On the Waterfront Page #5

CLOSE—ON POP

Standing with Kayo. About to start forward when the shape-up whistle

blows, restraining him.

POP:

(to Kayo)

What the devil is she doin' down here?

CLOSE ON EDIE AND PIER GUARD—PIER—DAY

GUARD:

(with a brogue)

Edie, I know your father well, and I'm sorry for

your troubles. But there's been hundreds of

murders down here and practically no convictions—

hardly any arrests.

EDIE:

Why, Mr. Rourke? Why?

GUARD:

The last fellow who talked was awful dead

when they pulled him out of the river. I guess

the Sisters don't teach you things like that

up at your school in Tarrytown.

(with a gesture of futility)

That's the waterfront.

He shrugs his helplessness and turns away. Edie stands crestfallen.

Then she turns in the opposite direction away from the pier.

EXT—MEDIUM SHOT—FATHER BARRY—OUTSIDE PIER—DAY

Father Barry is approaching.

EDIE:

(surprised)

Father Barry.

FATHER BARRY:

Hello, Edie.

EDIE:

I'm afraid I spoke out of turn last night.

FATHER BARRY:

You think I'm just a gravy-train rider in

a turned-around collar?

She says nothing.

FATHER BARRY:

Don't you?

(with humor)

I see the Sisters taught you not to lie.

She smiles in spite of herself.

FATHER BARRY:

I've been thinking about your question and

the answer come up and hit me— bang.

This is my parish. I don't know how much I

can do but you're right, Edie— I'll never find out if

I don't come down here and take a good look for

myself.

She looks at him hopefully. O.S. a whistle blows again, shrilly. They

turn in its direction.

MEDIUM CLOSE—BIG MAC—AT PIER ENTRANCE—DAY

Putting his whistle away.

GROUP SHOT—LONGSHOREMEN—PIER—DAY

Waiting silently, hopefully.

BIG MAC:

The following men report to the loft—

CLOSER SHOT—FAVORING TERRY

BIG MAC:

Malloy.

Terry steps forward.

Hendricks, Krajowski. Now, two hundred banana carriers.

He approaches the men.

CLOSE—ON FATHER BARRY AND EDIE

Watching from the slip.

EDIE:

Pop never talks about this.

Father Barry watches interestedly.

GROUP SHOT—SHAPE-UP—DAY

The men press closer to Big Mac, each one trying to attract his

attention.

BIG MAC:

Don't crowd me. Stand back.

AN OLD MAN:

(seedy, toothless)

Give me a break, Mac. I been two weeks

out of work.

MOOSE:

I got five kids. I need a day bad.

A BEEFY LONGSHOREMAN

(old-fashioned looking in his knit stocking cap

and heavy wool sweater)

How about me, Mac? I knew your old man.

BIG MAC:

(roughly)

Come on, you bums, push back.

I'll do the pickin'.

CLOSE SHOTS—LONGSHOREMEN

From Big Mac's angle. One touches an ear—another strokes his chin—

another begs with his yes—hungry, pleading, desperate faces.

CLOSE—ON BIG MAC

Angrily trying to clear the way.

THE OLD MAN:

I'll give four bucks for the job.

BEEFY LONGSHOREMAN

I'll kick in five.

BIG MAC:

(shoving them hard)

Back! Get back!

The beefy longshoreman actually makes a grab for one of the tabs. The

men begin to surround and engulf Mac. He is jostled and pushed. The

beefy longshoreman, slightly behind Mac, suddenly knocks the box of

tabs out of his hand.

BIG MAC:

(desperately over his shoulder)

Hey, Sonny! Truck!

FULL SHOT—LONGSHOREMEN MELEE

Two hundred and fifty men scrambling on the ground, fighting for the

tabs like animals.

CLOSE—ON FATHER BARRY AND EDIE

Horrified, as they watch the struggle.

