough of this shee-it. You know what you got to do? (nods) Then go do it.EXT. FORTY-SECOND STREET - NIGHTJoe hurls the crumpled package into a DON'T BE A LITTERBUGbasket as he emerges from the subway, his radio at his ear.The torchy voice belts his love song, merging with streetnoises crying danger -- an ambulance, a burglar alarm, apoliceman's whistle -- the lights flashing lurid color forthe first time since Joe was locked out, no longer promisingbut threatening, clashing, warning as...... from a high angle, across the street, Joe joins the othermidnight cowboys, offering himself to all comers. His figureis momentarily obliterated by traffic then...... zooming in, we see Joe self-consciously trying to hidethe stain on his pants, embarrassed as a large sedan slowsthen moves on to stop in front of a motorcycle freak. Joe isbriefly obliterated again by a passing police car...... the receding flash of its turret light revealing Joe inclose conversation with a frightened young FAT BOY, whoseeyes plead for reassurance as Joe scowls.INT. ROOM 1014 - DAYJoe's black and white suitcase gleams on the bed. JOE'S VOICE Twenty-three bucks, I got to have twenty-three bucks...INT. ALL NIGHT MOVIE - NIGHTFrom an apparently empty balcony -- an old science fictionfilm grinds endlessly through the night -- a lost spacemantrying to make contact with a tantalizing Martian maidenacross an invisible time barrier, theremin voices calling,"Earthling, where are you?" FAT BOY'S VOICE Okay. Sure. I got twenty-five...At the top of the balcony, Joe leans back, turning his faceaway as the Fat Boy embraces him, kissing Joe's cheek andneck, his head moving down out of frame to show -- on thescreen -- the spaceman and Martian maiden meeting, armsoutstretched. But the Martian maiden moves right on throughthe spaceman, crying, "Earthling come back, however manycenturies it is, I'll wait!" Joe closes his eyes, forcing hismemory back...INT. REMEMBERED MOVIE HOUSE - ANOTHER TIME... repeating the remembered image of Anastasia and a youngerJoe, behind the movie screen... ANASTASIA You're the only one, Joe, the only, only one ever!... the remembered passion continuing, mounting -- intercutwith flash impressions, like flipping pages of a nudiemagazine -- naked, half-draped blondes gazing into camerawith sultry eyes, including one comic strip sexpot and thecalendar girl in Joe's Texas hotel room... ANASTASIA'S VOICE You're the best, the very best, yes, yes, kiss me, oh God please kiss me, Joe, now, now, now!... Joe's face in extreme close-up, sounds of both moviehouses merging, confused, dominated by the voices ofadolescent boys... BOYS' VOICES Hey, Joe, give someone else a chance! What's he doing for chrisake? He kissing Anastasia? You better swallow a whole goddam drugstore, man!... an adolescent ratpack waiting in line behind the screen,laughing in coarse whispers, watching Joe and Anastasia. O.S.theremin voices call "Earthling, where are you?"INT. ALL NIGHT MOVIE - NIGHTOn screen, the Martian maiden moves through the spaceman,crying, "Earthling, come back, however many centuries it is,I'll wait!"INT. ALL NIGHT MOVIE RESTROOM - NIGHTJoe watches the Fat Boy doubled over, retching. JOE I'm awful damn sorry you're sick, kid, but you gonna have to gimme that money like you said. FAT BOY I was lying. I don't have it. What're you going to do to me? JOE (controls fury) What you got in your pockets?Eagerly, the boy produces a family photograph, a subwaytoken, a dirty handkerchief. Joe grabs his wrist, revealing awatch. JOE (CONT'D) How much's that worth? FAT BOY I can't go home without my watch! My mother'd die! She'd die! Take my books! Not my watch! She'd die!But Joe has already kicked open the door. Theremin voicesdrown out the Fat Boy, calling "Earthling, where are you?"INT. ALL NIGHT MOVIE - NIGHTJoe sprawls, trying to sleep, his feet on the balcony rail,the radio at his ear. On screen, once again, the Martianmaiden moves through the spaceman, crying, but we hear thevoice of a desperate woman on two-way radio. As she speaks, apoliceman moves along the aisle, slapping his palm with hisnight stick. DESPERATE VOICE Bill, can I call you Bill, Mister Bonner? I feel like I know you from listening. What I called about, Bill, I'm gonna kill myself...EXT. SIXTH AVENUE - DAYFrom a high angle, only Joe's Stetson and radio can be seenabove a passing bus, its side panel advertising BILL BONNER'SSTRAIGHT LINE, A STRAIGHT TALK SHOW. BONNER'S VOICE Why call me, baby? If you want to do it; just do it, don't talk about it. Are we drunky? Feeling a little sorry for ourselves maybe?Joe appears in full figure as the bus passes. He standslooking at the suitcases in a luggage shop window. DESPERATE VOICE Well, Bill, what I got thinking, I didn't want the neighbors to have to find me, this young couple with the boy I want to have my cat, see, Bill?INT. RADIO STATION - DAYBONNER, tough in a grey crew-cut, talks on the phone. BONNER Okay, baby, now listen, just hold on while I leave the line for a minute. And think about all the kids that are dying overseas for you, okay, baby? Got that? I'll be back in exactly sixty seconds. After this message from...A taxi born blasts, interrupting the sponsor's message.EXT. SIXTH AVENUE - DAYJoe's fist slams a fender violently, using Ratso's fakeinjury trick to stop traffic, running across the streettoward...EXT. NEDICK'S - DAY... Ratso staring out at Joe, paralyzed in the act oflighting a cigarette -- intercut in flashing close-ups -- Joeoutside the window, Ratso inside -- reflecting theirconflicting emotions -- Joe's murderous rage -- Ratso's panic-- one almost subliminal flash of each revealing somethinglike pleasure at finding a long-lost friend...INT. NEDICK'S - DAY... Ratso staring up into camera, holding his breath. RATSO Don't hit me, I'm a cripple.Joe's hand falls on Ratso's shoulder. JOE Oh, I ain't gonna hit you, I'm gonna strangle you to death...The cigarette in Ratso's mouth burns into his lip. He jerksspasmodically, choking on smoke as he rips skin away with thebutt and drops it in his coffee cup. JOE (CONT'D) ... only first I'm gonna turn you upside down and shake you out right here and now.Coughing, eyes tearing, Ratso empties his pockets on thecounter, finally producing: sixty-four cents, a few sticks ofgum, an almost empty cigarette package, a book of matches andtwo pawn tickets. He raises his eyes, somehow ashamed. Joekicks the toe of Ratso's loafer. JOE What's in your socks? RATSO Not a cent, I swear to God, I swear on my mother's eyes.Ratso removes his loafers and shakes them, glancing at thecounter man. His socks don't even conceal his toes.Disgusted, Joe shoves Ratso's small pile back at him. RATSO (CONT'D) You keep the sixty-four cents. I want you to have it. JOE It's sticky. What you do, slobber on 'em? I wouldn't touch 'em.Joe should leave -- Ratso obviously has nothing tangible tooffer -- but Joe hesitates, lighting a cigarette as Ratsopulls on his loafers. RATSO How do you like that O'Daniel, flipping out like that? I wanted to get in touch with you when I heard, but I been laid up with this cold...Ratso touches his chest, forcing a cough which continuesitself beyond his intention. JOE You want some free medical advice, shut your goddam mouth about that night. RATSO Okay, right, right, okay. Another subject. Where you living? Still at the hotel?INT. ROOM 1014 - DAYThe black and white suitcase lies open on the bed.INT. NEDICK'S - DAYJoe turns abruptly and walks away. JOE Shee-it. I got better things to do than talk to you.EXT. SIXTH AVENUE - DAYJoe strides north, pretending he doesn't hear... RATSO'S VOICE Hey, wait up, for crissake!... Ratso hop-skipping to overtake Joe at the traffic light. JOE Listen, keep away from me, hear? You come near me again, I snatch you bald-headed! RATSO I'm inviting you. I mean if you're not located, I got a place. I'm inviting you, goddamit. JOE You inviting shee-it.EXT. TENEMENT STREET - DAYA contractor's sign announces LUXURY APARTMENTS AVAILABLE inhigh-rise co-op, under construction beyond a raw of tenementswith X's taped on the windows. Ratso's voice continues overthe click-clack-click of Joe's boots and the flip-flap-squeakof Ratso's loafers as camera moves toward a condemnedbuilding. RATSO'S VOICE The X on the window means the landlord can't collect rent -- which is a convenience, hey? -- on account of it's condemned.INT. TENEMENT STAIRS - DAYFootsteps climb past rubbish piled outside empty flats. RATSO'S VOICE The electric's off. Another convenience. I don't mess with Con Edison, hey? What the hell, I got candles, right?INT. X FLAT - DAYLight from the X window shines on a Florida tourist poster asRatso leads Joe into an abandoned tub-in-kitchen flat, barelyfurnished with a table and chair, a rumple of blankets on aburnt-out mattress. RATSO I got no heat, but by that time, you know, cold weather, hey, I'll be in Florida. Stretch out. Make yourself comfortable. You hungry? I'll put up some water for coffee.Ratso fills a saucepan from the tub-sink, sets it on a