On the Waterfront Page #10

TERRY:

Gee, thoughts! Alla time thoughts!

(then)

You really believe that drool?

EDIE:

(deeply shocked)

Terry!

TERRY:

Want to hear my philosophy? Do it to

him before he does it to you.

EDIE:

(aroused)

Our Lord said just the opposite.

TERRY:

I'm not lookin' to get crucified. I'm lookin'

to stay in one piece.

EDIE:

(flaring up) I never met such a person. Not a

spark of romance or sentiment or— or human

kindness in your whole body.

TERRY:

What do they do for you, except get in

your way?

EDIE:

And when things get in your way— or people

—you just knock them aside— get rid of

Them— is that your idea?

TERRY:

(defensive— stung)

Listen— get this straight— don't look at me

when you say them things. It wasn't my fault

what happened to your brother. Fixing Joey

wasn't my idea... .

EDIE:

(gently)

Why, Terry, who said it was?

TERRY:

(lamely)

Well, nobody, I guess. But that Father Barry,

I didn't like the way he kept lookin' at me.

EDIE:

He was looking at everybody the same way.

Asking the same question.

TERRY:

(troubled, not convinced)

Yeah, yeah... .

(suddenly)

This Father Barry, what's his racket?

EDIE:

(shocked)

His— racket?

TERRY:

(trying to regain his bravado)

You've been off in daisyland, honey.

Everybody's got a racket.

EDIE:

But a priest...?

With his finger he again describes a square in the air and then points

through it to Edie. This time it angers her.

EDIE:

You don't believe in anything, do you?

TERRY:

Edie, down here it's every man for himself.

It's keepin' alive! It's standin' in with the

right people so you can keep a little loose change

jinglin' in your pocket.

EDIE:

And if you don't?

TERRY:

If you don't

(points downward with a descending whistle)

Keep your neck in and your nose clean and

You'll never have no trouble down here.

EDIE:

But that's living like an animal—

Terry seems almost to illustrate this by the way he drains off his beer

and wipes his mouth with his sleeve.

TERRY:

I'd rather live like an animal than end up

like—

He hesitates.

EDIE:

Like Joey? Are you afraid to mention his

name?

TERRY:

(challenged—defensive)

Why keep harpin' on it?

(looks at her unfinished beer)

Come on, drink up. You

got to get a little fun out of life. What's the matter

with you?

(nods toward juke box)

I'll play you some music.

He starts toward the juke box. She turns with him. Suddenly something

cries out in her, almost as if she didn't know she was going to say it—

EDIE:

Help me, if you can— for God's sakes help me!

CLOSE—ON TERRY

For the first time the edge is knocked off his swagger. He feels the

purity of her grief. He'd like to help—that's his immediate reaction.

But there's his brother Charley and his steady work and his loyalties

to the mob and its code. All this runs through his mind, confusing him,

tearing him... .

CLOSE—ON TERRY AND EDIE

Terry turns back to her, with a helpless gesture.

TERRY:

I— I'd like to, Edie, but—

(shakes his head)

—there's nothin' I can do.

Edie feels subdued, ashamed at breaking down. She rises,

and in a low

voice says—

EDIE:

All right, all right.. I shouldn't 've asked you.

TERRY:

You haven't finished your beer.

EDIE:

I don't want it. But why don't you stay and

finish your drink.

TERRY:

(swinging off the stool)

I got my whole life to drink.

As if magnetized by her, he follows her out.

EXT—LADIES' BAR—NIGHT

As Terry comes up alongside her.

TERRY:

You're not sore at me?

EDIE:

(with complete innocence)

What for?

TERRY:

For— not being any help?

She looks at him with disturbing simplicity.

EDIE:

Why no— I think you would if you could... .

CLOSE UP—TERRY

Struck. Her faith in him and in human nature becomes the most painful

kind of accusation.

TWO-SHOT—EDIE AND TERRY—STREET—NIGHT

Softly, silently, she begins to cry.

TERRY:

(gently)

What are you crying for?

EDIE:

(shaking her head)

I thought I felt mean tonight. But I'm not—

I'm just— all mixed up... .

Ahead of them down the block is an outdoor neighborhood party. The

rhythm of a small band reaches out to them. Edie hangs back and Terry

takes her hand.

TERRY:

Come on, I'll walk you through. It's the

shortest way home.

He takes her hand and she walks along with him passively. The street is

illuminated with colored lights and bright paper streamers. There are

several gaily decorated counters serving drinks and sandwiches. There

are balloons and colored paper hats. Neighbors are dancing in the

street. Children look on, a few mimicking their elders f rom the

sidelines. Above the street is a homemade banner inscribed: JUST

MARRIED— JOHNNY AND MARY O'DAY! We catch a glimpse of the happy young

bridal couple, as Terry and Edie reach the edge of the celebrants. Her

eyes light up. She has passed into a dreamlike forgetfulness.

TERRY:

You like music?

Edie nods dreamily.

—and dancing?

Edie nods again.

TERRY:

(pulling her to him before she realizes what has

happened)

We're on!

At first Edie dances somewhat clumsily and stiffly but gradually begins

to dance with zest and surprising skill, as if a whole suppressed side

of her nature were suddenly being released. Terry is light on his feet

and they do some intricate steps together.

TERRY:

Hey, we're good!

(grins at her)

The Sisters should see you now, huh?

She laughs, out of her youth and embarrassment and unexpected enjoyment

of a stolen moment.

Now Terry draws her to him and they dance a more conventional half-time

foxtrot to the music.

TERRY:

(awkwardly)

I— I never knew a girl like you,

Edie. I always knew the kind you just grab 'em

And— I never knew a girl like you, Edie.

EDIE:

It's fun dancing with your eyes closed. I'm

floating. I'm floating... .

They have danced off to a darker, less populated section of the street,

away from the bar and the bandstand. Behind them people are dancing and

laughing. Terry's lips brush her cheek as they dance, and move on to

her mouth.

TERRY:

(breathlessly)

Edie... .

Carried away, she allows him to kiss her and even responds. Then Terry

feels someone tapping him on the shoulder. He wheels around to see—

CLOSE SHOT—BARNEY—STREET—NIGHT

Barney wears a colored paper hat.

BARNEY:

I been looking for you, Terry. The boss wants you.

THREE-SHOT—TERRY, EDIE AND BARNEY— STREET—NIGHT

While the music and dancing continue around them.

TERRY:

Right now?

BARNEY:

(nods)

He just got a call from "Mr. Upstairs." Something's

gone wrong. He's plenty hot.

TERRY:

I'm gonna take her home first.

BARNEY:

I'd get over there, Terry. I'll take the little lady home.

TERRY:

(for Edie's benefit)

I'll come over when I'm ready.

BARNEY:

You know Johnny when he gets mad.

As suddenly as Barney arrived, he ducks off .

CLOSE—ON TERRY AND EDIE—STREET—NIGHT

Edie senses Terry's distraction.

EDIE:

(puzzled)

Who was that?

She is about to move away; Terry puts his hand on her arm.

TERRY:

(impulsively)

Edie, listen, stay out of this mess. Quit tryin'

to ask things about Joey. It ain't safe for you.

EDIE:

Why worry about me? You're the one who

says only look out for yourself.

Rate this script:3.7 / 3 votes