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Tidyman, Ernest
THE FRENCH CONNECTION (1971)
Jimmy "Popeye" Doyle (Gene Hackman), a foul-mouthed, violent narcotics detective, pursues a suave French drug dealer (Fernando Rey) through New York City with Captain Ahab-like zeal. Director William Friedkin took the provocative stance that both the narcs and the smugglers use similar thuggish ends to get what they need. This thrilling Best Picture Oscar winner (based on a true story) is famous for its riveting car-vs.-elevated-train chase.
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This moviescript available in following formats:
Tidyman, Ernest. THE FRENCH CONNECTION
French Connection, The Script
EXT. LE VALLON
Opening shot - High angle on Lincoln along small bay with
boats.
Ext. Bar - Waist to full figure Pan Right to Left. Detective
comes out eating pizza, looking around. He crosses street
and 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 with
three friends and they walk to the Lincoln.
Pan Left to Right with Lincoln passing in front of the
Detective.
EXT. CAFE LA SAMARITAINE
High angle from balcony. Zoom on Detective seated at the
cafe, reading a newspaper.
Cut on Lincoln along sidewalk of the cafe, then zoom back to
discover Detective seated.
EXT. MARSEILLE STREETS
Low angle from stairs Rue des Repenties and Pan Left to
Right to Rue Sainte Francoise following the Detective.
Pan Left to Right with Detective from Rue des Repenties to
Rue Baussenque.
Low angle between Rue des Moulins and Rue des Accoules with
Detective passing by.
Ext. Rue du Panier - The Detective comes out from the bakery
camera Right and starts to climb up Rue des Moulins with his
bread.
EXT. STREET
High angle - on No. 50 Rue des Moulins. Pan Left to Right
with Detective coming up the street with his bread and going
inside his house, starting to open his letter-box.
2.
INT. CORRIDOR
High angle - complete reverse. As the Detective starts to
open his letter-box in B.G. a hand pointing a gun moves in
foreground and blows off half of the French Detective’s head
with the first shot.
Cut to Nicoli C.S. who just fired.
EXT. A BAR IN BED-STUY - DAY
A large man in a Santa Claus suit and white beard is
entertaining a group of black children. He leads them in
the singing of a Christmas Carol (Hark the Herald Angels
Sing). The man is DETECTIVE FIRST GRADE JIMMY DOYLE. His
attention is split between the children and the activity
inside the bar.
INT. THE BAR - DOYLE’S POV - DAY
The place is crowded with mid-day drinkers. Dimly outlined
at the far end of the bar are TWO BLACK MEN involved in some
kind of transaction in which a package is exchanged for
money. As the transaction seems to be completed, cut to
EXT. THE BAR - DAY
Santa Claus (DOYLE) starts to ring his big Christmas bell,
above the singing. The bell is a signal to DETECTIVE SECOND
GRADE BUDDY RUSSO. At this moment RUSSO is in the clothes
of a hot dog vendor and is in fact working behind a hot dog
wagon. At the ringing of DOYLE’s bell he takes off his
apron, leaves the wagon, and runs toward the bar.
DOYLE
(as RUSSO passes him)
The guy in the brown coat.
INT. THE BAR - DAY
RUSSO enter the bar on the run. He stops and looks over the
room.
RUSSO’S POV
There are TWENTY or THIRTY MEN at the bar, at least TEN are
wearing brown coats! The TWO MEN involved in the deal see
RUSSO and start to run. One (THE BUYER) takes off out of
the back door. The other (THE PUSHER) jumps over the bar
and heads for the front entrance.
3.
EXT. THE BAR - DAY
THE PUSHER dashes out past Santa Claus (DOYLE). RUSSO
follows him and all three give chase.
EXT. BED-STUY TENEMENT ALLEY - DAY
THREE FIGURES running down a New York tenement alley, the
first in flight, the others in pursuit. We pick up the
incredible clutter of such an alley, mounts of rusting beer
cans, paper bags of garbage bulging and ripping open, old
bed springs, burned out mattresses, etc.
EXT. BED-STUY TENEMENT ALLEY - DAY
Close shot of BLACK PUSHER tripping on the tangle of trash
going up against the wall in his stumble, face toward the
camera, and the figures of RUSSO and DOYLE leaping upon him
from off-camera. There is a blur or fast struggle as DOYLE
and RUSSO try to get his arms and put him against the wall.