Sternostove. Joe sits himself on the mattress-bed, pretending totest it, weeks of exhaustion and tension overwhelming himsuddenly, his only immediate problem being the effort torestrain a large, comfortable yawn. JOE Comfortable, kee-rist, I slept on subways softer than this.Joe stretches himself, yawning, his eyelids drooping heavily.The sounds of the city recede. Joe's love theme plays softlyon a distant radio. Joe's eyes close momentarily in spite ofhim elf.INT. REMEMBERED CAR - ANOTHER TIMEA vintage dashboard, radio dial glowing, Anastasia's face. ANASTASIA Love me, Joe?EXT. DEMOLITION SITE - DAYA huge metal ball arcs on chain, demolishing a brick facade.INT. X FLAT - DAYRatso's face seems to radiate evil as he lights a Sterno can.Joe forces his eyes half-open. JOE Smart thing for me to do is haul ass outta here. RATSO Whatsa matter now?Joe shivers, pulls a blanket around him, resisting sleep, butthe noises of demolition fade, the love theme lures Joe back. JOE You don't seem like no fag... RATSO What's that supposed to mean?Joe's eyes close, his voice continuing out of half-sleep.JOE Want me to stay here, y'after something. What y'after?INT. REMEMBERED CAR - NIGHTJoe's thumbnail flares a match, exposing Anastasia on the carseat with Joe, both nearly naked. Anastasia butterfly-kissesJoe's chest as he lights a cigarette.ANASTASIASay you love me. Just say it.JOEOkay. I love you.Anastasia purrs as her lips find Joe's breast, trying tonurse. A flashlight flares suddenly through the car window.NIGHTMARE - MULTIPLE SPLIT SCREENLow angle Ratso bending over Joe, into camera...... Sally Buck shocked, hand still on switch... ... Joe blinded by halation... ... Anastasia's mouth screaming soundlessly... ... flashlights multiplying on car window...Full frame -- Anastasia catatonic in hospital gown -- awoman's voice "What'd he do to you, Annie?"...... gang-bang ratpack surrounding car with flashlights... ... Jackie shrieking "He loves her he loves her"... ... hands closing on Joe's buttocks... ... hand closing on Joe's naked left foot... ... hand on naked right foot... ... dentist leaning over Joe's mouth... ... hands pulling Joe's legs apart...Zoom close-up -- Anastasia screaming soundlessly...... thermometer under Little Joe's tongue... ... Sally Buck shoves chocolate in her mouth... ... bewigged poodle licks her fingers... ... Sally Buck hangs enema can on bedpost... ... Ratso leads ratpack chasing naked Anastasia... ... corona of flashlights...Anastasia screaming soundlessly -- flashlight shoved into hermouth -- electronic rock blasting...... blank-eyed go-go girl in dance hall window... ... Joe held naked by ratpack... ... Ratso breaking beer bottle on Everett's bar... ... dwarf laughing on television... ... Ratso aims broken bottle at Joe's crotch... ... shooting gallery cowboys riddle Joe's pelvis...Anastasia catatonic in courtroom -- between gaunt parents -whining singsong "Raped her raped her Joe Buck raped her"...... Fat Boy's mouth finds Joe's breast, tries to nurse... ... Sally Buck kisses him open-mouthed... ... slug crawls up Joe's stomach, trailing mucus... ... Cass's poodle laps at his toes... ... butterflies settle on his eyes...Anastasia catatonic in courtroom between parents -- who arenow O'Daniel and Sally Buck...... drawling voice "evidence of repeated violations"... ... Bill Bonner in flag-cloth judge's robe... ... police advancing, swinging night sticks... ... Joe running into Times Square, suddenly naked... ... Anastasia sitting in all-night cafeteria... ... freaky child running toy mouse over her naked body...Siren screaming -- Anastasia staring catatonic from rearwindow of ambulance...... ambulance racing away... ... Joe chasing naked after ambulance... ... running into the arms of the police... ... Ratso laughing as police beat Joe...INT. X FLAT - NIGHTJoe awakens in a cold sweat, fighting the blankets, wild-eyedas he sees Ratso at the table, examining Joe's radio bycandle-light. Joe lunges across the room to snatch the radiofrom Ratso's hands. RATSO For crissake!Still wild-eyed, Joe suddenly points at his stocking feet. JOE Where's my boots -- ?EXT. TIMES SQUARE - DAYJoe facing the crowd, naked except for his boots.INT. X FLAT - NIGHTRatso points to the boots on the floor by the mattress. JOB How'd they get off me? RATSO I took 'em off. JOE What for? RATSO So you could sleep! I mean Christ!Joe inspects the boots, seats himself on a battered Army cot - which has been added while he slept -- swinging a boot byits strap, considering whether to stay or go. RATSO (CONT'D) I drug in a cot, if you want to stay. JOE Well now, Ratso, I'm gonna tell you something for your own good, only first gimme a cigarette.Ratso offers a cigarette from his crushed package, Joestrikes a match on his thumbnail and lights up, staring atRatso. JOE (CONT'D) You want me to stay here tonight, is that the idea? RATSO I ain't forcing you, like, I mean, who's forcing you? JOE Oh. Guess I got the wrong impression.Joe makes a slow move to pull on one boot. RATSO I want you to stay, okay? I goddam invited you, didn't I? JOE Well, I hope you know what you're in for. I'm a very dangerous person. Someone does me bad like you. If I caught up with you that night, there'd be one dead Ratso long about now. Hear? RATSO I'm impressed. You're a killer. JOE So if you want me to hang around for a few days, I thought you should know.Joe yawns, picks up a few blankets and spreads them on thecot. He puzzles out the faded printing on one blanket. JOE (CONT'D) Property of the YMCA. You make me wanna puke sometimes, Ratso.Ratso blows out the candle and wraps himself in blankets. RATSO Joe -- do me one favor -- this is my place, am I wrong? You know, in my own place my name ain't Ratso. I mean it so happens my name is Enrico Salvatore Rizzo. JOE Shee-it, man, I can't say all that. RATSO Rico then, at least call me Rico in my own goddam place. JOE Rico! Rico! Rico! Is that enough? (then) And keep your meat hooks off my radio.EXT. VEGETABLE MARKET - DAYRatso wears a threadbare raincoat of faded black, severalsizes too large, as he shops with housewives at a sidewalkvegetable stand -- elbowing his way through the ladies,testing fruit, picking up vegetables and putting them back --till the GREENGROCER spots him. GREENGROCER You! Out! Out! I told you, I calla cops!The other shoppers deliberately turn their backs, avoidinginvolvement. As the Greengrocer grabs Ratso, Joe ambles intothe scene, wearing his dangerous little smile. JOE Hey, looka here, that ain't nice, picking on a cripple...Joe intervenes just long enough for Ratso to escape, thenambles on, leaving the Greengrocer in frustrated fury. Cameraholds on a tray of coconuts.INT. X FLAT - DAYJoe lies on his cot, watching Ratso struggle to penetrate thefibrous husk of a coconut, experimenting with a variety ofrusty tools in an old cigar box. RATSO The two basic items necessary to sustain life are sunshine and coconut milk. That's a known fact. If I can find the goddam hole the milk squirts out. JOE This is an okay setup you got here, but I'd say you ain't just exactly, uh, flush, is that right or not? RATSO I been sick. Hold this, will ya?Joe takes his time rising to hold the coconut while Ratsotries to poke a hole with a bent ice-pick. RATSO (CONT'D) In Florida, they come smooth, ready to eat. Down there, your only problem is, diet-wise, you gotta lift an arm to wipe warm milk off your chin. Tough, hey? JOE I think finding you's the smartest thing I ever did, for both of us. You just the crooked kinda sneaky little sidewinder I need to get me hustling in this town. Hey!Joe jerks his hand away just in time to avoid the ice-pick.The coconut bounces on the floor. Ratso picks it up, holdsit, while Joe tries to crack it, swinging his boot like ahammer. RATSO Miami Beach is the only place for a real hustler. Florida has more rich chicks per square yard than any resort spot in the world. They lie out in their pagodas and pergolas waiting to grab the first jockstrap that passes. JOE What's all this sweet talk about Florida? Your friend O'Daniel got a stable down there now?Joe swings violently. Ratso yelps, hopping on his one goodleg, sucking his thumb. RATSO Cowboy killers! Break my finger, Christ! I got news for you, baby, no chick with any class buys that big dumb cowboy crap...Ratso holds his thumb under the tub-sink faucet. RATSO (CONT'D) ... the cowboy bit's out, except among fags of a certain type, which take a certain, type hustler to exploit. Like I could handle it -- being a stealing operation basically -- but take your average fag, very few of them want a cripple.Joe holds the coconut like Yorick's skull, thinking hard.