A SERIES OF SHOTS DETAILING BATTLE CLOSE SHOT—KAYO NOLAN

As he begins to rise, tab in hand, a big longshoreman at least a head

taller swings a vicious punch at him. Kayo, with old-time boxing skill,

"slips" it by a fraction of an inch. The effect could be a moment of

comedy relief.

CLOSE SHOT—MOOSE

On the ground—as he is about to pick up a tab, a heavy shoe steps on

his hand and the tab is grabbed away from him.

CLOSE—ON FATHER BARRY AND EDIE

Watching helplessly.

EDIE:

Pop!

FREE-FOR-ALL FAVORING POP & TERRY

Pop is battling near the edge of the free-for- all, in view of Edie and

Father Barry. He sees a tab on the ground and is about to pick it up

when another man only slightly younger and bigger punches him in the

nose. He retaliates with a looping punch that knocks his adversary

back; but he is unable to scoop up the tab because meanwhile a crony of

Terry's has called over.

JACKIE:

Hey, Terry. Grab me on!

Terry reaches for it with one hand while blocking Pop off with his leg.

He calls over to a crony.

TERRY:

Here you go, Jackie boy.

As he hands it over to his chum, Pop comes charging in at Terry.

POP:

Hey, give me that.

He swings wild punches at Terry. Just then Luke, the burly Negro

longshoreman, sees a tab behind Pop, hurls himself toward it, carrying

Pop with him, and back into the battle royal.

CLOSE SHOT—EDIE

She has seen the above action and makes a beeline for Terry. She is

furious!

EDIE:

Give me that. It belongs to Pop. He saw it first.

Terry is enjoying himself. Unconsciously Edie is pressing herself

against him to get the tab and her rage is a kind of passion that

pleases him.

TERRY:

Oh, I thought you was gonna go to

work— with all them muscles.

(winks at Jackie, who laughs)

EDIE:

Give it to me— my Pop's job—

TERRY:

What makes him so special?

EDIE:

None of your business.

TERRY:

(to Jackie; handing him the tab)

Things 're lookin' up on the docks, huh, Jackie?

JACKIE:

Didn't you recognize him, dopey. That's

Old Man Doyle.

TERRY:

(losing his bravado)

Doyle.

(looks around at Pop, the identity hitting him)

Joey Doyle's... .?

(stares at Edie)

... .You're his... .

EDIE:

(firmly)

Sister. Yes I am.

He runs his hand over his face and then, with a sudden impulse:

TERRY:

You don't want to lug bananas in the rain

anyway, do you, Jackie?

He reaches over and takes the tab back from Jackie.

JACKIE:

Aah, give it to 'im.

Terry hands the slip to Edie and adds, for the benefit of his pals:

TERRY:

Here you go, muscles. Nice wrastlin' with

you.

He flexes his forearm and throws two quick jabs at an imaginary

opponent, a characteristic gesture. He sets his cap at a jaunty angle

and winks at his chums but we feel his manner is forced, barely hiding

his guilt.

Edie looks after him with smoldering anger.

She turns as Father Barry comes into view, leading Pop. Pop's nose is

bleeding and he is pretty thoroughly battered. Nolan joins him.

FATHER BARRY:

Pop, you all right?

POP:

(brusquely)

Sure, just the beak—

(taps his nose)

It's been busted before.

Edie hands him the tab.

EDIE:

Here—I got it for you.

Pop takes it, but he is humiliated, and bitter that she should see him

in this moment of weakness.

POP:

Okay, I can use it—

(glares at her)

Now go back to the Sisters where you belong.

(His anger mounting with his need to regain

his self-respect, he turns on Father Barry.)

I'm surprised with you, Father, if you don't

mind my sayin' so. Lettin' her see things ain't fit

for the eyes of a decent girl.

Just then Big Mac shouts from the pier opening.

BIG MAC:

Hey, Doyle, you got a tab?

POP:

(holding it up angrily)

Yeah!

BIG MAC:

Then get in there. Number three gang,

number one hatch, puh-ronto.

Pop jumps and hurries.

NOLAN:

(following Pop)

Our welfare officer. He's been away

three times for assault and battery.

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