BLACK PUSHER writhes loose and we close in on a knife in his
hand, plunging rapidly into RUSSO’S left forearm.
RUSSO
Son of a bitch!
The words are both warning and a grunt of pain. As RUSSO
takes the blade and utters the words, we simultaneously go
to DOYLE crouching and snatching his .38 out of the right
ankle holster.
EXT. BED-STUY TENEMENT ALLEY - DAY
Close shot of DOYLE and the BLACK PUSHER, DOYLE pistol-
whipping him into submission with three lightening chops of
the gun to the PUSHER’S head. DOYLE continues to beat the
man mercilessly into submission.
INT. DOYLE’S CAR - DAY
3-shot of BLACK PUSHER sitting between DOYLE and RUSSO.
DOYLE is at the wheel. BLACK PUSHER is sitting on his
hands, wrists manacled behind him, his head down and dripping
blood onto the jacket and the canary-yellow turtleneck. All
three are breathing hard.
DOYLE
What’s your name, asshole?
BLACK PUSHER
Fuck you, Santa Claus!
DOYLE hits him across the face.
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 for
relief 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 confusion
and fear.
DOYLE
You put a shiv in my partner. Know
what that means? All winter I
gotta listen to him gripe about his
bowling scores. Now I’m gonna bust
your ass for those three bags -
then I’m gonna nail you for pickin’
your feet in Poughkeepsie.
EXT. HEADQUARTERS NARCOTICS BUREAU OF THE NYPD 12 OLD SLIP
AND SOUTH STREETS - NIGHT
DOYLE and RUSSO standing side by side on the front steps of
the old First Precinct on the Lower East Side of Manhattan.
RUSSO has his overcoat over his shoulders as a cape. The
sleeve of his left arm is rolled up over a blood-stained
bandage on the left forearm.
DOYLE
Havin’ trouble? You’re a dumb
guinea.
RUSSO
How’d I know he had a knife.
DOYLE
Never trust a nigger.
RUSSO
He coulda been white.
6.
DOYLE
Never trust anybody. You goin’ sick?
RUSSO
Not a chance.
RUSSO nods in acceptance of the remark. The easy, synical
rapport between them is obvious: they are partners in a
business where somebody is always getting hurt and pain is
part of the inventory.
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 suitcoat
for a cigarette and matches. He lights up two in the pause,
sticks one in RUSSO’s mouth.
DOYLE
Come on -- one drink. Whatta you
say?
RUSSO
Drink this.
DOYLE
Whip it out.
INT. THE CLUB - NIGHT
THE TITLES COMMENCE
THE FRENCH CONNECTION
Titles over a close shot of a chorus line, with lots of tits
and ass and lean, long legs in a brassy blare of music. We
zoom back to the area where DOYLE and RUSSO are beginning to
occupy a table. RUSSO takes the seat on the right, eyes
immediately on all that ginch, while DOYLE standing, gives
their order. We do not hear the dialogue but DOYLE asks
RUSSO what he wants BUDDY looks up and says "Cinzano." DOYLE
turns and says "Two of these." DOYLE slips into the chair
opposite RUSSO and the titles roll on. Unlike RUSSO who is
concentrating on the girls, DOYLE is digging the room and
the people who occupy the tables in it, as if he is the sort
of man who cannot relax until he knows who is around him,
why they are there.
7.
INT. THE CLUB - NIGHT
A long view from DOYLE’s position of the room, a quick
certain survey that stumbles twice; on laughter that seems
too raw and then over a flurry of activity by WAITERS and
CAPTAINS serving a table on the main floor. DOYLE’s
attention is apprehended by the noise and activity that
emanate 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 - NIGHT
A long view of the table with DOYLE and RUSSO very close
foreground, left and right. DOYLE is leaning on an elbow.
DOYLE
Who is that guy?
RUSSO
Policy man in Queens.
DOYLE
What about the last of the big-time
spenders. You make him?
RUSSO’s eyes come off the show. It is a direct line from
DOYLE’s gaze to the round, ruddy and arrogant face of SAL
BOCA, the apparent host of the table of EIGHT MEN AND WOMEN,
the Men in dinner jackets with ties tucked under the collars
of blue or white lace-trimmed shirts, the Women in a mixture
of pant suits and Catskills cocktail party dresses, their
hair coiffed towers.
