Docstoc

FADE IN Lips

Document Sample
FADE IN Lips Powered By Docstoc
					    TO HAVE AND HAVE NOT

         Jeff Thelen


Based on To Have and Have Not
    and "After the Storm"
     by Ernest Hemingway




                           Jeffrey James Thelen
                           5094 Meadowcreek Dr.
                             Dunwoody, GA 30338
                                 (678) 443-9953
                            jeff@jeffthelen.com
                                                                1

EXT. YACHT BASIN IN KEY WEST, 1933 – DAWN
Where the ships of the mighty sleep, their sterns emblazoned
with the homeports of wealth and power: "Providence"...
"Montauk"... "Miami Beach..."
Tied up nearby, in their shadow, is a weathered 38-foot
fishing boat: "Queen Conch - Key West, FLA."
A sign posted at the dock is flaking paint and rust:


                 Queen Conch Charter Fishing
                    Captain Harry Morgan
                       $35 per day


INT. HARRY MORGAN'S HOUSE – DAWN
It's a small frame-house in Key West. Working class. A week's
missing wages away from ruin.
In the BEDROOM, HARRY MORGAN sits on the edge of the bed,
staring off into the dark.
Harry. 40's. Hard-working, deep-drinking, a powerhouse
outdoorsman. His handsome face is given character by a broken
nose. He looks over at --
--his wife, MARIE, still asleep in bed. She's a peroxide
beauty beyond her prime, a wild woman gone to seed.
Harry groans as he rises. He is getting too old for this.
In the BATH, Harry packs some items into a rucksack: a
straight razor, toothbrush, comb, a bottle of rum, a .38
Special.
Dressed, Harry looks into a BEDROOM --
--where his three DAUGHTERS (5, 9, and 11) sleep in one bed.
Harry goes out the FRONT DOOR with the rucksack over his
shoulder. He turns and faces --
-- Marie, in a bathrobe, standing at the door.
                    MARIE
          I won't worry.
                                                                 2

EXT. HARRY'S HOUSE / NEIGHBORHOOD – DAWN
Harry goes out into the street where EDDY, his first mate,
waits for him.
Eddy is 35 going on 65. He looks as though he slept in a
gutter. He's a drunk.
They do not greet each other. They go up the street, Eddy
dragging behind Harry like a beaten dog.
Marie watches the men from the front door.



EXT. A SQUARE IN HAVANA – MORNING
SUPER: Havana, Cuba. 1933.
A city square wakes in the heat. A bum drinks from a fountain.
Shops are opening. A horse-drawn ice-wagon stands in front of
a shop. A clerk hoses filth off the sidewalk.



INT. CAFE ON THE SQUARE
Harry tosses a Cuban newspaper on the table, annoyed he cannot
read it in peace.
                    HARRY
          I'd like to help you, but I
          told you last night I can't.
Harry is drinking coffee at a table near the front window.
Standing over Harry is a YOUNG CUBAN, a polite revolutionary
who, at the moment, is very afraid of getting his head blown
off. Two of his COMRADES hover behind him. They look toward
the door once, twice. Fear.
                    EDDY
                 (Already shaking)
          Whattayasay, Harry? Can I?
                    YOUNG CUBAN
          You can name your own price.
                    HARRY
          Look, don't make me feel bad. I
          told you I can't.
                     YOUNG CUBAN 2
          Why not?
                                  3

          HARRY
Because I make my living from
my boat. If I lose my boat, I
lose my living.
          YOUNG CUBAN
With the money you can buy a
new boat.
          HARRY
Not in jail I can't.
          YOUNG CUBAN
A thousand each. And it might
mean a lot more later. This
government will not last, you
know.
          HARRY
Yeah, I know. I'm all for you
guys. But I don't carry
anything that can talk.
          TOUGH CUBAN
You think we would talk?
          HARRY
I said anything that can talk.
          TOUGH CUBAN
You think we have long tongues?
Do you know what we do to them?
          HARRY
Look, you came to me. I didn't
come to you.
          YOUNG CUBAN
     (In Spanish)
Shut up, Pancho.
          TOUGH CUBAN
     (In Spanish)
He said we would talk.
          HARRY
I said I don't carry anything
that can talk. Liquor can't
talk. Drugs can't talk. Guns
can't talk. But men...
            YOUNG CUBAN 2
Can Chinamen talk?
                                                                4

                    HARRY
          They can talk, but I sure as
          hell can't understand them.
                    TOUGH CUBAN
          And you? Do you talk?
                    HARRY
          Look, don't be a tough guy so
          early in the morning. I'm sure
          you've cut plenty of throats,
          but I haven't even had my
          coffee yet.
                    TOUGH CUBAN
          You think I've cut plenty of
          throats?
                    HARRY
          Can't you do business without
          getting angry?
                    TOUGH CUBAN
          I would like to cut your
          throat.
                    HARRY
          Hell!
Harry takes up his newspaper.
                    YOUNG CUBAN
          Stop it, Pancho.
                  (To Harry)
          I am very sorry. I wish you
          would take us.
                    HARRY
          I'm sorry too.
Harry watches the men leave out the front door.
FRANKIE, the bartender, approaches with coffee.
                    FRANKIE
          I'm sorry, Harry. I told them
          not to come back.
                    HARRY
          It's alright, Frankie. They're
          just scared.
Harry watches the Cubans standing by a window in front of the
                                                                 5

cafe, talking heatedly.
                       EDDY
             Whatddayasay, Harry? Can I?
                       HARRY
             Jesus, Eddy, it's eight in the
             morning. Have a cup of coffee.
                       EDDY
             Coffee'd make me puke vomit.
Harry watches as --
--the Cubans look away down the street with alarm. The Young
Cuban falls suddenly against the window, shot in the head.
The window
EXPLODES
as a machine-gun opens up in the square.



EXT. THE SQUARE
Chaos. A car has stopped up on the sidewalk near the cafe.
A GOVERNMENT AGENT shields himself behind the open car door,
firing a tommy-gun at the two revolutionaries, scrambling to
find cover.
Another car has stopped near the fountain. A 2ND AGENT fires a
rifle from behind the fountain.



INT. CAFE
Along the wall behind the bar, mirrors, glasses, and bottles
crash in the hail of bullets. Customers and waiters seek cover
under tables, dash hunched-over to the rear.
Harry moves in a quick crouch toward the bar at the rear.



EXT. THE SQUARE – CONTINUED
Young Cuban 2 finds shelter behind a horse-drawn ice-wagon. He
fires a pistol wildly in the general direction of the AGENT.
                                                                 6

WHOOSH! A tire on the car goes flat.
The horse breaks loose of the ice-wagon, and gallops down the
street in a panic.
The 2nd Agent is struck and falls plop into the fountain.
The Tough Cuban, hit in the leg, stumbles back into the cafe
through the door.



INT. CAFE
Crouching behind the bar, Harry watches --
--the Tough Cuban holding his leg in agony in the entryway,
panicking.
Moving from the back of the cafe toward the front, a 3RD
AGENT, double-barreled shotgun at the ready, goes swiftly but
stealthily toward --
-- the Tough Cuban in the entryway. The Tough Cuban is unaware
of the 3rd Agent until, for a split-second at least, he feels
the press of the twin barrels against the back of his head.



EXT. THE SQUARE
BOOM! The shotgun sends glass flying out onto the pavement.
Young Cuban 2 now makes a desperate dash down the street.
He doesn't take more than a few strides before he is shot,
stumbles, and rolls in the street.



INT. CAFE
Shaken, Harry turns from the carnage. He stands erect, walks
behind the bar toward the kitchen door.
As he goes, he lifts a fresh bottle of rum off the shelf,
lifts it to his lips and takes a long drink.
Harry goes into the kitchen, walking past the huddled patrons
and staff. A WAITER raises his finger at Harry as he exits
with the bottle.
                                                                 7

                      WAITER
          Hey!



EXT. DOCK IN HAVANA
Harry approaches his boat at the dock. Eddy sits in the stern.
HERIBERTO, a black Cuban, is readying the boat. JOHNSON, a
plump tycoon, sits in the fishing chair.
                    JOHNSON
          We were getting a little
          worried about you, Captain.
                    HARRY
          Goddamn school kids playing
          revolution.
Harry tosses the bottle to Eddy, who drinks greedily.
                    JOHNSON
          Rough game.
                    EDDY
          Don't talk about it, Mr.
          Johnson. It makes me sick to
          think about it.
                    HARRY
                 (Taking the bottle)
          Alright, that's enough.
                    JOHNSON
          Well, should we still go out?
                    HARRY
          Why not? Heriberto, go fetch
          the bait.
                 (To Johnson)
          Should we get some beer and
          ice?
                    JOHNSON
          Put it down against what I owe.
                    HARRY
          I'm going to need some money
          for gas.
                    JOHNSON
               (Reaching for his wallet)
          What sort of day will it be?
                                                               8

                    HARRY
          Just like yesterday. Maybe
          better.



INT./EXT. ON BOARD THE BOAT OFF THE COAST OF CUBA – DAY
The boat is trolling. Eddy sleeps on a bunk with a newspaper
over his face. Heriberto is baiting the rods. Johnson is in
the chair, fishing. Harry is at the wheel.
                    JOHNSON
          Can't you put on bait like
          that, Captain?
                      HARRY
          Yes, sir.
                    JOHNSON
          Why do you have a nigger do it?
                    HARRY
          When the big fish run, you'll
          see. Eddy, take the wheel.
Eddy gets up, takes the wheel. Harry goes to the stern.
                    JOHNSON
          Seems an unnecessary expense to
          me.
                    HARRY
          He gets a dollar a day plus
          tips. What do you make a day?
          Keep that rod butt in the
          socket. And keep the drag off.
          If he hits with the drag on,
          he'll jerk you right overboard.
                    EDDY
          I think you're going to fight
          one today, Mr. Johnson.
                    JOHNSON
          About time. What day is this?
                      HARRY
          Eighteen.
                    JOHNSON
          That's a long time to fish.
                                                                9

                    HARRY
          Well, they're a funny fish.
                    EDDY
          Mr. Johnson, you're just
          unlucky. How about a beer?
                    JOHNSON
          Fine. Captain?
                    HARRY
          I'll wait, thanks. Keep that
          rod in the socket.
And WHAM. A marlin as big as a log smashes the surface of the
water, the reel starts to whiz, Johnson goes all stiff in the
chair trying to control the rod.
                    HARRY
          Slack it to him! Put on a
          little drag. Now sock him!
          Stick it to him! Hit him good!
Johnson hits him hard a couple of times. The rod is bent
double, the reel screeching and --
-- BOOM, up comes the great fish, crashing under again.
The line goes slack.
                    HARRY
          Ease up on the drag.
                    JOHNSON
          He's gone.
                    HARRY
          The hell he is. Ease up on the
          drag. Reel on him. He's hooked
          but good.
               (To Eddy)
          Put her ahead with all the
          machine!
Eddy guns the boat.
                    HARRY
          He'll make his run now. If he
          hooks up, we'll chase him. Keep
          your drag light. There's plenty
          of line.
Harry goes forward and takes the wheel.
                                                           10

The boat pursues the fish.
                    HARRY
          Reel on him!
The rod jerks. The line goes slack. Harry shuts down the
engines and goes to the stern.
                    HARRY
          He's gone now.
                    JOHNSON
          I can still feel him.
                    HARRY
          That's just the weight of the
          line.
                    JOHNSON
          I can barely reel it. Maybe
          he's dead.
                    HARRY
               (Feeling the line)
          Didn't I tell you to keep the
          drag light?
                    JOHNSON
          But he kept taking it out.
                    HARRY
          So what? If you don't give them
          line when they hook up, they'll
          break it. There isn't any line
          that will hold 'em. When they
          want it, you got to give it to
          'em.
                    JOHNSON
          These fish are just too damned
          big.
                    HARRY
          A fish like that could kill a
          man alright.
                    JOHNSON
          But I've seen photos of little
          girls who've caught them.
                                                                 11

                      HARRY
            Sure. The fish swallowed the
            bait and they pulled his
            stomach out and he floated to
            the surface and died. We're
            talking about fighting them
            when they're hooked in the
            mouth. We're talking a fair
            fight.
                      JOHNSON
            Well, let's get one then.
                      HARRY
            You'll have to reel that line
            in first.
                      EDDY
            Well, Mr. Johnson, I guess I
            better finish my nap. Much
            obliged for the beer, sir.



