Miller's Crossing Page #21

. . . And I was gonna leave. Honest I was. But

then I started thinking. If I stuck around, that

would not be good for you. And then I started

thinking that. . . that might not be bad for me.

Tom still doesn't answer.

. . . I guess you didn't see the play you gave

me. I mean what'm I gonna do? If I leave, I got

nothing--no money, no friends, nothing. If I

stay, I got you. Anyone finds out I'm alive--

you're dead, so. . . I got you, Tommy.

Tom is silent.

. . . What's the matter, you got nothin' to crack

wise about? Bernie ain't so funny anymore?

Bernie's lip is quivering. His voice is softer:

. . . I guess I made kinda a fool a myself out

there. . . I was shittin' myself, Tommy. . .

you didn't tell anyone about that.

Tom

No.

Bernie

'Course you know about it. . . its . . . It's a

painful memory. And I can't help remembering

that you put the finger on me, and you took me

out there to whack me. . . I know you didn't. .

. I know you didn't shoot me. . . but. . . but--

Tom

But what have I done for you lately?

Bernie

Don't smart me.

He stares hard at Tom for a moment.

. . . See, I wanna watch you squirm. I wanna see

you sweat a little. And when you smart me, it

ruins it.

Bernie gets to his feet, keeping the gun trained on Tom.

. . . There's one other thing I want. I wanna

see Johnny Caspar cold and stiff. That's what

you'll do for your friend Bernie. . .

He has opened the door to the flat.

. . . In the meantime I'll stay outa sight. But

if Caspar ain't stiff in a couple of days I start

eating in restaurants.

The door shuts behind him.

Tom, heretofore very still, springs from the chair, goes to

the bedroom and reemerges with a gun.

He bolts for the door, instinctively grabbing his hat off a

hook. He is wearing only his boxer shorts, a sleeveless

tee-shirt, and the hat jammed onto his head.

He throws open the door.

52. HALLWAY

Empty.

Tom runs to the bannister and looks down.

HIS POV:

A flight down, a hand slides down along the railing.

Bernie's trotting footsteps echo in the stairwell.

TOM:

He runs back to his apartment.

53. APARTMENT

Tom runs across to the open window and clambers out.

54. FIRE ESCAPE

Tom trots down. His bare feet ring dully against the steel

of the fire escape.

He reaches the bottom landing, swings over the railing,

hangs by his hands for one brief moment and then drops.

THE ALLEY:

As his bare feet hit the pavement. Tom is a silhouette in

the lamplight from the end of the alley.

He straightens from his crouch and runs.

BACK DOOR:

Of his apartment building--over Tom's shoulder as he enters

frame. The empty, brightly lit hall inside runs straight

the length of the building to the front door, which is just

closing.

Tom throws open the back door.

55. HALLWAY

As Tom runs through toward the front.

Before reaching the door, he falls violently forward.

His gun skates away from him across the floor.

He starts to roll over to look behind him and a crunching

blow catches him on the chin, snapping his head the rest of

the way around and sending him flat onto his back.

Bernie, who has emerged from under the staircase, towers

over him.

Bernie

You make me laugh, Tommy. You're gonna catch

cold, then you're no good to me. . .

He is walking over to Tom's gun, which he picks up and

unloads into his hand.

. . . What were you gonna do if you caught me,

I'd just squirt a few and then you'd let me go

again.

He tosses Tom the empty gun and walks out.

Tom, white-faced and shivering, pulls himself up to sit

leaning against the wall.

A first-floor apartment door opens and a sixty-year-old

woman emerges, pulling a housecoat tight. She goggles at

Tom.

Woman

Why Mr. Duchaisne! What on earth. . .

Tom tries a smile that looks idiotic.

Tom

They took everything. . .

LONG SHOT THE HALL

Clucking sympathetically, the old woman is leaning down to

help Tom up. As he drapes an arm over her shoulder:

Tom

. . . I fought like hell but there were too many

of 'em . . .

FADE OUT:

56. CUT TO:

CLOSE SHOT PLAQUE

Set into an exterior wall, identifying the SHENANDOAH CLUB.

57. INT CLUB

Tom, in his overcoat and hat, is walking up to the bar.

Tom

'Lo, Tony. How's the club holding up?

Behind the bar, Tony looks sour.

Tony

We're managing to squeak by without you. Got

Lazarre's money?

Tom

No.

Tony

Well, you're not supposed to be here since you

turned rat.

Tom

Relax, Tony, Leo's not around, is he?

Tony

Maybe Leo's not the only one doesn't care for you

here.

Tom works to keep his smile.

Tom

. . . Fickle, huh Tony? You could almost be a

dame.

Tony

Pal, you read my mind, you sneak my thoughts.

Jesus, I hope you know what you're doing.

Tom

No more than usual. The last couple days, you

booked any heavy bets on a long shot at Satur-

day's fights?

Tony

Why the hell should I tell you?

Tom shrugs.

Tom

The truth is Tony, there's no reason on earth.

Staring at Tom, Tony blows air through his teeth. He sets

up a drink for Tom.

Tony

. . . Saturday's fights. Yeah. Drop Johnson

parked two yards on one yesterday. On Sailor

Reese, an undercard bum.

Tom downs the drink in a gulp.

Tom

Drop Johnson? He play your book much?

Tony

You kidding? I didn't even know he could count.

From offscreen there is a loud CRASH and, with that, many

of the club patrons start screaming. Tony looks off and

Tom swivels to look.

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