Miller's Crossing Page #2

Caspar's voice is harder:

Caspar

Listen Leo, I pay off to you every month like a

greengrocer--a lot more than the Motzah--and I'm

sick a gettin' the high hat--

Leo

You pay off for protection, just like everyone

else. Far as I know--and what I don't know in

this town ain't worth knowing--the cops haven't

closed any of your dives and the O.A. hasn't

touched any of your rackets. You haven't bought

any license to kill bookies and today I ain't

selling any. Now take your flunky and dangle.

Caspar is staring at Leo. He looks at Tom, then rises

slowly to his feet. Back at Leo:

Caspar

Ya know I'm tryin'. . . I'm tryin not to raise my

voice in anga. I've always gone along to get

along. But you make me lay off the Matzoh and

you're givin' me the needle. I told you the

sheeny was robbin' me blind, I told you I wanna

put him in the ground and I'm telling you now I'm

sick a the high hat.

He swipes his hat from Bluepoint.

. . . You think I'm some guinea fresh off the

boat and you think you can kick me. But I'm too

big for that now.

He puts his hands on the desk and leans towards Leo.

The cords stand out on his ndck.

I'm sick-of takin' the strap from you, Leo. I'm

sick a marchin' down to this goddamn office to

kiss your Irish ass and I'M SICK A THE HIGH HAT!

Caspar stops, out of breath. He is red faced and panting.

Bluepoint has put a gently restraining hand an his shoul-

der.

Leo and Tom stare at Caspar impasssively.

After a beat Caspar shuts his mouth. His eyes lose some of

their glaze. He looks at Bluepoint's hand, turns and

strides towards the door.

Caspar

. . . Youse f***in' fancy-pants, all of ya.

He opens the docr, but Leo's voice stops him.

Leo

(softly)

Johnny. You're exactly as big as I let you be

and no bigger and don't forget it. Ever.

Caspar looks at Lea from the open doorway. After a beat he

chuckles.

Caspar

Ats right, Leo, you're the big-shot around here.

He dances over at Tom again, then back to Leo:

. . . And I'm just some schnook likes to get

slapped around.

He leaves, Bluepoint following, shutting the door.

After a beat Tom crosses in front of the desk and sits down

in the chair Caspar has just vacated. Leo chuckles and

leans back in his chair.

Leo

Twist a pig's ear. Watch him squeal.

Tom swallows the last of his drink and stares ruminatively

down at his glass.

Tom

. . . Bad play, Leo.

Leo, unfazed, grins at Tom.

Leo

Got up on the wrong side, huh?

Tom

Same side as always.

Leo

That's what I mean. Still owe money to--who's

your bookie? Lazarre?

Tom

Mm.

Leo

I could put it right for you.

Tom

Thanxs Leo, I don't need it.

Leo

In a pig's eye. You haven't played a winner in

six weeks. People'll speak ill of me if I let

him break your legs.

Tom grins back, for the first time.

Tom

People'll say I had it coming.

Leo

And they'll be right, but that ain't the point.

Call me a big-hearted slob, but I'm gonna square

it for ya.

He picks up a phone on his desk and starts to dial.

. . . Yeah, I think I'll do that, this very same

night. Looking at you moping around takes away

all my . . . What did you call it? Joy de veever.

Tom stands and walks over to the desk.

Tom

Joi de vivre.

He takes the receiver from Leo and prongs the phone.

Leo

Well look, if your gonna laugh at me, the hell

with you.

Tom walks to the door, putting an his hat.

Tom

And with you. I'll square myself with Lazarre if

you don't mind. Thats why God invented cards.

He pauses in the doorway and turns back to Leo.

. . . There is something you can do for me.

Leo

Name it.

Tom

Think about what protecting Bernie gets us.

Think about what offending Caspar loses us.

Leo chuckles good-naturedly.

Leo

Come on, Tommy, you know I don't like to think.

Tom has stepped into the hallway and, just as he closes the

door:

Tom

Yeah. Well, think about whether you should start.

The door clicks shut.

CUT TO BLACK:

2. FADE IN:

THE WOODS CREDIT SEQUENCE

Although it is day, the tree cover gives an effect of

almost cathedral-like darkness. The sun filters down

through the leaves in gently shifting patterns.

We hear only the sound of the wind and the creaking and

groaning of tree limbs in the breeze.

Head titles are supered over the dissolving series of woods

scenes.

In the last woods scene the angle is low--almost ground-

level. The sun dapples the floor of the forest, which is

carpeted with pine needles.

With a whoosh of rustling leaves the wind gusts a fedora

into frame. For a moment it lies still in the foreground,

sunlight rippling over it, making it seem almost alive.

Then the wind picks up again and the hat tumbles away from

us, end over end, in slow motion into the background,

impossibly far away until . . . it dissappears.

As we fade out, we hear a distant knocking.

3. FADE IN:

CLOSE SHOT TOM

Unshaven, eyes closed, motionless.

The head credits continue over this one-shot scene.

The knocking continues, faintly, offscreen. As we hear a

door opening we pull back to a looser shot, revealinq that

Tom is slumped back on a tired green sofa.

A fat hand enters to shake Tom's shoulder.

Voice

Wake up, Tommy.

Without ocening his eyes:

Tom

I'm awake.

Voice

You're eyes were shut.

Tom

Who're you gonna believe?

Tom sits up, though it seems like an effort. He looks

sick.

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