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+Rev. April 26, 1971 THE FRENCH CONNECTION by ERNEST TIDYMAN and WILLIAM FRIEDKINDIRECTOR: William FriedkinPRODUCER: Philip D'AntoniEXT. LE VALLONOpening shot - High angle on Lincoln along small bay withboats.Ext. Bar - Waist to full figure Pan Right to Left. Detectivecomes out eating pizza, looking around. He crosses streetand stops against wall of impasse Michael.He looks O.S. left,His POV - L.S. of Lincoln behind fishing nets.Waist shot of Detective looking and eating.M.S. of Lincoln.C.S. of Detective looking O.S. Left.Pan Right to Left with Charnier coming out from Fonfon withthree friends and they walk to the Lincoln.Pan Left to Right with Lincoln passing in front of theDetective.EXT. CAFE LA SAMARITAINEHigh angle from balcony. Zoom on Detective seated at thecafe, reading a newspaper.Cut on Lincoln along sidewalk of the cafe, then zoom back todiscover Detective seated.EXT. MARSEILLE STREETSLow angle from stairs Rue des Repenties and Pan Left toRight to Rue Sainte Francoise following the Detective.Pan Left to Right with Detective from Rue des Repenties toRue Baussenque.Low angle between Rue des Moulins and Rue des Accoules withDetective passing by.Ext. Rue du Panier - The Detective comes out from the bakerycamera Right and starts to climb up Rue des Moulins with hisbread.EXT. STREETHigh angle - on No. 50 Rue des Moulins. Pan Left to Rightwith Detective coming up the street with his bread and goinginside his house, starting to open his letter-box. 2.INT. CORRIDORHigh angle - complete reverse. As the Detective starts toopen his letter-box in B.G. a hand pointing a gun moves inforeground and blows off half of the French Detective's headwith the first shot.Cut to Nicoli C.S. who just fired.EXT. A BAR IN BED-STUY - DAYA large man in a Santa Claus suit and white beard isentertaining a group of black children. He leads them inthe singing of a Christmas Carol (Hark the Herald AngelsSing). The man is DETECTIVE FIRST GRADE JIMMY DOYLE. Hisattention is split between the children and the activityinside the bar.INT. THE BAR - DOYLE'S POV - DAYThe place is crowded with mid-day drinkers. Dimly outlinedat the far end of the bar are TWO BLACK MEN involved in somekind of transaction in which a package is exchanged formoney. As the transaction seems to be completed, cut toEXT. THE BAR - DAYSanta Claus (DOYLE) starts to ring his big Christmas bell,above the singing. The bell is a signal to DETECTIVE SECONDGRADE BUDDY RUSSO. At this moment RUSSO is in the clothesof a hot dog vendor and is in fact working behind a hot dogwagon. At the ringing of DOYLE's bell he takes off hisapron, leaves the wagon, and runs toward the bar. DOYLE (as RUSSO passes him) The guy in the brown coat.INT. THE BAR - DAYRUSSO enter the bar on the run. He stops and looks over theroom.RUSSO'S POVThere are TWENTY or THIRTY MEN at the bar, at least TEN arewearing brown coats! The TWO MEN involved in the deal seeRUSSO and start to run. One (THE BUYER) takes off out ofthe back door. The other (THE PUSHER) jumps over the barand heads for the front entrance. 3.EXT. THE BAR - DAYTHE PUSHER dashes out past Santa Claus (DOYLE). RUSSOfollows him and all three give chase.EXT. BED-STUY TENEMENT ALLEY - DAYTHREE FIGURES running down a New York tenement alley, thefirst in flight, the others in pursuit. We pick up theincredible clutter of such an alley, mounts of rusting beercans, paper bags of garbage bulging and ripping open, oldbed springs, burned out mattresses, etc.EXT. BED-STUY TENEMENT ALLEY - DAYClose shot of BLACK PUSHER tripping on the tangle of trashgoing up against the wall in his stumble, face toward thecamera, and the figures of RUSSO and DOYLE leaping upon himfrom off-camera. There is a blur or fast struggle as DOYLEand RUSSO try to get his arms and put him against the wall.BLACK PUSHER writhes loose and we close in on a knife in hishand, plunging rapidly into RUSSO'S left forearm. RUSSO Son of a bitch!The words are both warning and a grunt of pain. As RUSSOtakes the blade and utters the words, we simultaneously goto DOYLE crouching and snatching his .38 out of the rightankle holster.EXT. BED-STUY TENEMENT ALLEY - DAYClose shot of DOYLE and the BLACK PUSHER, DOYLE pistol-whipping him into submission with three lightening chops ofthe gun to the PUSHER'S head. DOYLE continues to beat theman mercilessly into submission.INT. DOYLE'S CAR - DAY3-shot of BLACK PUSHER sitting between DOYLE and RUSSO.DOYLE is at the wheel. BLACK PUSHER is sitting on hishands, wrists manacled behind him, his head down and drippingblood onto the jacket and the canary-yellow turtleneck. Allthree are breathing hard. DOYLE What's your name, asshole? BLACK PUSHER Fuck you, Santa Claus!DOYLE hits him across the face. 4. RUSSO Your name is Willie Craven.BLACK PUSHER doesn't look up. DOYLE Who's your connection, Willie? What's his name?No response. RUSSO Who killed the old Jew in the laundromat?BLACK PUSHER's brow furrows, looks up just a little. BLACK PUSHER I don't... DOYLE Ever pick your feet in Poughkeepsie? BLACK PUSHER What? DOYLE Did you ever pick your feet in Poughkeepsie? BLACK PUSHER I don't know what you're talkin' about. DOYLE Were you ever in Poughkeepsie? BLACK PUSHER No... yeah... DOYLE Did you ever sit on the edge of the bed, take off your socks and stick your fingers between your toes? BLACK PUSHER Man, I'm clean. DOYLE You made three sales to your roaches back there. We had to chase you through all this shit and you tell me you're clean? 5. RUSSO Who stuck up the laundromat? DOYLE How about that time you were picking your feet in Poughkeepsie?The BLACK PUSHER'S eyes go to RUSSO in panic, looking forrelief from the pressure of the inquisition. RUSSO (in pain) You better give me the guy who got the old Jew or you better give me something or you're just a memory in this town. BLACK PUSHER That's a lot o' shit. I didn't do nothin'.The BLACK PUSHER's eyes are on DOYLE, frozen in confusionand fear. DOYLE You put a shiv in my partner. Know what that means? All winter I gotta listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those three bags - then I'm gonna nail you for pickin' your feet in Poughkeepsie.EXT. HEADQUARTERS NARCOTICS BUREAU OF THE NYPD 12 OLD SLIPAND SOUTH STREETS - NIGHTDOYLE and RUSSO standing side by side on the front steps ofthe old First Precinct on the Lower East Side of Manhattan.RUSSO has his overcoat over his shoulders as a cape. Thesleeve of his left arm is rolled up over a blood-stainedbandage on the left forearm. DOYLE Havin' trouble? You're a dumb guinea. RUSSO How'd I know he had a knife. DOYLE Never trust a nigger. RUSSO He coulda been white. 6. DOYLE Never trust anybody. You goin' sick? RUSSO Not a chance.RUSSO nods in acceptance of the remark. The easy, synicalrapport between them is obvious: they are partners in abusiness where somebody is always getting hurt and pain ispart of the inventory. DOYLE Let's popeye around the Chez for a half hour, catch the end of the show and a couple drinks. RUSSO Some other time Jimmy, I'm beat.DOYLE reaches into the right side pocket of BUDDY's suitcoatfor a cigarette and matches. He lights up two in the pause,sticks one in RUSSO's mouth. DOYLE Come on -- one drink. Whatta you say? RUSSO Drink this. DOYLE Whip it out.INT. THE CLUB - NIGHTTHE TITLES COMMENCE THE FRENCH CONNECTIONTitles over a close shot of a chorus line, with lots of titsand ass and lean, long legs in a brassy blare of music. Wezoom back to the area where DOYLE and RUSSO are beginning tooccupy a table. RUSSO takes the seat on the right, eyesimmediately on all that ginch, while DOYLE standing, givestheir order. We do not hear the dialogue but DOYLE asksRUSSO what he wants BUDDY looks up and says "Cinzano." DOYLEturns and says "Two of these." DOYLE slips into the chairopposite RUSSO and the titles roll on. Unlike RUSSO who isconcentrating on the girls, DOYLE is digging the room andthe people who occupy the tables in it, as if he is the sortof man who cannot relax until he knows who is around him,why they are there. 7.INT. THE CLUB - NIGHTA long view from DOYLE's position of the room, a quickcertain survey that stumbles twice; on laughter that seemstoo raw and then over a flurry of activity by WAITERS andCAPTAINS serving a table on the main floor. DOYLE'sattention is apprehended by the noise and activity thatemanate from the same large table. DOYLE I make at least two junk connections at that table in the corner. The guy is the stripe combo, I know him too. RUSSO Hey, I thought we come for a drink.INT. THE CLUB - NIGHTA long view of the table with DOYLE and RUSSO very closeforeground, left and right. DOYLE is leaning on an elbow. DOYLE Who is that guy? RUSSO Policy man in Queens. DOYLE What about the last of the big-time spenders. You make him?RUSSO's eyes come off the show. It is a direct line fromDOYLE's gaze to the round, ruddy and arrogant face of SALBOCA, the apparent host of the table of EIGHT MEN AND WOMEN,the Men in dinner jackets with ties tucked under the collarsof blue or white lace-trimmed shirts, the Women in a mixtureof pant suits and Catskills cocktail party dresses, theirhair coiffed towers. RUSSO No, you? DOYLE Hunh-uh. Check the bread. He spreads it like the Russians are in Jersey. RUSSO He probably sells insurance. Owns a chicken farm in Hackensack. 8.Zoom in slowly on SAL as he deals tips and orders. ThroughDOYLE's eyes, we go from Guest to Guest at SAL's table,taking apart their manners and styles as they talk andlaugh, lost in the show chatter.INT. THE CLUB - NIGHTDOYLE finishing his drink, still looking at the table. DOYLE Dig who's just come over. The creep on the end.INT. THE CLUB - NIGHTThe camera pans down the table to dig the "creep on the end." RUSSO (VO) Jewish Lucky from the Bronx... He don't look the same without a number across his chest.INT. THE CLUB - NIGHTDOYLE close in right profile, SAL's table in the far blurredbackground. DOYLE Whatta you say we wait and give him a tail? RUSSO Give who a tail? DOYLE The greaser with the blonde. RUSSO What for -- you wanna play Hide the Salami with his old lady? DOYLE Come on -- just for fun --INT/EXT. DOYLE'S CAR - NIGHTThe view from the back seat of DOYLE's car. DOYLE is at thewheel, RUSSO packed uncomfortably into the corner at DOYLE'sright. Seventy-five yards away on the other side of thestreet the canopied entrance of the Club. A Continental isparked in front of the club. The DRIVER leaning on a fendertalking with the DOORMAN. DOYLE frisks his own pockets fora cigarette, coming up with a collection of laundry slips,crumpled notes, toothpicks and matches. 9.One of the slips of paper catches his eye as he is goingthrough the ritual of the cigarette mooch, a slip bearingthe name of a girl. His attention is really on the entranceof the Club and both his conversation and the cigarettebusiness are detached and incidental to the art of waitingthrough the stakeout. He stuffs the cards back into hispocket. DOYLE Monica? Who's Monica? RUSSO (handing him a cigarette) A and A, that's all you're interested in -- Arrests and Ass.As soon as DOYLE has finished lighting the cigarette SAL andhis PARTY come bubbling out of the Club noisily, a littledrunkenly. SAL waves to the attentive DOORMAN.DOYLE close, leaning forward over the wheel to put his handon the ignition key. He does not turn it. He is waitingfor the cover of noise from the starting of SAL's car.RUSSO is turning the opposite corner of the car into a bend,his head back, arms across his chest. DOYLE Cloudy, I'll lay odds he takes us to Little Italy.DOYLE reaches under his seat for the straw surveillancehat - throws it up to read ledge of car. RUSSO I'm telling you, Popeye, he owns a bagel mine in the Bronx.A long view of the Club entrance. SAL and ANGIE, a well-built "classy" blonde with good legs, get into their blackMercury sedan. The Mercury takes off towards First Avenue.We hear DOYLE's car start and we move off after them on thelast blink of tail-lights at the corner.EXT. BROADWAY - NIGHTCabs, Daily News and Times delivery trucks, bakery vans anda few cruising cabs, one or two passenger cars and a coastinggreen and black police cruiser -- this is the 4:30 a.m.traffic through which DOYLE moves.A rear-window view of SAL and ANGIE BOCA, in animatedconversation. His head is turned toward her, his handraised in a gesture. ANGIE is sitting in a corner with herback to the door, in profile to the back window. 10.Her blonde head bobbles with laughter over some remark SALhas made.A long overhead view of the two cars wheeling in and out ofthe sparse traffic.Close shot of the license plate on BOCA's car.Close shot DOYLE staring at license plate, memorizing it.EXT. RATNER'S - DAYBOCA and ANGIE exit restaurant, get into their car and driveoff. Hold for DOYLE's car as it passes through after them.EXT. MULBERRY STREET - DAYSide close view of SAL turning south into Mott Streetpanning to pick up the Italian names on the candy stores,funeral parlors, bars, grocery stores, social clubs.A long view of SAL's car from the DOYLE-RUSSO auto, over theshoulders of the two cops. DOYLE is leaning on the wheel ofhis car. He's against the curb about 100 yards behind SAL.Medium close view of SAL in the middle of Mott Street,walking quickly toward the opposite side of the street,hands in the pocket of his white raincoat. He glances overhis shoulder in the direction of DOYLE's car.Close of RUSSO who has come awake. The smart-ass demeanorhas dropped away. DOYLE turns to him and smiles. Thisdistrict is the heart of every illegal activity in New York.Close rear view of DOYLE and RUSSO ducking down to the levelof the dashboard, a reflex action. He couldn't see them atthat distance, although SAL, lighted by his own headlights,can be seen in the background walking around the cars,across the sidewalk and stopped at a recessed doorway.Medium close shot of SAL and partially visible FIGURE at thedoorway. With another glance up the street, SAL takessomething out of his raincoat pocket and steps up and intothe doorway.INT. DOYLE'S CAR - DAYClose from the front of DOYLE and RUSSO low against thedashboard. DOYLE It's a drop!DOYLE's face, close, light smile. 