On the Waterfront Page #16

TERRY:

(shrugs)

...eight-seven, eighty-eight.

What's it to you?

CHARLEY:

(nostalgically)

Gee, when you tipped one seventy-five

you were beautiful. You should've

been another Billy Conn. That skunk I got to

manage you brought you along too fast.

TERRY:

It wasn't him!

(years of abuse crying out in him)

It was you, Charley. You and Johnny. Like the

night the two of youse come in the dressing

room and says, "Kid, this ain't your night— we're

going for the price on Wilson." It ain't my night.

I'd of taken Wilson apart that night! I was ready—

remember the early rounds throwing them combinations.

So what happens— This bum Wilson

he gets the title shot— outdoors in the ballpark!

– and what do I get— a couple of bucks and

a one-way ticket to Palookaville.

(more and more aroused as he relives it)

It was you, Charley. You was

my brother. You should of looked out for me.

Instead of making me take them dives for the

short-end money.

CHARLEY:

(defensively)

I always had a bet down for

you. You saw some money.

TERRY:

(agonized)

See! You don't understand!

CHARLEY:

I tried to keep you in good with Johnny.

TERRY:

You don't understand! I could've been a

contender. I could've had class and been somebody.

Real class. Instead of a bum, let's face it,

which is what I am. It was you, Charley.

Charley takes a long, fond look at Terry. Then he glances quickly out

the window.

MEDIUM SHOT—WATERFRONT—NIGHT

From Charley's angle. A gloomy light reflects the street numbers—433—

435—

INT—CLOSE—CAB—ON CHARLEY AND TERRY — NIGHT

TERRY:

It was you, Charley... .

CHARLEY:

(turning back to Terry, his tone suddenly changed)

Okay— I'll tell him I couldn't bring you in.

Ten to one they won't believe it, but— go ahead,

blow. Jump out, quick, and keep going... and God

help you from here on in.

LONGER ANGLE—CAB—NIGHT

As Terry jumps out. A bus is just starting up a little further along

the street.

EXT—MEDIUM LONG SHOT—RIVER STREET—NIGHT

Running, Terry leaps onto the back of the moving bus.

INT—CAB—RIVER ST.—NIGHT

CHARLEY:

(to driver as he watches Terry go)

Now take me to the Garden.

Charley sinks back in his seat, his hand covering his face. The driver

turns around, gives him a withering look, steps on the gas, and guns

the car into—

EXT—MEDIUM LONG SHOT—RIVER STREET—NIGHT

They have reached a garage, and now the car zooms through the entrance.

We catch a glimpse of Truck, Sonny and Big Mac.

MEDIUM CLOSE SHOT—EXT—JOHNNY'S LIMOUSINE —NIGHT

Johnny is watching from across the street.

MEDIUM CLOSE—ON GARAGE DOOR—NIGHT

Big Mac and Sonny pull the big black sliding door shut until the screen

itself is blacked out. Inside there is the roaring sound of a motor

racing.

QUICK DISSOLVE:

INT—EDIE'S BEDROOM—NIGHT

Edie is in bed. There is a pounding on the door.

EDIE:

(frightened)

Who is it?

INT—HALLWAY OUTSIDE DOYLE DOOR—NIGHT

Terry, in a wild state after his escape, is pounding on the door.

TERRY:

Edie, it's me— let me in— it's me!

He pounds on the door even harder.

CLOSE—ON EDIE

The pounding continues.

EDIE:

(Fiercely)

Stop it! Stop it! Get away from here!

VOICE OF TERRY:

(muffled)

I've got to see you. Got to talk to you.

EDIE:

Leave me alone. I want you to leave me alone!

ANGLE ON DOOR:

The pounding grows louder. Suddenly there is the sound of the door

being broken open. Edie draws back against the head of her bed, pulling

the covers around her. Terry runs in wild-eyed.

TERRY:

I had to, Edie. I had to see you.

EDIE:

Lucky Pop isn't home, he'd kill you.

TERRY:

You think I stink, don't you? You think I

stink for what I told you?

EDIE:

I don't want to talk about it. I want you to

go.

TERRY:

(grabbing her)

Edie, listen to me! I want you

to believe me. I want to be with you.

EDIE:

(wrenching herself free)

How can you be with Charley and Johnny

Friendly and still be with me? Either way it's a lie.

It's like there were two different people inside of you.

You've got to be one or the other.

TERRY:

(in pain)

I don't want to hurt Charley— I don't want to hurt you...

EDIE:

It's you who's being hurt. By keeping it

inside you, like a poison. Sooner or later it's got

to come out.

TERRY:

I know what you want me to do!

EDIE:

I don't want you to do anything. Let your

conscience tell you what to do.

TERRY:

(pounding his fist on the bed)

That—

(pound! pound!)

—word again! Why do you keep saying

conscience, conscience... .

EDIE:

I never mentioned the word before.

In his agony he grips a glass standing on

the night table.

TERRY:

I keep hearing it and I don't know what to

do..I don't know what to do... .

Without realizing what he is doing, he squeezes the glass in his

powerful fist until it breaks. The glass cuts his hand. He draws back

in pain.

TERRY:

My hand.

EDIE:

It's just a scratch. You won't die.

She turns away from him.

TERRY:

Edie...

EDIE:

Get away from me.

TERRY:

Edie, I need you to love me. Tell me you

love me.

EDIE:

I didn't say I didn't love you. I said stay

away from me.

TERRY:

(groping for her)

Edie, Edie, I...

His arms move around her. Her reaction is convulsive. Her hands move

over him in anger and love.

EDIE:

Stay away from me

(her face close to his)

Stay away from me—

(closer)

Stay—

They kiss, lying across the bed, and the fever seizes them again.

EDIE:

—away from me!

Then, after some moments, they are distracted by—

VOICE FROM THE STREET

Hey, Terry, come on down. I got something to show you,

Terry.

Startled, they cling to each other. The voice calls again—

VOICE FROM THE STREET

Hey, Terry, your brother's down here.

TERRY:

(more curious)

Charley?

VOICE:

Charley's waitin' for ya. Come on down

and see him.

EDIE:

(whispers)

Don't go. Don't go.

TERRY:

But Charley— maybe Charley needs me. I

better see what he wants.

He goes.

EDIE:

(calling after him)

Terry...

She rises and calls toward the door—

Terry...

Then she runs to the window.

EXT—EDIE AT WINDOW—NIGHT

EDIE:

(calling)

Terry... .

WOMAN'S VOICE (O.S.)

You hear what I heard?

Edie looks up and to one side.

CLOSE—ON MRS. COLLINS

Looking out another window of the tenement.

MRS. COLLINS

That's the same way they called Andy out

the night I lost him.

CLOSE—ON EDIE—AT WINDOW

Horrified. Looking for Terry. She runs from the window.

CLOSE—ON FIRE ESCAPE—NIGHT

As Edie runs out onto it. She looks down wildly, searching for Terry. A

ship's whistle makes a mournful sound. A great luxury liner is heading

out to the harbor. Fog is drifting in over the roof. She peers down but

can see nothing. She hears a wild shriek from the street and runs to

the railing again. It is only a teenager whooping it up below. Then she

hears shots—Bang—Bang—

Bang—and the sound of a police siren. She raises her hands to her head

and cries.

EDIE:

Terry.

Then she hears the follow-up of the police siren. It is only a TV set

near the open window of the floor below.

TV ANNOUNCER:

And now for your weekly dramatic

thrill straight from the files of the City's

Finest— Police Patrol... .

("Dragnet"-type music)

Edie turns away in exasperation. She calls down the fire escape into

the fog.

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