INT./EXT. THE BOAT AT SEA – LATE AFTERNOON
The sun is sloping west. The boat trolls as before.
Harry is OS below decks. Heriberto is at the wheel. Eddy is
having a beer with Johnson. Sitting in the fishing chair,
Johnson has unhooked his rod, which lays in his lap.
                      EDDY
            Me and Harry was on the force
            together in Miami. That was
            ten, twenty years ago. Then the
            Prohibition come...
Harry comes astern, looks at Johnson with alarm.
                      HARRY
            Keep that rod in the socket!
Too late!
The sea bursts like a depth-charge off the stern. A monstrous
marlin smashes the surface, slashing at the air with his bill,
and crashes back into the water.
Johnson seizes up from his chair and fumbles for the rod. It
CRACKS him in the mouth and flies overboard.
                                                            12

Heriberto shuts down the engines.
Johnson, dazed by the blow, bleeds at the mouth.
                    HARRY
          I guess that's it for today.
                    JOHNSON
          What happened?
                    HARRY
          You figure it out. That rod and
          reel cost me two hundred and
          ninety-five dollars. More now.
                    JOHNSON
          What was the hell was it?
                    HARRY
          Black marlin. Most fishermen
          would give a year of their life
          to tie into a fish like that.
Eddy, laughing, slaps Johnson on the back.
                    EDDY
          Mr. Johnson, you're just
          unlucky! You know, I never saw
          that happen in all my life.
                    HARRY
          Shut up, you drunk. Berto, take
          her back.
Heriberto starts the engines and arcs back toward Havana.
                    EDDY
          I tell you, Mr. Johnson, that's
          the rarest occurrence I ever
          saw in my life!
                    JOHNSON
          Those fish are goddamn
          monsters. I've about had it.
                    HARRY
          What about tomorrow?
                    JOHNSON
          I don't think so. If it's no
          fun, why do it?
                                  13

          EDDY
Now maybe you're lucky with
women. What say we go out
tonight?
          JOHNSON
What's the tally, Captain?
          HARRY
Eighteen days including the
trip over. Then there's the rod
and reel.
          JOHNSON
That's your risk.
          HARRY
Not when you lose it like that.
          JOHNSON
I've paid every day for the
rental.
          HARRY
If a fish broke it, that'd be
different. You owe two hundred
and ninety-five dollars for the
rod and reel. I'm not charging
you for the line. If there was
anyone here except this drunk,
they'd tell you how fair that
is.
          EDDY
Mr. Johnson, he says I'm a
drunk. Well, now, maybe I am.
But I tell you now Harry's
right. He's right and he's
reasonable.
          JOHNSON
I don't want any trouble. I'll
pay for it, although I don't
agree.
          HARRY
Plus eighteen days at thirty-
five. That comes to nine
hundred and twenty-five.
                                                              14

                    EDDY
          Listen, Mr. Johnson, if you
          knew the way they usually
          charge a stranger, you'd know
          it was more than reasonable. Do
          you know what it is? It's
          exceptional. The Cap here is
          treating you like you was his
          own mother.
                    JOHNSON
          I'll go to the bank in the
          morning, and take the boat back
          in the afternoon.
                    HARRY
          You can go back with us and
          save the fare.
                    JOHNSON
          I'll save time with the ferry.
          Now how about that drink,
          Captain?
                     HARRY
          Alright.
                    EDDY
          Exceptional.



EXT. THE DOCK AT HAVANA – MORNING
The next morning, Heriberto is working on the boat engines.
Harry goes up on the dock.
                    HARRY
          Berto, I'll be in town getting
          some things for the trip back.
          If Johnson doesn't show up by
          noon, head on up to the hotel
          and drag him down here by the
          nose.
                    HERIBERTO
          Right, boss.
                    HARRY
          Keep an eye out for Eddy too.
                                                                15

INT. A SHOP IN HAVANA – LATER THAT DAY
A CLERK packages up some perfume and girls' combs.
Harry pays for it with his last coin.



EXT. STREET / HOTEL IN HAVANA
The package in hand, Harry exits the shop and spies--
-- Johnson, just up the street, in front of a hotel.
Harry waves at the man, who returns a somewhat startled look.
Harry starts across the street, trots, then he is dashing.
                    HARRY
          Hey!
Harry reaches the hotel just as the taxi speeds away.



EXT. THE BOAT AT THE DOCK - THAT AFTERNOON.
Overhead, a plane heads out to sea.
On the boat, Harry watches the plane. Heriberto approaches
along the dock, shaking his head.
                    HERIBERTO
          He go on the plane.
                    HARRY
          Well, there it is then. Some
          Mr. Johnson. There it is... We
          might as well have a cold one,
          Berto. Our Mr. Johnson bought
          it...
                    HERIBERTO
          Alright, boss.
Heriberto cracks open a couple bottles of beer.
                    HARRY
          Yesterday, I turned away three
          thousand dollars, and today I
          got forty cents in my pocket.
          So there it fucking is alright.
                                                                 16



INT. CAFE - NIGHT
The cafe has been cleaned up after the gunfight. Harry sits at
the bar. Frankie stands behind it.
                    HARRY
          I gotta carry something,
          Frankie.
                    FRANKIE
          Rum?
                    HARRY
          That town is flooded with rum
          now. Besides, I don't even have
          enough money for gas. But I'll
          be damned if I'm going home
          broke and starve all summer or
          dig sewers for the government
          for a dollar a day.
                    FRANKIE
          You carry anything?
                    HARRY
          I can't afford to be choosey
          now.
                    FRANKIE
          Let me talk to someone. You
          have some dinner. I be back.
                    HARRY
          You're alright, Frankie.



INT. CAFE – LATER THAT NIGHT
Harry is seated at a table, finishing a bowl of soup, reading
a paper. He looks up and sees --
-- Frankie approaching with MR. SING (30).
Mr. Sing is silken Chinese businessman. Expensive tailored
suit. Coiffured and manicured. An Asian Peter Lorre.
                    FRANKIE
          Harry Morgan, meet Mr. Sing.
Mr. Sing sits across from Harry. A WAITER approaches.
                                            17

                    SING
          You will have some tea,
          Captain?
                    HARRY
          You buying?
                    SING
          It would be my pleasure.
                    HARRY
          In that case, I'll have a beer.
The Waiter goes.
                    SING
               (To Frankie)
          Would you mind leaving us?
Frankie retires.
                    SING
          We are quite alone here?
                    HARRY
          Except for everybody else.
                    SING
          You have a boat.
                    HARRY
          A thirty-eight foot Chris
          Craft.
                    SING
          Ah. I had imagined it was much
          bigger. Are you interested in
          chartering it? You need not go.
          I will provide a captain and
          crew.
                    HARRY
          I go on her wherever she goes.
                    SING
          Quite so. May I ask, Captain,
          what are the circumstances
          that...
                    HARRY
          I'm broke.
                   SING
          Quite.
                                                              18

Sing goes silent as the WAITER returns to serve the tea and
beer. The WAITER retires.
                    SING
          How many of my unfortunate
          compatriots could your boat
          accommodate?
                    HARRY
          You mean carry? How far?
                    SING
          Oh, a day's voyage, at most.
                    HARRY
          At most? She can hold a dozen
          men without baggage.
                    SING
          They would certainly not have
          any baggage.
                    HARRY
          Where do you want to carry
          them?
                    SING
          I would leave that entirely to
          you.
                    HARRY
          But where they going?
                    SING
          That is entirely up to you.
                    HARRY
                 (What the hell?)
          But their destination is what
          exactly?
                    SING
          You would embark them for the
          Tortugas where another ship
          would pick them up.
                    HARRY
          There's a lighthouse on
          Loggerhead Key there. I know
          for a fact it has a working
          two-way radio.
                                                         19

                    SING
          Quite so. It would certainly be
          very silly to land them there.
                    HARRY
          But then where?
                    SING
          I said you would embark them
          for the Tortugas. That is what
          their passage calls for. But
          you would land them wherever
          your best judgment directed.
                    HARRY
          And what about this other ship?
          Will it come out to get them?
                    SING
          Of course not. How silly.
Pause as Harry stares at Sing and tries to understand.
                    HARRY
          Look, Mr. Sing, let's talk
          plain English.
                    SING
          An excellent idea.
                    HARRY
          What I hear you saying is if
          your unfortunate compatriots
          land in the Tortugas or in Key
          West or in the Bahamas or at
          the bottom of the Gulf of
          Mexico is of no consequence to
          you.
                    SING
          None whatsoever, as long as I
          never see them again. Once they
          are on your boat, my business
          is concluded.
Sing waves the waiter over. Harry considers Sing.
                    SING
          Do you have any of those
          chocolate pastries tonight?
The waiter goes to fetch the pastry.
                                  20

          HARRY
How much a head?
          SING
Fifty dollars.
            HARRY
No.
          SING
How would seventy-five do?
          HARRY
What do you get?
          SING
Oh, that is quite beside the
point. Should we say a hundred
dollars apiece? That is twelve-
hundred total.
          HARRY
Do you know how long I would go
to jail if they pick me up on
this?
          SING
Ten years. But there's no
reason to go to jail, Captain.
You run only one risk-—when you
load the passengers. What
happens after that is entirely
up to you.
            HARRY
Quite so.
            SING
Quite.
          HARRY
When would I get the money?
          SING
Two hundred now. And a thousand
when you load.
          HARRY
Suppose I go off with the two
hundred?
                                                             21

                    SING
          I could do nothing, of course.
          But I know you would not do
          such a thing, Captain.
                    HARRY
          Don't be so sure.
                    SING
          Besides, I have friends here
          and in the American Consulate
          and even in Key West.
A pause as the waiter brings a plate with a pastry on it.
                    HARRY
          You got it on you now?
                    SING
          Of course.
                    HARRY
          Put it under the plate.
Sing slips two bills under the plate on the table. He then
takes a bite out of the pastry.



EXT. THE SQUARE – LATER THAT NIGHT
Harry and Sing stand together. Frankie hangs back.
                    HARRY
          I'll clear in the morning and
          pull out at sunset. You be at
          Bacuranao by dark. You show two
          lights, one above the other, at
          the point. You understand?
                    SING
          Of course.
                    HARRY
          When you see our lights, bring
          'em on out. You be sure to come
          with, and bring the money. Five
          hundred before anyone gets
          onboard, and the rest when
          we're done. Understand?
                    SING
          Quite.
                                                                22

                    HARRY
          And no guns, Mr. Sing.
                    SING
          Please do not embarrass me,
          Captain.
                    HARRY
          No guns, Mr. Sing.
                    SING
          Captain, don't you see our
          interests coincide? We are both
          business men.
                    HARRY
          Some business.
                    SING
          Until tomorrow then. Good-
          night.
Sing strides away. Harry stands and watches him go. Frankie
steps forward.
                    HARRY
          How do you know this Mr. Sing,
          Frankie?
                    FRANKIE
          He ships Chinamen. Big business
          shipping Chinamen.
                    HARRY
          How long you know him?
                    FRANKIE
          Two years. Some other man
          shipped them before Mr. Sing,
          but somebody killed him.
                    HARRY
          Somebody's going to kill Mr.
          Sing too.