11.Long view of SAL walking down the sidewalk quickly for abouta quarter of a block while the headlights of his car, withANGIE apparently driving, move up with him. At anotherdoorway, he looks back and then steps inside.EXT. BROOKLYN BRIDGE - DAYLong view of SAL's Mercury moving over Brooklyn Bridge.Close shot of the DOYLE-RUSSO car from RUSSO's side. BUDDYnow interested, watching.EXT. BROOKLYN - DAYOverhead view of cars circling block, first Mercury turningcorner, then DOYLE's Ford.Long shot of the Mercury pulling up beside line of parkedcars (as seen from DOYLE-RUSSO car) stopping and parking.Hold on Mercury as SAL and ANGIE get out of it. SAL lockingit up, and starting to walk toward a line of parked cars.Close shot from rear seat of DOYLE and RUSSO glancing ateach other.SAL and ANGIE stop in the street beside beat-up white Dodge.Without a word they get in. Hold as they get in, SAL startsand they begin to drive out of the spot.Close on DOYLE. DOYLE It's startin' to cook, Cloudy, my man is cookin'...A series of impressionist traveling shots of the white Dodgeand DOYLE's Ford moving through Brooklyn Streets, picking upstreet signs of areas.Medium close shot of the white Dodge pulling into the curb.In near background, a candy-confectionery store.INT. DOYLE'S CAR - DAYClose shot of DOYLE and RUSSO in profile driving past thecandy store as SAL and ANGIE open door and go in.Close shot of DOYLE and RUSSO parked. DOYLE is looking inthe rear-view mirror while BUDDY is turned around on theseat, looking out the rear window.A long shot, from the DOYLE-RUSSO viewpoint of the candystore. The door is open, the street is deserted. Lightsare going on in the little shop. 12.Hold on the storefront as SAL appears, this time in a candystore operator's smock over a white undershirt, baggy slacks.He's carrying a stack of newspapers. Zoom in on SAL stackingthe Sunday Times and the Daily News on the rack in front ofthe store as ANGIE appears in the doorway. She's blackhairednow, the blonde wig gone, also wearing a grey cotton smockover a plain skirt and sweater, holding a cup of coffee. Wehold on them for a beat, then CUT TO:DOYLE and RUSSO close just looking at each other. The looksays everything about the freak case they have stumbled into.EXT. QUAY MARSEILLE SHIPYARD1) Tight two shot then, 2) cut into blue prints. CHARNIER En prolongeant les quais d'une trentaine de mètres on pourra recevoir des unités d'une cargaison de 500 tonnes.3) While he shows the extension, clean P.O.V. Of each quay.4) Dolly Left to Right with Notre-Dame in background. Theyfold the blue prints and moves. FOREMAN MARCEL Et combien d'hommes supplémentaires? CHARNIER Ca fera environ 10 hommes de plus par équipe. MARCEL Le Syndicat exigera un minimum de 12. CHARNIER Quelle importance. Ce qui compte pour moi c'est d'avoir un chantier qui puisse recevoir les plus grands bateaux du monde. MARCEL Dis moi vieille branche? Comment fais tu pour rester si jeune avec la vie que tu mènes? CHARNIER Quelle vie Marcel? J'ai plus rien foutu depuis que je suis descendu de ces cabines. 13.EXT. NUNNERYEXT. CORNICHE - HI-WAY (BERGER)Pan Left to Right Lincoln driven by Jean with Charnier behind.EXT. CASSIS CROSSROAD IN FRONT OF MARSEILLE SIGN POSTLincoln passing by.EXT. CASSIS HARBOUR FROM CASINOPan Right to Left with Lincoln passing by.EXT. CASSIS ROAD LEADING TO VILLAPan Right to Left with Lincoln arriving from main road toVilla.EXT. VILLA CASSISCamera in front of garage where the Lincoln stops. Charniercomes out with gift and walks Right to Left.EXT. VILLA CASSISPan Left to Right with Charnier walking along terrace withCassis bay in B.G., and we discover his wife, Marie. Shegets up. Dolly back. CHARNIER Bonjour chérie.They kiss each other and walk arm in arm back to us.EXT. VILLA CASSISClose 2-shot favouring her. He gives her the gift. CHARNIER Tu sais j'ai réfléchi longuement à ton cadeau pour le voyage. Je l'ai choisi moi-même. Tiens. MARIE Je peux l'ouvrir tout de suite? CHARNIER Si tu veux. 14. MARIE (opening the gift) Oh Alain! C'est merveilleux! Tu me gâtes. Je t'aime. Attends, je vais te montrer moi aussi ce que j'ai acheté. CHARNIER Encore du sho ping!EXT. VILLAL.S. Pan Right to left from under the trees following her asshe leaves Charnier to enter in the house.EXT. VILLAC.S. of Charnier along the terrace. He throws a fishingpole in the sea.EXT. VILLAPAN RIGHT TO LEFT with Marie coming back with a new coat. MARIE Regarde mon pêcheur de baleine... Tu sais il va faire très froid cet hiver. CHARNIER Avec ça tu pourras le supporter. MARIE Mais non, c'est pour toi. CHARNIER Pour moi? MARIE Regarde, il te va parfaitement bien! CHARNIER Formidable! Sans toi je m'habillerais encore en docker. (then, taking off coat) Je suis passé voir Françoise. MARIE Comment va-t-elle? CHARNIER Je n'ai jamais vu tant de sérenité. Elle m'a demandé de tes nouvelles et si nous étions heureux. 15. MARIE Le sommes nous? CHARNIER (he kisses her) Non!EXT. BOAT - CAR PARKComplete Pan Left to Right with Lincoln passing in front ofSamaritaine cafe.Driver pulls out. Charnier comes out from Lincoln and wefollow him as he crosses Left to Right and jumps into theboat which moves out.FROM BOATBack shot. Charnier standing in the moving boat and smokingas Marseille diminishes in B.G.OPENING SEA SHOTFrom the boat approaching Chateau d'If.ON PEERPan Right to Left as Charnier gets out of boat and starts toclimb up.High angle thru first stone door with sea in B.G. Charniercomes up and turns Right to Left.High angle -- Pan Left to Right -- Low angle, with Charniercoming up from 2nd arch to 3rd arch thru which we see thetower in B.G.EXT. CHATEAU D'IF - 1ST PLATFORMPan Left to Right with Charnier arriving on terrace.EXT. CHATEAU D'IF - CHARNIER - HIS POVNicoli back to us. He turns left shoulder as we approach tohim.EXT. CHATEAU D'IF - TWO SHOTDolly back preceding Charnier and Nicoli after they meet andPan Left to Right to the Rotonde. CHARNIER Ca a marché? 16. NICOLI Au poil.They turn around. CHARNIER Sale boulot. NICOLI Il fallait le faire. CHARNIER Il est en retard. NICOLI Je crois qu'on fait une erreur de le prendre avec nous. CHARNIER Une erreur! C'est génial. C'est une vedette à la télévision. Il peut aller partout sans être soupçonné... En plus il a besoin de fric. NICOLI J'ai pas confiance en lui. CHARNIER Sois gentil avec lui. On ne sait jamais. Il peut te faire travailler à la télévision.EXT. CHATEAU D'IFCut on Devereau arriving. He sees them.EXT. CHATEAU D'IFPan Left to Right bringing Charnier and Nicoli towardsDevereaux to finish in 3-shot. CHARNIER Henri c'est gentil d'être venu. Je vous présente mon associé, Pierre Nicoli. Henri Devereaux. DEVEREAUX Enchanté. (they shake hands) Alain, j'ai réfléchi à votre proposition et j'ai décidé d'accepter. 17.SURVEILLANCE MONTAGE OF SAL BOCA's activities. From time totime DOYLE and RUSSO are visible, but their dialogue is forthe most part VOICE OVER.INT/EXT. BROOKLYN CANDY STORE - DAYVarious shots of SAL and ANGIE. Several shots of DOYLE andRUSSO in the CANDY STORE: reading magazines, having lunchseparately. They are also seen in the LEATHER FACTORYacross the street observing the CANDY STORE. SeveralCHARACTERS enter the CANDY STORE from time to time and gointo the BACK ROOM.Following are a series of cuts (MOS) to be used with the V.O.dialogue of RUSSO and DOYLE.INT. CANDY STORE - DAYSAL counts the receipts. Two or three CUSTOMERS in the BG.SAL removes a tray of Ziti from the oven. ANGIE makes anorder to go.SAL removes garbage from the back area. RUSSO (V.O.) Our friend's name is SALVATORE BOCA. They call him SAL. He's a sweetheart. He once was picked up on suspicion of armed robbery. Tried to hold up Tiffany's on Fifth Avenue! In broad daylight! Could have got two-and-a-half to five, but they wouldn't prosecute. Also downtown they're sure he pulled off a contract on a guy named DeMarco.EXT. CANDY STORE - DAYSAL putting garbage into cans. Pan and Zoom to DOYLE andRUSSO in window of FACTORY across the street.INT. CANDY STORE - DAYANGIE carries bowl of hard-boiled eggs from rear of store tothe front. DOYLE (V.O.) His old lady?ANGIE makes a tuna sandwich on a roll. A cigarette danglesfrom her lips. SAL is in BG at cash register with customer. 18. RUSSO (V.O.) Her name's Angie... Fast filly... she drew a suspended for shoplifting a year ago... only a kid, nineteen according to the marriage license.From front of store looking to back. DOYLE (V.O.) Yeah, nineteen goin' on fifty. What else?RUSSO is at counter eating lunch with three others... ANGIEserving. She wears a sleeveless sweater; shows lots of tit.RUSSO digs... she digs him. A wise guy comes in, goes tothe back room. SAL follows. RUSSO (V.O.) He's had the store a year an'a half... takes in a fast seven grand a year.EXT. CANDY STORE - DAYPOV from FACTORY window... Two Wise Guys in big coats andhats pull up in a big car. They enter store. DOYLE (V.O.) So what's he doin' with two cars and hundred dollar tabs at the Chez?INT. CANDY STORE - DAYAngie shooting from back of store towards front. The TwoWise Guys enter, go to Back Room. SAL follows. They closedoor. DOYLE is at the magazine counter in front. He sitsdown with magazine. Orders coffee. RUSSO (V.O.) The Merc's in his wife's name. Dodge belongs to his brother.WARD'S ISLAND - DAYA heavy-faced, dirty looking man in a Sanitation Dept.uniform in a group of men practising with Sanitation trucks. RUSSO (V.O.) Lou... he's a trainee at the Sanitation School on Ward's Island. Served time a couple of years ago, on assault and robbery raps. 19.SEVERAL SHOTS - DAYEXT. CANDY STORELOU pulls up. As LOU picks up SAL. They drive to variousbuildings in Brooklyn. One or the other gets out briefly,then goes on. DOYLE and RUSSO watch from DOYLE's car.SUYDAM STREET DOYLE If that's not a drop or a pickup, I'll open a charge for you at Bloomingdale's. RUSSO Make it Alexander's, I like the toy department. DOYLE Toy wit' this will ya.EXT/INT. "MICKEY'S TWO DOOR" - DAY RUSSO There's about a hundred years' parole time in there night or day.SAL arrives alone. DOYLE and RUSSO in parked car acrossstreet. DOYLE They treat our boy like a king. Wonder why he don't bring his old lady?SAL flirts with the BARMAID. RUSSO There's your answer...THROUGH RIDGEWOOD - DAYRestaurants, stores, etc. DOYLE Who's the greaser?With SAL and his FATHER. RUSSO It's his father.DOYLE and RUSSO in parked car. 20. DOYLE I think we oughta burn him on suspicion. RUSSO Suspicion of what? DOYLE Makin' wine in the basement. (pause) He looks like that wop stooge used to drive for the Fracisi brothers.LOU joins them. He and SAL leave together after each kissesand embraces the old man. RUSSO Lay off with that wop stuff, will you?EXT. WEINSTOCK'S APT. BUILDING - DAYIn the East 80's. SAL exits. DOYLE That's the third time he come here this week. You got anything on the building?DOYLE and RUSSO in parked car. RUSSO The building's clean. I checked the tenant list -- Don Ameche, the actor lives there -- oh, and somebody else. Do the name Joel Weinstock ring a bell?TIME LAPSELate day. WEINSTOCK leaving building, nodding to doorman. DOYLE You're kiddin'DOYLE and RUSSO in parked car. RUSSO No sir -- this is where Joel lives. DOYLE He was the bank on that shipment outta Mexico three years ago. 21. RUSSO So I've heard.EXT. CANDY STORE - NIGHTSAL and ANGIE leaving. DOYLE Whatta you know -- he's takin' his wife out for a change.DOYLE and RUSSO in parked car.INT. LEATHER FACTORY - DAYAcross street from Candy Store. DOYLE and RUSSO at theprinting machine. DOYLE (at leather printing machine) Got a job for me when this is over, Mrs. Levene?They have a view of the Candy Store across street. Variouspeople go in and out. Next to DOYLE, at a stamping machine,is MRS. LEVENE, the factory owner. MRS. LEVENE What are you fellows looking for? What do you want from that nice candy store? DOYLE We have reason to believe it's a front for the biggest counterfeiting operation in the country. MRS. LEVENE What? DOYLE That's right. They're trying to steal the formula for Hershey bars --DOYLE continues his work at the print-out machine, whileobserving the candy store.We see SAL leaving the store. He crosses to his car, nearthe RUSSO car. As he passes it, he sees RUSSO locked inembrace with a lady in a babushka. As SAL drives off, weget a closer look at the "LADY" in the babushka: DETECTIVEJAMES DOYLE. 22.INT. RUSSO'S CAR ON TRIBORO BRIDGE CROSSING TO WARD'S ISLAND DOYLE What the hell am I drivin' for? I'm a first grade Detective. You're a second grade guinea. RUSSO I'm wounded. Oh, oh.SAL up ahead in the Mercury. DOYLE (at the wheel) What?EXT. WARD'S ISLAND - BRIDGEThe Mercury crossing the bridge to the Island. RUSSO He's goin' to Ward's Island. We'll get spotted. What the hell's he goin' there?DOYLE-RUSSO car B.G. DOYLE Maybe he's goin' to see his brother. DOYLE Or could be another drop. I guess he gets a free ride.EXT. BROOKLYN STREET - DAYA Brooklyn slum street on a morning in November. It isabout 11 o'clock and relatively quiet. A scattering oftenement URCHINS give the street some sound and life. Thereare a couple of dark shops on the street and a bar, allappearing to be closed. We look down the street and pick upDOYLE and RUSSO coming down it, walking very quickly. Theyare heading toward the bar. A young man is coming out -they grab him and throw him back.INT. BAR ROOM - DAYThe Young Man is thrown in, followed by DOYLE and RUSSO.There are about 20 or 30 PUETRO RICAN and BLACK MEN in thejoint, a couple of BLACK WOMEN. They are in all manner ofdress. Half of them are wearing shades. The bar is noisywith conversation, laughter and music. 23.DOYLE and RUSSO standing in the doorway, DOYLE slightly tothe left, RUSSO a little behind him. DOYLE's arms are athis sides. RUSSO's right hand is crossed over his belt,under his jacket and on the butt of his .38, ready, waitingto back his partner's play or respond to any move within thebar.DOYLE moving into the bar alone. He pulls the plug out ofthe Juke Box, plunging the room to silence. DOYLE Hands on your heads. Popeye's here!Twenty men raise hands to their heads as one. The raggle-taggle swarm plays a kind of human chicken, refusing to moveuntil the last moment then stepping out of his way. One ofthe customers doesn't. DOYLE What's my name? 1ST MAN Doyle. DOYLE What? 1ST MAN Mr. Doyle. DOYLE Ever pick your feet in Poughkeepsie? 