RUSSO
No, you?
DOYLE
Hunh-uh. Check the bread. He
spreads it like the Russians are in
Jersey.
RUSSO
He probably sells insurance. Owns
a chicken farm in Hackensack.
8.
Zoom in slowly on SAL as he deals tips and orders. Through
DOYLE’s eyes, we go from Guest to Guest at SAL’s table,
taking apart their manners and styles as they talk and
laugh, lost in the show chatter.
INT. THE CLUB - NIGHT
DOYLE finishing his drink, still looking at the table.
DOYLE
Dig who’s just come over. The
creep on the end.
INT. THE CLUB - NIGHT
The 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 - NIGHT
DOYLE close in right profile, SAL’s table in the far blurred
background.
DOYLE
Whatta you say we wait and give him
a tail?
RUSSO
Give who a tail?
DOYLE
The greaser with the blonde.
RUSSO
What for -- you wanna play Hide the
Salami with his old lady?
DOYLE
Come on -- just for fun --
INT/EXT. DOYLE’S CAR - NIGHT
The view from the back seat of DOYLE’s car. DOYLE is at the
wheel, RUSSO packed uncomfortably into the corner at DOYLE’s
right. Seventy-five yards away on the other side of the
street the canopied entrance of the Club. A Continental is
parked in front of the club. The DRIVER leaning on a fender
talking with the DOORMAN. DOYLE frisks his own pockets for
a 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 going
through the ritual of the cigarette mooch, a slip bearing
the name of a girl. His attention is really on the entrance
of the Club and both his conversation and the cigarette
business are detached and incidental to the art of waiting
through the stakeout. He stuffs the cards back into his
pocket.
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 and
his PARTY come bubbling out of the Club noisily, a little
drunkenly. SAL waves to the attentive DOORMAN.
DOYLE close, leaning forward over the wheel to put his hand
on the ignition key. He does not turn it. He is waiting
for the cover of noise from the starting of SAL’s car.
RUSSO is turning the opposite corner of the car into a 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 surveillance
hat - 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 black
Mercury sedan. The Mercury takes off towards First Avenue.
We hear DOYLE’s car start and we move off after them on the
last blink of tail-lights at the corner.
EXT. BROADWAY - NIGHT
Cabs, Daily News and Times delivery trucks, bakery vans and
a few cruising cabs, one or two passenger cars and a coasting
green and black police cruiser -- this is the 4:30 a.m.
traffic through which DOYLE moves.
A rear-window view of SAL and ANGIE BOCA, in animated
conversation. His head is turned toward her, his hand
raised in a gesture. ANGIE is sitting in a corner with her
back to the door, in profile to the back window.
10.
Her blonde head bobbles with laughter over some remark SAL
has made.
A long overhead view of the two cars wheeling in and out of
the sparse traffic.
Close shot of the license plate on BOCA’s car.
Close shot DOYLE staring at license plate, memorizing it.
EXT. RATNER’S - DAY
BOCA and ANGIE exit restaurant, get into their car and drive
off. Hold for DOYLE’s car as it passes through after them.
EXT. MULBERRY STREET - DAY
Side close view of SAL turning south into Mott Street
panning to pick up the Italian names on the candy stores,
funeral parlors, bars, grocery stores, social clubs.
A long view of SAL’s car from the DOYLE-RUSSO auto, over the
shoulders of the two cops. DOYLE is leaning on the wheel of
his 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 over
his shoulder in the direction of DOYLE’s car.
Close of RUSSO who has come awake. The smart-ass demeanor
has dropped away. DOYLE turns to him and smiles. This
district is the heart of every illegal activity in New York.
Close rear view of DOYLE and RUSSO ducking down to the level
of the dashboard, a reflex action. He couldn’t see them at
that distance, although SAL, lighted by his own headlights,
can be seen in the background walking around the cars,
across the sidewalk and stopped at a recessed doorway.
Medium close shot of SAL and partially visible FIGURE at the
doorway. With another glance up the street, SAL takes
something out of his raincoat pocket and steps up and into
the doorway.