EXT. BROKER'S KIOSK AT THE DOCKS, HAVANA – DAY
Next morning, Harry is signing a document at a kiosk near the
docks where the BROKER holds court.
                    BROKER
          You're crossing alone, Captain?
                                                              23

                    HARRY
          That's right.
                    BROKER
          What's become of your mate?
                    HARRY
          He's on a drunk.
                    BROKER
          Very dangerous to cross alone.
          There's a lot of water between
          here and Key West.
                    HARRY
          Having a rummy on board won't
          make it any safer.


EXT. THE BOAT AT STANDARD OIL DOCK IN HAVANA – DAY
Harry is gassing-up the boat. Eddy wanders up, bleary-eyed,
greasy-haired, pretty gassed-up himself.
                    EDDY
          Hi-ya Harry!
Eddy climbs down on deck and settles in a deck-chair.
                    EDDY
          What about that Johnson fellow
          going off like that? Whaddaya
          know about that?
Harry tops off the tank, returns the nozzle.
                    EDDY
          We going across today, Harry? I
          guess there's no use staying
          around.
                    HARRY
          You're not going.
                    EDDY
          What'sa matter?
                     HARRY
          Get off.
                    EDDY
          No sense getting pissed at me,
          Harry.
                                                              24

                    HARRY
          I told you you're not going,
          Eddy. Now get off.
                    EDDY
          Oh, take it easy.
Harry hits Eddy in the jaw. Stunned, Eddy stands and starts
out of the boat, rubbing his jaw. He is about to cry.
                    EDDY
          I wouldn't do a thing like that
          to you, Harry.
                    HARRY
          Goddamn right you wouldn't. Now
          get off. I said you're not
          going.
Eddy climbs out of the boat.
                    EDDY
          What'd you have to go and hit
          me for?
                    HARRY
          So you'd believe me.
                    EDDY
          What am I supposed to do,
          Harry? Stay here and starve?
                    HARRY
          Starve, hell. You can work your
          way back on the ferry.
                    EDDY
          You ain't treating me fair,
          Harry. We was partners.
Eddy wanders away. Harry screws down the caps on the tanks.
Eddy returns.
                    EDDY
          How's to let me take a couple a
          dollars, Harry?
Harry takes out five dollars and gives it to Eddy.
                                                                25

                    EDDY
          I always knew you was my pal,
          Harry. You're just pissed.
          Never mind, partner. You'll be
          glad to see me yet.
Eddy waddles away at a fast clip, money in hand.



EXT. HARRY'S BOAT AT THE DOCKS, HAVANA – SUNDOWN
Harry's boat is motoring at the dock. The BROKER comes up and
hands Harry his papers. Harry stuffs them in his pocket.
                    BROKER
          Have a safe trip, Captain.



EXT./INT. HARRY'S BOAT OFF THE COAST OF CUBA – NIGHT
Harry's boat cruises within sight of the coast of Cuba. The
lights of Havana glitter in the far distance.
In the WHEELHOUSE, Harry stands at the wheel. He checks his
watch, examines the chart under the binnacle lamp, looks out
over the darkness toward shore.
The boat's running lights are extinguished. Its motors go
SILENT. The boat drifts and rolls on the black gulf.
IN THE STERN, Harry surveys the coast through binoculars. He
turns to go back into the wheelhouse –-
-- and there's Eddy.
                    EDDY
          What's going on, Harry?
                       HARRY
          Hell!
                    EDDY
          What's the matter with the
          motor?
                    HARRY
          You goddamn rummy.
Harry goes into the wheelhouse and pours himself a glass of
rum. He glowers at Eddy, thinking.
                                                               26

                    EDDY
          I knew you'd carry me, Harry.
                    HARRY
          Carry you, hell. You aren't
          even on the crew list. I just
          might heave you overboard right
          now.
                    EDDY
          You're just joking, Harry. Us
          Conchs got to stick together.
          What's the matter with the
          motor?
                     HARRY
          Nothing.
                    EDDY
          What are we stopped for?
                    HARRY
          You with that mouth.
                    EDDY
          You know you can trust me,
          Harry. I'm a good man.
                    HARRY
          Maybe, a long time ago. But
          you're in a boatload of trouble
          now, brother.
                    EDDY
          What do you mean?
                    HARRY
          I don't know yet. I haven't
          figured it all out.
Long pause as Harry stares at Eddy. Eddy grows nervous.
                    EDDY
          Harry, you think I can have
          one?
HARRY goes to one side of the wheelhouse, where two guns in
wool cases are secured to the wall. He slides a pump shotgun
out of its case. He primes the pump, and begins to load it.
                     EDDY
          Harry...
                                                                 27

                    HARRY
          You know where I stash my old
          service revolver?
                    EDDY
          What do you want that for?
                    HARRY
          Go get it. Bring the shells
          too.
                    EDDY
          Alright, partner.



INT. HARRY'S BOAT / FORWARD CABIN
Eddy is on his knees, searching along the wall with his
fingers for the specific floorboard. He finds it.
He looks around the cabin for some sort of tool. Finding none
nearby, he fumbles through his pockets and pulls out a
corkscrew.
Eddy wedges the corkscrew into the gap between the floorboard,
and manages to loosen the board. He reaches down into the
cavity and pulls out a .38 Special.



INT./EXT. HARRY'S BOAT OFF THE COAST
Harry returns the shotgun to its case, leaving the butt
extended for easy access. Eddy returns and hands the revolver
to Harry, who slips it in his belt. Harry removes the other
gun-—a lever-action Winchester.
                    EDDY
          What's all the damn guns for?
                    HARRY
          Put out that light.
Eddy switches off the binnacle light. The ship is dark. Harry
loads the rifle in his lap.
                    HARRY
          We're going to do a little job,
          Eddy.
                                                                28

                    EDDY
          You couldn't have anyone
          better'n me, Harry. I'm the man
          for you. Listen, would you give
          me just one? I don't want to
          get the shakes.
Harry grabs a glass and splashes some rum into it. Eddy downs
it. He goes cocky with courage.
                    HARRY
          You can have another later. I
          know you haven't got any guts
          without rum in them first.
                    EDDY
          What's it going to be, Harry?
                    HARRY
          We're gonna go pick up twelve
          Chinks. You'll take the wheel,
          and do what I say.
                    EDDY
          I'm your man.
                    HARRY
          We're going to take them on
          board and lock them below. When
          hear me shout, you slam her
          dead ahead with all she's got.
          Don't pay any attention to what
          happens. You just keep her
          going out. You got it?
                    EDDY
          I'm a good man, Harry. You'll
          see.
                    HARRY
          You're a drunk. Now, listen, if
          any of them Chinks tries to
          break out of the cabin or
          starts coming up out of the
          hatch, you take the Widow-Maker
          and blow them back as fast as
          they come out. You know how to
          use a pump-gun?
                    EDDY
          No, but you can show me.
                                                                 29

                    HARRY
          You'd never remember. Can you
          use the Winchester?
                    EDDY
          Just pump and shoot.
                    HARRY
          Right. Only don't blow a hole
          in the gas tanks.
They sit quietly a moment, listening to the sounds of the sea
against the boat. Harry watches the coast.
                    EDDY
          So we're going to run Chinks!
          By God, I always said I'd run
          Chinamen if I was ever broke.
          You better give me that other
          drink now, Harry.

EXT./INT. HARRY'S BOAT OFF THE COAST - NIGHT
The boat's engines crank. The running lights remain off. The
boat makes a slow arc into the coast.
In the STERN, Eddy gazes landward toward --
-- the black coast. Two lanterns float in the dark, one over
another.
At the wheel, Harry pours a small drink.
                    HARRY
          Come here, Eddy.
Eddy approaches. Harry hands him the drink.
                    HARRY
          Take over.
Eddy sits at the wheel. Harry takes the rifle and puts it back
in its case on the wall, leaving the butt exposed.
                    EDDY
          Do you cock it first with your
          thumb?
                    HARRY
          That's right.
                     EDDY
          Oh, boy.
                                                                 30

Nearing the coast, Harry's boat slows, and the bow is brought
back around to seaward. It drifts, the engines just THUMPING.
The running lights go on. Then off.
Eddy stands sweating at the wheel.
Harry stands in the stern, looking landward.
There. A small skiff approaches. It carries 6 CHINESE MEN and
Sing, who is dressed in a dinner tuxedo and a skipper's cap. A
CUBAN KID is sculling the boat.
The skiff nears. Harry takes hold of it, passing it astern.
                    SING
          Good evening, Captain.
                    HARRY
          Put her broadside. Hold onto
          her.
A few of the Chinese men and the Cuban kid hold onto the stern
of Harry's boat, steadying the skiff.
                    HARRY
          Let's see it, Mr. Sing.
                    SING
          Of course.
Sing hands Harry several bills.
Harry goes to the WHEELHOUSE and examines the bills under a
light.
                    HARRY
          Pour yourself one.
Eddy, his hand trembling, tips the bottle up.
Harry returns ASTERN.
                    HARRY
          Alright. One at a time.
Sing says something in Chinese, and one by one, the men begin
to come aboard.
                    HARRY
          Eddy, show them forward.
                    EDDY
          Right this way, gentermen!
                                                                 31

The Chinese men file through the WHEELHOUSE and down into the
FORWARD CABIN.
                     HARRY
          Lock it.
                    SING
          I'll return with the others,
          Captain.
Harry pushes them off, and the KID sculls the small boat back
toward shore.
Harry goes through the WHEELHOUSE and down to the FORWARD
CABIN. He checks the lock on the door.
Eddy takes another swig from the bottle.
                    HARRY
          Lay off that bottle. You're
          brave enough.
                    EDDY
          You say you just cock it back
          with your thumb?
                    HARRY
          You goddamn drunk. Give me
          that.
Harry takes the bottle and tips it up. It is empty. He flings
it overboard.
                    EDDY
          All gone, sorry, Cap.
                    HARRY
          What's the matter with you?
Harry reaches down into a storage box and pulls out a full
bottle of rum. He draws the cork out with a corkscrew, and
takes a healthy drag.
                    HARRY
          Pay attention. When he hands me
          the money, I'll shout, and you
          put her ahead full throttle.
                    EDDY
          Okay, Chief.
The skiff, crammed with six more CHINESE MEN, comes astern as
before. Sing commands a few of the men in Chinese to take hold
                                                                 32

of the stern. The Chinese men begin to file into the stern.
                    HARRY
          One at a time. Open up Eddy,
          and show them forward. And lock
          it.
                    EDDY
          This way, gents.
The Chinese Men file down below.
Harry waits until Eddy is at the WHEEL.
                    EDDY
          All secure, skipper.
                    HARRY
          Alright, Mr. Sing. Let's see
          the rest of it.
                    SING
          Of course.
Sing reaches the money out to Harry, his torso against the
metal fish-roller across the transom.
Eddy watches.
                    SING
          It certainly is a pleasant
          night for boating--
Harry goes to take the money, snatches Sing's wrist with one
hand and clamps his throat with the other.
                    HARRY
          NOW!
Eddy guns the engines.
The Cuban kid watches as the Harry's boat roars forward full-
throttle, swamping his skiff.
One hand on his throat, the other around his wrist, Harry
yanks Sing over the transom, kicking and thrashing.
With his one free hand, Sing tries to pull Harry's hand away
from his throat. Harry manages to wrench Sing's arm around
behind his back.
Sing buries his face in the nook of Harry's shoulder and bites
him. Harry yelps, and in anger he applies a fierce upward
thrust on Sing's arm.
                                                                 33