1ST MAN What?DOYLE raises his left arm and pushes the MAN aside. TheMAN's eyes go to RUSSO, off-camera at the door, and back toDOYLE. He doesn't resist; he gets in line with the rest ofthem, a line formed about four or five feet from the bar,running the length of it.Close of DOYLE at the bar, holding an ashcan and skimmingthe metal underrailing with one finger, knocking off themagnetized key boxes into the ashcan. He isn't even lookingat them. His eyes are across the bar, staring down thecustomers.Close shot of the ashcan and the little metal boxes clinkinginto it.Close shot of DOYLE, the ashcan now on the bar, opening oneof the boxes, taking out the ten dollar bill, putting it onthe bar. 24.Then, opening another, taking out the glassine deck ofheroin. Then another, containing a glassine deck. Heempties the glassine envelopes on the bar into a cocktailmixer which he proceeds to shake. The shaker is half-filledwith tomato juice.DOYLE leaning over the bar toward the glaring crowd, poursthe mixture into the ashcan. DOYLE Milk shake anyone?He wiggles his finger. It is a command for THREE MEN tostep forward. The MEN do not move at first. DOYLE Move ass when I tell you.They move, shuffling, hesitatingly. But they move -- TWOBLACKS and A PUETRO RICAN. DOYLE Put it on the bar.Hands of the THREE MEN going into pockets.Close of a miscellany of keys, coins, cigarettes going ontothe bar -- with two hypodermics, six or eight marijuanacigarettes, a small plastic vial of barbiturates. DOYLE (collecting the works) All right, you three clowns step into those phone booths, you're goin' in. Go on. Stand in there till I'm ready for you.The three men turn and enter the individual phone booths.They stand, waiting, like contestants in the $64 Question. DOYLE Everybody goes when the whistle blows.RUSSO is with another man from whom he's just taken a set ofworks. RUSSO What's your story? DANCER Gimme a break, Mr. Russo. I'm in show business. 25. RUSSO You're in show business. DANCER S'right. DOYLE What do you do in show business? DANCER I'm a dancer. RUSSO All right, get up on that bar and dance. DANCER What? RUSSO Get up on the bar and show me how you work. If I like it you don't have to go in. DANCER You're for real? JERRY LEON Hey man, why don't you let the fella alone. RUSSO (a shout) Am I talkin' to you - JERRY LEON No, but I'm talkin' to you. RUSSO I'm tellin' you to shut up and stand over there. RUSSO (to Dancer) Get up there.The man climbs up on the bar. DANCER I got no music! RUSSO Fake it. 26.The man goes into a fast tap dance. But he only gets in afew steps -- DOYLE All right, that's enough, you're under arrest.RUSSO pulls the man off the bar, sends him into one of thephone booths.DOYLE coming down the front of the bar. He stops beforeanother man, who has just come out of the toilet. DOYLE What about you? Can you stand a toss? 2ND MAN I'm clean. DOYLE You don't use shit? 2ND MAN No. (he goes for his wallet) DOYLE Did I say you could move that hand -- I'm not gonna get stuck am I? 2ND MAN No - no. DOYLE Cause if I do.DOYLE frisks the man. Comes up with vial of pills and tworoaches. DOYLE Wise guy, huh? Let's see what else you got. (to RUSSO) - Buddy!He collars the man and shoves him towards the toilet.RUSSO, eyes moving everywhere, hand on the gun. 27. RUSSO If I see any shit on the floor, it's yours, so keep your eye on your neighbor.Inside the toilet of the bar. The MAN is up against thewall. DOYLE is only inches away.The MAN is an AGENT and this is the only way DOYLE can getimmediate information from him without destroying the man'scover. Their conversation is in whispers. And very fast. DOYLE How's everything? 2ND MAN Everything is everything. DOYLE How come there's nothing out there? That stuff is all milk. 2ND MAN There's nothing around. Nobody's holding. DOYLE I got a name - Sal Boca, Brooklyn. 2ND MAN Boca? DOYLE B.O.C.A. 2ND MAN Doesn't register. DOYLE Got a wife named Angie. 2ND MAN No, nothing. There's only some talk. DOYLE What? 2ND MAN Coming in this week, week after. Everybody going to get well. DOYLE Who brings it? 28. 2ND MAN Who knows? DOYLE Where do you want it? 2ND MAN This side.Door of toilet. There is a hell of a crash and slammingbehind it. Door opens and DOYLE steps out over the crumpledprostrate form of the INFORMER. He has just decked the manto continue the protection of the cover. He pauses halfwaydown the line as if he's speculating on beating up anotherone because he didn't get any information. But he decidesthat would be futile too. DOYLE I'm goin' check on this address in the Bronx, if you're bullshitting me, it's your ass. RUSSO Tell everybody we'll be back in an hour. DOYLE (to all) We're goin' now! Goodbye.EXT. PASSENGER SHIP - DAYClose shot of DEVEREAUX, New York harbor in the background,being interviewed by television reporters on his arrival inthe U.S. abroad a passenger ship. He is smiling, jovial,charming. REPORTER 1 How long will you be here? DEVEREAUX Not long enough. Two... perhaps three... weeks at most.Medium close shot of DEVEREAUX and THREE TV REPORTERS, asthey talk, a crane moves into action behind them and liftsout of hold. LA VALLE is with DEVEREAUX as Translator andInterpreter. GIRL TV REPORTER Why did you come by ship, Mr. Devereaux? 29. DEVEREAUX The next several weeks will be very difficult and the middle of the ocean is the only place where the telephone isn't ringing all the time. REPORTER What will be the viewpoint of your documentary. DEVEREAUX To make a Frenchman feel what it is like to be a New Yorker. LA VALLE That's enough now, ladies and gentlemen. M. Devereaux is due at his hotel in half an hour.Overhead the Lincoln comes down from the hold of the ship.EXT. WEST SIDE DRIVE - DAYA long view of the pier from the opposite (east) side ofWest Street, beneath the steel trusses and girders of theWest Side Drive and through the forest of cars that areparked there, the jam of traffic that develops around everyunloading vessel. It is a view that takes in the front endof the Lincoln inching off the pier. HENRI DEVEREAUX at thewheel, turns to his right. We watch until the point of viewon the sidewalk. ALAIN CHARNIER and PIERRE NICOLI arestanding there watching. When the car (off-camera) turnseast on the way to the garage, NICOLI glances to CHARNIER.CHARNIER does not look back.EXT. DORAL HOTEL - LINCOLN PULLS IN - DAYINT. POLICE OFFICE - NIGHTClose shot of WALTER SIMONSON at desk in the large squareoffice he occupies as a Lieutenant of Detectives in chargeof the Manhattan Narcotics Bureau. He is the immediatesuperior of RUSSO and DOYLE, head of the 200-man narcoticssquad that polices Manhattan. SIMONSON (with coffee cup) All that is great -- but you guys work Bed-Stuy. You're not supposed to be in Ridgewood.DOYLE, RUSSO and SIMONSON 30. DOYLE Detach us. Let us have a shot at it, at least until we see if there's anything here or not. Everybody wants Weinstock, right? So maybe here's a lead. We deserve it. SIMONSON You couldn't burn a three-time loser with what you're bringing in here. You know you stiffs could run yourselves an entrapment rap. The guy has done nothing -- Brooklyn is full of Candy Store guys with two cars who like to go to nightclubs. RUSSO Put this little candy hustler together with Joel Weinstock and it could be we stumbled into a big score. SIMONSON (moves to window) Big score! He's dealin' a few bags here and there on the side. DOYLE Simonson, I wouldn't be infringing on your coffee break if I thought he was a nickel and dimer. SIMONSON Your hunches have backfired before, Doyle.DOYLE, close, no comment.Back to SIMONSON. SIMONSON (moves back to stand at desk) Jimmy, what the hell's happening with you lately? (pause) You got more collars than any Narc in the bureau. What was it. Over 100 last year? Terrific. But who? (MORE) 31. SIMONSON (CONT'D) You stop and shake down a bellboy because he's got three joints in his sock. You hit a high school kid in short pants who looks like he's got a twitch.RUSSO. Getting it back on the track. RUSSO (moves in to desk) We got information that there's no shit in the street -- it's like a desert full of junkies with a big score coming in to make everybody well.DOYLE DOYLE This could be it, Walter. This Candy Store guy, putting on a big show in a fancy nightclub with known connections all over him. Then on our own, after working the whole day and night, we tail him out to Brooklyn and sit on him for a week practically, and who do we come up with? Joel Weinstock. (he leans forward) You gotta let us have it.THREE SHOT - RUSSO, DOYLE, SIMONSON SIMONSON (pause, he turns to RUSSO) You really believe all this crap? RUSSO I go with my partner.A pause. SIMONSON What'll it take? RUSSO First a wire. DOYLE Two wires. One on the store and one on his house. 32. SIMONSON You know I have to get a court order for wiretaps. RUSSO Try... okay? DOYLE We know you can do it, Walter.They start to leave.Close on SIMONSON. SIMONSON Popeye...Close on DOYLE at the door. RUSSO beside him.Back to SIMONSON SIMONSON You still pickin' your feet in Poughkeepsie?WIRETAP SEQUENCE "A"INT. BASEMENTRUSSO on phones -- checking notes on SAL. DOYLE readingcomics on cot. Tape machine clicks on -- tape is activated.RUSSO sits attentively.EXT. CANDY STORE - DAYShot of wire. 33. SAL (V.O.) RUSSO What's this crap. I just (He raps on table spoke to my wife and she with a coffee cup. says you're raisin' me a Doyle gets up.) halfa cent on the cups. C'mere and lissen to your big connection. WHOLESALER (DOYLE comes over) (V.O.) He's fightin' with somebody Yeah, well you know I about a halfa cent. shoulda raised this here a long time ago. We got a DOYLE inflation period... How we gonna keep Simonson from hearin' this? SAL (V.O.) I got your inflation. I can RUSSO get the same cups on Delancey If he does, we'll be back in Street for what I been Bed-Stuyvesant tomorrow. payin' you for the last year -- That's all I gotta do with you guys -- next time it'll be two cents on the cones, then two cents on the seltzer -- WHOLESALER (V.O.) C'mon Sal, I got my orders, too -- SAL (V.O.) Well, if you can't do better than that, you can stick the cups.EXT. AUTO GRAVEYARD (HUNTS POINT AND EAST RIVER) - DAYHIGH ANGLE: Close shot of CHARNIER, MARIE and LA VALLEwalking slowly together toward the camera. They are at theauto graveyard and the scene of an auction of cars towed offNew York streets by the Police Department. About twentyother men are walking around, looking at the cars.A POLICEMAN blows a whistle and the prospective car buyersgather around the auction trailer in the b.g. LA VALLE There are four auto graveyards like this one in the other boroughs, handling about a thousand vehicles a month. Those that aren't claimed are auctioned here once a month. MARIE Just for mistakes of parking? 34. LA VALLE No. Many are involved in crimes and confiscated... or just abandoned. This is, as you know, your prime source of scrap metal, M. Charnier. MARIE (off camera) Darling, may I have this one?Medium close shot MARIE, standing next to an LTD. MARIE It looks so lonesome here.CHARNIER and LA VALLE approach her. CHARNIER It would look even more lonesome in our garage.INT. THE AUCTION TRAILER - DAYWithin the large trailer, about TWENTY MEN are seated at twolong benches to each side. Some are standing to the rear.At the front, an AUCTIONEER stands at a lectern. To hisleft sits a CLERK at a small table. The AUCTIONEER wears asweater and hat. The buyers are tough types, young and old.All have inventory lists. The atmosphere is informal. TheCHARNIERS and LA VALLE enter the trailer at the back. AUCTIONEER Every car sold today must be removed at the purchaser's own expense. We have no keys or anything to start the vehicles with. You buy 'em as you see 'em and where you see 'em. All right, the first car offered is Number 24398. A Plymouth sedan. Do I hear fifteen dollars?The bidding goes up to forty dollars. A large BURLY MANwins the bid. He goes up to the CLERK and accepts the billof sale. AUCTIONEER We go to 24399 -- A Pontiac Station wagon. Do I hear ten dollars? LA VALLE (aside to CHARNIER) Notice he will never mention the year of the car. 35. AUCTIONEER I got a fifteen dollar bid going... Do I hear anymore... Eighteen... who'll say Eighteen? Twenty... Twenty-three... Anymore... Twenty-five. Twenty-five once -- Do I hear twenty-eight... All right, last call for twenty- five...Close shot of CHARNIER CHARNIER (aside of LA VALLE) And these are the cars we're buying for shipment?Close shot of CHARNIER, MARIE and LA VALLE. They are facingthe AUCTIONEER. LA VALLE Yes, sir. That man in the dark jacket is our buyer.Close shot of THE BUYER, LOU BOCA. He is very active andwins the present bid.WIRETAP SEQUENCE "B"INT. BASEMENTDOYLE and RUSSO playing Gin Rummy, listening at each end ofone phone - breaking up.EXT. HOUSE - NIGHTShot of wire. ANGIE (V.O.) (sleepy) Where are you? SAL (V.O.) Takin' care o' business, honey. ANGIE (V.O.) Takin' care o' business -- it's after midnight. SAL (V.O.) You know I hadda meet some people tonight -- 36. ANGIE (V.O.) -- Well finish all your meetin' people and get back here now -- and bring a pizza with you. SAL (V.O.) Where'm I goinna get a pizza this time o' night? ANGIE (V.O.) Well try, okay? SAL (V.O.) I don't know where I'm gonna find a pizza joint open. ANGIE (V.O.) Sal -- SAL (V.O.) Yeah? ANGIE (V.O.) Don't forget anchovies. (she hangs up) SAL (V.O.) This broad's crazy!EXT. WARD'S ISLAND (UNDER WEST ABUTMENT OF THE HELLGATEBRIDGE)Pick up CHARNIER, MARIE and MAURICE LAVALLEAs the camera plays over the bridge: (in French) CHARNIER (V.O.) It's beautiful. LA VALLE (V.O.) It was built in 1917 - and was one of the two heaviest bridges in the world. The arch is still the largest in the world. CHARNIER Who financed it? 37. LA VALLE Two railroads as part of a connecting railway which provided passage from New England to the South. It was actually the first railroad through New York City. MARIE Why is it called Hellgate? LA VALLE The river at this point is the most dangerous on the East Coast. Years ago, hundreds of ships went down here. CHARNIER If this bridge were in Europe, it would be on every tourist's sight- seeing list. LA VALLE Most New Yorkers never notice it - most Americans have never heard of it. CHARNIER Look how gracefully they conceived that arch. Like a bowstring. It was built from both ends. With no support in the middle. Beautiful. LA VALLE Mmm. MARIE Alain is the only man I know who can become as enthusiastic about a bridge as he can about a woman. CHARNIER Not any woman, Marie. Just one.EXT. OLD ROAD IN WARD'S ISLANDCHARNIER, MARIE and LA VALLE walking.