On the Waterfront Page #19

Terry leaps at him instinctively. The gavel sounds repeatedly and there

are cries of "Order! Order!" Johnny wrestles with Terry, but they are

roughly separated by court room guards

who lead Terry off toward the door to the private chambers. Edie leaves

her seat and tries to get to Terry but is kept off by the guards.

GUARD:

Sorry, Miss, our orders is to keep everybody

away.

They lead Terry off, as the voice of the clerk is saying—

VOICE (O.S.)

Next witness, Mr. Michael J. Skelly,

also known as Johnny Friendly... .

DISSOLVE:

INT—CLOSE—COURTHOUSE LOBBY AND STAIRS ON HEAVY FOOTSTEPS—DAY

Terry's.

CLOSE ON TWO MORE PAIRS OF HEAVY FOOTSTEPS

Terry's police bodyguards.

MEDIUM CLOSE—TERRY AND POLICEMEN CROSSING COURTHOUSE LOBBY—DAY

Old men and bums are sitting on the park benches. Loitering outside are

two of Terry's old chums, Chick and Jackie. Terry has to go right past

them.

TERRY:

(uncomfortably)

Hi Chick— Jackie...

They look at him coldly, and turn away. Terry goes on, unhappily, the

police guards just behind him.

TERRY:

(half turning, irritably)

Have to walk right on top of me?

FIRST COP:

Orders, Terry.

TERRY:

You're stepping on my heels— you're

making me nervous.

SECOND COP:

Terry, you're hot, you know that,

you should be glad we're this close to you.

TERRY:

Trailing me like that, you make me feel

like a canary.

FIRST COP:

(grins a little)

Well?

TERRY:

Now beat it— go ahead— beat it.

SECOND COP:

Take it easy, Terry, take it easy.

He looks at his colleague and winks—they understand and fall back,

allowing Terry to continue on down the stairs.

DISSOLVE:

INT—TERRY'S ROOM

Edie is preparing coffee on a little stove in the corner as Terry

enters, drained and let down.

TERRY:

Edie.

EDIE:

I thought you might want some hot coffee.

TERRY:

(shaking his head moodily)

Thanks just the same.

EDIE:

Well, it's over.

TERRY:

But I feel like— My friends won't talk to me.

EDIE:

(bitingly)

Are you sure they're your friends?

Terry looks at her and then paces restlessly. He looks out and sees—

EXT—ROOFTOP—DAY

Jimmy, on the roof.

INT—TERRY'S ROOM—DAY

TERRY:

(calling, halfheartedly)

Hey, Jimmy— how's the kid?

Jimmy doesn't answer. Terry goes to the window.

TERRY:

Hey, Jimmy!

EXT—ROOFTOP—DAY

Jimmy Conners, near the pigeon coop. He looks up at Terry sullenly and

doesn't answer.

INT—TERRY'S ROOM—DAY

Terry draws back in defeat.

TERRY:

Jimmy too.

JIMMY'S VOICE (O.S.)

A pigeon for a pigeon... !

Through the open window is flung the body of a dead pigeon. It falls at

Terry's feet. He looks down at it. Its neck has been wrung.

TERRY:

(brokenly)

Swifty— my lead bird—

He looks out toward his coop—then climbs out the window and hurries

toward it. We hold on Edie who watches him, worried, and then follows

him.

EXT—ROOFTOP—DAY

Terry goes to his coop. On the floor are every one of his pigeons,

perhaps three dozen, all with their necks wrung. Terry picks one up.

Its head hangs limp.

TERRY:

(looks off)

Jimmy...

EDIE:

He's going to have to grow up too.

TERRY:

(from deep inside him)

My pigeons... .

EDIE:

Terry, you better stay in for a while. I'll

come and cook your meals. Be sure you keep the

door locked.

TERRY:

(not seeming to hear her)

Every one of 'em... .

EDIE:

You heard what Johnny said. No part of the

Waterfront'll be safe for you now. Maybe inland—

the Middle West somewhere— a job on a farm... .

TERRY:

(mutters disgustedly)

Farm...

He turns and starts back toward his room. She follows desperately.

EDIE:

Does it have to be the waterfront! Pop, he's

an old man, it's all he knows, but you— you could

do lots of things, get into something new, anything

as long as it's away from Johnny Friendly!

INT—TERRY'S ROOM

Terry enters. Edie's voice follows him as she trails behind him. He

sits on the bed and looks at the cargo hook hung on a peg on the wall.

EDIE:

Doesn't that make sense!

Terry doesn't answer. He takes the cargo hook from the wall and jabs it

viciously into the floor.

EDIE:

I don't think you're even listening to me!

He pulls the cargo hook out and jabs it into the floor again.

EDIE:

...are you?

He looks up at her, frowns and then studies the cargo hook, tapping it

into his hand with pent-up feeling. The feeling is a strong and

infectious one. Edie senses it and accuses him—

EDIE:

You're going down there!

He looks up at her again for a moment and then works his hand over the

handle of the hook.

EDIE:

(her voice rising)

Just because Johnny warned you not to, you're

going down there, aren't you?

He doesn't say anything but the determination in him seems to be

constantly mounting.

EDIE:

You think you've got to prove something to

them, don't you? That you are not afraid of them

and— you won't be satisfied until you walk right

into their trap, will you?

His silence maddens her. She seems on the verge of striking him out of

frustration and impotent rage. Her voice is hysterical—

EDIE:

Then go ahead— go ahead! Go down to the

shape-up and get yourself killed, you stupid, pigheaded,

son of a—

(struggles to control herself)

What are you trying to prove?

With a decisive gesture Terry takes the hook and sticks it

through his

belt. Then he goes to the wall and lifts Joey's windbreaker

from the

nail on which it has been hanging. He puts the windbreaker

on in a

deliberate way, and grins at her as he does so; then he

walks to the

door with a sense of dignity he has never had before.

TERRY:

(quietly)

You always said I was a bum. Well—

(points to himself)

—not anymore. I'm going down to the dock.

Don't worry, I'm not going to

shoot anybody. I'm just going to get my rights.

(rubs the sleeve of the jacket)

Joey's jacket. It's time I start wearing it.

He goes.

QUICK DISSOLVE:

EXT—PIER—SHAPE-UP—MORNING

Big Mac facing the semicircle of several hundred men. Into this circle

walks Terry.

Other longshoremen instinctively move away from him as he approaches.

CLOSE—BIG MAC

BIG MAC:

I need fifteen gangs today. Everybody works!

He picks men out very quickly and they move forward from the mass.

MEDIUM CLOSE—TERRY—PIER—DAY

He has taken his stand defiantly, with his hands in his pockets,

looking Big Mac in the eyes. Big Mac picks men all around Terry.

He makes it obvious by reaching over Terry's shoulder to pick men

behind him. Finally there are only a handful left around Terry,

and then they are chosen. Terry is left standing there along.

TERRY:

(brazenly)

You're still a man short for that

last hatch gang, Mac.

BIG MAC:

(without looking at Terry, calls to Sonny)

Hey, Sonny, go across to the bar and pick up the first

man you see.

Now Big Mac looks at Terry for the first time.

BIG MAC:

Where are them cops of yours, stoolie?

You're gonna need 'em.

He turns away. Terry stands there seething. He looks around at Pop, and

the others ready to enter the pier. They look away, still fearful of

Big Mac and the power of the mob, and feeling guilty for their

passivity.

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