Sing's arm can be heard POPPING in the socket. Sing shrieks.
His arm goes limp.
Eddy looks back in terror.
Harry now seizes Sing with both hands by the throat. His
thumbs dig into Sing's talk-box. Sing drops to his knees.
With a mighty twist, Harry wrings Sing's neck until the bones
are heard snapping with a sickly CRACK.
Sing flops to the deck.
Heaving for air, Harry picks the roll of money up from the
floorboards and pockets it.
Harry then kneels down and secures a rope around Sing's legs.
He lifts an anchor up and over the gunwale. The rope snaps
taut. And hefting Sing, Harry feeds the man's body over the
boat and into the sea.
Harry stumbles into the cockpit and collapses in a seat. He
takes a long swig of the bottle.
Eddy looks at him wild-eyed.
                    HARRY
          Slow her down.
                    EDDY
          What'd you have against him,
          Harry?
                    HARRY
          Nothing. He was the easiest man
          I've ever done business with.
                    EDDY
          What did you kill him for?
                    HARRY
          To keep from killing twelve
          other Chinks.
Harry now feels the pain from the bite. He opens his shirt and
examines the bite near his armpit. It bleeds. Harry grits his
teeth and pours some rum on it. He laughs through the pain at
the ridiculousness of it.
                                                                34

                    HARRY
          That goddamn Chinaman bit me. I
          wonder if a Chink bite is
          poisonous.
                    EDDY
          Harry, you gotta give me one.
          It made me sick to see his head
          go all loose like that.
Harry hands Eddy the bottle. Eddy lifts it to his lips.
NOISES come up from below. The Chinese men MUTTER. A feeble
POUNDING on the door.
                    EDDY
          What about them, Harry?
                    HARRY
          I want them out before they
          stink up my boat. Run her right
          on back to the beach.
Eddy turns the boat slowly back toward shore.



INT./EXT. HARRY'S BOAT OFF A BEACH - MOMENTS LATER
The door to the forward cabin opens.
                    HARRY (OS)
          Come on out.
After a second, a CHINESE MAN puts his head out and sees —-
-- Eddy standing with the rifle and Harry with the pump-gun,
leveled at his head.
The Chinese Man vanishes back into the cabin. Alarmed CHATTER
in Chinese.
                    HARRY
          Come on out. Nobody's going to
          hurt you.
No one dares venture out.
                    EDDY
                 (Taking a swig, with bravado)
          Come on out, you!
                                                                 35

                    HARRY
          Put that bottle down or I'll
          blow you out of the boat.
                 (To the Chinese)
          Come on out now, or I'll shoot.
After a moment, the Chinese Man pokes his head out and looks
around. Beyond the boat, he sees--
-- a BEACH in the moonlight about a hundred yards away.
Cautiously, the Chinese Man emerges from the cabin. Behind
him, the others file out, one by one. Frightened, confused,
their arms half-lifted in surrender.
                    HARRY
          Come on, let's go.
Eddy covers them with the rifle as Harry escorts the men into
the STERN with the gun.
                    HARRY
          Get overboard. It's not deep.
No one moves. The men look at one another. Whispering.
                    HARRY
          Let's go now.
                    EDDY
          Come on, you yellow rat-eating
          aliens!
                    HARRY
          Shut your drunken mouth.
                     CHINESE MAN
          No swim.
                    HARRY
          No need swim. No deep.
                    EDDY
          Get on over, goddamn you!
                    HARRY
                 (To Eddy)
          Take it easy.
Harry takes a gaff up in one hand and pushes it into the water
until it hits the seabed.
                    HARRY
          See? No deep.
                                                                    36

The Chinese Man moves to the transom and looks over.
                      CHINESE MAN
          Where we?
                      HARRY
          Cuba.
                    CHINESE MAN
          You damn crook.
The Chinese Man climbs up and over into the water.
He disappears below the surface a second. Then his head pops
above the surface. The water is up to his neck.
                    CHINESE MAN
          You goddamn crook!
                    CHINESE MAN 2
          Goddamn crook!
                    HARRY
          Yeah, yeah...
The Chinese Men struggle, single file, through the black water
toward the beach.
                                                     DISSOLVE TO:

INT. HARRY'S BOAT / WHEELHOUSE AT SEA – NIGHT
In the COCKPIT, Harry sits at the wheel. He has had too much
rum. His face burns with a dark ember.
He lays the pistol in his hand down in front of him, and picks
up a stout glass of rum. He turns looks back at —-
-- Eddy asleep on a berth nearby, sweating in his sleep. The
drunk tosses, mutters something. He is having a nightmare.
There is danger in the air.
He sits up with a GARBLED CRY, listens to the wild CLANGING of
a buoy.
He sways with the heavy roll of the boat. A light flashes for
an instant in his eyes. Eddy gazes around in confusion.
The wheelhouse is dark. The boat is drifting. It wallows in
the waves. The engines are just THUMPING.
The light slashes again across his face, then goes dark.
Eddy shields his eyes with one hand. Squints up at --
                                                                 37

-- Harry hovering over him in the dark.
                    EDDY
          Wha--?
                    HARRY
                 (As if repeating himself)
          How did your name get on this?
Harry thrusts the crew list toward Eddy, who looks at it
unseeing. He tries to gather his thoughts.
                    EDDY
          What? I saw the man before we
          left. Why?
                      HARRY
          God loves a drunkard.
Harry returns to the wheel. Harry drinks, peers forward over
the water. The light flashes on his face.
Eddy leans back, watches him. He looks out the side of the
boat.



EXT. AT SEA NEAR SAND KEY
The boat wallows near the lighthouse on Sand Key. A buoy is
CLANGING very near to the boat.
The motors ROAR again, and the boat churns forward.
Dead ahead, out on the far limb of the sea, Key West rises
through the breaking dawn.
                                                  DISSOLVE TO:

INT. HARRY'S HOUSE / PARLOR – NIGHT
In the little parlor, the MORGAN family is gathered.
The freshly scrubbed family man, Harry relaxes in a comfy
chair, a whiskey in hand, a cigar in his lips, chuckling at
Gracie Allen on the RADIO.
His youngest daughter, PAULINE, 5, sits on his lap. She has
her new comb and playfully puts it in Harry's hair. She laughs
and strokes his clean-razed stubble.
The middle daughter, MARTHA, 9, sits at the upright piano,
plinking the keys.
                                                             38

Marie sits on the davenport, having a drink.
The eldest daughter, ELIZABETH, 11, sits by herself in the
corner, reading the Bible.
                    HARRY
          Where'd we get all these damned
          girls, Marie? What has your
          mommy been up to since I've
          been away?
                    MARTHA
          Daddy!
                    ELIZABETH
          From God, of course.
                    HARRY
          You sure about that?
A KNOCK on the door. Elizabeth goes to answer it.
                    HARRY
          I don't remember seeing this
          one before.
                    MARTHA
          Daddy! You're a joker!
                    HARRY
          What's your name, little girl?
                    PAULINE
          My name is Pauline, Daddy.
                    HARRY
          Three girls! And no boys at
          all? How did that happen?
                    MARIE
          Because you're such a man. That
          way it always comes out girls.
                    ELIZABETH
               (Returning)
          Papa, it's that old drunk.
                    HARRY
            (To Marie)
          Tell him to get out before I
          run him out.
                                                                  39

                    MARIE
                 (Rises)
          Alright, girls, to bed. I won't
          tell you again.
                                                        CUT TO:
The FRONT DOOR, where Marie watches out the window...



EXT. HARRY'S HOUSE
...Eddy limps away from the house. He goes into the street
where another DRUNK sways under the streetlight.



INT. HARRY'S HOUSE / PARLOR
Marie re-enters the parlor. The girls straggle out of the
room, darting back in again, as kids do.
                    MARIE
          Poor goddamn drunks. I pity
          them.
                    HARRY
          That's one lucky drunk.
                    MARIE
          There ain't any lucky drunks.
                    MARTHA
          Who's a lucky drunk, Mommy?
                    MARIE
          To bed. I want you to find
          someone else next time, Harry.
                    HARRY
          I'll talk to Albert. He's dumb
          but he's straight.
                    MARIE
          It can't be hard finding a good
          man. Half the town is on
          relief.
                                                               40

                    HARRY
          And the other half is drunk.
          Things are awful close to the
          bone alright.
                    PAULINE
          Goodnight, Daddy! Goodnight,
          Mommy!
She looks with worry at Harry, trying to read him.
                    HARRY
          We're okay, old woman. As long
          as we got the boat, we got half
          a chance, and that's better'n
          most.
                    MARTHA
          Goodnight, Harry! Goodnight,
          Marie!
                    MARIE
          Bed!
                    HARRY
               (Re the girls)
          What've you been up to?


EXT. A STREET IN KEY WEST – DAY
WORKERS on a government relief are tearing up the street.
Harry stands on the sidewalk, talking to ALBERT (40), who
leans on a shovel and mops his forehead with a handkerchief.
                    HARRY
          Got time for a drink, Al?
                    ALBERT
          Can't, Harry. I'm working.
                    HARRY
          What is this?
                    ALBERT
          We're tearing up the old
          streetcar rails and putting in
          a sewer line.
                    HARRY
          What does the relief pay?
                                                                 41

                    ALBERT
          Seven and a half dollars.
                    HARRY
          A week?
                    ALBERT
          What'd you think?
                    HARRY
          C'mon. I'll buy the drinks.
                    ALBERT
          I got a job, Harry.
                    HARRY
          You call this a job? I got a
          job for you, Albert.
                    ALBERT
          Not this time, Harry. My old
          lady's worried.
                    HARRY
          She should be. Alright, you
          know where to find me. You
          better get back to your sewer.


EXT. FREDDY'S SPEAKEASY – DAY
A door in an alley stands closed. On the door is a pro-
Prohibition poster. A sign nearby reads:

            FREDDY'S BAIT AND TACKLE
            Absolutely no alcohol permitted


INT. FREDDY'S SPEAKEASY
Inside, you find a musty hole in the wall. Dark, but friendly.
Ceiling fans overhead. Photos of patrons tacked to the walls.
Trophy fish and heads of Key Deer on the wall. A few slot
machines along the wall. The windows are darkened by shutters.
Customers, mostly men, stand at the bar or sit in booths. A
few WWI VETS and SAILORS play Blackjack at a table.
FREDDY, the owner, stands behind the bar.
Harry sits in his special stool in the corner.
CAPTAIN WILLIE, an old fisherman, stands with him.
                                                                 42

TWO WHORES sit across the bar. BEE-LIPS, a well-attired
lawyer, stands with them.
                    WILLIE
          Got any parties lined up,
          Harry?
                    HARRY
          I got nothing, Willie. You?
                    WILLIE
          This town's about dried-up. I
          just might have to cut my
          rates.
                    FREDDY
          What are you drinking, Harry?
                    HARRY
          Bacardi. How's business,
          Freddy?
                    FREDDY
          Good. Couldn't be better if it
          was legal.
                    HARRY
          Well, you're it then.
The SHERIFF, an older man with an impeccable Walrus moustache,
walks in and steps up to the bar.
                    FREDDY
          That ole Mr. Hoover done put a
          helluva thirst on folks.
                    SHERIFF
          Man, it's hot. You got a cold
          beer, Freddy?
                    BEE-LIPS
               (To Harry)
          Hey, big shot. I heard you got
          taken for a ride in Cuba.
                    HARRY
          Don't big shot me, you rat
          fucker.
                    BEE-LIPS
          Watch that mouth.
                                                                43

