The French Connection Page #3

RUSSO:

(handing him a cigarette)

A and A, that's all you're

interested in -- Arrests and Ass.

As soon as DOYLE has finished lighting the cigarette SAL and

his PARTY come bubbling out of the Club noisily, a little

drunkenly. SAL waves to the attentive DOORMAN.

DOYLE close, leaning forward over the wheel to put his hand

on the ignition key. He does not turn it. He is waiting

for the cover of noise from the starting of SAL's car.

RUSSO is turning the opposite corner of the car into a bend,

his head back, arms across his chest.

DOYLE:

Cloudy, I'll lay odds he takes us

to Little Italy.

DOYLE reaches under his seat for the straw surveillance

hat - throws it up to read ledge of car.

RUSSO:

I'm telling you, Popeye, he owns a

bagel mine in the Bronx.

A long view of the Club entrance. SAL and ANGIE, a well-

built "classy" blonde with good legs, get into their black

Mercury sedan. The Mercury takes off towards First Avenue.

We hear DOYLE's car start and we move off after them on the

last blink of tail-lights at the corner.

EXT. BROADWAY - NIGHT

Cabs, Daily News and Times delivery trucks, bakery vans and

a few cruising cabs, one or two passenger cars and a coasting

green and black police cruiser -- this is the 4:30 a.m.

traffic through which DOYLE moves.

A rear-window view of SAL and ANGIE BOCA, in animated

conversation. His head is turned toward her, his hand

raised in a gesture. ANGIE is sitting in a corner with her

back to the door, in profile to the back window.

10.

Her blonde head bobbles with laughter over some remark SAL

has made.

A long overhead view of the two cars wheeling in and out of

the sparse traffic.

Close shot of the license plate on BOCA's car.

Close shot DOYLE staring at license plate, memorizing it.

EXT. RATNER'S - DAY

BOCA and ANGIE exit restaurant, get into their car and drive

off. Hold for DOYLE's car as it passes through after them.

EXT. MULBERRY STREET - DAY

Side close view of SAL turning south into Mott Street

panning to pick up the Italian names on the candy stores,

funeral parlors, bars, grocery stores, social clubs.

A long view of SAL's car from the DOYLE-RUSSO auto, over the

shoulders of the two cops. DOYLE is leaning on the wheel of

his car. He's against the curb about 100 yards behind SAL.

Medium close view of SAL in the middle of Mott Street,

walking quickly toward the opposite side of the street,

hands in the pocket of his white raincoat. He glances over

his shoulder in the direction of DOYLE's car.

Close of RUSSO who has come awake. The smart-ass demeanor

has dropped away. DOYLE turns to him and smiles. This

district is the heart of every illegal activity in New York.

Close rear view of DOYLE and RUSSO ducking down to the level

of the dashboard, a reflex action. He couldn't see them at

that distance, although SAL, lighted by his own headlights,

can be seen in the background walking around the cars,

across the sidewalk and stopped at a recessed doorway.

Medium close shot of SAL and partially visible FIGURE at the

doorway. With another glance up the street, SAL takes

something out of his raincoat pocket and steps up and into

the doorway.

INT. DOYLE'S CAR - DAY

Close from the front of DOYLE and RUSSO low against the

dashboard.

DOYLE:

It's a drop!

DOYLE's face, close, light smile.

11.

Long view of SAL walking down the sidewalk quickly for about

a quarter of a block while the headlights of his car, with

ANGIE apparently driving, move up with him. At another

doorway, he looks back and then steps inside.

EXT. BROOKLYN BRIDGE - DAY

Long view of SAL's Mercury moving over Brooklyn Bridge.

Close shot of the DOYLE-RUSSO car from RUSSO's side. BUDDY

now interested, watching.

EXT. BROOKLYN - DAY

Overhead view of cars circling block, first Mercury turning

corner, then DOYLE's Ford.

Long shot of the Mercury pulling up beside line of parked

cars (as seen from DOYLE-RUSSO car) stopping and parking.

Hold on Mercury as SAL and ANGIE get out of it. SAL locking

it up, and starting to walk toward a line of parked cars.

Close shot from rear seat of DOYLE and RUSSO glancing at

each other.

SAL and ANGIE stop in the street beside beat-up white Dodge.

Without a word they get in. Hold as they get in, SAL starts

and they begin to drive out of the spot.

Close on DOYLE.

DOYLE:

It's startin' to cook, Cloudy, my

man is cookin'...

A series of impressionist traveling shots of the white Dodge

and DOYLE's Ford moving through Brooklyn Streets, picking up

street signs of areas.

Medium close shot of the white Dodge pulling into the curb.

In near background, a candy-confectionery store.

INT. DOYLE'S CAR - DAY

Close shot of DOYLE and RUSSO in profile driving past the

candy store as SAL and ANGIE open door and go in.

Close shot of DOYLE and RUSSO parked. DOYLE is looking in

the rear-view mirror while BUDDY is turned around on the

seat, looking out the rear window.

A long shot, from the DOYLE-RUSSO viewpoint of the candy

store. The door is open, the street is deserted. Lights

are going on in the little shop.

12.

Hold on the storefront as SAL appears, this time in a candy

store operator's smock over a white undershirt, baggy slacks.

He's carrying a stack of newspapers. Zoom in on SAL stacking

the Sunday Times and the Daily News on the rack in front of

the store as ANGIE appears in the doorway. She's blackhaired

now, the blonde wig gone, also wearing a grey cotton smock

over a plain skirt and sweater, holding a cup of coffee. We

hold on them for a beat, then

CUT TO:

DOYLE and RUSSO close just looking at each other. The look

says everything about the freak case they have stumbled into.

EXT. QUAY MARSEILLE SHIPYARD

1) Tight two shot then, 2) cut into blue prints.

CHARNIER:

En prolongeant les quais d'une

trentaine de mètres on pourra

recevoir des unités d'une cargaison

de 500 tonnes.

3) While he shows the extension, clean P.O.V. Of each quay.

4) Dolly Left to Right with Notre-Dame in background. They

fold the blue prints and moves.

FOREMAN MARCEL:

Et combien d'hommes supplémentaires?

CHARNIER:

Ca fera environ 10 hommes de plus

par équipe.

MARCEL:

Le Syndicat exigera un minimum de 12.

CHARNIER:

Quelle importance. Ce qui compte

pour moi c'est d'avoir un chantier

qui puisse recevoir les plus grands

bateaux du monde.

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