(NEAR GARAGE) 38. LA VALLE I'm afraid the rest of Ward's Island isn't nearly as romantic - a pollution plant, a hospital, a training school for garbage men and that area over there, where the old cars are kept, prior to being processed for shipment to, among other places, The Charnier Shipping Company, of Marseilles, France.(NEAR CREMATORIUM) MARIE What is that old building? LA VALLE Oh, it's been abandoned for years. MARIE What was it? LA VALLE It was a crematorium. MARIE For garbage? LA VALLE For dead bodies.WIRETAP SEQUENCE "C"INT. BASEMENTDOYLE on phones. CHARNIER (V.O.) Allo... Salvatore... SAL (V.O.) Who's this -- CHARNIER (V.O.) ... Salvatore?...RUSSO enters with a bag of sandwiches and cigarettes. DOYLEwaves him to the phone. 39. SAL (V.O.) RUSSO ... Oh... yes... yeah... Who is it? hello... this is Sal... How are ya? DOYLE Sounds like a foreigner... CHARNIER (V.O.) Very well... you meet me RUSSO Wednesday at the hotel... (listening at the Okay? other phone) French... It's a Frenchman... SAL (V.O.) Good... good... great! DOYLE This is what we been waitin' CHARNIER (V.O.) for -- the stuff is here! Will I expect you? It's here! SAL (V.O.) What time? CHARNIER (V.O.) Twelve o'clock... yes... SAL (V.O.) Yes --The phone clicks off.DOYLE and RUSSO round each other and jump up and down liketwo kids.INT. WHIP GIRL'S APT.Close shot of NICOLI's face. He's being whipped, and iscaught in an ecstasy of pain and pleasure. The tempo of thestrokes rises. Suddenly it reaches a crescendo and hescreams out in orgasm.Close, full-length shot of a nude BLONDE GIRL, wearing onlyblack boots and silk panties. She's walking away from thecamera, throwing aside a small cat-o-nine-tails flagellantwhip. We can hear NICOLI's heavy breathing until the girlspeaks as she moves toward a couch.Medium close shot of NICOLI, tying his tie shrugging intoovercoat.Medium close shot of NICOLI, looking at the bills with apause to sort out the currency differences, then taking outfive twenties.Close shot of the WHIP GIRL taking the five then moving upto the look of annoyance and disappointment on her face. 40. WHIP GIRL You're Fifty Dollars short.The look of anger turns to one of consternation as NICOLIreacts to her. WHIP GIRL M'sieru - the tab for this scene is a hundred and a half. (he moves to door) Hey Frenchie - if you don't come up with the scratch, you're gonna run into my man downstairs.Medium close shot of NICOLI advancing on the WHIP GIRL asshe backs away and begins to cringe. He grabs her and hurlsher back across the couch.Close shot of the GIRL. WHIP GIRL Don't hit me. Don't. Please.We hear the door slam as she sobs. WHIP GIRL You filthy faggot sonofabitch.INT. CUTTING ROOM - DAYClose shot of two pro football players smearing each otheron the field, others falling on top of them.Medium close shot of DEVEREAUX at a Movie-ola working outhis narration (DIALOGUE IN FRENCH) DEVEREAUX This is the new American religion, professional football. It is where everybody goes instead of church on Sunday to express that peculiar American taste for bloodshed and violence.Several close shots of the violent action.Intercut with faces of the crowd.Close shot of DEVEREAUX. 41. DEVEREAUX These men, playing a "game" - make more money each year than many important business leaders, artists or government officials. (zoom out) It tells us something about this country and how its men live, or go to war with a smile, and sometimes die without a cause.The phone rings - it is CHARNIER. EDITOR It's for you - Alain Charnier.Hold close up of DEVEREAUX.INT. MUTCHIE'S BAR - NIGHTIn Lower Manhattan. There are SIX or EIGHT MATRONS stillthere, stevedores and truck drivers. Most of them areclustered at the far end of the bar, where MUTCHIE, a gray-haired gone-to-paunch Irishman with spectacles as thick aspop-bottle bottoms stands behind the mahogany bar. Thecluster of customers is involved in a typical New Yorksaloon argument.DOYLE is ignoring the debate and watching the television.He is approached by a small MAN in a long coat and baggysuit with suspenders. This is JESUS THE BOOSTER. JESUS Hey, Bo. DOYLE Hiya, Jesus. JESUS Can you use a new suit for Christmans? DOYLE Whatta you got?JESUS reaches into his trousers and pulls out three suits(jackets and pants). They are of the latest style andcolor, and still on hangers! JESUS Whatta you?... a 44... 46?DOYLE examines one of the jackets. 42. DOYLE Where'd you get this fag shit? JESUS This is what the tough guys are wearin'. You know I only steal from the best. It's Bonwit Teller. DOYLE Pass. JESUS Forty dollars -- was $250. DOYLE Whyn't you get it dry cleaned and burned.JESUS blends into the crowd and we pick up the dialogue ofMUTCHIE and his cronies, BAD EDDIE, LEE and PUGGY. MUTCHIE A big man could alluz beat a little man. That's why Wilt Chamberlain could murder Jim Brown if they ever fought. BAD EDDIE No chance. Brown'd kill him. MUTCHIE Chamberlain's seven foot tall, right? He's got a twelve-foot reach. It's geophysics. He's punchin' down on you with leverage. He cave your chest in. BAD EDDIE Best I ever seen was The Rock. He was the calmest and the meanest. Guys like Sugar'd be pukin' before a fight. Jake LaMotta'd be pukin'. Marciano was calm like he was goin' to church. What about the night he fought LaStarza? He hit him so hard he broke the blood vessels in LaStarza's arms. He was the strongest meanest bastard ever lived. PUGGY Hey, Mutchie, give us another bullet.MUTCHIE pours him a straight Scotch in a shotglass. 43. MUTCHIE Blackjack Burns coulds been the greatest ever -- PUGGY -- He was a stone tanker. MUTCHIE That's right, he couldn't fight legit. One night at the Garden about 1950, '51 -- he fought either Jake LaMotta or Gus Lesnevich, I think it was -- he took one o' those cream puff punches in the sixth -- the laziest left you ever seen -- missed him entirely. Down goes Blackjack without even workin' up a sweat and the whole Garden gets up in its feet and I swear to Christ, everybody starts singin' "Dance With Me Henry." LEE I fought a guy in Cleveland once. I knew he was a dirty fighter so I stick a crowbar in my crotch. Right here. Second round he gives me a shot -- Boom -- he breaks his hand, the fight's over. PUGGY Fuck it, I like nitroglycerin, that's my game. MUTCHIE What about you, Doyle? Who's the best fighter you ever seen? DOYLE (a few drinks behind him) Willie Mays. BAD EDDIE & LEE Willie Mays?! DOYLE With a baseball bat! One swing! Knock your fuckin' head off.TIME LAPSE. The DRINKERS are gone. MUTCHIE is at the barcleaning up. DOYLE is in the open adjoining kitchen areacooking breakfast. 44. MUTCHIE What ya doin' out so late? Hidin' from the cops? DOYLE I hear the health department is going to close this joint for selling dirty beer. I come by to help you carry out your money. MUTCHIE They'll close you down if they ever get a look at those busted-valise broads you run with. DOYLE You want some eggs. MUTCHIE Why not? DOYLE (looking around for bacon) Hey, Mutch! You want bacon? MUTCHIE Yeah! DOYLE (rattling pans, looking around) Where the hell is it? MUTCHIE Where the hell do you think it is, potato head?DOYLE opens the door to the icebox. MUTCHIE No wonder there's so many Mafia around. Ya couldn't find a Puerto Rican in Spanish Harlem.TIME LAPSE. Almost morning. Close on DOYLE and MUTCHIEeating bacon and eggs. MUTCHIE is standing behind the baras he eats, DOYLE is sitting in front of it. They both havea bottle of beer. 45. MUTCHIE I got this little chick I'm tryin' to hit on. She's about 20, 21... I take her to Jilly's last night and she's tellin' me about how she wants to settle down one day, get married... I says, "Hey, this is 1971, baby, I'm just a dirty old man lookin' to score with some pussy." DOYLE Strike out, eh? MUTCHIE Yeah. In the late innings. Ya look like a night's sleep wouldn't kill ya. DOYLE A piece of ass wouldn't kill me. MUTCHIE When ya go back on? DOYLE Morning. Sometime. MUTCHIE Whyn't ya stretch out on the pool table for a couple hours. The kid comes in at six will wake ya. A couple eggs and a beer is cheaper than keepin' a dog around the joint.EXT. MUTCHIE'S BAR - DAYClose of DOYLE going to his car. He stops for a light.DOYLE is red-eyed and in need of a shave. He fidgetsthrough his pockets looking for a cigarette but doesn't findone. As he drives along a GIRL CYCLIST comes into viewalongside.Our view is DOYLE's view of her long, lean tapered legs. Ifhe looks further, and DOYLE always looks further, he willsee there is a bra-band sweater covering her well-formedbreasts. The pendulous swing is there as she bends over thehandlebars.Close front view of DOYLE looking back to the light, thenback to the legs.Close outside view, the cyclist, of DOYLE leaning out thewindow with his badge in his hand. 46. DOYLE You got a pedaller's license? GIRL What? DOYLE You're under arrest.INT. SIMONSON OFFICE - DAYMedium close shot of RUSSO and SIMONSON. PHIL KLEIN, afederal narcotics agent, is reading aloud from an article inthe New York Daily News. MULDERIG is listening and sippingcoffee.Close shot of BILL MULDERIG, a Fed narcotics agent. MULDERIG Whatta you got -- four more years, Walter?Medium close of SIMONSON and RUSSO SIMONSON Three.Close shot of MULDERIG. MULDERIG Christ, by the time you get out all this shit'll be legal.Wide shot of room, taking in SIMONSON, RUSSO, MULDERIG andPHIL KLEIN. SIMONSON hands BUDDY a stack of warrants. SIMONSON (rises, to RUSSO) The judge gave you ten days on these. Klein and Mulderig will be sitting in for the Federals. Tell Doyle they'll make all the buys, and that they're to be kept informed of everything that goes down.SIMONSON turns to MULDERIG. SIMONSON You know Doyle, don't you Bill?Close of MULDERIG. 47. MULDERIG (rises) Sure, I know Popeye. The Master of undercover, whose brilliant idea of disguise is to limp into a room on his left foot and limp out on his right. Whose brilliant hunches cost the death of a good officer --Close of RUSSO RUSSO If that's how you're coming in, why not stay home and save us all a lot of grief.MULDERIG, close. MULDERIG That's just my opinion.RUSSO, close. RUSSO Whyn't you shove it up your ass!EXT. DOYLE'S APARTMENT BUILDING - DAYLong shot of RUSSO approaching housing project group ofbuildings. This is where DOYLE lives.INT. HALLWAY TO DOYLE'S APARTMENTRUSSO rings the bell. No response. He knocks. Againnothing. He hears a shower working inside the apartment. RUSSO Popeye.No answer. RUSSO Popeye. DOYLE (off, weakly) Yeah. RUSSO It's Cloudy. Open the door. DOYLE (off) I can't. 48. RUSSO Why not? DOYLE (off) Let yourself in.RUSSO reaches into his jacket pocket and gets a celluloidcard, his PBA card, which he slides into the door at thelock. He gives it a juggle and the lock is free but thedoor moves grudgingly.INT. DOYLE'S APARTMENT - DAYThe door to DOYLE's apartment, a close view from inside.There's a bike propped against it and BUDDY RUSSO is tryingto push it open from the outside. RUSSO (behind door) What the hell you got holding the door?The bike teeters and falls with a crash and RUSSO comes intothe room puzzled, exasperated.INT. APARTMENT - RUSSO'S POV - DAYDOYLE is anklecuffed to the bedpost at the foot of the bed. RUSSO What happened to you? DOYLE (sleepy) The crazy kid handcuffed me to the bed. With my own cuffs.The shower goes off. RUSSO puts the bike upright on itsstand and squeezes the horn, which makes a loud beep.The BIKE GIRL appears in the bathroom door, wrapped in atowel. BIKE GIRL Oh!RUSSO sees key on dresser - tosses it to DOYLE. There areclothes all over the place, the GIRL's cycling outfit,DOYLE's pants and shoes and socks. The decor is completelyimpersonal. RUSSO looks up. 49. RUSSO (looking at scrapbook on dresser) You oughta get plastic covers for this stuff like I did - your scrapbook's a mess like everything else in your life.RUSSO goes to chair. DOYLE Gimme my pants.RUSSO, who is half sitting on them, pulls the pants looseand hands them to DOYLE. DOYLE You got the warrant? RUSSO (sitting) We also got Bill Mulderig and Phil Klein.Close on DOYLE, buttoning his pants. DOYLE What do we need those pricks for?Medium close on RUSSO picking around through the clothes,coming up with a pair of panties. He holds them out. RUSSO Because by actual count our bureau has exactly nine hundred eighteen dollars and fifty-four cents to make buys and Mulderig's Feds can get all of Uncle Sam's money he wants by just asking.DOYLE sitting on bed, strapping the holster on his ankle.He checks his gun. DOYLE Throw 'em in the bathroom, will you? How good are the warrants? RUSSO (on the move down hall, at bathroom door) Sixty days. Here. Don't mention it. 50.DOYLE is checking various items that go in his briefcase -notebook, handcuffs, book of laws, field reports, pencils,binoculars, candy bars, etc.Medium close shot of RUSSO looking toward the bathroom door. RUSSO Hi!RUSSO looks back to DOYLE. There is the sound of a kickstandbeing kicked back in place, the door opening and the GIRLleaving.Medium close shot of DOYLE tying the shoes, wincing. Lookingup to the departing GIRL. RUSSO Drive carefully!EXT/INT. RUSSO'S CAR - DAYClose shot of BILL MULDERIG in back seat. BUDDY is infront, next to DOYLE at the wheel. MULDERIG Strictly small potatoes.We can see DOYLE working to keep up with the black Mercuryas they cross the Brooklyn Bridge in fairly heavy traffic.The Mercury cuts around in and out, DOYLE plunges after him. MULDERIG You really know how to pick 'em, Doyle.RUSSO turns his head in anger. MULDERIG Still wearing your gun on your ankle?No answer. MULDERIG Somebody told me the reason you did that was so's when you met a chick and rubbed against her she wouldn't know you were a cop.No answer. MULDERIG I said that was bullshit. It must be some kind of fast-draw gimmick or something. 