INT. DOYLE’S CAR - DAY
Close from the front of DOYLE and RUSSO low against the
dashboard.
DOYLE
It’s a drop!
DOYLE’s face, close, light smile.
11.
Long view of SAL walking down the sidewalk quickly for about
a quarter of a block while the headlights of his car, with
ANGIE apparently driving, move up with him. At another
doorway, he looks back and then steps inside.
EXT. BROOKLYN BRIDGE - DAY
Long view of SAL’s Mercury moving over Brooklyn Bridge.
Close shot of the DOYLE-RUSSO car from RUSSO’s side. BUDDY
now interested, watching.
EXT. BROOKLYN - DAY
Overhead view of cars circling block, first Mercury turning
corner, then DOYLE’s Ford.
Long shot of the Mercury pulling up beside line of parked
cars (as seen from DOYLE-RUSSO car) stopping and parking.
Hold on Mercury as SAL and ANGIE get out of it. SAL locking
it up, and starting to walk toward a line of parked cars.
Close shot from rear seat of DOYLE and RUSSO glancing at
each 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 starts
and 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 Dodge
and DOYLE’s Ford moving through Brooklyn Streets, picking up
street 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 - DAY
Close shot of DOYLE and RUSSO in profile driving past the
candy store as SAL and ANGIE open door and go in.
Close shot of DOYLE and RUSSO parked. DOYLE is looking in
the rear-view mirror while BUDDY is turned around on the
seat, looking out the rear window.
A long shot, from the DOYLE-RUSSO viewpoint of the candy
store. The door is open, the street is deserted. Lights
are going on in the little shop.
12.
Hold on the storefront as SAL appears, this time in a candy
store operator’s smock over a white undershirt, baggy slacks.
He’s carrying a stack of newspapers. Zoom in on SAL stacking
the Sunday Times and the Daily News on the rack in front of
the store as ANGIE appears in the doorway. She’s blackhaired
now, the blonde wig gone, also wearing a grey cotton smock
over a plain skirt and sweater, holding a cup of coffee. We
hold on them for a beat, then
CUT TO:
DOYLE and RUSSO close just looking at each other. The look
says everything about the freak case they have stumbled into.
EXT. QUAY MARSEILLE SHIPYARD
1) 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. They
fold 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. NUNNERY
EXT. CORNICHE - HI-WAY (BERGER)
Pan Left to Right Lincoln driven by Jean with Charnier behind.
EXT. CASSIS CROSSROAD IN FRONT OF MARSEILLE SIGN POST
Lincoln passing by.
EXT. CASSIS HARBOUR FROM CASINO
Pan Right to Left with Lincoln passing by.
EXT. CASSIS ROAD LEADING TO VILLA
Pan Right to Left with Lincoln arriving from main road to
Villa.
EXT. VILLA CASSIS
Camera in front of garage where the Lincoln stops. Charnier
comes out with gift and walks Right to Left.
EXT. VILLA CASSIS
Pan Left to Right with Charnier walking along terrace with
Cassis bay in B.G., and we discover his wife, Marie. She
gets up. Dolly back.
CHARNIER
Bonjour chérie.
They kiss each other and walk arm in arm back to us.
EXT. VILLA CASSIS
Close 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. VILLA
L.S. Pan Right to left from under the trees following her as
she leaves Charnier to enter in the house.
EXT. VILLA
C.S. of Charnier along the terrace. He throws a fishing
pole in the sea.
EXT. VILLA
PAN 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 PARK
Complete Pan Left to Right with Lincoln passing in front of
Samaritaine cafe.
Driver pulls out. Charnier comes out from Lincoln and we
follow him as he crosses Left to Right and jumps into the
boat which moves out.
FROM BOAT
Back shot. Charnier standing in the moving boat and smoking
as Marseille diminishes in B.G.
OPENING SEA SHOT
From the boat approaching Chateau d’If.
ON PEER
Pan Right to Left as Charnier gets out of boat and starts to
climb up.
High angle thru first stone door with sea in B.G. Charnier
comes up and turns Right to Left.
High angle -- Pan Left to Right -- Low angle, with Charnier
coming up from 2nd arch to 3rd arch thru which we see the
tower in B.G.
EXT. CHATEAU D’IF - 1ST PLATFORM
Pan Left to Right with Charnier arriving on terrace.