                    HARRY
          Go sue your mother.
               (To FREDDY)
          What kind of place you running
          here, barkeep?
                    FREDDY
          Your mate was just in here
          sponging.
                    HARRY
          He's not my mate.
Two YOUNG MEN, vaguely homosexual, enter and stand at the bar
next to Bee-Lips. They survey the room.
                    HARRY
          You know anybody good wants a
          little job, Willie?
                    WILLIE
          You going to make a trip?
                     HARRY
          I might.
                    WILLIE
          Wesley there was just looking
          for something. He's a good
          skate.
In the BACK, Harry sees WESLEY, a young black man, sweeping
up.
                    HARRY
          Hey, Winslow, you ever get my
          letter of recommendation?
                    SHERIFF
          I did. I put it right on top of
          a stack yay high of better
          qualified candidates.
                    HARRY
          When you going to be hiring
          again? Crime in this town is
          out of control.
                    SHERIFF
          Between you and me, Harry, this
          town's busted. I haven't seen a
          paycheck in two months. Thank
          God I drink free.
                                                             44

                                                   CUT TO:
Bee-Lips looks the two YOUNG MEN up and down.
                    BEE-LIPS
          You fellows come down here
          looking for sailors?
                    YOUNG MAN
          What ever can you mean?
          Why do you ask?
                    BEE-LIPS
               (Pointing out Harry)
          You see that big thug in the
          corner? Queer as a three dollar
          bill. He'll let you piss in his
          face for a dollar.
                                                   CUT TO:
Harry leans in to talk to Freddy confidentially.
                    HARRY
          Listen, Freddy, I'm thinking of
          making a trip across. You
          interested?
                    FREDDY
          They say the Prohibition is
          almost over.
                    HARRY
          Maybe. Can you use a load?
                    FREDDY
          We'll talk, Harry.
                    HARRY
          Alright. Hey, Wesley! Come
          'ere.
                    WILLIE
          I hear they're running liquor
          out of Mariel now, Harry. For
          the past six months it's been
          wide-open.
                    HARRY
          You still gotta pay off every
          bastard and his brother. And
          they still might take a shot at
          you, just for the fun of it.
                                                               45

                    SHERIFF
          I swear I'm going deaf. I can't
          hear a thing, Cappy.
Wesley comes up behind the bar.
                    HARRY
          Why don't you go arrest
          somebody, Winslow?
                    SHERIFF
          I wouldn't know where to start.
                    HARRY
          You can start with yourself.
                    SHERIFF
          I'd like to finish my beer
          first.
                    HARRY
          How about a drink, Wesley?
                    WESLEY
          I'm working.
                    WILLIE
          Good day, ladies and gentlemen.
          Be careful out there, Harry.
                    HARRY
          Thanks, brother.
Harry stands to let Willie out, turns to find the YOUNG MAN
standing a little too close.
                    HARRY
          You looking for something,
          sport?
The YOUNG MAN whispers something in Harry's ear. Harry looks
the man up and down.
Harry then decks him with a single blow to the chin.
                    SHERIFF
          I swear I'm going blind. I
          can't see a thing!


EXT. THE COAST NEAR MARIEL, CUBA – NIGHT
A GUARD is asleep at his post up on a hill over a canal. A
                                                                46

PATROL BOAT passes slowly by, heading up the canal.

EXT. MAKESHIFT DOCK, MARIEL
Harry's boat is tethered to a makeshift dock upstream. A tin
hut stands a short distance up the bank. A few CUBAN MEN haul
sacks of bottled rum from the hut to the dock.
One CUBAN WORKER loads the rum from the dock onto the boat's
transom. Wesley takes them and stacks the bottles in the
stern. It is hard work.
Harry stands on the deck with Frankie, counting the few
remaining bottles, making tic-marks on a sheet of paper.
                    HARRY
          How many's that, Wesley?
                    WESLEY
          Hundred eighty-eight.
                    FRANKIE
          They say the Prohibition will
          be illegal soon, Harry.
                    HARRY
          If that's how you want to put
          it. I count two-hundred and
          one.
                    FRANKIE
          Keep the extra. What will we do
          then, Harry?
                    HARRY
          What we've always done,
          Frankie. Something. Anything.
                    A CUBAN
          Listen! Listen!
                    FRANKIE
          Shut up! Quiet!
The men freeze, listening.
                    FRANKIE
          Put that light out!
Someone douses a light. All listen. There. Above the jungle
uproar: an engine THUMPING.
                                                                47

                    HARRY
          Coast Guard?
A spot-light can be seen probing the bank upstream.
                    FRANKIE
          Adios, Harry!
The CUBANS scatter from the dock.
Harry bolts and hops into the boat, rushing to the cockpit.
Wesley, caught off guard, looks around bewildered.
                    WESLEY
            What's going on?
Harry cranks the engine. Hell! Forgot the line!
                    HARRY
          Get the line, Wesley!
                    WESLEY
          What?
Around a bend, just ahead, the PATROL BOAT moves cautiously,
the spot-light searching.
Harry snatches a fishing knife and rushes to the gunwale,
twisting his ankle on a bottle as he goes.
                    WESLEY
          What the hell's going on?
The spot-light illuminates Harry's boat.
Harry slices the rope.
                    HARRY
          Wesley, get forward!
Harry rushes back to the wheel and throws out the clutches.
The boat lurches from the dock.



INT./EXT. HARRY'S BOAT ON A CANAL, MARIEL
Wesley slips and falls to the deck. The bottles make a
terrible CLATTER.
Harry peers forward, trying to see in the dark.
A voice on a megaphone from the PATROL BOAT calls out for the
                                                                     48

boat to halt (in Spanish).
The spot-light blinds Harry. He shields his eyes with one
hand.
Harry's boat squeezes past the patrol boat and roars up the
canal, maneuvering blindly in the dark.
SHOUTS and COMMANDS from the patrol boat.
Wesley shambles to his feet in the stern and looks back at the
PATROL BOAT.
Harry looks aft.
                       HARRY
           Get down!
Now comes the POP-POP-POP! of automatic rifles from behind.
Wesley grabs his thigh and drops in the stern. Bottles explode
around him.
Bullets splinter the paneling of the WHEELHOUSE. The
windshield cracks. Harry is struck solidly in the left
forearm. He falls on the wheel, grabbing his arm.
                     WESLEY
           Oh God! I been shot! Oh my God,
           Jeeesus!
Beyond the cracked windshield, the SEA opens up before them.



EXT. THE COAST NEAR MARIEL, CUBA
The GUARD still sleeps at his post on the hill. Harry's boat
can be seen escaping from the canal out into open water.
                                                      DISSOLVE TO:

INT/EXT.   HARRY'S BOAT NEAR A REMOTE KEY – MORNING
The next morning finds Harry's boat lying at the edge of some
mangroves. The boat is a wreck. Bullet-holes. Smashed
woodwork. Shattered glass. Rum and blood running on the deck.
Harry stands in the STERN. His arm hangs dead at his side, the
wound wrapped in a bloody bandage.
Wesley lays shivering on the deck among the sacks of rum. His
leg has been wrapped in a towel.
                                                       49

                    WESLEY
          Where the hell we at?
                    HARRY
          Woman Key.
                    WESLEY
          What we doing here? Ain't
          nothing on Woman Key.
Harry lowers the anchor painfully with his good arm.
                    HARRY
          We gotta lay here 'til dark,
          Wesley.
                    WESLEY
          Til dark? I'll be dead 'til
          dark.
                    HARRY
          Don't talk that way. You aren't
          shot bad.
                    WESLEY
          I am shot. I ain't never been
          shot before. Any way I'm shot
          is bad.
                    HARRY
          You're just scared.
                    WESLEY
          No sir. I'm shot. And I'm
          hurting. I been throbbing all
          night.
Wesley peels back the bandage to look at the wound.
                    HARRY
          Leave it alone.
                    WESLEY
          I hurt. I hurt worse all the
          time.
                    HARRY
          I'm going to make some coffee.
          Then I'll fix you up again.
                                                               50

                    WESLEY
          You ain't going to fix me up.
          You don't care what happens to
          a man.
                    HARRY
          You want some coffee?
                    WESLEY
          I want a doctor.
                    HARRY
          You'll have a doctor tonight
          when the boat comes out.
                    WESLEY
          I don't want to sit here,
          hurting and bleeding all day. I
          want a doctor.
                    HARRY
          Take it easy.
                    WESLEY
          Take it easy, the man say. Take
          what easy? Take dyin' like a
          dog easy? You got me here,
          mister. Now you get me out.
Harry gazes over the sacks of rum, thinking.
                    WESLEY
          You ain't hardly human.
                    HARRY
          Maybe it's better if we dump it
          now. Freddy can pull it up when
          he comes out.
Harry begins to dump the sacks of rum overboard with his one
good hand.
Wesley watches him.
                    WESLEY
          You going to kill youself. Why
          you want to keep on running
          like that? Why didn't you stop
          when they want us to stop?
          Ain't a man's life worth more
          than a load of liquor? All we
          got to do is stop and let them
          take the liquor.
                                                               51

                    HARRY
          No. They take the liquor and
          the boat and you go to jail.
                    WESLEY
          I don't mind jail. But I never
          wanted to get shot.
                    HARRY
          Who's shot worse—-you or me?
                    WESLEY
          I ain't never been shot. I
          didn't figure on getting shot.
          I ain't paid to get shot.
Harry stops to take a drink of water. He is dizzy, sweating,
breathing heavily. He cradles his wounded arm.
                    WESLEY
          You want me to tie it up?
                    HARRY
          It's all stiff. But if I keep
          it straight, it doesn't hurt so
          bad.
                    WESLEY
          What we going to do?
                    HARRY
          We're going to dump this rum.
He continues dumping the liquor.
                    WESLEY
          Why they run liquor now anyway?
          Ain't the Prohibition over? Why
          they keep up a traffic like
          that? Why don't people be
          honest and decent and make a
          decent honest living?
                    HARRY
          Can't you toss over what you
          can reach, Wesley?
                    WESLEY
          I am shot. I ain't going to
          move. Man wants me to go
          dumpin' liquor when I'm shot.
                                                                 52

                    HARRY
          Alright, take it easy.
                    WESLEY
          You treat a man no better than
          a dog, you know that?
                    HARRY
          Take it easy, Wesley.
                    WESLEY
          Take it easy! You say that
          again, I'll kill you.
                    HARRY
          Take it easy.
Wesley howls and picks up a chunk of glass.
                    WESLEY
          I'm gonna cut your heart out.
                    HARRY
          Not with that you won't. Now
          take it easy.
Wesley flings the glass down and drops his head back down
against a sack. He blubbers into it.
Harry stops unloading and stands still. His ears prick up: the
BUZZ of a motor approaching.
                    HARRY
          Boat coming, Wesley.
He sees it now: coming toward them around a bend in the shore,
a SMALL FISHING BOAT.
Harry dumps the rum with greater urgency.
                    HARRY
          Let's go, Wesley. Boat coming.
                    WESLEY
          I can't I told you.
                    HARRY
          I'm remembering this time,
          Wesley. Before was different.
                    WESLEY
          You go ahead and remember. I
          ain't forgot nothing neither.
                                                                53

The fishing boat approaches close.
Harry watches it go by. Wesley cranes his neck to see.
Captain Willie is at the wheel of the boat. Two gentlemen
tourists in white linen sit in the fishing chairs, trolling.
They scrutinize Harry's boat with interest, and say something
to each other. Willie hails Harry.
                    WILLIE
               (Calling)
          What do you say, Harry?
Harry waves with his good hand in reply and watches the boat
recede.
                    WESLEY
          It's Captain Willie with a
          party.
                    HARRY
          He'll make a turn at the mouth
          and come back this way. Maybe I
          should cover you up.
                    WESLEY
          What for? They couldn't help
          see all this liquor. What we
          gonna do?
Harry begins to dump the sacks with greater energy. After
swinging a few overboard, he drops dizzily on the gunwale and
sits, heaving for air.
                    HARRY
          Willie's a good skate. He'll
          give us a wide berth.