51. RUSSO Knock it off, Bill. MULDERIG He's gettin' too far ahead. You're gonna lose him.DOYLE cuts into the next lane to a lot of horn-blowing andcomes to a dead, screeching stop. DOYLE sits up sharplyerect in the seat, craning to see where SAL is going. Hethrows open the door and hurls himself out.EXT. BROOKLYN BRIDGE - DAYRear medium close shot of DOYLE climbing up on the side ofthe car to look ahead, then jumping down and running off.DOYLE running as hard as he can.Medium close side shot of SAL turning off the bridge ontothe FDR Drive, moving quickly and smoothly uptown.DOYLE running to a stop, and staring ahead. Breathing hard,horns are blowing on the bridge and they drown out the wordsas he curses, "Dirty Sonofabitch."INT. RUSSO'S CAR - DAYRUSSO is on the blower. RUSSO Phil -- it's Cloudy -- we lost him --Static comes over the two-way radio.EXT. BOCA'S CAR COMES OFF RAMP, PAN TOINT. KLEIN'S CAR - DAYKLEIN is parked on Pearl Street below the Brooklyn Bridge. RUSSO (V.O.) He just got off the Bridge - He's all yours if you can find him. Sonofabitch!KLEIN starts his car.EXT. A PARKING GARAGE IN THE EAST 40'S - DAYSAL emerges from the garage and heads toward Madison Avenue.He passes a man looking in a store window, PHIL KLEIN.KLEIN follows him. 52.EXT. A STREET IN THE EAST 40'S - DAYSAL stops abruptly at the corner and turns around. KLEIN isforced to pass him and cross the street.SAL crosses the street to his left, at a right angle to KLEIN.EXT. MADISON AVENUE - LATE DAYSAL moving north on Madison Avenue. He is walking in atriangular trap of foot surveillance. We begin to learnthis when we fall back twenty feet behind SAL and pick upthe figure of JIMMY DOYLE, moving at exactly the same pace.While he keeps looking forward after SAL, he also looksregularly to the left, across to the West side of Madisonwhere we quickly zoom in on the figure of BILL MULDERIG, whois on an even line opposite SAL and moving almost preciselyin step with the subject of their surveillance. MULDERIGkeeps an eye on SAL but is also glancing north ahead of SALto BUDDY RUSSO, who is 20 or 30 feet ahead of SAL, thusforming the triangle of the A-B-C tail.SAL bobbing along.DOYLE following.MULDERIG keeping pace.RUSSO up front.SAL suddenly turning East at the Northeast corner of 46thStreet, the block occupied by the Roosevelt Hotel.MULDERIG yanking at his right ear.RUSSO spinning around, hurrying back toward the corner.DOYLE turning East at the Southeast corner of 46th Street.RUSSO coming around the corner looking to DOYLE.DOYLE indicating the Roosevelt entrance with his chin whileMULDERIG comes up to join DOYLE.RUSSO moving quickly into the Roosevelt entrance on 46thStreet between Madison and Vanderbilt.INT. ROOSEVELT LOBBY - DAYRoosevelt lobby stairs with ALAIN CHARNIER, PIERRE NICOLI,SAL greeting. CHARNIER Excuse me. 53. RUSSO (he is moving through the jam they form on the stairs) Excuse me.We move into the lobby of the Roosevelt and then spin aroundquickly, to watch CHARNIER, NICOLI and SAL moving upstairsand out the door.EXT. DAYA distant view from the Northeast corner of 46th Street andMadison Avenue of the Roosevelt Hotel marquee and the threemen under it, CHARNIER, NICOLI and SAL. They are in animatedconversation.DOYLE and MULDERIG on the point-of-view corner acrossMadison, MULDERIG with his back to the camera, DOYLE talkingand watching over Mulderig's shoulder.Close shot DOYLE's face, eyes bright with excitement.Long view of CHARNIER, NICOLI and SAL under the marquee fromDOYLE's view, zooming in on CHARNIER, who continues to talk,look up, then look back to SAL. DOYLE You take Sal. I'll stick with the beard if they split.EXT. MADISON AVENUE - DAYRear view of ALAIN CHARNIER and PIERRE NICOLI strollingslowly down Madison Avenue in the Forties.An overhead view of the pair, CHARNIER and NICOLI, includingDOYLE 20 or 30 yards behind, RUSSO across the street, evenwith him.CHARNIER and NICOLI window-shopping at Walter's Electric,49th and 3rd Avenue.RUSSO looking quizzically, puzzled, from a doorway.CHARNIER and NICOLI are engaged in a running conversationthat we cannot hear. But what CHARNIER is saying is simplythat he wants to get a pack of cigarettes before they turnback and stop for dinner.RUSSO looking to DOYLE for a signal. 54.EXT. A CIGAR STORE - DAYDOYLE already beginning to feel the cold, rubbing his handstogether, at the front of the place CHARNIER and NICOLI haveentered, trying to figure it out as CHARNIER and NICOLIemerge, CHARNIER ripping the cellophane off a pack ofcigarettes, and they turn back in DOYLE's direction.DOYLE, face to face with CHARNIER and NICOLI. Straining tohear, he picks up a few words of French. Without losingstride he steps off the curb and cuts across the street,moving south, away from them, as they come north. Buthalfway across the street, we pick up RUSSO coming in hisdirection, sharp enough to pick up the tail where DOYLE hadto drop it.EXT. RESTAURANT - DAYMedium close view through window of ALAIN CHARNIER andPIERRE NICOLI sitting at a table near the front windows of asmall restaurant.EXT. STREET - DAYA long shot of street zooming in on JIMMY DOYLE who isfreezing his ass off in the shadows of a doorway across thestreet from the restaurant. He is dancing from one foot tothe other, his shoulders hunched, occasionally cupping hishands to his ears.INT. RESTAURANT - DAYA medium close shot of WAITER holding a bottle of SainteEmillion out for CHARNIER's inspection. CHARNIER looks,frowns, shakes head negatively.DOYLE's feet. He's standing on one foot, the other raisedand he's squeezing it with a chapped hand, as if trying toget circulation back into it.INT. RESTAURANT - DAYMedium close shot of NICOLI watching the WAITER scoop coq auvin onto his plate.Close shot of CHARNIER taking a large forkful of food intohis mouth, chewing and nodding at NICOLI.EXT. STREET - DAYMedium shot of DOYLE looking up to RUSSO who comes bearing apaper bag which he hands to DOYLE. 55.Medium close shot of RUSSO standing in front of DOYLE whileDOYLE fishes a piece of pizza out of the bag and lets itfold into his mouth, then licks his fingers. RUSSO You want the red or the white? DOYLE Pour it in your ear.EXT. RESTAURANT - DAYMedium close view of CHARNIER through the window of therestaurant, sipping expresso.INT. RESTAURANT - DAYClose shot of the pastry tray, rows of Napoleons, strawberryand peach tarts, a frothing-frenzied rum cake, etc.NICOLI close, looking like he's about to have an orgasm,glancing toward CHARNIER and then the tray.EXT. RESTAURANT - DAYClose shot of RUSSO peering at the restaurant. DOYLE's faceright behind him, peering over RUSSO's shoulder, trying todrink coffee from a paper container and also moving slightlyagainst the cold and the pain of the shoes.EXT. FIRST AVENUE - DAY (EXT. COPAIN)Rear long view of CHARNIER and NICOLI on Madison in theForties strolling to a corner where NICOLI is splitting forthe Edison Hotel (West 46th Street) while CHARNIER goes onto the Westbury on upper Madison. They part with a wave anda nod. Hold on them as BUDDY RUSSO comes into view, movingoff after NICOLI. DOYLE follow CHARNIER.EXT. WESTBURY HOTEL - CHARNIER ENTERS - DAYINT. WESTBURY HOTEL - DAYClose shot of the elevator floor indicator rising from 1 to 6.Medium close shot of DOYLE turning away from the elevatordoors and walking toward the registration desk.Close shot of the DESK CLERK. DESK CLERK Yes sir? 56.Medium close shot of DOYLE leaning on elbow on the counter,half-turned to keep an eye on the elevators. DOYLE That guy just walked in. What's his name?Close on CLERK and DOYLE. DESK CLERK I'm sorry, I don't know who you mean. DOYLE (showing badge) He got off on six. DESK CLERK We have four rooms and six suites on six. There's a man in almost every one of them.Close of DOYLE. DOYLE Little shorter than me. Well- dressed. About forty-five or fifty with salt-and-pepper hair, a beard.Close of CLERK. Thinks it over. DESK CLERK There's nobody like that on six.DOYLE AND CLERK DESK CLERK Perhaps he's visiting a guest. DOYLE No, I figure he stays here. Where's your registration?CLERK gets out registration log book, goes through list asDOYLE waits. DESK CLERK There may be two... no, three who could fit it. DOYLE Names. 57. DESK CLERK A Mr. Paul Ganapolos, he's here alone. DOYLE Where from? DESK CLERK Des Moines. DOYLE What's he do? DESK CLERK Businessman. Owns a department store in Des Moines, I think.DOYLE is taking down the information on a pad. DESK CLERK Mr. and Mrs. Alain Charnier, would be another. He's in shipping. DOYLE Yeh? Who else? DESK CLERK And a Mr. Michael Lowenstein, I don't know what he does. DOYLE This Charnier guy. He's in shipping? DESK CLERK I think so. But they're in Room 408. On the fourth floor.Close of DOYLE. DOYLE Where's he from?CLERK DESK CLERK Marseilles.DOYLE AND CLERK DOYLE (gives him a dumb look) 58. DESK CLERK That's in France. DOYLE Yeah, I know.EXT. WESTBURY HOTEL ON MADISON AVENUE - NIGHTMedium close shot of DOYLE standing in another doorway, thisone in Madison Avenue, opposite and a little up the streetfrom the Westbury. It is about 2 o'clock in the morning andthere's not much traffic. DOYLE looks like a man almost tootired to stand. We hear a car pull up (off camera).INT. RUSSO'S CAR - NIGHTView from the front seat of a sedan of DOYLE falling intothe corner of the back seat. RUSSO reaches across the seatfrom the camera to hand DOYLE a brown paper container ofcoffee. He opens it between his knees and scalds his mouthwith it. RUSSO hands over another gift, a pint of CanadianClub. DOYLE takes a big swig.Rear close view of BILL MULDERIG at the wheel of the car,looking at DOYLE in the rear-view mirror. MULDERIG You about ready for a break?A view of MULDERIG at the wheel, RUSSO twisted around in theseat, looking back at DOYLE and putting the cap back on thebottle. When DOYLE isn't sipping at the coffee-whiskey,he's looking out the window of the car at the entrance ofthe hotel. He looks beat. DOYLE The guy's a frog -- I'm pretty sure. Also he made me. Stayin' on four but went up to six -- cute. RUSSO The other guy's a frog too. Checked in at the Edison. Had a hooker sent up. MULDERIG Christ you should o' collared him right there. DOYLE Who's on him? RUSSO Phil Klein. 59. DOYLE What about Sal?RUSSO RUSSO We put him to bed for the night.MULDERIG MULDERIG Why don't you do the same, Doyle? You look like shit.DOYLE AND MULDERIG - INTERCUT DOYLE (to MULDERIG) Look. My partner and I found this case and I don't want no Feds screwing it up. MULDERIG Case? So far I haven't seen a damn thing. DOYLE Bill, keep shootin' your mouth off and I'll knock you into the middle of next week.RUSSO, close. RUSSO Jimmy, cool it. Nothin's goin' down tonight. Cop a few zzz's while you can.Close shot, DOYLE.INT. WEINSTOCK'S APARTMENT - NIGHTClose shot of CHEMIST with a small lab layout spread infront of him -- burner, test tubes, etc. The MAN's wearingan ordinary business suit and both the table and thebackground indicate that this is not a lab, but somebody'slibrary or den -- and a fashionable one, with photos, asigned picture of Lyndon Johnson, etc., on the panelled walls.The CHEMIST is running a Thiele test on a small mound ofpowder. Heroin from CHARNIER's shipment.Medium close shot of JOEL WEINSTOCK and SAL BOCA sittingopposite the CHEMIST. 60.SAL has a glass of beer in front of him, WEINSTOCK a brandysnifter containing a splash of amber cognac. Both areinterested; SAL quite nervously.The CHEMIST immerses a capillary tube, a tiny instrument thesize of a needle into an open kilo of heroin.He pours a small quantity of mineral oil into a burnmeistertest tube and preheats the oil over the open flame of a tinyalcohol lamp.He removes a 15-in thermometer from its leather case,fastens the capillary tuve (now totally immersed in theheroin) to the bulb of the thermometer with a rubber band.He places the bulb, with capillary attached, into an openrubber stop and inserts the entire apparatus into theburnmeister tube, about three inches in.With a small metal clamp he holds the rig over the lamp.We watch closely with the CHEMIST, WEINSTOCK and BOCA as thewhite heroin powder slowly, agonizingly dissolves into themineral oil andThe mercury rises slowly up the thermometer to 220° - 230°.The faces of the three men are filled with wonder andanxiety. As the mercury continues to rise they become acheering section, rooting the hometeam home.The longer it takes for the powder to dissolve, the purerthe heroin. The mercury stops at 240°! CHEMIST Absolutely dynamite! 89.5 proof! Best I've ever seen! If the rest is like this, you'll be dealing for two years on this load.Close on WEINSTOCK, relaxed, smoking a large cigar. WEINSTOCK Retail is not my end of the business. Are you telling me it's worth the half million?Medium close of the CHEMIST. CHEMIST How many kilos? SAL Sixty. 61. CHEMIST Six kilos at eight big ones a kilo... (he nods) I'd say it should be able to take a seven to one hit in the street. SAL By the time it gets down to nickel bags it's at least thirty-two million!Medium close of WEINSTOCK and BOCA. WEINSTOCK Thank you, Howard. Take what's left there with you and goodnight.The CHEMIST packs his apparatus and leaves. SAL I guess we got a deal, eh?Medium close shot of WEINSTOCK alone, appraising BOCA. WEINSTOCK We got a test. A deal for half a million dollars, maybe.SAL, whose cool is easily shattered. SAL Joel, the man is in a hurry. He wants the bread and he wants to go back to France. He ain't gonna hang around and play games. He's one o' the shrewdest cats I ever run across.WEINSTOCK, close. WEINSTOCK What am I, a shmuck? What's the hurry? He could see a couple of shows and visit the top of the Empire State Building.INTERCUT SAL, WEINSTOCK SAL Joel, don't jerk me. I spent a lot o' time settin' this one up. 62. WEINSTOCK So whatta you want a badge? It's your first major league game Sal. One thing I learned, move calmly, move cautiously. You'll never be sorry. SAL I been damn careful up to now. WEINSTOCK Which is why your phone lines are tapped and the Feds are crawlin' all over you like flies. SAL I'm straight, Joel. They haven't got shit on me. Look, I'm tellin' you, he'll take the deal somewhere else.WEINSTOCK WEINSTOCK He could go someplace else with his sixty kilos of heroin and see how easy it is to pull together a half million cash. He wouldn't find there was any hurry to do this kind of business.SAL, a little desperate. SAL Look, the stuff is here. We could set up the switch in an hour. I'm tellin' you, Mr. Weinstock, he'll split if we don't move. This guy is everything they say he is.WEINSTOCK taking SAL apart with his eyes over the cigar. WEINSTOCK What about you, Sal? Are you everything they say you are?Close of SAL's worried face.EXT. NEIGHBORHOOD STREET - NIGHTClose side view of DOYLE driving; popeyeing right and left,looking for everything and nothing. 