* JOE Well, I am dumb, that's for sure. I don't talk right. I can't think too good. Just only one thing I ever been good for's loving. Women go crazy for me. Fact. Crazy Annie. Had to send her away. So I don't cash in on that, what am I? I'm shee-it. May's well flush me down that hole with the dishwater.Joe sets the coconut on the floor, holding it with both handswhile he tries to smash it with the heel of his boot. JOE (CONT'D) That's why you gonna stop crapping about Florida and get your skinny butt moving to earn twenty bucks worth of management you owe me...INT. ROOM 1014 - DAYThe suitcase lies open, displaying Joe's wardrobe. JOE'S VOICE Make that twenty-three bucks.INT. X FLAT - DAYJoe slams his heel down. The coconut shoots out from underhim and he lands on his ass. RATSO Look at yourself, Joe, no offense, but frankly, you're beginning to smell. For a stud in this town that's a handicap. JOE You talk like a man with a tin twat.Ratso sets the coconut on the window sill, balancing it as heraises the X window. RATSO You ain't got a chance in hell. You need threads and glitter, baby. A front, hey? JOE Well, uh, my manager's gonna manage all that crap, or else he gonna get a coconut up his flue.Joe slams, the window down. The coconut flies down to crashO.S. on the sidewalk below.EXT. SIDEWALK - DAYAn alley cat laps up the milk of the broken coconut.EXT. TIMES SQUARE - FANTASYJoe stands naked in the middle of traffic. A siren shrills.Anastasia, catatonic in a hospital smock, moves toward Joelike a sleepwalker, passing through him.INT. LAUNDROMAT - DAYWearing only his boots, Joe sits like an Indian chief,wrapped in a blanket -- angle widening to show Ratso,spotting Joe's jacket, slacks and shirt with cleaning fluid --his eyes on a very pregnant Italian lady. As she starts toload a coin cleaning machine, Ratso intervenes solicitously,speaking in Italian... RATSO A woman in your condition shouldn't do that. Let me help...... adroitly slipping Joe's cleaning in with her load as sheturns to seat herself beside Joe. JOE'S VOICE It ain't right, stealing from a pregnant lady.INT. HAT CLEANERS - DAYJoe and Ratso stand waiting at the counter. RATSO What did it cost her? The laundromat syndicate lost a couple coins. I'm crying.The owner brings Joe's clean and blocked Stetson from therear of the shop. Joe sets it on his head and examineshimself in a mirror as the owner hands Ratso, the bill. RATSO (CONT'D) Where's mine? The black homburg? I brought it in the same time.The owner glances at the slip, puzzled, returns to the rearof the shop to search for the nonexistent homburg. Ratsoquickly drags Joe away from the mirror and out of the shop.INT. SUBWAY ARCADE - NIGHTThe rhythmic duet of boots and loafers follows Joe and Ratso - checking coin boxes and telephone booths -- till they reacha shoeshine stand, locked for the night. They loiter till ayoung couple has disappeared, then Joe kicks loose 'thepadlock on the equipment drawer, mounts one of the chairs andRatso goes to work on his boots with furious expertise,flourishing double brushes, snapping the rag like a jazzdrummer. JOE Hey, you're good! I bet you could pick up a living at this if you tried. RATSO And end up a hunchback like my old man? You think I'm crippled? You shoulda caught him the end of a day.Ratso demonstrates a chimpanzee walk. Joe laughs. Ratso turnsback in panic as another man takes a chair next to Joe. Ratsois about to retuse when a cop takes the third chair, swinginghis handcuffs around to the front, tapping his shoe with hisnight stick. Ratso quickly drops a rag over the brokenpadlock, cursing under his breath as he starts working on allthree customers at the same time. RATSO'S VOICE You think it's funny?INT. X FLAT - DAYJoe is seated in a straight-back chair near the X window, atowel tucked around his neck as Ratso trims his hair, almostas expert a barber as shoeshine boy. RATSO Stupid bastard coughed his lungs out breathing that resin all day. They buried him with gloves on. Even the fag undertaker couldn't get his nails clean.As if by conditioned reflex, Ratso chokes on the cigarette inhis mouth, coughing painfully. He crushes it out, opens thewindow to spit, shivering, then slam it and turns back toremove the towel from Joe's neck. JOE Kee-rist, you pretty damn clever for a skimpy little gimp. RATSO You like it? Take a look. JOE Don't rush me. How I do it, see, I get myself primed, like I was turning on the charm for some pretty little blonde lady, then kinda mosey away slow and easy and - swing around! -- and there you are, you handsome devil.Joe performs his ritual as he speaks, but more relaxed,faintly laughing at himself with Ratso. The wall mirror hasbeen added since we last saw the flat, along with a leglessoverstuffed chair with burnt-out cushions, a tasselled tablecover, pinups, calendar girls and several new Florida touristposters, Ratso moves to Joe's side, arranging theneckerchief, nodding. RATSO Not bad -- for a cowboy -- you're okay, you're okay. JOE What I'm gonna do, I'm gonna make a cowboy outta you, kid. How about that? Build you up a little, teach you couple little tricks'n turn y'out to stud, Rat-stuff.Joe slaps his hat on Ratso's head, tilts it, hooks Ratso'sthumbs in his jeans and shoves a cigarette into the corner ofRatso's mouth. Ratso laughs till he chokes -- for oneinstant, self-consciously, mimicking Joe -- then removes thehat and reaches for his threadbare black raincoat. JOE (CONT'D) Okay, you got yourself one handsome, sweet-smelling cowboy, strut your stuff...EXT. CONVERTED TOWN HOUSE - DAYJoe and Ratso peer down through a basement bay window, intothe office of THE PERFECT GENTLEMAN ESCORT SERVICE --endorsed by leading travel agencies and credit clubs offeringdiscreet companionship and personal guided tours in anylanguage. A large-busted matron, on a French phone, fills outa memo and hands it to an immaculate young ESCORT, who slipsthe memo into his topcoat pocket as he comes from the officeand hails a cab. Ratso darts forward, limping exaggeratedly,holding the door, lifting the memo as he brushes off theEscort's topcoat. The young man waves him away with out atip. Ratso slams the door and bites his thumb after the cab,unfolding the memo as he joins Joe on the sidewalk. RATSO How do you like that? Cheap bastard... (reads, then) I think we struck gold. This is one high-class chick. The Barbizon for Women!EXT. MANHATTAN SKYLINE - DUSKThe Mutual of New York tower flashes MONY.INT. CORNER PHONE BOOTH - DUSKRatso consults the memo as he speaks into the phone. RATSO Mr. McNeill, I'm calling for Miss Beecham at the Barbizon Hotel for Women. She won't need you tonight...EXT. BARBIZON FOR WOMEN - NIGHTA doorman helps a young lady into a limousine. RATSO'S VOICE Would you believe a whole goddam hotel with nothing but lonely chicks?Joe and Ratso watch from across the street. RATSO Score once in that setup, the way chicks talk, Christ...Joe cracks his gum, tilts his hat, starts across the street. RATSO (CONT'D) Get the money! Remember Cass Trehune? Cash! These rich bitches write a check at night, call the bank and stop payment in the morning. Get the cash!In Ratso's eyes -- as Joe enters the hotel -- its facadesuddenly wipes away to reveal rich ladies in negligee waitingin every room.INT. BARBIZON FOR WOMEN - NIGHTJoe starts up the stairs, two at a time. A BELLHOP grabs him. BELLHOP Hey! No men upstairs!EXT. BARBIZON FOR WOMEN - NIGHTRatso warms his hands at a chestnut vendor's cart, seeing...... zoom close-up, a lady in a window grabbing Joe.INT. BARBIZON FOR WOMEN - NIGHTJoe picks up a house phone, watched by the Bellhop.EXT. BARBIZON FOR WOMEN - NIGHTRatso sees Joe zip from room to room in wild animation.INT. BARBIZON FOR WOMEN - NIGHTThe lobby watches Joe blow a gum bubble at the elevator.EXT. EXCLUSIVE DRESS SHOP - NIGHTStaring at a window display of Florida sportswear, Ratso'simagination soars, seeing...EXT. FLORIDA BEACH FRONT - FANTASY... Ratso, like a model in a travel poster, in gaudy sportshirt, talking on the phone against a background of hotels...... Ratso like James Bond, surrounded by bikinis, dictatingwhile girls serve coconut milk and massage his game leg...... Ratso like George Raft, in evening clothes, running aposh casino, flicking a coin...... Ratso simply himself, dressed as he is, sitting on thebeach, at peace in the sun...... the same identical picture with Joe sitting beside Ratso.INT. BARBIZON FOR WOMEN - NIGHTJoe faces MISS BEECHAM, a reserved and rather plain younglady in evening dress, She tries to speak softly. MISS BEECHAM I'm afraid there's been a terrible mistake...EXT. EXCLUSIVE DRESS SHOP - NIGHTRatso leans against the window, flipping a coin.EXT. BARBIZON FOR WOMEN - NIGHTMiss Beecham is flushed with humiliation, the entire lobbywatching Joe in the hands of two bellboys. JOE I want my money, goddamit, you owe me my money whether you get laid or not, lady, shee-it!EXT. EXCLUSIVE DRESS SHOP - NIGHTThe lights in the window suddenly switch off, blacking outFlorida. Ratso glances toward the growl of a siren O.S.EXT. BARBIZON FOR WOMEN - NIGHTA police prowl car slows in front of the hotel. Ratso swingsacross the street with incredible speed to meet Joe as he'stossed onto the sidewalk. Ratso picks up the Stetson andbrushes it off, then helps Joe to his feet.EXT. SIXTH AVENUE - NIGHTFrom a high angle -- the two figures move slowly along thedeserted