EXT. CHATEAU D’IF - CHARNIER - HIS POV
Nicoli back to us. He turns left shoulder as we approach to
him.
EXT. CHATEAU D’IF - TWO SHOT
Dolly back preceding Charnier and Nicoli after they meet and
Pan 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’IF
Cut on Devereau arriving. He sees them.
EXT. CHATEAU D’IF
Pan Left to Right bringing Charnier and Nicoli towards
Devereaux 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 to
time DOYLE and RUSSO are visible, but their dialogue is for
the most part VOICE OVER.
INT/EXT. BROOKLYN CANDY STORE - DAY
Various shots of SAL and ANGIE. Several shots of DOYLE and
RUSSO in the CANDY STORE: reading magazines, having lunch
separately. They are also seen in the LEATHER FACTORY
across the street observing the CANDY STORE. Several
CHARACTERS enter the CANDY STORE from time to time and go
into the BACK ROOM.
Following are a series of cuts (MOS) to be used with the V.O.
dialogue of RUSSO and DOYLE.
INT. CANDY STORE - DAY
SAL counts the receipts. Two or three CUSTOMERS in the BG.
SAL removes a tray of Ziti from the oven. ANGIE makes an
order 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 - DAY
SAL putting garbage into cans. Pan and Zoom to DOYLE and
RUSSO in window of FACTORY across the street.
INT. CANDY STORE - DAY
ANGIE carries bowl of hard-boiled eggs from rear of store to
the front.
DOYLE (V.O.)
His old lady?
ANGIE makes a tuna sandwich on a roll. A cigarette dangles
from 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... ANGIE
serving. She wears a sleeveless sweater; shows lots of tit.
RUSSO digs... she digs him. A wise guy comes in, goes to
the 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 - DAY
POV from FACTORY window... Two Wise Guys in big coats and
hats 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 - DAY
Angie shooting from back of store towards front. The Two
Wise Guys enter, go to Back Room. SAL follows. They close
door. DOYLE is at the magazine counter in front. He sits
down with magazine. Orders coffee.
RUSSO (V.O.)
The Merc’s in his wife’s name.
Dodge belongs to his brother.
WARD’S ISLAND - DAY
A 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 - DAY
EXT. CANDY STORE
LOU pulls up. As LOU picks up SAL. They drive to various
buildings 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 across
street.
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 - DAY
Restaurants, 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 kisses
and embraces the old man.
RUSSO
Lay off with that wop stuff, will
you?
EXT. WEINSTOCK’S APT. BUILDING - DAY
In 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 LAPSE
Late 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 - NIGHT
SAL 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 - DAY
Across street from Candy Store. DOYLE and RUSSO at the
printing 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. Various
people 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, while
observing the candy store.
We see SAL leaving the store. He crosses to his car, near
the RUSSO car. As he passes it, he sees RUSSO locked in
embrace with a lady in a babushka. As SAL drives off, we
get a closer look at the "LADY" in the babushka: DETECTIVE
JAMES 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 - BRIDGE
The 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 - DAY
A Brooklyn slum street on a morning in November. It is
about 11 o’clock and relatively quiet. A scattering of
tenement URCHINS give the street some sound and life. There
are a couple of dark shops on the street and a bar, all
appearing to be closed. We look down the street and pick up
DOYLE and RUSSO coming down it, walking very quickly. They
are heading toward the bar. A young man is coming out -
they grab him and throw him back.
INT. BAR ROOM - DAY
The Young Man is thrown in, followed by DOYLE and RUSSO.
There are about 20 or 30 PUETRO RICAN and BLACK MEN in the
joint, a couple of BLACK WOMEN. They are in all manner of
dress. Half of them are wearing shades. The bar is noisy
with conversation, laughter and music.
23.
DOYLE and RUSSO standing in the doorway, DOYLE slightly to
the left, RUSSO a little behind him. DOYLE’s arms are at
his sides. RUSSO’s right hand is crossed over his belt,
under his jacket and on the butt of his .38, ready, waiting
to back his partner’s play or respond to any move within the
bar.
DOYLE moving into the bar alone. He pulls the plug out of
the 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 move
until the last moment then stepping out of his way. One of
the customers doesn’t.
DOYLE
What’s my name?
1ST MAN
Doyle.