63.View over DOYLE's right shoulder through windshield of ayoung Black HOOKER leaning against a lamppost, smiling at apassing PEDESTRIAN. Hold on her as the car moves on,DOYLE's head turning as he continues to move with the traffic.Rear close view of DOYLE leaning over the back seat, lookingas he backs the car.Close shot of the HOOKER looking up smiling, then the smilefading.Medium close view of DOYLE and the HOOKER. DOYLE You own that lamppost? HOOKER No. DOYLE Then how come you're leaning on it.Close shot of HOOKER. DOYLE I ever bust you? HOOKER I never seen you before.DOYLE and the HOOKER. DOYLE Get your ass in the car.DOYLE looking right and left, the form of the GIRL climbinginto the vehicle. He puts surveillance hat on back seat.INT. DAN'S LUNCH - DAYDOYLE is standing at an island counter in a coffee-doughnutsjoint. The COUNTERMAN is paying no attention to him but isinstead emptying coffee from a large dispenser into a pot. DOYLE You gonna wait on me or am I gonna sit here all day?The COUNTERMAN responds quickly to DOYLE's voice.Close shot of DOYLE biting into a huge jelly doughnut, thejelly squeezing out onto his fingers. 64.A kid pushes a broom past, getting rid of a collection ofcigarette butts, etc. DOYLE Hey!Close shot of KID, about 16, looking up from the broomtoward DOYLE. DOYLE (off camera) C'mere... C'mere!Medium close shot of DOYLE and the KID, DOYLE eating anddrinking. DOYLE Can you stand a toss, Hector? KID What you mean? DOYLE You still dealin' shit? KID Jesus, no, Doyle. I'm clean. I'm working twelve hours a day here.Close shot of DOYLE talking around a mouthful of doughnut. DOYLE When they going to make you chairman of the board?Medium close shot of DOYLE and the KID. DOYLE puts down thecoffee cup. Waves the KID closer. The KID moves closer,DOYLE frisks him quickly, expertly, then rips up the kid'sjacket and takes a 12-inch toadsticker out of the kid'swaistband.Close shot of DOYLE looking at the knife, snapping thebutton and watching the blade flash out. DOYLE You clean your fingernails with this.Close shot of KID. KID Rather be caught with it than without it. 65.DOYLE, pushing button and letting the blade fall into closedposition. DOYLE Yeah, I guess so.DOYLE hands the knife back to the kid. HECTOR goes back towork. DOYLE eats.EXT. DAN'S LUNCH - DAYDOYLE climbing back into his car, knees on the seat, reachingover into the back.Close shot over the rear seat of DOYLE picking up the strawhat, which has been jammed into the corner by the contoursof the Hooker's tail. He straightens it as much as possibleand throws it under the driver's seat.EXT. MADISON AVENUE - DAYMedium shot of DOYLE on foot popeyeing up Madison Avenue inthe vicinity of the Westbury. As unobtrusively as possible,he's looking for the tail that should be there coveringCHARNIER. DOYLE is on the East side of the street, and theWestbury is on the West. He pokes his head into a couple ofdoorways, checks the cars parked at the curb, looks up to acouple of the mezzanine shops along the street. He seesPHIL KLEIN and ANOTHER AGENT talking together totallyoblivious to the front entrance. MULDERIG in a cigar storelooks to his wristwatch, then goes inside the store.Close shot of DOYLE frowning, puzzled. There doesn't seemto be anybody alert. He looks over to the hotel.Westbury Hotel entrance from DOYLE's Point of View. CHARNIERsteps out of hotel entrance, turns south. The two AGENTSand MULDERIG have not seen his exit.Close on DOYLE in a doorway.CHARNIER, carrying an umbrella, strolling blithely down thestreet, in DOYLE's direction but on the opposite side of thestreet. Zoom in on his face, reflecting no concern, noproblems, then zoom back to DOYLE's position. Pan to thehotel entrance as DOYLE looks for somebody else. Where thehell is CHARNIER's surveillance?Very quickly, DOYLE's nervous glances.CHARNIER close.A long view of the street. 66.CHARNIER moving along.The hotel entrance.Close shot of DOYLE going through the glancing movements,his eyes showing CHARNIER getting farther and farther downMadison Avenue. But there's still nobody following him.Medium close shot of DOYLE scrambling out of the doorway andmoving down the street after CHARNIER.Rear view of CHARNIER stopping at a newsstand, buying a copyof the Times.DOYLE in a doorway, peering out and down the street.Medium close front view of CHARNIER strolling along, glancingat the headlines of the Times, an umbrella hooked over hisleft forearm as he walks.Close shot of CHARNIER's polished shoes, moving quickly downsubway entrance stairs. Hold on the empty stairs. ThenDOYLE's painful, scuffed shoes, follow.EXT. SUBWAY PLATFORM - DAYClose shot CHARNIER standing on the subway platform, lookingat the Times, glancing toward the tracks and the rumble of atrain in the distance.Side rear view of CHARNIER close in the foreground, DOYLEmoving into view in the background, not looking towardCHARNIER, keeping his face turned mostly away from theFrenchman.Long shot of the platform. DOYLE right, CHARNIER left asthe train pulls in. CHARNIER is folding up his paper toboard. DOYLE is moving toward the train.INT. TRAINCHARNIER getting on train toward camera.Close side shot DOYLE getting on train, leaning over to lookafter CHARNIER's movements.EXT. SUBWAY PLATFORMCHARNIER getting off train.DOYLE puzzled, hesitating, then getting off his car.Long shot of CHARNIER opening the Times again. 67.Medium shot of DOYLE moving quickly to phone booth againstthe wall.DOYLE close, barking into the phone. DOYLE I'm sittin' on Frog One.MULDERIG in phone booth at Westbury. MULDERIG Yeah, we got the Westbury covered like a tent.DOYLE DOYLE The Westbury? Balls. I got him down at the subway at Times Square. What the hell's goin' on? I make him coming right out of the hotel free as a bird. Not a soul awake.Close shot of CHARNIER strolling past the telephone booth,DOYLE looking down. DOYLE I don't care how many bartenders are sick. I don't work in that joint. What the hell kind of a union are you running down there?Long view of CHARNIER and DOYLE about thirty feet apart onthe platform, a second train approaching.INT. SUBWAY TRAINA close view of DOYLE just inside the doors of the carsneaking a peek at the platform. We can see that CHARNIERis not there. He's on the train. Suddenly CHARNIERreappears on the platform. DOYLE steps off.EXT. SUBWAY PLATFORMLong view from DOYLE's vantage point of CHARNIER standingwith his back to the train, looking up like a man who can'tmake up his mind, then turning to his left, away from DOYLEand getting back on the train.INT. SUBWAY TRAINView from interior of DOYLE car of JIMMY DOYLE nipping backonto car. 68.INT. TRAIN - CHARNIER'S CARClose view of subway doors hissing shut and an umbrellabeing raised at the last moment by an off-camera hand(CHARNIER's). The doors jerk open in the safety spasm.There is a blur of the a fabric moving across the camera,blocking the view of the doors. It is only a moment. Whenit clears, the doors are closed again, the umbrella is gone.But we don't know what happened and the train isn't moving.INT. SUBWAY TRAIN - DOYLE'S CARRear close view of DOYLE peeking into the forward car to seewhere CHARNIER is sitting.INT. TRAIN - CHARNIER'S CARQuick, shocked close view of that car, revealing thatCHARNIER isn't there among the twenty passengers dozing ormoping in their seats. There is a blurred flash as ifDOYLE's own eyes are spinning frantically back to thewindows of his own car.EXT. SUBWAY PLATFORMMedium shot of DOYLE jumping out of train, CHARNIER jumpingback on - train takes off.INT. SUBWAY TRAIN - CHARNIER'S CARA close view of CHARNIER's face. He is smiling directly atDOYLE. He gives him a little wave.A view from CHARNIER's position of DOYLE chasing the train,anger and hatred and frustration storming across his face.EXT. HENRY HUDSON PARKWAY - MOSHOLU EXITA long view from the bottom of the steep embankments aboveHarlem River Drive in Washington Heights. Sprayed along theface of the cliff is a disaster -- an overturned city busand a car with which it apparently collided. The scene islighted with flares. Police rescue WORKERS and FIREMEN arescrambling up and down the face of the cliff. They arecarrying BODIES out of the bus and the car, COPS pullingthem out through the windows, leading them on stretchers.There are shouted orders and some moans and cries from thewreckage. In the foreground is LT. WALTER SIMONSON, involvedin the operation, but also involved in a hassle with DOYLE,MULDERIG and RUSSO who are standing with him. An officerapproaches SIMONSON with a set of heroin works. 69. OFFICER (to SIMONSON) This belonged to the kid who was drivin' the sports car. 17 years old. His girlfriend OD'd in the car. We found this set of works in her arm.Medium close shot of DOYLE and SIMONSON. DOYLE couldn'tcare if Rome was burning on the hill; he's only interestedin his case. DOYLE (to MULDERIG) Where the hell was the surveillance? "Go to bed." That's all you could say. You couldn't keep track of a bleeding elephant in a snowbank.SIMONSON, eyes on the hill, glancing to DOYLE with irritation. SIMONSON Jimmy, it doesn't matter anymore. If there was a deal it must have gone down by now. We blew it! We blew our cover and we blew the warrants -- MULDERIG Charnier and his wife checked out of the Westbury. Nicoli checked out of the Edison -- RUSSO This fella Nicoli's got a record in France, Walter. He's wanted for questioning in the murder of a French cop. DOYLE I say we keep sittin' on Boca. MULDERIG That's crazy. You lost the Frog in the subway and you blew our cover. If they haven't moved already they're not gonna move now. DOYLE Walter, I can make this case if the Feds will get the hell out of my way. 70. MULDERIG With pleasure -- it's all yours. Walter, if anything develops outta this charade give me a call.Medium shot of SIMONSON, DOYLE, MULDERIG and RUSSO. Lightsflashing around them; stretchers going by with bodies. RUSSO (to MULDERIG) My ass. The only reason you're in this is because you've got a big expense account for buying junk and you like to see your picture in the papers. DOYLE (to SIMONSON) This is my case. Get these guys off my back and let me handle it.SIMONSON SIMONSON For chrissake, will you come off that "my case" bullshit. This has been a whore's dream from the start.DOYLE, close. DOYLE The deal hasn't gone down yet Walter -- I know it, I can feel it.Close shot of MULDERIG MULDERIG The last time you were dead certain we ended up with a dead cop.A fist, DOYLE's, comes from off-camera and connects withMULDERIG's chin. As his head flies back.DOYLE and MULDERIG slugging and grappling with each other,RUSSO leaping in to yank them apart. SIMONSON grabbingMULDERIG's arm and holding him back.SIMONSON, close. SIMONSON (roaring) That's enough. Get the hell out of here. 71.DOYLEShot of SIMONSON, MULDERIG, DOYLE, RUSSO, in a cluster. SIMONSON (on way up hill, turning back) Jimmy, you wasted two months - no collars are comin' in while you two been out jerkin' off. Now go back to work, you're off Special Assignment.EXT. LA GUARDIA AIRPORT - DAYMedium close side view of SAL BOCA's Mercury pulling to theWashington-Boston shuttle parking lot at La Guardia airport.SAL takes his ticket from the automatic vendor and drives in.We hold for the next car driven by PHIL KLEIN, a federalnarcotics agent who is on his tail.INT. AIRPORT - DAYMedium close shot of SAL BOCA writing out the ticket orderform.Close shot of the form; SAL filling it out in an almostilliterate scrawl. Under destination SAL fills in Washing...and the camera raises its eye to a close shot of PHIL KLEINon the opposite side of the counter, filling in his form.Close side shot of PHIL KLEIN standing right behind SAL inthe shuttle line.EXT. DEPT. OF COMMERCE, WASHINGTON, D.C. - DAYCHARNIER and an UNDERSECRETARY on the steps of the building,shaking hands. Two other OFFICIALS are on hand and while wedon't hear their conversation, their manner is extremelyattentive to CHARNIER. CHARNIER It has been highly informative and a personal pleasure to see you again. UNDERSECRETARY I only hope we cut through to some meaningful proposals in the next month or so. The pleasure was mine, Mr. Charnier. When will we see you again? CHARNIER Soon, probably in the Spring. 72.Close shot of CHARNIER. CHARNIER Goodbye. UNDERSECRETARY (off camera) Goodbye. Good trip home.EXT. WASHINGTON STREET - DAYMedium long shot of CHARNIER walking across street,diagonally toward the camera, removing the identificationcard from his lapel.Rear close shot of CHARNIER joining SAL BOCA on the sidewalkand the two of them moving off together.Close shot of SAL, somewhat nervous about trying to peddlehis problems to CHARNIER. SAL Everything's smooth. Beautiful. I will need a few more days though, the boys think we oughta cool it for awhile -- make sure there's no heat. CHARNIER (manner outwardly pleasant) You must take me for an imbecile. Why do you think I asked you to meet me in Washington? I haven't spent five minutes in New York City without the company of a gendarme. SAL Look, I'll level with you -- I need a little more time -- I got to shift gears. CHARNIER Are you having trouble raising the half million? SAL Hell no -- my end is covered -- my associates just feel we ought to wait for a more opportune time to make the switch.Stop, Cover. 73. CHARNIER It has to be by the end of this week. SAL Look, Mr. Charnier, you got to be reasonable. CHARNIER It's your problem. SAL It's yours too!Full length shot of CHARNIER and BOCA, CHARNIER leaning overto shake his hand. CHARNIER So nice to have seen you again.CHARNIER turns and walks off, leaving SAL looking after himas we zoom back to a Point of View about a hundred yardsdown the street.Close of PHIL KLEIN, just watching.INT. AIRPLANE - DAYClose shot of MRS. CHARNIER, sitting by the window of twoseats on the shuttle, looking out and babbling at CHARNIER.