avenue, their rhythmic musical duet growing more andmore faint in the distance, a broken grasshopper and a sixfoot tarnished cowboy -- passing a tuxedo rental store, nextto a lighted sign -- TEMPERATURE IN MIAMI BEACH, FLORIDA 89DEGREES -- their pace slowing to a dead stop...INT. X FLAT - NIGHT... Joe and Ratso frozen -- rain on the X windowpane freezinginto sheet ice. O.S.a radio commercial plays warm, sentimental music while a cozyvoice explains how easy it is to heat with Humble oil.EXT. CONDEMNED TENEMENTS - DAYJoe and Ratso frozen in a narrow shaft of sunlight, watchingthe huge metal ball demolish the building next door. O.S. aradio announcer sells FROZEN SUNSHINE ORANGE JUICE.INT. X FLAT - NIGHTJoe and Ratso frozen, staring significantly at Joe's radio.O.S. a singing commercial, "Don't wheeze and sneeze thewinter away! Drink Frozen sunshine every day!" EXT. PAWN SHOP - DAYThrough the window -- Joe and Ratso watch the pawnbrokerexamine Joe's radio, "Be healthier, wealthier, life can befine, when you drink Frozen" -- Sunshine is clicked off bythe pawnbroker.INT. X FLAT - NIGHTJoe and Ratso frozen, wrapped in blankets as...... the canned heat dies with a faint puff...... water dripping in the tub-sink freezes into an icicle...... the candle burns down and out, leaving the screen dark.EXT. CONDEMNED TENEMENTS - DAYJoe and Ratso warm themselves on the smoke and steam risingfrom a subway grating -- watching two officials in furcollared coats inspect the front of their X flat building.Reading their doom, Joe and Ratso, continue on, disappearinginto the subway.EXT. FORTY-SECOND STREET - NIGHTJoe stands alone, watching the midnight cowboys ply theirtrade. Camera pulls back as Joe turns away and enters a storefront blood bank, offering ten dollars to blood donors.INSERTA huge hypodermic fills the frame, sucking Joe's blood. O.S.Ratso coughs uncontrollably.INT. X FLAT - NIGHTRatso leans over the tub-sink, dry-heaving while he coughs,wearing a sheepskin coat much too large for him. He controlsthe cough with effort -- hearing the door open and close O.S.-- wipes his mouth and turns to grin at...... Joe, trying to light the empty Sterno can, deliberatelyignoring Ratso. Ratso shrugs, washes his mouth at the faucet,finds a cigarette butt and lights it, careful to avoidinhaling the first puff. JOE Shee-it. Cough yourself inside out, then light a fag, a goddam fag. You make me puke. Where'd you steal it? In the movies? RATSO The coat? A guy I did a favor once gave it to me. Christ. JOE Who'd you ever do a favor for? You just let some poor bastard freeze to death, wouldn't you?Joe slams ten dollars on the table. Ratso glances at Joe withcurious concern. RATSO Where'd that come from? JOE Forty-second Street. Where'n hell you think it come from? RATSO You wanna know the truth? You dumb bastard, I got it for you. Look at it. Goddam thing's ten sizes too big for me.Ratso pulls off the coat and throws it at Joe. JOE Wear it yourself. I wouldn't put it on my back.Joe throws it back at Ratso. RATSO Goddamned if I'll wear it!Ratso hurls it in a corner. Joe shoves the ten at Ratso. JOE Go get your medicine. Before you die on my goddam, hands...EXT. EAST RIVER BRIDGE - DAYHigh angle -- Joe and Ratso cross an foot, chilled by wind,neither wearing the sheepskin coat. The Queens riverfront andfactories appear cold and bleak, deserted on Sunday.EXT. LONG ISLAND CEMETERIES - DAYCamera moves into acres of tombstones, piled like low-renthousing projects for the dead, the various faiths segregatedby crumbling boundaries. JOE'S VOICE Shee-it. I hate boneyards. RATSO'S VOICE So split. He ain't your goddam, father.EXT. PROTESTANT CEMETERY - DAYRatso leads Joe past a Negro family at a grave -- glancesaround -- snatches an elaborate floral piece from a headstoneand hides it under his black raincoat as he darts toward alow dividing wail and swings himself over into...EXT. CATHOLIC CEMETERY - DAY... an endless section of plain stone markers. Joe toucheshis hat to two nuns, guiltily hurrying to overtake Ratso atibis father's grave, indistinguishable from the other gravesexcept for the name on the headstone. Ratso places the floralpiece on the grave with almost absurd solemnity. Joe laughs. JOE Kee-rist, you sure are one twisty little bastard, Ratso. RATSO The name's Rico, at my own father's grave, a man deserves some respect. JOE Respect shee-it! You even steal flowers for his grave. RATSO Can he smell the difference, eh?Joe reads from the ribbon on the floral display. JOE Well, uh, he dam well know he ain't 'be-loved Aunt Winifred'. RATSO He can't read. Even dumber than you. Couldn't write his own name. X -- that's what it ought to say there on that goddam headstone. One big lousy X like our flat. Condemned. By order of City Hall.Joe is frowning, standing at the,headstone, momentarilydepressed with an undefined sorrow. JOE My Grammaw Sally Buck, she died without letting me know.EXT. SALLY BUCK'S BEAUTY SALON - DAYThrough the window, past the FOR RENT sign, the tarnishingdriers are lined up like tombstones.EXT. JEWISH CEMETERY - DAYJoe frowns, puzzled, as Ratso pulls out a black skullcap,leading Joe toward a group of professional mourners,whispering: RATSO Just keep your hat on and cry a little. They tip you when it's over.Joe and Ratso join the mourners as the funeral moves to thegrave, Ratso mouthing an authentic double-talk...... Joe standing self-consciously, aware of the covertglances of the other mourners, automatically reaching up toremove his hat, remembering when Ratso elbows him in theribs...... Joe scowling, tight-lipped, embarrassed by the tip thatis thrust in his hand.INT. LUNCH COUNTER - EVENINGA weary Santa Claus, in a rented beard and over-largecostume, warms his hands over the steam of his coffee cup.Joe and Ratso are arguing farther down the counter. JOE Just ain't right, cheating someone dead and can't cheat back.In the background, as Ratso speaks, HANSEL and GRETELMACALBERTSON enter the lunch counter, inspecting thecustomers one by one. Both wear black turtlenecks and jeans,dressed as twins, both blond and pretty. RATSO You and my old man. Same kinda mind. Putting me down till the day he died... (mimics) ... why can't you be like your brothers? Sons a father could be proud of. Yeah, sure. My brothers. Too goddam busy making something of themselves to show up when the old man's dying!Conditioned reflex, Ratso starts to cough. Joe sees theMacAlbertsons in the mirror, standing behind him, studyinghim. Gretel nods, Hansel hands Joe a large black card,smiling vaguely, then moves on. RATSO (CONT'D) What was that all about?Joe studies the black card, frowning at first, suddenlysmiling, turning as if to call after the MacAlbertsons, butthey are disappearing around the corner. Joe hands the cardto Ratso. JOE You wanna read something, read this. I been invited somewhere.Shocking pink letters on the black card read YOU ARE INVITEDTO HELP US BURY LOVE -- TONIGHT AT BROADWAY AND HARMONY LANE - HANSEL AND GRETEL MACALBERTSON. JOE (CONT'D) They picked me. The only one in the whole goddam place. You see how they looked me over, up and down before they give me that? RATSO So?Joe sees a young man washing cups behind the counter. Joeshakes his head, wonderingly, turning to study himself in themirror. JOE Well, this thought just struck me. It wasn't too long ago I was washing dishes way the hell somewhere in Texas. RATSO Yeah, well, so? JOE Now I'm here. I'm in New York City. Getting picked for things. Don't you see what I'm driving at? RATSO What you're driving at, you want me to get lost so you can go to your fancy-ass party. JOE Did I say that? Did I? (studies card) It don't say nothing about you... RATSO Don't say nothing about you either. JOE But they picked me, right? So what I'll do, I'll just say, now look, you want me? Well, I don't go nowhere without my buddy here. RATSO (shrugs) Well, what the hell, I got nothing better to do.EXT. LOFT BUILDING - NIGHTSnow swirls in the aureole of a street light as Joe and Ratsorun, heads lowered, turning into...INT. LOFT BUILDING - NIGHT... a drab entrance hall, dimly lit -- signs identifyingvarious commercial tenants -- a pink-on-black placard readingMACALBERTSON, TWO FLIGHTS UP. Joe has started up before henotices Ratso, leaning on the bannister at the foot of thestairs, struggling to catch his breath. His face and hair arewet with perspiration, his lips lavender-blue.In swift flashes -- intercut -- Joe reads the panic inRatso's eyes, so intense that Joe shares it, unable to speakor offer reassurance. JOE Better dry your hair some. You sweating all over the goddam place.Joe pulls out his shirttail, grabs Ratso by the neck and rubshis head dry. JOE (CONT'D) You got a comb? RATSO Don't need a comb. JOE Few dozen cooties won't kill me, don't guess.Joe hands Ratso his own comb. Ratso swipes at his tangledhair angrily until two teeth break in the comb. He hands thecomb back, tugs at his hair with his fingers, pats it inplace, then looks back into Joe's eyes. RATSO Okay? I look okay?In a moment of