INT./EXT. WILLIE'S BOAT AT WOMAN KEY
Willie's boat heads back toward Harry's.
The two men put their rods up and look toward Harry's boat,
some distance away. They smell something fishy.
The older man, FREDERICK HARRISON, is a powerful politician
with an unshakable sense of his own importance. The younger,
STEPHENS, is his secretary, a lick-spittle.
                    WILLIE
          What's that you say, Cap?
                                                54

                    HARRISON
          What boat is that?
                    WILLIE
          That boat? That's a Key West
          boat.
                    HARRISON
          Whose boat is it?
                    WILLIE
          I wouldn't know that, Cap.
                    STEPHENS
                 (Peering through binoculars)
          That man is wounded, sir.
                    HARRISON
          I heard you call him Harry.
                    WILLIE
          Not me. I must've called him
          that by mistake.
                    HARRISON
          Can you see the numbers,
          Stephens?
                      STEPHENS
          Yes, sir.
                    HARRISON
          We'll go over and have a look.
                    WILLIE
          If he wanted us, he would have
          waved us on over. Otherwise,
          it's none of our business. Down
          here everybody aims to mind
          their own business.
                    HARRISON
          Suppose you mind your own
          business, and take us on over
          there.
Willie pays him no attention.
                    HARRISON
          Did you hear me?
                    WILLIE
          Yes, sir, I heard you.
                                            55

                    HARRISON
          Well?
Willie pays him no attention.
                    HARRISON
          Take us over to that boat, man.
                    WILLIE
          Who the hell you think you are?
                    HARRISON
          That's not the question. Do as
          I tell you.
                    WILLIE
          Who are you to talk like that
          to any man?
                    HARRISON
          I am Frederick Scott James
          Harrison, that's who.
                    WILLIE
          Well, and I'm Cap'n Willie.
                    STEPHENS
          Don't you know Mr. Harrison is
          the third most powerful man in
          the government?
                    WILLIE
          Nuts. If he's all that, what's
          he doing in Key West?
                    STEPHENS
          He's one of the most important
          men in the Roosevelt
          administration.
                    WILLIE
          Hell! I didn't vote for that
          goddamned Red.
                    HARRISON
          Alright, Stephens. That's
          enough.
                    WILLIE
          And I never heard of you
          neither.
                                            56

                    HARRISON
          Well, you will, and so will
          everybody in this stinking
          jerkwater little town if I have
          to grub it out by the roots.
          Now will you take us over to
          that boat?
Willie says nothing.
                    HARRISON
          Listen, you half-wit fisherman,
          I'll make life so miserable for
          you--you don't know what I can
          do.
                    WILLIE
          None of it don't mean a thing
          to me.
                    STEPHENS
          That man's a bootlegger, isn't
          he?
                    WILLIE
          What do you think?
                    HARRISON
          Do you have a gun on board?
                    WILLIE
          No, sir. But I guarantee you he
          does.
                    STEPHENS
          You'd be capturing him unarmed,
          sir.
                    HARRISON
          With no G-men nonsense.
                    STEPHENS
          There's probably a reward.
                    WILLIE
          I doubt that.
                    HARRISON
          He's a lawbreaker, isn't he?
                    WILLIE
          He's got a family and he's got
          to eat and feed them.
                                                                 57

                    HARRISON
          Pull alongside. We're going to
          take that man and his boat into
          custody right now.
                    WILLIE
          Are you an officer?
                    STEPHENS
          I told you who he is.
                    HARRISON
          Well? What do you say?
                    WILLIE
          Just one word: fuck you. And
          sit you down in my boat!
Willie opens the throttle, and the boat makes a hard wheel
away from the key.
Harrison and Stephens nearly topple overboard.



INT./EXT. HARRY'S BOAT AT WOMAN KEY – LATER THAT DAY
Engines grumbling, Harry's boat swings out from the mangroves.
                    HARRY
          How you feeling, Wesley?
                    WESLEY
          God, I couldn't feel no worse.
                    HARRY
          You'll feel a lot worse when
          the doctor starts digging for
          it.
                    WESLEY
          You ain't hardly human. You
          ain't got no human feelings.
Harry brings the boat out to sea.
                    HARRY
          I told you that old Willie was
          a good skate. Those fellows
          with him ain't going to bother
          us. What do they care about us?
          I hope they can fix up this
          arm. I got a lot of use for it.
                                                                 58

The boat picks up speed. The salt breeze from the sea
exhilirates them.
                    WESLEY
          Mr. Harry, I'm sorry I couldn't
          help dump the stuff.
                    HARRY
          Hell! ain't no nigger any good
          onct he's been shot. You're a
          all right nigger, Wesley.
                    WESLEY
          You too, Mr. Harry.
                                                  DISSOLVE TO:

EXT. STREET IN KEY WEST / FALL – DAY
We're TRACKING with Harry as he walks along a street, a
fishing rod and tackle box in hand.
He trudges by closed businesses...
...boarded-up storefronts...
...the abandoned cigar factory...
...a high fence surrounding the YACHT BASIN with "No
Trespassing" signs.
Here Harry stops and looks out beyond the fence into the
BASIN. As he turns, we see he has lost his left arm: severed
at the elbow, the sleeve is pinned up to the stump. After a
moment, Harry continues on his way, moving out of the frame.
And it's clear now that he has lost his boat too. Because
there it is, tethered to a pier just beyond the fence, still
bearing the damage from the gunfire.



EXT. A BRIDGE ON THE OVERSEAS HIGHWAY – SUNSET
A fall sunset. Harry fishes alone on a bridge.
He attempts to reel in a catch, awkwardly with his stump. He
fumbles the rod, and the fish wriggles loose and drops back
into the water below.
Harry looks away--
--to the southeast, out over the sea, wherea black clouds
                                                                59

scowl on the horizon.



EXT. KEY WEST / VARIOUS - NIGHT
Lightning reveals a Storm Warning flag flying.
Hurricane gales lash the CITY STREETS.
At FREDDY'S BAR —- no longer a speakeasy, but a legitimate
business with lights on and doors open -- SAILORS and WHORES
crowd the doorway, despite the storm.
Downed wires leap and spark in the streets.
The shutters on Harry's house bang in the wind.



INT. HARRY'S HOUSE / PARLOR – NIGHT
The needle of a barometer ticks south as far as it can go.
Harry stands in his PARLOR, observing the barometer. A voice
on the radio crackles with static. Rain drums the roof,
slashes the windows. The wind howls.



INT. HARRY'S HOUSE / KITCHEN
The girls eat dinner around the table, unnerved by the storm.
Marie is preparing Harry's food at the stove.
Harry enters the kitchen and sits with his daughters.
                    HARRY
          The radio said Upper Matecumbe
          Key is taking the brunt of it.
                    MARIE
          Thank God for that. Poor souls.
                    HARRY
          It's a hell of a blow alright.
                    PAULINE
          Mommy, I'm scared.
                    MARIE
          We're alright, honey. It'll all
          blow over real soon.
                                                         60

                    MARTHA
          Daddy, if you can't wear your
          ring anymore, does that mean
          you and mommy aren't married?
                    ELIZABETH
          Don't be a dope, Martha.
                     HARRY
          Where's my dinner? What you
          waiting for?
                    MARIE
               (Bringing it)
          I'm bringing it.
                    PAULINE
          Daddy, are you going to grow a
          new arm?
                    ELIZABETH
          It's not like losing a baby
          tooth, Pauline.
                    HARRY
          Cut it up, will you?
                    MARIE
          Sure, honey.
                    MARTHA
          Let me, daddy.
                    HARRY
          Didn't I ask your mother to do
          it?
                    MARIE
          Eat, Martha. I'll take care of
          Daddy.
Marie cuts the fish up for Harry, like a little child.
                    HARRY
          I'm a hell of a goddamn
          nuisance, ain't I?
                    MARIE
          Of course.
                    MARTHA
          Don't say ain't, daddy.
                                                                 61

                    ELIZABETH
          And don't say goddamn. It's
          taking the name of the Lord in
          vain.
                    HARRY
                 (While eating)
          Don't talk while you're eating.
                 (To Marie)
          As soon as it lets up, I'm
          gonna go borrow Albert's boat.
                    MARIE
          Do you have to go before it's
          light out?
                    HARRY
          I want to get a good start.
The lights go out. The girls shriek.
                    HARRY
          Oh, my goddamn ears.



EXT. ALBERT'S BACKYARD / DOCK - NIGHT
The storm has slowed to a steady rain. On a backwater dock
behind Albert's house, Harry checks out Albert's small launch.
Albert emerges from the back-door, which leads to the dock.
His wife, TERESA, stands in the door. Five KIDS can be seen
huddling inside with her, watching them fight.
                    TERESA
          Ask that pirate why don't he
          use his own boat? Ask him
          where's his own boat now?
                    ALBERT
          Christ, woman. Will you quit?
                 (To KIDS)
          Boys, go inside.
Albert begins down to the dock, leaving her standing in the
rain, shouting after him.
                    TERESA
          I don't want that boat coming
          back all shot up and stinking
          like a distillery.
                                                                 62

               (Turning back to the house)
          Boys inside!
Albert meets Harry at the dock.
                    HARRY
          Whyn't you smack that woman?
                    ALBERT
          You smack her. I'd like to hear
          what she'd say.
                    HARRY
               (Handing him a few dollars)
          Here's for the gas.
                    ALBERT
          There should be a full tank.
                    HARRY
          Tell your old woman I'll take
          care of it like it was my own.
                    ALBERT
          That's what worries her.



EXT. OVERSEAS RAILROAD, THE KEYS - NIGHT
Lightning illuminates the Overseas Railroad stretching across
the white-froth water. The rain whips the darkness.
Harry sits at the wheel of Albert's little trap. He tools
along the piers of the railroad bridge.
                                                       CUT TO:
Harry's boat hovers in the water near a railway pier. A spar
pokes up through the water nearby. Harry shines flashlight
down into the water beneath him.
There, twenty-feet below the surface, a small yacht sits.
Harry picks up a long grapple and pushes it down into the
water. Too deep.



EXT. A DESTROYED KEY - CONTINUED
Harry navigates past a key. From the water, in the flares of
lightning, he sees the havoc wrought by the hurricane:
                                                                 63

Trees toppled and twisted...telephone poles down...a car
flipped upside-down on the beach...two bodies, naked and limbs
entwined like lovers, thrown high up in a tree...a house still
burning in the rain.



EXT. MANGROVES - CONTINUED
Harry searches the corpse of a YACHTSMAN, caught in the
mangroves. He finds nothing except a postcard in the man's
pocket.



EXT. OVERSEAS RAILROAD, THE KEYS - CONTINUED
At the wheel of the boat, Harry drinks coffee out of a
Thermos, while reading the postcard by the flashlight:
On one side, a photo of Key West and the customary "GREETINGS
FROM SUNNY KEY WEST!"
On the other, a handwritten note: "My darling little Katie,
Mommy and I are having a splendid time down here."
Harry looks up. Something caught his eye in the distance. He
squints and peers out to sea --
-- where the dark waters are illumined by lightning.
Then, a mile out, a strange, feeble glow just beneath the
water's surface. The light pulses on. Then off.



EXT. A MILE OUT TO SEA - CONTINUED
Albert's little launch putters out to sea. Harry scans the
water.
Nothing out there.
Wait. There. Again. Very near his bow: lights flickering below
the surface.
Now he sees it. Harry stands. Awestruck.
And now we see it too: an ENTIRE LUXURY LINER lying on its
side below the surface. The very peak of its bow pokes a few
feet above the surface. The rest of the ship slopes rapidly
downward, the great bulk vanishing from view into the black
                                                                 64

depths.