DOYLE
What?
1ST MAN
Mr. Doyle.
DOYLE
Ever pick your feet in Poughkeepsie?
1ST MAN
What?
DOYLE raises his left arm and pushes the MAN aside. The
MAN’s eyes go to RUSSO, off-camera at the door, and back to
DOYLE. He doesn’t resist; he gets in line with the rest of
them, a line formed about four or five feet from the bar,
running the length of it.
Close of DOYLE at the bar, holding an ashcan and skimming
the metal underrailing with one finger, knocking off the
magnetized key boxes into the ashcan. He isn’t even looking
at them. His eyes are across the bar, staring down the
customers.
Close shot of the ashcan and the little metal boxes clinking
into it.
Close shot of DOYLE, the ashcan now on the bar, opening one
of the boxes, taking out the ten dollar bill, putting it on
the bar.
24.
Then, opening another, taking out the glassine deck of
heroin. Then another, containing a glassine deck. He
empties the glassine envelopes on the bar into a cocktail
mixer which he proceeds to shake. The shaker is half-filled
with tomato juice.
DOYLE leaning over the bar toward the glaring crowd, pours
the mixture into the ashcan.
DOYLE
Milk shake anyone?
He wiggles his finger. It is a command for THREE MEN to
step forward. The MEN do not move at first.
DOYLE
Move ass when I tell you.
They move, shuffling, hesitatingly. But they move -- TWO
BLACKS and A 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 onto
the bar -- with two hypodermics, six or eight marijuana
cigarettes, 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 of
works.
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 a
few steps --
DOYLE
All right, that’s enough, you’re
under arrest.
RUSSO pulls the man off the bar, sends him into one of the
phone booths.
DOYLE coming down the front of the bar. He stops before
another man, who has just come out of the toilet.
DOYLE
What about you? Can you stand a
toss?
2ND MAN
I’m clean.
DOYLE
You don’t use shit?
2ND MAN
No.
(he goes for his wallet)
DOYLE
Did I say you could move that
hand -- I’m not gonna get stuck am I?
2ND MAN
No - no.
DOYLE
Cause if I do.
DOYLE frisks the man. Comes up with vial of pills and two
roaches.
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 the
wall. DOYLE is only inches away.
The MAN is an AGENT and this is the only way DOYLE can get
immediate information from him without destroying the man’s
cover. Their conversation is in whispers. And very fast.
DOYLE
How’s everything?
2ND 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 slamming
behind it. Door opens and DOYLE steps out over the crumpled
prostrate form of the INFORMER. He has just decked the man
to continue the protection of the cover. He pauses halfway
down the line as if he’s speculating on beating up another
one because he didn’t get any information. But he decides
that would be futile too.
DOYLE
I’m 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 - DAY
Close shot of DEVEREAUX, New York harbor in the background,
being interviewed by television reporters on his arrival in
the 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, as
they talk, a crane moves into action behind them and lifts
out of hold. LA VALLE is with DEVEREAUX as Translator and
Interpreter.
GIRL TV REPORTER
Why did you come by ship, Mr.
Devereaux?
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 - DAY
A long view of the pier from the opposite (east) side of
West Street, beneath the steel trusses and girders of the
West Side Drive and through the forest of cars that are
parked there, the jam of traffic that develops around every
unloading vessel. It is a view that takes in the front end
of the Lincoln inching off the pier. HENRI DEVEREAUX at the
wheel, turns to his right. We watch until the point of view
on the sidewalk. ALAIN CHARNIER and PIERRE NICOLI are
standing there watching. When the car (off-camera) turns
east on the way to the garage, NICOLI glances to CHARNIER.
CHARNIER does not look back.
EXT. DORAL HOTEL - LINCOLN PULLS IN - DAY
INT. POLICE OFFICE - NIGHT
Close shot of WALTER SIMONSON at desk in the large square
office he occupies as a Lieutenant of Detectives in charge
of the Manhattan Narcotics Bureau. He is the immediate
superior of RUSSO and DOYLE, head of the 200-man narcotics
squad that polices Manhattan.
SIMONSON
(with coffee cup)
All that is great -- but you guys
work Bed-Stuy. You’re not supposed
to be in Ridgewood.
DOYLE, RUSSO and SIMONSON
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?
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