silence, distant sounds can be heard -- asiren, the grinding teeth of a garbage truck, the twang of anelectric guitar upstairs at the party -- then Ratso makes aquick gesture of impatience and starts up the stairs, pullinghimself on the bannister.INT. MACALBERTSONS' LOFT - NIGHTA bank of lights blinds Joe and Ratso as they enter --electronic rock blasts their ears -- a bearded cameraman on astep-ladder photographs them as they stand confused -- facinga monstrous collage of tabloid photos blown up, showing themurder of a hippie known as Groovy -- in-huge black letters,LOVE WAS GROOVY -- GROOVY IS DEAD. Joe shouts over theamplified music. JOE Better get a hold of someone and tell them I'm here.Ratso points to his ear -- he can't hear -- following Joeacross the room. The huge loft is crowded with a randomselection, gathered to serve as dress extras in anunderground film. The party is the scene. The MacAlbertsonsmerely supply the ingredients and allow it to happen, withcameras strategically placed to record the happening...... Hansel with tape recorder, Gretel with hand-held camera drifting through the crowd -- catching words and images in adetached, whimsical fashion. Gretel turns her camera on Joeand Ratso as they approach. JOE (CONT'D) Well, I made it. This here is Ratso Rizzo and I... RATSO Rico. Rico Rizzo.Gretel smiles without recognition. Hansel gestures vaguely. HANSEL Do you need anything? I mean there's beer and so forth. Whatever your thing is...The twins move away together, pausing to confer with theoperator of a tripod camera -- focused on an emaciated flowergirl with long hair and dirty feet, stretched in asarcophagus, clutching a dead daffodil, her eyes glazed.Scrawled in huge letters on the wall over her head -- LOVE! RATSO If you want the word on that brother and sister act, I'll give you the word. That Hansel's a fag and Gretel's got the hots for herself. So who cares, right? Load up on the salami...Ratso heads for the refreshment table. Joe starts after himbut pauses, intrigued by an alcove under the balcony where alight show is in progress -- surreal images of naked bodiesprojected against abstract currents of color and strobelight...... a bored fat lady in a muu-muu, squatted like a Buddha ata low table, rolling joints for the guests.She lights a joint and offers it to Joe as he wanders in towatch the show. Joe laughs delightedly when he realizes whatit is... JOE Shee-it, this is one helluva party!... glancing around at the others, imitating their techniques-- the quick inhaler, who follows with sharp gulps of air -the deep inhalers who draw air as they inhale -- the stylistwho lets the smoke drift out and inhales through the nostrils-- Joe puffing himself slightly dizzy, starting to laugh atthe silent flick effect of the strobe light -- the actionaround him slowing almost imperceptibly, overcranked -- aveil of smoke hanging over the fat woman's face, transformingher into a laughing witch -- a similar veil around Joe'shead, relaxing the self-conscious tension of his face,spontaneously curious about the play of light on his hand,grinning at...... a serious young technician handling the light show,scattering psychedelic stars across a sky of magenta flesh...... Joe reaching for the stars as he rises and wanders backto the crowded loft, fascinated to see...... a crew with cameras and lights, on the balcony at one endof the loft, photographing the scene below...... a dark-haired lady by the name of SHIRLEY -- chic in thestyle of a gangster's moll -- drinking beer from the bottle,predatory eyes searching the crowd...... Ratso surreptitiously stuffing his pockets from thebuffet table, glancing nervously over his shoulder, unawareof Gretel and her hand-held camera, photographing Ratso as hesteals, turning away casually, disinterested...... Joe laughing as he dances for a moment with a tall blackgirl -- the lights swinging around them -- faces swimming...... Shirley in fleeting close-up, gone in an instant,reappearing...INT. MACALBERTSON BATHROOM - NIGHT... her face in the mirror smiling in a dark, provocative way-- Joe standing at the bathroom door, forgetting to beembarrassed as Shirley turns away from the mirror,unhurriedly, running her fingers through her hair, boldlymeeting Joe's eyes. SHIRLEY I can tell, can't you? JOE Yeah, oh yeah. SHIRLEY What'll we do? Leave now or what? Your place or mine? Oh God, the second I looked at you I knew. Did you?Joe grins, watching Shirley's lips move, unable to keep herin sync, startled to hear Ratso's voice. RATSO'S VOICE She's hooked...INT. MACALBERTSONS' LOFT - NIGHTJoe realizes he is back at the party, Ratso whisperinghoarsely. RATSO ... I'd say she was good for ten bucks, but I'll ask for twenty...But Joe is watching with terrible fascination as Hansel andGretel lift the flower girl from her sarcophagus. SHIRLEY'S VOICE Did you know? We were going to make it?Joe glances down to see himself flanked by Ratso and Shirley. RATSO You really want to do business? SHIRLEY Who's he? Oh God! Don't tell me you two are a couple -- ?The flower girl, hypnotically dazed, accepts a broom dippedin black paint and smears a huge X across LOVE. Joe laughs. HANSEL'S VOICE Why are you laughing, Joe?Hansel holds a microphone toward Joe, who shrugs, grinning atRatso and Shirley. Gretel's camera moves down Joe's body. HANSEL Are you for real, Joe? JOE Well, I ain't a f'real cowboy, but I'm one hell of a stud!Shirley glances at Ratso, who nods, whispering in her ear. RATSO A very expensive stud. And I happen to be his manager.The scene -- from Joe's viewpoint -- becomes increasinglyconfusing and fragmented, dialogue and image moving in andout of focus, cameras and lights surrounding him, keeping thecenter of attention in his own blown mind...... Shirley's eyes unnaturally bright, inspecting his body,lingering on his thighs, moistening her lips... SHIRLEY It's too much -- to come face to face with a walking talking sex fantasy -- to buy a man's -- God!... the tall black girl dancing in stroble light, starting toremove her clothes -- Gretel following her with a camera... SHIRLEY'S VOICE I can't wait to tell my man Monday. I should be taking notes. Look at my arm!... Shirley's talon-like fingernails caressing the goosefleshon her tanned arm... RATSO'S VOICE I gotta sit down. I feel crummy.Ratso stretched out on a Victorian love seat -- the flowergirl walking unsteadily, passing out dead daffodils, placingone in Ratso's hand Gretel photographing his reaction... SHIRLEY'S VOICE Eat it -- a man in your line of work has to keep his strength up...... Shirley bringing Joe a massive sandwich on a paper plate,watching him bite into it... SHIRLEY It's fantastic, now I know, everything you do has sexual implications. If I you know, bought it -- could I take pictures of you naked? That's part of it, isn't it, kinky kinda things?... the tall black girl and a few others are trying topromote an orgy. A scrofulous old wino dances spastically,working his toothless gums, preparing to expose himself totwo girls dancing together... HANSEL'S VOICE We want you, Joe. You've been chosen.... five youths stand beside the sarcophagus -- two sailors,two cycle freaks, a weight-lifter -- waiting to bepallbearers. Joe joins them. All lights and cameras areturned on the slow funeral procession, carrying the flowergirl out of the loft to the tune of "Moonlight and Roses".Strobe light adds to the unreality of the scene... SHIRLEY'S VOICE I had a thing for him. Before I knew. Why should knowing make it more of a thing?... Shirley talks to Gretel as she photographs the funeral. SHIRLEY Naturally I'll have to ask myself why a cowboy? And why a cowboy whore? But not tonight.INT. MACALBERTSON LANDING - NIGHTShirley is pulling her coat out of the pile on the bannister. SHIRLEY Incidentally, how much is this going to cost me anyway?Joe turns to Ratso, whose attention is fixed on the coats. JOE Tell her, Ratso. RATSO Twenty bucks... SHIRLEY Sold. Let's go. RATSO ... and taxi fare for me. SHIRLEY Get lost. RATSO I agree. And for that service I charge one dollar taxi fare.She takes a dollar from her purse and hands it to Ratso,takes Joe's arm and starts down the stairs. Ratso lingers,starting quickly through the coats, frisking them for loosechange.INT. LOFT BUILDING LOBBY - NIGHTAt the foot of the stairs, Shirley kisses Joe violently. SHIRLEY Your name's Joe. Which is fabulous. Joe could be anyone. Kiss me, Joe, move over, Joe, go away, Joe. It's just perfect.They glance up as Ratso appears, swinging down too rapidly onthe bannister. He misses a step and falls -- a clown's fall,unable to stop but apparently not hurting himself. Shirleyand Joe are laughing when Ratso lands at the foot of thestairs. SHIRLEY (CONT'D) He fell. Hey, fella, you fell. Is he all right? RATSO (rises, mimics) Is he all right! JOE Well, if you're awright, why you hanging on the bannister. Can you walk or not? RATSO Walk? Naturally I can walk. SHIRLEY He's got taxi fare. JOE Sure you're all right? RATSO (shouts) I said yeah! Yeah, yeah, yeah!INT. TAXICAB - NIGHTJoe and Shirley are kissing. Shirley rolls away, flushed,fanning herself. Joe rolls down the window.EXT. VILLAGE STREET - NIGHTJoe leans out of the taxi window, waving his Stetson,bellowing at the snow. JOE Whoopee ti yi yo...!EXT. LOFT BUILDING - NIGHTRatso makes his way slowly from the building to the curb,whistling between his teeth sharply, hailing a cab. The cabslows to a stop. Then the driver sees Ratso, shifts into gearand drives on. Ratso bites his thumb after the cab, rests fora moment on the lamp post, then starts painfully inching hisway along the deserted street.INT. SHIRLEY'S BEDROOM - NIGHTJoe lies on his back, staring fixedly at a fragile mobilehanging from the ceiling, stirring listlessly. SHIRLEY'S VOICE That happens. Don't worry about it...Shirley leans on one elbow, looking at Joe sympathetically,fighting an almost irrepressible desire to laugh. Stillavoiding Shirley's eyes, Joe finds a cigarette on the sidetable, searches for matches. JOE Well, that's something never happened to me before, you can bet your bottom dollar. Uh, where's the matches, ma'am? SHIRLEY Top drawer. Maybe if you didn't call me ma'am, things would work out better.Joe finds the matches, lights up and lies back, staring atthe mobile as he smokes, still not looking at Shirley. JOE First goddam, time it ever quit on me. Fact.The repressed laugh finally breaks through. Shirley stiflesit quickly as Joe sits up, looking at her. JOE (CONT'D) You think I'm lying! SHIRLEY (controls herself) No. Of course not. Just something struck me funny...Close on Joe -- watching Shirley closely, reacting. SHIRLEY'S VOICE I just put myself in your shoes. I had this image of a bugler without a horn, a policeman without a stick, etcetera, etcetera and I... (giggles) I think I'd better shut up, I'm making it worse.Shirley composes her face, reaching out to touch Joe. Butthat doesn't help either. He reacts sharply. SHIRLEY Maybe we should take a little nap, see what happens? JOE I ain't sleepy. SHIRLEY I know. Scribbage!Extreme close-up of Joe -- frowning, puzzled... JOE Shee-it...... camera pulling back to show Joe concentrating on a game,spread out on the sheet, consisting of nine dice lettered onall sides, the object being to build as many words aspossible, Scrabble fashion, while a sand timer counts theseconds. Shirley watches Joe's efforts to think withsympathetic amusement. The only word Joe has composed so faris MAN. SHIRLEY That's pretty Freudian, Joe. JOE What? It's a perfectly good word, ain't it. How much time I got? (glances up) Goddam sand thing drive you crazy. Kee-rist. Spelling never was a very strong point with me. Even in school. SHIRLEY If you didn't talk so much, maybe you could think more. JOE Talking helps. Don't talk, you get muddled in your head. Hey! Now you just look at this here!Joe spells out MONY, down from the M in MAN. SHIRLEY There's an E in MONEY. If that's your word. JOE M-O-N-Y -- I'm right! That's just exactly how they spell it up there on that big building, bet you could see it from here. M-O-N-Y. SHIRLEY (stifles giggle) Okay. Never argue with a man. JOE Y -- what in hell starts with Y?Shirley slyly trails the tips of her fingernails across Joe'schest as she leans over to study the game, breathing softlyinto his ear as she speaks. SHIRLEY It can end in Y day, pay, lay -- hey, pay lay!One predatory hand rests on his knee -- as if by accident -disarranging the sheet, talon nails lightly brushing histhigh. JOE Cut it out. That's cheating, teasing me so I can't think. Just one bitsy Y word and I gonna beat you! SHIRLEY You gonna beat me, Joe? JOE Beat your butt, you don't lemme think! SHIRLEY Gay ends in Y. Fey. You like that -- gay fey -- is that your problem? JOE I show you what problem --But the end of his sentence is swallowed by Shirley, takinghis kiss in her open mouth, crushed by its impact, an animalnoise snarling deep in her throat -- the agonized alley catwail of pleasure -- Joe's problem is solved. Joe's love themeswells triumphant. At the same time, Shirley half-rises,trying to force Joe's head down, her own on top. The issue isjoined. Shirley has named the game. Her objective is to forceJoe onto his back. Joe's objective is to retain hisinitiative. Camera ignores the classic action on the centralfront, concentrating exclusively on peripheral tacticalmaneuvers...... Joe's elbows pinning her shoulders...... her eyes bright, accepting the challenge...... his tight smile revealing clenched teeth...... her fingers searching out then tickling his underarm...... Joe laughing as he falls lopsidedly...... Shirley laughing triumphantly...... his hand closing on her wrist...... her talon-nails clawing the air...... her toes walking up his calf...... her legs suddenly locking around his knees...... her free hand grabbing his hair...... her shoulder rising as she forces his head back...... her lips pressing down on his...... his hand swatting an unidentified mass of flesh...... her eyes popping, teeth clamping his ear lobe...... his hand catching her ankle...... her teeth losing the ear lobe as she screams...... her foot appearing upside down beside her face...... her talon-nails furrowing flesh, drawing blood...... his head rearing back, roaring...... both rolling to the floor, out of view...... her feet suddenly flying up into view...... her hand tugging rhythmically at the blanket...... her other hand wildly exploring Joe's back...... her ankles locking spasmodically...... her eyes and mouth wide, gaping...... the blanket suddenly ripping free, flying into the air asher arm flings itself around Joe...... the bedclothes spilling down around them, muffling herascending shrieks. JOE'S VOICE Whoopee ti yi yo...INT. SHIRLEY'S BEDROOM - MORNINGShirley has difficulty reverting to her nine-to-five role asa Madison Avenue career girl. Half-dressed for work, she istalking on the telephone, her eyes on the open door to thebathroom, through which Joe's voice continues singing. SHIRLEY Well, I really can't talk now, if you know what I mean, but believe me when I say, Myra, it's an experience every emancipated woman owes herself. I'm not. I'm not exaggerating. Well, what's Phil's poker night? (yells off) Joe -- are you available next Thursday, eight-thirty?INT. SHIRLEY'S BATHROOM - MORNINGThoroughly shaved, bathed and groomed, Joe is sprinkling anexpensive cologne into his boots. He yells backenthusiastically. JOE Well, lemme think now, Thursday, eight-thirty, yeah, I guess I could be available. Hell, yeah.INT. SHIRLEY'S BEDROOM - MORNINGShirley turns back to the phone. Joe appears, grinning. SHIRLEY Why don't you just come here? I'll be working every night this week. I'll leave a key with the super... JOE'S VOICE Well, ma'am -- Shirley -- I sure hate to trouble you, but...Shirley opens her purse, savoring the moment. As she placesthe money in Joe's hand...INT. MEN'S STORE - DAY... Joe slaps a bill on the counter, admiring a fine newcowboy shirt in the mirror, wriggling new white socks intohis boots. Suddenly remembering, he goes to the sock rack andbuys two pairs, one large and one small. Graduallydominating, Joe's love theme recurs, continuing over...INT. CHAIN DRUG STORE - DAY... Joe slaps down money to pay for an assortment ofmedicine.INT. CONDEMNED TENEMENT - DAYJoe takes the stairs two at a time to burst in on...INT. X FLAT - DAY... Ratso huddled in the overstuffed chair -- wearing thestolen sheepskin coat -- wrapped in blankets, his teethchattering, in spite of the sweat on his forehead. Joe stopsabruptly, his mood shattered by Ratso's alarming condition.They simply stare at each other for a moment, then Joe turnsaway to see soup heating on the Sterno stove. Joe tosses oneof his paper bags onto Ratso's lap... JOE See what you think of that crap. I'll pour your soup. Got some of that junk you like to swill, too. Mentholatum. Aspirin. All that shee it...Ratso opens the paper bag, trying to control his shivering,pulling out the socks and a suit of long underwear. He seesJoe watching him for a reaction. The best Ratso can do is aslight shake of his head. JOE (CONT'D) They wrong? RATSO No. But while you was buying the underwear, I could have lifted the socks. JOE You couldn't lift fly specks from a sugar bowl. Can you hold this?Joe hands Ratso the soup. Ratso seems steadied by the warmthin his hands. He nods, sipping the soup. RATSO But thanks. (hesitates, then) Hey, Joe, don't get sore about this or anything. You promise? JOE Yeah. RATSO Well, I don't think I can walk. (embarrassed) I mean, I been falling down a lot and, uh... JOE And what? RATSO I'm scared. JOE What of? RATSO What'll happen. I mean what they do to, you know, do with you -- if you can't -- ah, Christ! JOE Who? RATSO I don't know. Cops. Or the -- how should I know?Ratso is trembling so violently that the sou, starts to slopover. Joe takes it and sets it on the table. JOE Okay. Here it is. You gonna go see the doctor. I got nine bucks and twenty more Thursday and I gonna be riding high before you know it. So you gonna get