EXT./INT. UNDERWATER OCEAN LINER - CONTINUED
Harry jumps into the water and swims –- a struggle with one
arm and a stump –- down to the first porthole.
With the hook attached to his stump, Harry clings to the
porthole, looking in.
The PORTHOLE: darkness within. Then, we hear the surge of
electricity, and the lights glow dimly.
It's royal stateroom. A beautiful DROWNED PRINCESS appears to
pirouette as she floats upright in the center of the room.
Elegantly dressed for a midnight ball, her gown flows with the
gulf stream. A wealth of jewels on her bosom, arms, fingers.
Darkness again as the lights go out.



EXT. A MILE OUT TO SEA – CONTINUED
Harry surfaces near Albert's boat, heaving for air.
Onboard, he opens a toolbox and throws the tools around,
looking for something hefty. He decides on a wrench. He tucks
the tool in his belt.



EXT./INT. UNDERWATER OCEAN LINER - CONTINUED
The PORTHOLE: dark within. Harry swims up to the porthole and
hits the glass with the wrench several times. No luck.
He surfaces. It's a long way up for a one-armed man with a
wrench in his pocket.



EXT. A MILE OUT TO SEA – CONTINUED
Harry surfaces and clings to the very stem of the luxury
liner, coughing, hacking. His nose is bleeding.
Harry takes a breath, and plunges again.
                                                                  65

EXT./INT. UNDERWATER OCEAN LINER - CONTINUED
The PORTHOLE. Harry hits the glass as hard as he can wield the
wrench. The wrench flies from his hand. The glass is merely
scratched.
The lights FLICKER. The DROWNED PRINCESS'S face fills the
porthole. She looks right at us. Her hair floats dreamlike in
the water.
Harry watches her, transfixed.
Behind her, pushing open the stateroom door, prowls over the
expensive carpets -- a shark.
Darkness.
And in the darkness, the snout of the shark bumps against the
glass as it rips into its prey.



EXT. ALBERT'S BOAT A MILE OUT TO SEA – BREAKING DAWN
Harry surfaces, sucking for air, both nostrils bleeding.
Onboard again, Harry lies on the deck of Albert's boat,
heaving for oxygen.
He gets to his feet and sits on the gunwale. He surveys the
scene.
The sky is gray. Rain falls lightly.
Hundreds of birds wheel in the dawn sky, descend to the
surface and rise again, shrieking loudly.
Circling the ship, the water churns with sharks.
Harry can only sit and watch.
                                                   DISSOLVE TO:

INT. FREDDY'S BAR – SUNSET
Freddy's is a legitimate operation now. The shutters are off
the windows. Business is good.
Harry sits, well-primed, in his corner stool with Albert and
BIG ROGER. Freddy is behind the bar. Bee-Lips talks on a phone
in a corner.
A cheerful Cuban taxi driver, JESUS, stands near the door,
                                                     66

waiting for his FARE to buy a bottle.
                    BIG ROGER
          Hayzooz! They tell me you had a
          baby.
                      JESUS
          Yes, sir!
                    BIG ROGER
          When did you get married?
                    JESUS
          Lasta month. Montha for last.
          You come the wedding?
                    BIG ROGER
          No, I didn't come the wedding.
                    JESUS
          Oh, you miss something.
Bee-Lips comes up to the bar and addresses Freddy.
                    BEE-LIPS
          You seen Juan?
                    FREDDY
          He ain't back yet.
                    BEE-LIPS
          I got a job for him.


                    HARRY
          Aren't you drinking, Al?
                    ALBERT
          Harry, I can't afford this
          place.
                    HARRY
          Brother, I know it.
Bee-Lips approaches Harry.



                    BEE-LIPS
          I want to talk to you.
                    HARRY
          I don't want to talk to you.
                                                               67

                    BEE-LIPS
          I think you'll like it.
Harry gets up reluctantly.
                    JESUS
               (To his Fare)
          You get what you want?
                    BIG ROGER
          Listen, Hayzooz, what makes you
          think that's your baby?
                    JESUS
          Hey?
                    BIG ROGER
          That's not your baby.
                    JESUS
          What you mean not my baby? What
          you mean? By God! I no let you
          talk like that! What you mean
          not my baby? You buy the cow
          you no get the calf? That's my
          baby! My God, yes! My baby.
          Belong to me! Yes, sir!
Jesus goes out with his Fare amid laughter at the bar.

INT. BACKROOM AT FREDDY'S
Harry and Bee-Lips enter a darkened backroom, cluttered with
booze. A makeshift bed stands in one corner. A slot-machine
blinks on a wall. Harry leans on the one-armed bandit.
                    HARRY
          Well?
                    BEE-LIPS
          Did you lose weight? You look
          different. Are you hungry?
                    HARRY
          I'm starving.
                    BEE-LIPS
          What the hell you do to your
          arm?
                    HARRY
          I didn't like the look of it so
          I cut it off.
                                  68

          BEE-LIPS
What happened?
          HARRY
I held still and the doctor cut
it off. If they cut 'em off for
being in other people's
pockets, you wouldn't have no
hand nor no feet.
          BEE-LIPS
How's business?
          HARRY
Look, go and poison somebody
else.
          BEE-LIPS
Can you handle a boat like
that?
         HARRY
Why?
          BEE-LIPS
With one arm.
         HARRY
Sure.
          BEE-LIPS
I think I may know someone who
may be looking for a boat.
         HARRY
Who?
          BEE-LIPS
I heard Customs had your boat.
          HARRY
I can get her if I need to.
          BEE-LIPS
Did it hurt?
          HARRY
Can't you talk straight?
          BEE-LIPS
Some Cuban boys are looking to
charter a boat.
                                                               69

                    HARRY
          How many boys?
                    BEE-LIPS
          Friends of a client of mine.
                    HARRY
          What are they doing here?
                    BEE-LIPS
          They're out at my place now.
                    HARRY
          Bring them down and we'll talk.
                    BEE-LIPS
          Why don't you come out and meet
          them?
                    HARRY
          You give me a headache.
                    BEE-LIPS
          Half an hour?



INT. FREDDY'S BAR – CONTINUED
Harry comes out of the back and goes to his stool. He throws
his drink down his throat.
                    HARRY
               (To Albert)
          You ready to take a trip, Al?
                     ALBERT
          Depends.
                    HARRY
          Let's go for a ride.



INT. HARRY'S CAR - SUNSET
Harry drives through the streets with Albert.
                    ALBERT
          That was a good one Hayzooz
          told Big Roger about the baby,
          wasn't it? Where we going?
                                  70

          HARRY
Bee-lips'. He's got some Cubans
want to make a trip.
          ALBERT
What kind of trip?
          HARRY
We'll see. If you don't want to
go, just say so. I'll find
somebody else.
          ALBERT
I don't know, Harry.
          HARRY
Listen, Albert, I need someone
I can rely on. What you making
now? Seven dollars a week? You
got five kids that are hungry
at noon, and I'm giving you a
chance to make some money.
          ALBERT
You ain't said how much.
There's got to be money in
taking a chance like that.
          HARRY
There ain't much money in any
kind of chances now, Al. Look
at me. I used to make thirty-
five dollars a day right
through the season. Then I get
shot and lose an arm and lose
my boat. But let me tell you,
my girls ain't going to have
their bellies hurtin'.
          ALBERT
I went out on strike against
those wages.
          HARRY
And they said you were striking
against charity. You always
worked, didn't you? You never
asked anybody for charity.
          ALBERT
There ain't any work anywhere.
                                                                 71

                    HARRY
          Why?
                    ALBERT
          I don't know.
                    HARRY
          Well, I don't know either. But
          I know my family is going to
          eat as long as anybody eats.
                    ALBERT
          I don't want any trouble,
          Harry.
                    HARRY
          What's worse trouble than
          starving?
                    ALBERT
          I'm not starving. What the hell
          you always talk about starving
          for?
                    HARRY
          Maybe you're not, but your kids
          are.
                    ALBERT
          Cut it out. I'll work with you,
          but you can't talk that way.
                    HARRY
          None of you Conchs got any
          guts.
                    ALBERT
          Since when ain't you a Conch?
                    HARRY
          Since the first good meal I
          ever ate.


EXT. BEE-LIPS' HOUSE – SUNSET
The car pulls into a drive out by the beach.
It's a fine home, a lawyer's home, perfumed with other
people's sweat.
Harry parks the car around back of the house. Harry and Albert
get out and begin toward the rear entrance.
                                                                72

                    HARRY
          Let me do the talking. You keep
          your mouth buttoned up.
                    ALBERT
          The hell with you.
                    HARRY
          Alright, take it easy.



EXT. BEE-LIPS' TERRACE - SUNSET
Harry is sitting at a table with Bee-Lips and ROBERTO, one of
the Cubans. Albert stands. THREE OTHER CUBANS stand as well.
The Cubans are young and very serious.
The alpha-dog is Roberto, a cocky brute. He does most of the
talking, while the others simply observe.
                    ROBERTO
          What is your name?
                    HARRY
          What's yours?
                    ROBERTO
          You are a fisherman?
                     HARRY
          Yes.
                    ROBERTO
          How do you fish with one arm?
                    HARRY
          I just fish twice as fast.
                    ROBERTO
          Where's the boat?
                    HARRY
          Down at the yacht basin.
                    ROBERTO
          Who's this?
                     HARRY
          My mate.
                    ROBERTO
          He looks hungry.
                                                               73

                    HARRY
          He's starving.
                    ROBERTO
          You want a drink?
                     HARRY
          Alright.
                    ROBERTO
          Does your mate drink?
                    ALBERT
          I'll have one.
                    ROBERTO
          Nobody asked you yet. I just
          asked if you drank.
EMILIO, 18ish, a sensative and cultured terrorist, addresses
Roberto. When the Cubans speak to one another, they speak
Spanish.
                    EMILIO
          Cut it out, Roberto. Can't you
          do anything without being
          nasty?
                    ROBERTO
          I just asked if he drinks. If
          you hire somebody, you don't
          ask if he drinks?
                    EMILIO
               (Pours Albert a drink)
          Here. Let's talk business.
                    ROBERTO
          What you want for the boat, big
          boy?
                    HARRY
          Depends on what you want her
          for.
                    ROBERTO
          Take us to Cuba. To Cabanas.
          You know it?
                    HARRY
          Sure. Just take you there?
                                                                74

                    ROBERTO
          Just take us there.
                    HARRY
          Three hundred dollars.
                    BEE-LIPS
          That's fair.
                    ROBERTO
          Too much. We give you two
          hundred.
                      HARRY
          No.
                    ROBERTO
          How much you want?
                    HARRY
          I told you.
                      ROBERTO
          Too much.
                    HARRY
          Look, I don't know who you are
          or what you do or who wants to
          shoot you. Three hundred
          dollars, plus gas and oil, and
          I want a thousand up-front as a
          guarantee nothing happens to
          the boat.
                    BEE-LIPS
          That's only fair.
The Cubans speak in Spanish amongst themselves. Emilio argues
with Roberto. The third Cuban, PACO, joins the argument. The
fourth, ERNESTO, is stone-faced Indian.
Harry drinks, his poker-face eyes gazing over the rim of the
glass. He is trying to eaves-drop, to peek at their cards.
                    ROBERTO
          ...don't like this thief...
                    EMILIO
          ...will have lots after the
          bank...
                                                                 75

                    PACO
          ...you think you can you
          navigate?...
                    ROBERTO
          ...Alright, alright, it doesn't
          matter...
               (To Harry)
          When can you start?
Harry's eyes narrow imperceptibly: that was too easy.
                    HARRY
          Any time tomorrow.
                    EMILIO
          Have you been to Cuba much?
                    HARRY
          A few times.
                    ROBERTO
          Speak Spanish?
                    HARRY
          I never learned it.
Bee-Lips regards Harry with suppressed amusement.
                    EMILIO
          Mr. Simmons here speaks good
          Spanish.
                    HARRY
          Well, he's got an education.
          You want to see me about
          anything else?
Harry rises. The Cubans speak Spanish together.
                    BEE-LIPS
          Where will you be?
                    HARRY
          At Freddy's. There's got to be
          some money put up.
Emilio rises and shakes Harry's hand. Harry is a little amused
by his urbanity.
                    EMILIO
          Good night. And thank you.
                 (Shaking Albert's hand)
          Thank you, sir.
                                                                76

The other Cubans watch Harry and Albert closely. Paco speaks
darkly in Roberto's ear.