(DIALOGUE IN FRENCH). MARIE Look, darling, they sell these at the Smithsonian.She extracts a necklace and bracelet of shark's teeth froman elegant alligator bag.Camera moves back to take in CHARNIER looking from the WallStreet Journal to the native craft bracelets. CHARNIER Are you sure it is dead? MARIE I'm going to put them on the cat. CHARNIER That's a relief.Close shot of CHARNIER, tenderly, lovingly. 74. CHARNIER You did find something for yourself, of course.MARIE, close. MARIE Of course. But I am not going to tell you what it is until we are back in Marseilles.CHARNIER and MARIE. He folds up the paper, smiling at her. CHARNIER Excuse me a moment, darling.CHARNIER's view of the plane interior, walking back towardthe rear of the cabin. The seats are occupied by military-business-government TYPES making the shuttle run. Not everyseat is filled. We come to an empty one on which someonehas deposited an attache case. It is the seat next toPIERRE NICOLI, whose hand reaches out to remove it and wefollow the arm to NICOLI's face.Close shot of CHARNIER and NICOLI sitting. (DIALOGUE INFRENCH) CHARNIER I'm afraid they've become a bit... over-cautious. Our American friends. NICOLI What happens to the schedule? CHARNIER We must follow it. NICOLI But will they?CHARNIER shrugs. CHARNIER I don't know. Boca is scared. He's not strong enough. He sees policemen in his soup. NICOLI He is not wrong. CHARNIER Mmmmm. That bastard who followed me on the subway, he's the eager one. 75. NICOLI Let me take him out.Close of CHARNIER. CHARNIER There'll be someone else. NICOLI What difference does it make? We'll be out of the country Friday.Close shot of CHARNIER alone.EXT. SIDEWALK OUTSIDE DOYLE'S APARTMENT BLDG. - DAYA complex of buildings similar to Lefrak City. A mediumclose view of a LITTLE GIRL about to run DOYLE down with atwo-wheel bicycle. Two shots ring out in quick successionand tear up the concrete at a point where he would have beenwalking a moment earlier.DOYLE diving for the cover of a tree. The rifle goes off athird time and MOTHERS begin to scream on the benches of theplayground area. DOYLE (yelling) Everybody, down! Get down on the ground!DOYLE behind the tree, pulling his gun out of the ankleholster. He holds the gun ready and tries to look around.Ping, another shot that drives him back.Long panning view, DOYLE's view, from the ground, of all therooftops in the area. A blank. The background sound isstill screaming crying. "Call the police." "The man's got agun." "Help! Help!" The view is still slow, careful underthe pressure of the panic. There's another shot.Long shot of rifle smoke rising from NICOLI's sniper position.Exterior view of the concrete tunnels, DOYLE running fromthem toward the building, dodging and ducking behindplayground equipment and benches as he does. He's shoutingas he runs. DOYLE Get down! It's a sniper. Get down!Medium shot of DOYLE dashing into the lobby of his buildingto a Spanish kid in the window of building. 76.EXT. ROOFTOP - DAYExterior shot of rooftop door opening slowly, DOYLE comingthrough the opening, gun at the ready.Panning shot of the rooftop, DOYLE's view, stopping for abeat at the rifle and box of cartridges lying beside theparapet, moving on. The roof's empty. DOYLE sees NICOLIbelow, grabs rifle and cartridge.DOYLE running to the parapet, looking over.Shot of the street, traffic, elevated tracks in the distance.Long searching look of the streets and the people. Theview, which is DOYLE's, passes over one man in a dark suit,stops and goes back. Zap! It's NICOLI walking quickly butnot in any panic toward the El.DOYLE's face. He runs to parapet, fires at NICOLI. Misses.DOYLE running across the roof and through the door.DOYLE bursting out of the elevator at the bottom, through acrowd of WOMEN and KIDS who scream as they did in theplayground.Medium close view of DOYLE running as fast as he can.Medium close shot of the entrance to the El. DOYLE cominginto view from off-camera, running to a stop deciding whichto take. He runs across the street to the downtown sidefrom which he saw train approaching.DOYLE going over the turnstiles in a leap, gun still in hisright hand.EXT. PLATFORM OF EL - DAYBroad view of platform, DOYLE emerging looking right and left.DOYLE's view across tracks. There's NICOLI, standing with agroup of people.DOYLE looking up tracks to see if he can get across.Training pulling in an opposite side. Train pulling inright in front of DOYLE. DOYLE Stop that guy. He's wanted by the police!Side medium close shot of DOYLE turning and plunging backthrough the doorway of platform exit. 77.INT. TRAIN CAR - DAYIn one corner of the train is a transit policeman. He'sobserved Doyle shouting and gesturing at NICOLI who sitsnervously aware of the policeman's presence. Long longsbetween them. Finally, the officer decides to approachNICOLI.NICOLI panics and runs. The officer goes after him andtraps him against the door between cars.INT. TOKEN BOOTH - DAYClose shot of DOYLE with badge at token booth. DOYLE Where's the next stop? Going into the city? TOKEN ATTENDANT (glancing out in direction the train was hurtling) 25th Avenue.INT. TRAIN - DAYNICOLI and the TRANSIT POLICEMAN struggle, as the handful ofpassengers watch. NICOLI pulls his .45 and clobbers theofficer on the side of the head.Close of NICOLI going from one car to another, opening doorson the rear, moving through yet another crowd.EXT. STREET - DAYMedium close shot of DOYLE running into the street, forcinga driver to stop. DOYLE moving so hard he falls against thehood of the car then dashes around to the door and jerks itopen. DOYLE Police!Medium close shot of DOYLE dragging MIDDLE-AGED MALE DRIVERout from behind the wheel as he shouts. DRIVER What the hell? DOYLE (diving behind the wheel) Police! Emergency! 78.DOYLE has a pistol in his hand. The man falls backsputtering. DOYLE jams car into gear and it roars off.INT. SUBWAY TRAIN CAR - DAYNICOLI pounds on the door of the Motorman's cab with his gun.After a long moment - the door cracks open. Close shotNICOLI pushing his way into the cab of the subway MOTORMAN,sixtyish, worn and frail looking.MOTORMAN looks down. He follows the glance to NICOLI's .45.EXT. STREET - DAYSide close view of DOYLE screeching to a stop to avoidplunging into a panel truck. DOYLE sticks his head out thewindow to look up at the tracks as the DRIVER of the truckscreams. TRUCK DRIVER Blind sonofabitch!Overhead view of the tracks, train roaring along them.DOYLE's view.INT. SUBWAY TRAIN - DAYThe tracks racing by from the view of the train. We'reapproaching a station.INT. MOTORMAN'S CABIN - DAYNICOLI's close view of the MOTORMAN, the gun on the man. NICOLI Don't stop! Continue on to the next station! MOTORMAN I got to stop. NICOLI Touch the brake and I'll blow you in half. MOTORMAN The signal lights are automatic. If I go through a red I'll be automatically braked.The MOTORMAN pales, his hand goes to his left side in agesture of anxiety, possibly pain. 79.EXT. SUBWAY ENTRANCE - DAYSide close view of DOYLE screeching to a stop, the carbumping up on the sidewalk and DOYLE plunging out the doorwhich he leaves hanging open. He races around the car forthe steps to the El.EXT. SUBWAY PLATFORM - DAYSide view of train roaring through the station withoutstopping.INT. SUBWAY TRAIN - DAYMedium close shot of CROWD on train pushing toward theMOTORMAN's cab. They are upset over the missed stop. TheCONDUCTOR seems to be the most annoyed.He's pushing hardest toward the camera to complain. VOICES Didn't stop. Went right through there... Hey, man, that's my station... Where the hell's he going? Hey, stop the car...Close shot of NICOLI's back, half in the MOTORMAN's cab, ashe faces the CROWD. Now the cries turn to: VOICES He's got a gun... The motorman's gone crazy... Oh my God! NICOLI Get back. CONDUCTOR Hey, you can't...Side view of NICOLI, the MOTORMAN in the background theCONDUCTOR leaping at NICOLI. NICOLI burns him; one gut shot.The car turns to pandemonium of screams. The CONDUCTOR ishurled back into the crowd by force of the blast. TheMOTORMAN throws back his head in fright, and the beginningof a coronary.EXT/INT. DOYLE'S CAR - DAYClose shot of DOYLE from back seat, twisting, turning thecar in a wild demonstration of pursuit driving around cars,braking, roaring ahead. 80.We move out through the windshield for a lurching, spinning,twisting view of the tracks overhead, the street signs andlights flashing by in a reeling montage of movement, thetrain roaring above it all.INT. SUBWAY TRAIN - DAYClose side shot of NICOLI turning to cover the MOTORMAN, whois clutching in pain, slumping toward the controls. MOTORMAN (gasping) I can't breathe.NICOLI glances quickly to his left, out the window to thenext station.Long, low view of the tracks, partially NICOLI's view.There are red blinkers on the side of the tracks. Redlights up ahead. That's the back of another train. It hasstopped and we're hurtling toward it.Wide shot of screaming pack of subway riders, fighting theirway back from NICOLI, succeeding only in turning themselvesinto a tightly contained mob. Now the words they cry are: VOICES We'll crash. Won't somebody please help me. Murder He's a killer. Crash. We'll crash! Stop. Stop the train.EXT. DOYLE'S CAR - DAYSide close view of DOYLE driving while he's looking up. Heskids through a red light, narrowly missing a pedestrian andan oncoming group of cars.Long, low view of the train from DOYLE's position.INT. SUBWAY TRAIN - DAYClose shot of cord dangling above a sign that says "Pull forEmergency Stop Only." It just dangles, wobbles, forgotten inthe panic.EXT. DOYLE'S CAR - DAYClose side shot of DOYLE driving, skidding on streetcartracks, panning upward to show the car pulling ahead of thetrain. 81.INT. SUBWAY TRAIN - DAYClose shot of NICOLI from behind, looking out the window ofthe car where we see ourselves hurtling toward the othertrain, now only about 100 yards away. Hold on the trainahead. The MOTORMAN collapses over the throttle.Rear close shot of NICOLI plunging into the panicky riderswith gun in hand, trying to get out with them to some rearcar.EXT. SUBWAY STATION - DAYMedium close of DOYLE arriving at the station.INT. SUBWAY CAR - DAYBack end of subway car looming up at high speed.EXT. 62ND STREET STATION - THE TRACKS - DAYThe leader train sits waiting about twenty yards out of thestation. As the onrushing train approaches, it passesthrough the yellow signal light at the rear of the station.EXT. CLOSE SHOT THE TRIP LOCK - DAYAs the onrushing car pulls equal to the red signal light atthe front of the station, the tiny trip lock on the tracksprings up, activating the safety brake. The trains avoidcollision by a few feet as the front car screeches to a halt.INT. THE ONRUSHING TRAIN - DAYThe passengers are thrown violently to the ground.NICOLI gets to his feet and forces open one of the doors.EXT. 62ND STREET TRACKS - DAYNICOLI makes his way out of the train and runs along thetracks for a few yards, narrowly avoiding the third rail.He climbs onto the station platform, to the shock andamazement of several onlookers. He is dazed and disheveled,no longer a hunter.EXT. ENTRANCE TO THE 62ND STREET STATION - DAYNICOLI staggers down the stairs to the street, unarmed.DOYLE is waiting at the foot of the stairs.NICOLI sees him, turns in desperation to run back up. 82.DOYLE has his .38 drawn. He fires three shots into NICOLI'sback.NICOLI stiffens and falls backward coming to rest at DOYLE'sfeet. DOYLE collapses next to him.EXT. CANDY STORE - DAYSAL and ANGIE emerge and get into the Mercury.EXT. MANHATTAN STREET - DAYLong shot of the Mercury stopped. SAL gets out and walksquickly to the garage entrance and down the ramp as ANGIEdrives off in the Mercury. Pan toEXT/INT. DOYLE'S CAR - DAYClose shot of DOYLE and RUSSO from the front. DOYLE looksafter ANGIE's car.INT. GARAGE - DAYMedium close shot of RUSSO from the rear as he walks downthe ramp toward a glass attendant's booth in the background.We pan around the garage looking for SAL but don't find him.As RUSSO approaches the booth, we see the figure of a manpartially obscured by the door and the entrance framework.Close shot of RUSSO from the front. RUSSO Hey, Mac, have you seen...?Close shot of the man turning. It is SAL BOCA.Close shot of RUSSO and BOCA in face-to-face confrontation. RUSSO ...the guy who runs this joint?There's a tense pause as BOCA looks at RUSSO.Close shot of BOCA. SAL Yeh. He's over getting my car.Medium close shot of GARAGE ATTENDANT holding the door ofthe Lincoln open for SAL, shutting it and taking the ticketfrom the windshield. As BOCA puts car in gear and drivesoff, we pan to BUDDY RUSSO standing there watching. TheATTENDANT walks up. 83. ATTENDANT Can I help you...?Medium close shot of ATTENDANT and RUSSO. BUDDY, ignoringthe ATTENDANT, watching the Lincoln take off, then breakingloose and running toward the ramp.Close shot of RUSSO from DOYLE's viewpoint, piling into thecar. RUSSO He's in the brown Lincoln - foreign plates.Close shot of DOYLE throwing the car into gear and shootingdown the street.Long view of the street from DOYLE's windshield of theLincoln in the distance. We pick up speed and weave throughtraffic in pursuit.EXT. STREETS - DAYImpressionistic shot of Lincoln and DOYLE's car windingthrough Brooklyn streets.Long shot of the Lincoln, SAL BOCA parking it, getting outand locking the doors, looking around and walking away.The Mercury comes around a corner, ANGIE at the wheel. Thecar stops and SAL gets in.As the Mercury takes off, Detective PHIL KLEIN follows inhis car.Close shot of DOYLE and RUSSO in their car parked severalcar lengths and across the street from the Lincoln.NIGHTLong shot of the Lincoln, zooming on the glittering car. Inthe BG, eight youngsters are playing a game of street hockey.INT. DOYLE'S CAR - NIGHTClose shot through windshield of DOYLE and RUSSO. MULDERIGand KLEIN in their car. DOYLE Timezit? RUSSO Four. 84.EXT. DOYLE'S CAR - NIGHTLong view over the hood of DOYLE's car to the street. Wecan see the Lincoln. The lights of a car appear on the leftand come down the street past the Lincoln, slowly, like aman looking for a place to park. We can make out, but justbarely with the help of the street lights, four people inthe car.DOYLE in close profile, the foreground, picking up a cornerof the Lincoln in the background. While we are looking insilence, there is a glimmering flow in the far corner, thebeginning of approaching headlights again. They grownbrighter and DOYLE's foreground profile turns to watch itcome. DOYLE (softly) Same car. RUSSO Third time around.RUSSO and MULDERIG straightening up, leaning close to windowto peer out.Long view over the hood of DOYLE's car of the approachingvehicle, which suddenly switches off its lights and turns onits parking blinkers. It comes abreast of the Lincoln andstops. The men get out and chase the Lincoln.View through windshield at the four men. DOYLE is now upstraight and at the wheel. He's leaning forward, his handon the key of the car. He glances back to MULDERIG. DOYLE (to car radio) Let's him 'em.View of the hood. All hell breaks loose, headlights,including DOYLE's flash on and form a spotlight on theLincoln and the figures around it. Frozen in the headlights,confused, startled, and disbelieving are FIVE PUERTO RICANSwith a variety of auto-stripping tools in their hands: lugwrenches, tire irons, pinch bars, monkey wrenches, etc.DOYLE drives right up to them. The camera leaps out of thecar with him and runs toward the men. We hear voicesshouting. VOICES Police! Don't move... get you... hands up... you're under arrest... 