you the best goddam doctor in this town and get yourself straightened out, that's what. RATSO No doctors. No, sir. Not me. Doctors are like goddam auto mechanics. Fix one-thing, unplug another. Operate for piles and while they're there, they unscrew your liver. My old man, for God's sake, wasn't any sicker'n I am when he went to the doctor. JOE Well, just exactly what the hell you think you're gonna do? Die on me? RATSO I'm going to Florida, that's my only chance. JOE You know what's wrong with you? You got fevers. You kinky as a bedbug. How you gonna get to Florida? RATSO I'll find the money. If you just get me on the bus, that's all I ask. JOE Just when everything's going my way, you gotta pull a stunt like this. RATSO I don't even want you to go. Whaddya think of that? I got other plans for my life than dragging around some dumb cowboy that thinks he's God's gift to women. One twenty-buck trick and he's already the biggest stud in New York City. It's laughable.Joe sets his Stetson on his head. JOE When I put you on that bus down to Florida tonight, that'll be the happiest day of my life!INT. PHONE BOOTH - DAYJoe strikes a match with his thumbnail and watches it curlaway while he waits, hearing a phone ring. Then the phone isanswered by a woman's voice. JOE Hey, Shirley... Miss who? Oh, yeah, well, when will Missus Gardner be home? ... I'm a friend of hers, a goddam good friend... Shee-it, I can't wait till then...Joe hangs up while the answering service's voice is stilltalking. The match has burned out. Joe flips it away.INSERTHeadline -- WALTER P. BOX TAKES NEW YORK BY SURPRISE.EXT. TIMES SQUARE - DUSKJoe loiters outside a gag headline print shop, his eyesfollowing a man in homburg and chesterfield.EXT./INT. METROPOLE - DUSKJoe lingers momentarily, identifying with the violence in ajazz drummer, his eyes searching for a pickup.INT. ARCADE - DUSKJoe tests his skills in a shoot-down with a large metalcowboy and kills him, a recorded voice sneaks, "Got me!" asthe cowboy slumps. Joe glances off as he hears politeapplause... TOWNY'S VOICE Bravo...... TOWNY -- a stout, round-faced man -- clasps Joe's handbetween both of his own, like an old friend. TOWNY How are you? (more quietly) Townsend P. Locke, from Chicago. Call me Towny. I'm here to attend a paper manufacturers' convention and, frankly, to have a little fun, dammit...Towny grips Joe's elbow, almost forcibly leading him away.EXT. SIDE STREET WEST OF BROADWAY - DUSKTowny's face appears huge at Joe's shoulder. TOWNY This is my first night in town and I'll consider it a ghastly omen clouding my entire ten days, if you don't consent to have dinner with me. Anywhere you like...Towny's mouth continues speaking at an incredible rate, buthis words are drowned out momentarily by the grinder of asanitation truck, chewing up a discarded Christmas tree withtinsel clinging to it. Towny is still talking when they'vepassed the truck. TOWNY (CONT'D) ... never mind how you're dressed. They know me. I'll say you're with the rodeo. There's always a rodeo in New York, dammit. Besides, you look very elegant...EXT. STREET CORNER - NIGHTJoe hardly notices O'Daniel on a far cornet, his whiningscarcely audible."Ye are the salt of the earth, Jesus said, but if the salthath lost its savor, wherewith shall it be salted?" TOWNY But, dammit all, I just remembered, we'll have to eat in my room because I have this phone call coming at nine-thirty...INT. TOWNY'S HOTEL ELEVATOR - NIGHTAn ancient open cage lift. TOWNY What I like about you, you're such a wonderful conversationalist. So won't that be nice to have dinner sent up?INT. TOWNY'S HOTEL CORRIDOR - NIGHTA threadbare, carpeted but spacious hallway. TOWNY Fifty years ago this was the only hotel in Manhattan. My mother always calls me at her bedtime, so I've got to be there.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTThe room has little to recommend it except its size and largeFrench window, through which -- ignored by Joe -- the Mutualtower flashes MONY. Towny waves Joe toward the couch, quicklyslipping several physical culture magazines from the coffeetable onto a shelf beneath. TOWNY A drink? I've got some nice gin. If you'd prefer something else, they'll send it up... JOE Gin's okay. TOWNY It's so exciting. New York. The mad forward thrust of everything. My sense of time here is completely altered.INT. TENEMENT STAIRS - DAYJoe carries Ratso down the stairs, wrapped in a blanket.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTThe coffee table is littered with empty cartons of Chinesefood, soaked through with brown sauce. Joe finds the last eggroll and eats it as Towny's voice drones on. TOWNY Sometimes it seems to me time stopped twenty years ago. There was this war, there was this handsome young man with quite black hair and he was supposed to die. But he didn't. Isn't that amusing? JOE What?Towny's dialogue moves out of sync. Towny's eyes seem to lookinto camera -- from Joe's viewpoint -- but slightly past it.The quality of the scene grows increasingly disjointed as Joeglances around the room, looking for something to steal,losing personal contact with Towny, viewing him as an objectto be used for a specific purpose. TOWNY Enough about me. I'm through talking for the evening. Now I want to hear about conditions in the West. The romance of the West holds a tremendous power over me. Mother was actually a pioneer woman, can you believe it? When she calls, I'll introduce you and she'll be so thrilled.EXT. TENEMENT NEIGHBORHOOD - DAYRatso sits an a stoop while Joe hails a cab.INT. TOWNY'S BATHROOM - NIGHTTowny's voice is only a shrill monotone from here, Joesearches with increasing desperation for something of value.An old electric razor is too bulky for Joe's pocket, probablyworthless anyhow. Towny's array of medicines merely recallsJoe's purpose. TOWNY'S VOICE Mama, a coincidence. Guess who was being discussed. Discussed. Not disgusted. Discussed! Do you have that thing turned up? Why aren't you wearing it! This is impossible!EXT. GREYHOUND BUS TERMINAL - DAYJoe lifts Ratso from the taxi and carries him inside. JOE'S VOICE Listen, Towny, did I mention I got a sick kid?INT. TOWNY'S BATHROOM - NIGHTJoe is rehearsing the speech in the bathroom mirror. JOE Well, he is, he's sicker'n shee-it. And I've gotta get him South quick as I can...INT. GREYHOUND BUS TERMINAL - DAYJoe stands in a long line, glancing impatiently at the clockwhile Ratso waits on a bench, wrapped in his blanket.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTTowny is stretched out on the couch, staring morosely. TOWNY I was so childish with her.Joe moves into frame past camera, standing in front of him,so that we can see the scene from behind Joe's waist. JOE What d'you want? TOWNY What? JOE What you got me up here for? TOWNY Oh, difficult, it's so difficult. You're a nice person, Joe -- I should never have asked you up -- a lovely person. Oh, how I loathe life. I loathe it. Please go. Please. JOE You want me to leave? TOWNY No, yes. No, I mean yes please go. Help me to be good. Come back tomorrow. Promise. JOE I'm going to Florida. TOWNY This is terrible. I meet someone who -- then -- wait, I want to give you a present. For your trip. You'll let me please...INT. GREYHOUND BUS TERMINAL - DAYJoe's face is expectant, next in line at the ticket window.He nods reassuringly toward Ratso.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTJoe's face is puzzled then angry as Towny takes a SaintChristopher medal from his sack and hands it to Joe. His eyesare looking past Joe, his speech out of sync. TOWNY Please take it. You don't have to be Catholic. Saint Christopher is the patron saint of all travelers. I want you to have it. For helping me be good.INT. GREYHOUND BUS TERMINAL - DAYIt's Joe's turn. The clerk looks at him expectantly.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTJoe's voice is angry. JOE Listen, I gotta have money. TOWNY Oh. Yes. Of course. I should have thought. You shouldn't have to ask. That was thoughtless of me. Yes. Wait here...Towny hurries across the room to the bedside table. Besidethe telephone is a picture of a prosperous pioneer womanwearing a hearing-aid.Towny tries to conceal his movements as he takes a walletfrom the drawer, lifts out a bill and tucks the wallet backand turns -- terrified to see Joe close behind him -- almostknocking the lamp off the table in his fright. Pressedagainst the table, protecting but calling attention to hiswallet, Towny holds out the bill. TOWNY (CONT'D) Here. Don't even thank me. JOE (takes the bill) I gotta have more'n ten. I gotta have fifty-seven dollars. TOWNY I simply don't have it, Joe. JOE Get outta my way. TOWNY You're wasting your time. There's nothing in there.Towny clutches the table, staring at Joe, shaking his headlike a bad little boy. Joe backhands him angrily. Trying toduck the blow, Towny stumbles and slips to the floor, butgrabs the table in his arms, watching Joe out of the cornerof his eyes, whimpering. Joe grabs his hair, turning his faceup. JOE Let go. Let go of the table.Joe slaps him, but Towny clings more fiercely to the table asJoe tries to jerk it free. Joe strikes him with his fist. TOWNY I deserved that, I know I did.But he clutches the table wildly. His mother's picture fallsunnoticed. Joe stands in panic, sickened, unable to fulfillthe role Towny has assigned him. TOWNY (CONT'D) I brought this on myself. I'm bleeding, my nose is bleeding, isn't it?Towny's eyes shine, teeth clenched in a crazy smile, bloodtrickling from his nose. Suddenly Joe jerks the lamp free ofits socket. JOE You wanna gimme fifty-seven dollars or you wanna busted skull?Towny simply stares at the lamp. JOE (CONT'D) Please let go of that table.Joe threatens, swings the lamp down, but stops short ofhitting Towny. Towny shrieks -- eyes rolling back as he fallslimp -- loosing his grip on the table, leaning on the bed,laughing and crying hysterically. Joe has to step over him toreach the wallet in the drawer. He takes all the money --probably twice what he needs -- desperate to get out of theroom.INT. GREYHOUND BUS TERMINAL - DAYJoe carries Ratso up the steps onto the bus.