The French Connection Page #9

Close shot of CHARNIER

CHARNIER:

(aside of LA VALLE)

And these are the cars we're buying

for shipment?

Close shot of CHARNIER, MARIE and LA VALLE. They are facing

the AUCTIONEER.

LA VALLE:

Yes, sir. That man in the dark

jacket is our buyer.

Close shot of THE BUYER, LOU BOCA. He is very active and

wins the present bid.

WIRETAP SEQUENCE "B"

INT. BASEMENT

DOYLE and RUSSO playing Gin Rummy, listening at each end of

one phone - breaking up.

EXT. HOUSE - NIGHT

Shot of wire.

ANGIE (V.O.)

(sleepy)

Where are you?

SAL (V.O.)

Takin' care o' business, honey.

ANGIE (V.O.)

Takin' care o' business -- it's

after midnight.

SAL (V.O.)

You know I hadda meet some people

tonight --

36.

ANGIE (V.O.)

-- Well finish all your meetin'

people and get back here now -- and

bring a pizza with you.

SAL (V.O.)

Where'm I goinna get a pizza this

time o' night?

ANGIE (V.O.)

Well try, okay?

SAL (V.O.)

I don't know where I'm gonna find a

pizza joint open.

ANGIE (V.O.)

Sal --

SAL (V.O.)

Yeah?

ANGIE (V.O.)

Don't forget anchovies.

(she hangs up)

SAL (V.O.)

This broad's crazy!

EXT. WARD'S ISLAND (UNDER WEST ABUTMENT OF THE HELLGATE

BRIDGE)

Pick up CHARNIER, MARIE and MAURICE LAVALLE

As the camera plays over the bridge: (in French)

CHARNIER (V.O.)

It's beautiful.

LA VALLE (V.O.)

It was built in 1917 - and was one

of the two heaviest bridges in the

world. The arch is still the

largest in the world.

CHARNIER:

Who financed it?

37.

LA VALLE:

Two railroads as part of a

connecting railway which provided

passage from New England to the

South. It was actually the first

railroad through New York City.

MARIE:

Why is it called Hellgate?

LA VALLE:

The river at this point is the most

dangerous on the East Coast. Years

ago, hundreds of ships went down

here.

CHARNIER:

If this bridge were in Europe, it

would be on every tourist's sight-

seeing list.

LA VALLE:

Most New Yorkers never notice it -

most Americans have never heard of

it.

CHARNIER:

Look how gracefully they conceived

that arch. Like a bowstring. It

was built from both ends. With no

support in the middle. Beautiful.

LA VALLE:

Mmm.

MARIE:

Alain is the only man I know who

can become as enthusiastic about a

bridge as he can about a woman.

CHARNIER:

Not any woman, Marie. Just one.

EXT. OLD ROAD IN WARD'S ISLAND

CHARNIER, MARIE and LA VALLE walking.

(NEAR GARAGE)

38.

LA VALLE:

I'm afraid the rest of Ward's

Island isn't nearly as romantic - a

pollution plant, a hospital, a

training school for garbage men and

that area over there, where the old

cars are kept, prior to being

processed for shipment to, among

other places, The Charnier Shipping

Company, of Marseilles, France.

(NEAR CREMATORIUM)

MARIE:

What is that old building?

LA VALLE:

Oh, it's been abandoned for years.

MARIE:

What was it?

LA VALLE:

It was a crematorium.

MARIE:

For garbage?

LA VALLE:

For dead bodies.

WIRETAP SEQUENCE "C"

INT. BASEMENT

DOYLE on phones.

CHARNIER (V.O.)

Allo... Salvatore...

SAL (V.O.)

Who's this --

CHARNIER (V.O.)

... Salvatore?...

RUSSO enters with a bag of sandwiches and cigarettes. DOYLE

waves him to the phone.

39.

SAL (V.O.) RUSSO

... Oh... yes... yeah... Who is it?

hello... this is Sal... How

are ya? DOYLE

Sounds like a foreigner...

CHARNIER (V.O.)

Very well... you meet me RUSSO

Wednesday at the hotel... (listening at the

Okay? other phone)

French... It's a Frenchman...

SAL (V.O.)

Good... good... great! DOYLE

This is what we been waitin'

CHARNIER (V.O.) for -- the stuff is here!

Will I expect you? It's here!

SAL (V.O.)

What time?

CHARNIER (V.O.)

Twelve o'clock... yes...

SAL (V.O.)

Yes --

The phone clicks off.

DOYLE and RUSSO round each other and jump up and down like

two kids.

INT. WHIP GIRL'S APT.

Close shot of NICOLI's face. He's being whipped, and is

caught in an ecstasy of pain and pleasure. The tempo of the

strokes rises. Suddenly it reaches a crescendo and he

screams out in orgasm.

Close, full-length shot of a nude BLONDE GIRL, wearing only

black boots and silk panties. She's walking away from the

camera, throwing aside a small cat-o-nine-tails flagellant

whip. We can hear NICOLI's heavy breathing until the girl

speaks as she moves toward a couch.

Medium close shot of NICOLI, tying his tie shrugging into

overcoat.

Medium close shot of NICOLI, looking at the bills with a

pause to sort out the currency differences, then taking out

five twenties.

Close shot of the WHIP GIRL taking the five then moving up

to the look of annoyance and disappointment on her face.

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