85.EXT. STREET - NIGHTClose view of DOYLE holding his gun on one of the terrorized-looking Puerto Ricans. The KID's hands are risingtentatively. He's too scared to move. DOYLE Up! Up, you sonofabitch!In the background, the scene is being duplicated by two orthree others.Overhead view of this headlight and flashlight arena ofabout 10 or 12 DETECTIVES forming small clusters, throwingthese guys up against cars, pulling their arms around behindthem and throwing cuffs on them while others rapidly friskthem for weapons, taking away one pistol, a couple of knives.MULDERIG and DOYLE looking at their MAN up against theLincoln as RUSSO finishes snapping handcuffs on him. DOYLE Of all the goddam cars they had to pick to steal hubcaps.Close shot of the front end of the Lincoln, upended on ahoist attached to a police tow truck. The area is lessbrightly lighted by headlights now. Some cars have departedwith the Puerto Rican AUTO STRIPPERS. DOYLE's interestfocuses on the car. We pick him up as we pan to him sittingon the running board of the tow truck, talking with itsDRIVER, who is making a report on a clipboard. MULDERIG andRUSSO are standing nearby, talking to TWO PLAINCLOTHESMEN. DOYLE (looking up and around) A bunch of lousy little spic car thieves. MULDERIG Nothing in there except a New York street map. DOYLE Tumble it. One end to the other.RUSSO jotting in his note pad, then glancing up to the off-camera DOYLE.DOYLE, medium close, hands jamming into his pockets, staringat the ground with RUSSO and MULDERIG. 86.INT. POLICE GARAGE - DAYA montage as the Lincoln is being disassembled. First it isweighed. We then see the MECHANIC drain the gas, pull apartthe transmission and check through the brake drums, rip outthe seats.MECHANIC ducking out from under the car, moving toward off-camera DOYLE. MECHANIC Nobody's been under there with anything but a grease gun since if came off the line.DOYLE's hand reaches out from off-camera and takes acigarette package out of the MECHANIC's pocket. DOYLE I don't buy it. The stuff is on this car. MECHANIC Then you find it. I can't.INT. POLICE SERGEANT'S OFFICE AT GARAGE - DAYShot of DEVEREAUX and LA VALLE. LA VALLE The car was lost sometime this evening. First they send us to Pier One -- then they send us here -- DESK SERGEANT I don't understand why you had it parked on the waterfront. You're staying at the Doral and you lose your car somewhere out by the Brooklyn Bridge. LA VALLE In point of fact, M. Devereaux is scouting locations for a film for French Television. He left the car to look at some point of interest. DEVEREAUX (moving, excitable) We were told by the Police Commissioner's office that the car was brought to this garage. I demand its immediate return. 87. DESK SERGEANT If you'll be patient, Mr. Devereaux. DEVEREAUX (moving) I have been patient enough. There is no reason I should have to waste time with this red tape. LA VALLE Mr. Devereaux is an extremely important guest of this country. He is working with the absolute cooperation and participation of your government. Here are his credentials from the French Consulate. (showing them) Unless you wish to see this episode portrayed in his film I suggest you locate his car immediately.Shot of DOYLE and RUSSO near the Lincoln, now up on hoists.Police MECHANIC in background. MECHANIC What are you looking for? Is it as big as an orange or an elephant's ass? I've been over every inch -- top to bottom. If you could give me a club -- to the size... RUSSO (doing rough figures on a piece of scratch paper) What was the weight of the car when you got it, Irv? MECHANIC (consulting his notes) 4,839 pounds. RUSSO (consulting Lincoln Specification Book) You're sure? (he does quick addition) The manufacturer's spec says it should weigh 4,719 pounds. This one's carrying roughly 120 extra pounds somewhere.He produces a copy of a ship's manifold. 88. RUSSO When it was booked in at Marseilles it weighed the same. 120 pounds overweight. Jimmy has to be right.The THREE MEN turn again to stare at the Lincoln. TheMECHANIC lowers the hoist, thoughtfully. MECHANIC I ripped everything out except the Rocker panels. DEVEREAUX What's that?They look at each other for a long moment.MECHANIC starts to undo the side Rocker pans. JIMMY pullsthe pan off and sticks his arm into the enclosure. Feelingaround inside he pulls out the first kilo-sized plasticcontainer as several others start tumbling out after. BUDDYand DOYLE are smiling at each other as they continue to pullthe bags out. Several of the other MECHANICS in the garageare gathered around the happy moment. They repeat thisaction on the other side of the car.RUSSO enters garage sergeant's bullpen. DEVEREAUX and LAVALLE are still arguing with the SERGEANT. RUSSO Got it for you, Randy -- it just came in from downtown. Who's Devereaux? LA VALLE This is M. Devereaux. RUSSO I'm sorry, Mr. Devereaux, but we get reports on a couple hundred vehicles a night. Sometimes it's a little tough to keep track. DEVEREAUX You mean the car's here now? RUSSO Yeah -- fine -- it's okay -- not even a scratch. You're all set. (handing DEVEREAUX keys)RUSSO walking with DEVEREAUX and LA VALLE. 89. RUSSO Someone stole it right off the street, huh? You're gonna have to pay the tow away charge. DEVEREAUX I was told these things happen in New York -- but one never expects it. RUSSO Yeah. Well, it's in perfect shape. You must lead a charming life.INT. HOTEL LOBBY - DORAL - DAYMedium close shot of DEVEREAUX striding through the lobbytoward the camera. (DIALOGUE IN FRENCH) CHARNIER Henri...Medium close shot of DEVEREAUX turning to face CHARNIER, whohas been waiting for him. CHARNIER Did you pick up the car? DEVEREAUX It is waiting for you in the garage. CHARNIER Did they follow you? DEVEREAUX I wasn't looking. CHARNIER Henri... I need one more favor from you. I know I am imposing... DEVEREAUX My friend, I am not sure about what is going on -- but for me, I am finished. CHARNIER Not quite -- you are in it whether you like it or not. The police know you brought the car into the country. This makes you an accomplice. 90. DEVEREAUX An accomplice to what?! What have you gotten me into, Alain? You asked me to do you a favor -- and I did what you asked -- but you've taken advantage of me. I have my reputation --CHARNIER pulls DEVEREAUX further aside. CHARNIER Calm down -- Henri! You must trust me -- this is an extremely complicated situation to which there is a simple solution if you do exactly what I tell you. It's worth more money to you. DEVEREAUX Goodbye.DEVEREAUX turns and walks into the crowded lobby leavingALAIN standing alone.EXT. HOTEL STREET - DAYMedium close shot of the Lincoln. We can't see the driverimmediately. As we follow the car, it hesitates; hornssound and it moves ahead with a jerk.INT. LINCOLN - DAYClose shot of CHARNIER at the wheel of the Lincoln, tryingto make out street signs and directions.EXT. TRIBORO BRIDGE - DAYMedium shot of the Lincoln going across the Triboro Bridge.EXT. WARD'S ISLAND - DAYCHARNIER's view through the windshield as he drives alongthe new road and turns left on the old service road.EXT. OLD SERVICE ROAD - WARD'S ISLAND - DAYHellgate Bridge overhead in BG. Lincoln drives along oldroad and into abandoned garage.INT. WARD'S ISLAND GARAGE - DAYView from CHARNIER's POV out the window of the building.Faces appear beside the car. First BOCA's, then WEINSTOCK's,then LOU BOCA and two MECHANICS. 91. BOCA Keep going. Right in there. FIRST MECHANIC Over there. On the right. SECOND MECHANIC The clear spot.INT. GARAGE - DAYMedium close shot of the Lincoln. The Rocker panels areopen and the junk is being unloaded. CHARNIER is standingby two suitcases of cash. He takes a bundle out of thesuitcase, riffs the deck of bills with his fingers to makesure it's money all the way through; puts it in a separatestack that will go into the rocker panels of a nearby junkcar. WEINSTOCK is standing next to the CHEMIST, with histesting equipment. The MECHANICS are under the Lincoln andpassing out the kilos of heroin, BOCA is helping them. Thekilos are concealed in the floor boards of the old garage.Close shot of CHARNIER's hands, working on the money.Close shot of the CHEMIST taking a sniff, then a taste.Close shot of SAL BOCA and MECHANICS continuing to unloadpacket after packet after packet of heroin.Close shot of CHARNIER as the stacks of money are loadedinto the car.Close shot of BOCA taking a bottle of Seagram's Seven Crownout of a brown paper bag.CHARNIER extends his hand. WEINSTOCK takes it; they shake.CHARNIER close, looking back at the car as the rocker panelsare restored to the Lincoln. The junk car with the moneysecreted is removed.Medium shot of SAL BOCA and CHARNIER getting in the Lincoln.In the b.g. a tow truck hauls the battered junk car out toawait shipment.EXT. WARD'S ISLAND BRIDGE - DAYLong view from the bridge of the Lincoln coming toward thecamera over a small rise.View from Lincoln, between SAL and CHARNIER, over the hoodof the car and to the entrance to the bridge. There is apolice blockade. Standing in front of it are DOYLE, RUSSO,MULDERIG and PHIL KLEIN. 92.CLOSE-UP CHARNIER.CLOSE-UP DOYLE. He gives CHARNIER a little wave.Long view of the Lincoln stopping in the middle of thebridge. Zoom in on it as SAL hurriedly turns it around,smashing into the side of the bridge as he does.Medium shot of the Lincoln racing back across the island.The Mercury roars past WEINSTOCK's car, heading toward thebridge.WEINSTOCK's car coming to a stop.Close shot of the CHEMIST and WEINSTOCK in the car, turningback to the island.INT. LINCOLN - DAYClose shot of CHARNIER and SAL. SAL driving, CHARNIERlooking out the back window. The police cars, slowly, beginto gun engines and start the pursuit. The sirens begin towail.INT. GARAGE - DAYThe Lincoln roaring into the asylum toward the camera,screeching to a stop. SAL and CHARNIER leaping out. Theyrun toward Crematorium Building.Medium long shot of SAL running off. SAL (shouting) Bulls!CHARNIER hesitates. Then runs into the darkness of theCrematorium.EXT. CREMATORIUM - DAYPolice cars screeching to a halt around the building. Somecircling to the back to cut it off. DOYLE, RUSSO, MULDERIG,KLEIN and others getting out and running toward the entrance,taken by the Lincoln.EXT. JUNK GRAVEYARD - DAYClose shot SAL BOCA and the two MECHANICS at the autograveyard. The MECHANICS start to run and are pursued byKLEIN and TWO OTHER COPS. SAL decides to shoot it out.RUSSO in pursuit. 93.After a chase around the graveyard RUSSO burns SAL who diesamong the wrecked cars.WEINSTOCK and the CHEMIST emerge from the cars. Hands inthe air. They give up without a struggle. RUSSO Phil, you take that side, Bill, go around the other way.INT. CREMATORIUM - DAYLong shot, we can see somebody running, hear his footsteps,but can't tell who it is.Shot of DOYLE entering.Shot of DOYLE, gun in hand, going around corner of longcorridor, looking down it.Shot of MULDERIG running down one of the corridors and intoa cell littered with abandoned furniture, sinks, toilets, etc.Long view of the hallway. Halfway down, LOU pops out andfires wildly at the camera.DOYLE close, pulling back, then leaning out and blazing awaytwice.Long shot of LOU, staffering into the corridor and collapsing.DOYLE running down the corridor leaping over LOU's body andcontinuing to run to bisecting corridor.INT. CELLAR - DAYDOYLE comes down the stairs and into the cellar. In theforeground, behind a pile of ripped-out wall and floorboards,there appears to be the crouched silhouette of a man. DOYLEexits.DOYLE's view down second corridor. At far end of it afigure flitting past. RUSSO Jimmy?Close shot of RUSSO at the head of a flight of stairs. RUSSO Jimmy?DOYLE's P.O.V.: A shadow figure ducks into one of the rooms. 94.Close of DOYLE up against a wall. DOYLE (a whisper) Cover the other side -- Frog Number One is down there.RUSSO scrambling along the Crematorium wall.DOYLE moving slowly down the opposite wall.Medium shot of DOYLE approaching the end rooms. A figureslips out of one of them, shrouded with shadows.Close of DOYLE firing twice into the camera.Close shot of the figure. It's AGENT BILL MULDERIG spinning,dropping, his own service revolver clattering on the concrete.Medium close shot of DOYLE standing over MULDERIG's body,two or three COPS coming up, including RUSSO. RUSSO (leaning over the body) He's gone, Jimmy. Bill is dead.DOYLE full figure, close. A long pause -- and then -- DOYLE The sonofabitch is in here somewhere. I saw him -- I'm gonna get him.DOYLE exits down the corridor. The others staring after him.EXT. CREMATORIUMWithin the building no one is visible. Overhead, theHellgate Bridge, sounds of New York, jets, auto traffic, andan approaching Penn Central train. THE END
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