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTTowny's shrill little whisper says... TOWNY Thank you, Joe.... provoking Joe to glance back. Towny is reaching for thetelephone, his eyes on Joe with wild brightness, holding hishand on the receiver. Joe knocks the phone from his hand,hits Towny in the mouth, jerks the cord from the wall asTowny falls -- gagging -- finally dislodging his dentures onthe carpet. Joe stands sick and confused, holding the uselessphone in two hands...EXT. GREYHOUND BUS TERMINAL - DAYThe bus driver revs the powerful engine, shifting gears.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT... Joe is about to hang the dead receiver on its hook when on sudden impulse -- he shoves the small end of the receiverinto the toothless mouth of the man on the floor.EXT. LINCOLN TUNNEL - DAYThe bus roars into the tunnel.INT. GREYHOUND BUS - DAYJoe and Ratso sit near the rear of the bus. Ratso's teethchatter, wrapped in the blanket. RATSO Thirty-one hours.They ride a few moments in silence. RATSO (CONT'D) The trip is. Nine-thirty in the morning we get there. Not this morning but the next one at nine thirty.Both nod for a moment in silence. JOE These guys're good drivers. RATSO They gotta be. JOE Yeah.EXT. HIGHWAY - DAYThe bus tires sing as it speeds South.INT. GREYHOUND BUS - DAYJoe and Ratso have reversed places, putting Ratso by thewindow. Joe watches a middle-aged couple try on their newstraw hats, unaware that Joe is watching them. RATSO You get your first palm tree in South Carolina. JOE How'n hell a dumb Bronx kid like you know that? RATSO I read it. JOE Shee-it. You believe all you read?EXT. BRIDGE - NIGHTThe metal grating rings as the bus soars onto it.INT. GREYHOUND BUS - NIGHTTwo aging young ladies in brand-new resort wear are casuallyexamining Joe, along with the other men on the bus, but Joeis frowning at Ratso, who shivers despite the bright sun. JOE If you have to shiver, why don't you pull the blanket up more? RATSO I been thinking. I hope we're not gonna have a lotta trouble about my name down there. Because like what's the whole point of this trip anyway? JOE Keep the goddam blanket on. RATSO I mean New York's one thing, but can you see this guy, imagine it, running around the goddam beach all suntan and he's going in swimming, like, and then somebody yells 'Hey, Ratso' -- how does that sound to you? JOE Sounds like they knew you. RATSO Sounds like crap, admit it. And I'm not gonna have it. I'm Rico all the time, okay, do you blame me? That's agreed, okay? We're gonna tell all these new people my name's Rico?Joe nods. Ratso closes his eyes, momentarily at peace.EXT. HIGHWAY - DAWNThe bus passes a Florida hotel sign too swiftly to read it.INT. GREYHOUND BUS - DAWNJoe frowns in his sleep, awakens, lifts his Stetson to seeRatso wide awake, in misery, wiping tears from his eyes. JOE Hey -- whatsa matter? RATSO (barely audible) I'm wet. JOE You're what? RATSO I wet my pants! My seat's all wet. JOE Hell, don't cry about it! RATSO Here I am going to Florida and my leg hurts, my butt hurts, my chest hurts, my face hurts, and like that ain't enough, I gotta pee all over myself.Joe laughs suddenly, uncontrollably. RATSO (CONT'D) I'm falling apart, that's funny? JOE (nods, laughing) You just -- just -- what happened, you just had a little rest stop wasn't on the schedule.Ratso begins to laugh with Joe as if it were the funniestthing they'd ever heard. Then Ratso's face pales as he startsto choke and cough. Joe pats him on the back. JOE (CONT'D) Hey, what size pants you wear?EXT. SMALL TOWN STREET - DAYThe bus is parked in the distance. Joe comes from a clothingstore, bare-headed, wearing plain slacks and sport-shirt. Hecarries the boots, Stetson and cowboy suit in one hand, abundle under his arm. He dumps his cowboy regalia in thetrash bin of a sandwich stand and calls to the WAITRESS. JOE Couple crullers'n coffee to go.The Waitress draws coffee, wraps crullers. WAITRESS Where you from? JOE New York.Joe pays. She smiles, gives him change. Joe smiles, starts ontoward the bus, hardly aware that he has accomplishedsomething rare and remarkable for Joe -- a simple humancontact without fear or threat, a pleasant everydayhappening.INT. GREYHOUND BUS - DAYJoe and Ratso have moved to the seat farthest back, widerthan the others. Joe blocks the view of the other passengersas he helps Ratso into a new pair of corduroy pants and aFlorida shirt. In the middle of the operation, Ratso dozesoff. Joe shakes his head, scowling, annoyed, but continues,lifting Ratso enough to slide the pants around his waist.Ratso awakens as Joe zips the fly. RATSO Hey, what the hell you doing? JOE I'm zipping your fly, what the hell you think I'm doing?They both smile. It isn't funny enough to laugh at. Joearranges the blanket, takes out a package of cigarettes,glances at Ratso and puts it away.EXT. TRAVELING SHOT WITH BUS - DAYPalm trees are streaking past the window. The sun is glaringhot. A group of kids in bare feet and straw hats wave to thebus as it passes.INT. GREYHOUND BUS - DAYRatso's eyes squint in a dazed half-sleep. Joe leans acrossto pull down the shade. He hesitates a moment, watching...... past his reflection, a group of young men on their way towork, carrying lunch pails, dressed exactly as Joe is nowdressed...... then Joe lowers the blind and seats himself. Ratso nodsslightly, his voice practically inaudible. RATSO Thanks, Joe. JOE Shee-it, you know, I got this thing all figured out, Ratso. I mean Rico. When we get to Miami, what I'll do, I'll go to work. I gotta do that, 'cause see, I ain't no kind of a hustler. I ain't even any goddam good as a bum. I'm a nothing, that's what I am. So reckon I'd better go to work and get me a goddam job. Okay?Joe glances at Ratso, but there is no response.Surreptitiously, Joe takes out a cigarette, turns his faceaway from Ratso and lights it, hiding it cupped in his handas he smokes. JOE (CONT'D) Yeah, guess that's what I'm gonna do.They ride for a moment in semi-darkness, Joe smoking, lookingat the other people on the bus, brighter without the shadesdown. Joe turns, checking the blanket around Ratso, noticingthat Ratso is sitting in a peculiarly stiff, awkwardposition. Joe leans over to straighten Ratso's head, blockingour view for a moment. Then Joe leans back, frowning,thoughtful. We still do not see Ratso's face. Joe risesslowly, starting forward in the bus...... passing an older couple, a schoolgirl, two ladies withstraw hats, a young man trying to read, pausing when hereaches...... the DRIVER, staring out at the Sunshine Parkway with theDriver, leaning over so he won't have to speak too loudly. DRIVER Yes, sir? JOE, My friend's dead in the back seat. DRIVER Your friend's what in the back seat? JOE Dead. Dead as a doornail. DRIVER Is this some kind of...He glances at Joe, then pulls off the road and stands up. DRIVER (CONT'D) Okay, folks, everything's fine. Nothing to worry about.The passengers crane their necks as Joe follows the Driver tothe rear of the bus. The passengers at the rear are staringahead, trying not to see what is going on. The Driver touchesRatso, straightens, touches his hat, but doesn't remove it. DRIVER (CONT'D) Is he kin to you?Joe nods no. DRIVER (CONT'D) Don't you want to close his eyes? JOE Close them? DRIVER Just reach over and close them. That's all.Joe closes Ratso's eyes. DRIVER (CONT'D) I guess we'll just drive on, right? Nothing else to do. JOE No, sir. Not till Miami. I'll see to burying then.The Driver moves to the front and turns to the passengers. DRIVER Just a little sickness, folks, nothing serious. We'll be in Miami... (looks at watch) ... in forty minutes.INT. GREYHOUND BUS - DAYJoe sits stiffly, very frightened, as the bus starts on. Thenhe glances at Ratso, frowning, reaches out an arm and puts itaround Ratso, settling back, staring straight ahead. THE END
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