EXT./INT. HARRY'S CAR AT ALBERT'S HOUSE – NIGHT
Harry's car idles in front of Albert's house.
Harry sits at the wheel, brooding. Albert opens the passenger
door, gets out, looks back in.
                    ALBERT
          What about the trip, Harry?
                    HARRY
          I don't know if there's going
          to be any trip.
                      ALBERT
          How come?
                    HARRY
          Let me ask you. Did any of
          those boys look like they can
          sail to you?
                    ALBERT
          I don't know.
                    HARRY
          I got to think, Al. See you
          tomorrow.
Albert closes the door and walks toward his HOUSE.
Harry sits thinking. He looks up, hearing --
-- Teresa, standing at the front door with the five kids,
giving Albert hell.
                    TERESA
          Can't you tell time? Me and the
          kids been waiting two hours
          while you're out with that one-
          armed pirate drinking and God
          knows what--
                    ALBERT
          Who the hell's going to let me
          drink with no money? Do you
          ever listen to yourself?
                                                             77

INT. FREDDY'S BAR – NIGHT
Bee-Lips enters the bar and goes up to Harry on his stool.
                      BEE-LIPS
          Big shot.
                    HARRY
          Don't big shot me. Come 'ere.
They walk toward the booths where it is more private.
                    HARRY
          You got it?
                    BEE-LIPS
          Tomorrow. They want to go in
          the afternoon.
                    HARRY
          You know what they're going to
          do.
                    BEE-LIPS
          You speak Spanish.
                    HARRY
          I don't like it.
                    BEE-LIPS
          You know that's how they've
          been financing their revolution
          with kidnapping and that sort
          of thing. This is the same
          thing. They're doing it for a
          good cause.
                    HARRY
          What do you care about their
          cause? What's the matter with
          you? This is here. This is
          where you live. You know
          everyone who works there.
                    BEE-LIPS
          Nobody's going to get hurt.
                    HARRY
          Who you kidding? Those boys are
          up to their elbows in blood.
                    BEE-LIPS
          When you going to get the boat?
                                                                 78

                    HARRY
          Tonight. I'll borrow Freddy's
          little skiff.
                    BEE-LIPS
          Who's going to help you?



EXT. HARRY'S BOAT AT THE YACHT BASIN – NIGHT
The YACHT BASIN is quiet and dark.
Making his rounds, the old Cuban WATCHMAN trudges past Harry's
BOAT.
The door to the wheelhouse opens, and Harry emerges. He picks
up a line in the stern and tosses it to –-
-- Bee-Lips, seated in a small skiff.
Harry goes forward and begins to cut the boat loose. He then
signals Bee-Lips.
In the skiff, Bee-Lips begins to row, slowly easing Harry's
boat out of its slip and toward the channel.
Harry stands at the wheel, looking back at Bee-Lips off the
stern.



INT./EXT. HARRY'S BOAT IN THE HARBOR – NIGHT
The boat drifts in the channel, a safe distance from the yacht
basin. The motors GRUMBLE to life.
Harry stands at the wheel, checking the gauges.
He goes ASTERN where Bee-Lips waits in the skiff.
                    HARRY
          These Conchs are comical. They
          didn't even siphon the gas.
                    BEE-LIPS
          Where you going to put her?
                                                                 79

                    HARRY
          Where I always put her. Up in
          the creek where it crosses the
          road. You scull back and pick
          me up there in two hours. You
          know where?
                    BEE-LIPS
          Two hours.
The boats separate. Bee-Lips rows toward shore, while Harry's
boat gently motors further out into the channel.



EXT. BRIDGE OVER A CREEK - NIGHT
A remote road a few miles from town crosses over a canal.
Under the bridge, Harry's boat lays at anchor.
Harry and Bee-Lips walk up the embankment toward Bee-Lips' car
parked on the side of the road.
                    HARRY
          I'll come out in the morning
          and fill her up and do what
          needs to be done. The Cubans
          can come out in a car when
          they're ready.
                    BEE-LIPS
          They wanted you at the dock
          across from the bank.
                    HARRY
          How can I lay there with this
          boat?
                    BEE-LIPS
          I don't think they'll want to
          do any driving.
                    HARRY
          You bring them out.
                    BEE-LIPS
          I'll get them a taxi.
                    HARRY
          Get a driver that doesn't have
          kids.
                                                                 80

                    BEE-LIPS
          They all got kids.



INT. HARRY'S BEDROOM – NIGHT
The bedroom is dark. Marie is in bed asleep. A light is on in
the closet.
In the CLOSET, Harry opens a storage box and pulls out a
Thompson machine gun, wrapped in a towel. He checks the gun,
then wraps it up again.
Harry exits the closet and stands the tommy-gun up in a corner
of the room with his rucksack. He begins to undress for bed.
                      MARIE
          Harry?
                    HARRY
          Go to sleep, old woman.
                    MARIE
               (Turning on the light)
          What's the matter?
                    HARRY
          Going to make a trip.
                      MARIE
          Who with?
                    HARRY
          Nobody. Albert maybe.
                    MARIE
          With what?
                    HARRY
          I got the boat again.
                    MARIE
          Oh, Harry. You'll go to jail.
                    HARRY
          Nobody knows I got her.
Her eyes focus on the gun.
                    MARIE
          Oh, honey, you aren't going on
          that kind of trip?
                                            81

                    HARRY
          I'm going on a bad trip. I'm
          going on a hell of a trip,
          Marie.
                    MARIE
          Oh, God, Harry, I wish you
          didn't have to do these things.
Harry gets into bed.
                    MARIE (CONT'D)
          You want to tell me about it?
                    HARRY
          No. I'm so tired. Only don't
          you worry no matter what you
          hear.
                    MARIE
          Alright. I won't worry. I got
          confidence in you.
                    HARRY
          That's all I got left is
          confidence. I got to sleep,
          Marie. I gotta get up before
          sunrise.
                    MARIE
          Ok, you go to sleep. I'll get
          you up. Maybe when you come
          back we'll go to a hotel up in
          Miami like we used to. Some
          place where nobody knows us,
          you know? Why couldn't we go to
          New Orleans?
                       HARRY
          Maybe.
                    MARIE
          We'll go to New Orleans?
                    HARRY
          Yeah, sure, maybe. I got to
          sleep, Marie.
                    MARIE
               (Switching off the light)
          Ok, You go to sleep. I'll wake
          you.
                                                                 82

Marie looks at his face in the dark.
Harry's asleep already.
She leans over and pecks him on the cheek.



EXT. HARRY'S DRIVEWAY – SUNRISE
Early next morning, Harry hauls a jug of gasoline out of a
shed to the car. Other jugs sit on the drive next to the car.
Harry starts to pack them.
Marie approaches with a cup of coffee. She hands it to him and
he takes a sip.
                    MARIE
          You aren't worried, are you,
          honey?
                    HARRY
          No. I'm just thinking. I got to
          think this through.
                    MARIE
          Want me to come with and help
          with the gasoline?
                    HARRY
          Alright. Do me a favor. Go
          fetch the .38 by the bed. And
          grab a box of shells too.
She goes. Harry continues to pack the car. His girls wander up
to the car.
                    ELIZABETH
          Daddy, can we have some money
          to go to the show?
                    HARRY
          Why don't you go swimming?
          That's free.
                    ELIZABETH
          Oh, Daddy. It's too cold to go
          swimming. We want to go to the
          show.
Harry hands her a couple dollars.
Marie returns as Martha puts in Harry's hand a necklace of
                                                                 83

twine looped through his wedding ring.
                    MARTHA
          I made you this necklace,
          Daddy, so you and Mommy won't
          have to divorce.
Harry holds the ring in hand. Somewhat reluctantly, Harry
slips it around his neck.
                    HARRY
          Alright. You girls listen to
          your mother while I'm away. And
          don't give her any lip.
                    ELIZABETH
          We won't, Daddy.
                    HARRY
          We gotta go.
                    GIRLS
          Bye, Daddy.



EXT. THE BRIDGE OVER THE CREEK - MORNING
His car is parked at the side of the road by the bridge. Harry
and Marie each carry a jug or two down the bank.



EXT. HARRY'S BOAT IN THE CREEK - CONTINUED
Harry siphons some gas from a jug into the boat's tank.
Marie steps down into the boat with a jug and sets it down.
She holds up the .38.
                    MARIE
          What about this, hon?
                    HARRY
          Put it in the secret stash down
          below. You know where?
                    MARIE
          Under the floor?
                    HARRY
          Yeah. And take the shells too.
                                                                 84



INT. HARRY'S BOAT / FORWARD CABIN – CONTINUED
Marie enters the forward cabin. Finding a fish knife nearby,
she gets down on her hands and knees and feels for the
specific board. She wrenches the board up and puts the .38 and
a box of rounds into the cavity. She then pulls out a bottle
of rum, looks at it, then replaces it.



EXT. THE BRIDGE OVER THE CREEK – CONTINUED
Harry and Marie walk up the embankment to the car.
                    HARRY
          You letting your hair grow out?
                    MARIE
          I thought I would. The girls
          have been after me about it.
                    HARRY
          The hell with them. You keep it
          like it is.
Harry gets the last jug out of the car. Marie stands by the
driver's door.
                    MARIE
          You really want me to? You
          don't think it makes me look
          too old or fat?
                    HARRY
          You look better than any of
          them.
                    MARIE
          I can make it blonder if you
          like.
                    HARRY
          Those girls got no business to
          bother you like that.
                    MARIE
          You know how young girls are.
          If you make a good trip, we'll
          go to New Orleans, should we?
                                                                85

                    HARRY
          Miami maybe. You better get
          going. I'll catch a ride into
          town later.
                    MARIE
          You know I lay awake almost all
          night just looking at you.
                    HARRY
          You're some old woman.
                    MARIE
          You know I can look at you any
          time and get all excited.
                    HARRY
          I got to fill this gas now.
                    MARIE
          Alright. I won't worry. But
          please take care of yourself.
                    HARRY
          Good-bye, old woman.
                    MARIE
          Aw, Harry...
She clings to him.
                    HARRY
          Let me go. I got a lot to do.
She looks up and kisses him long and hard on the lips, like
the first kiss of a fresh lover. She grips his ring-necklace.
Her eyes are wet despite herself.
                    MARIE
          Every time I see your goddamn
          face it makes me want to cry.
Harry shuffles away toward the embankment.
Marie gets in the car, starts it, backs onto the road. Marie
looks one last time --
-- and Harry grins at her a great wide winning Clark Gable
smile –-
-- and Marie drives away, looking back in the rear-view
mirror, sobbing openly now.
                                                                 86

EXT. HARRY'S BOAT IN THE CREEK - DAY
In the STERN, the hatches to the engine are propped open.
Harry is on his knees jerry-rigging a sling with a piece of
fan belting. Harry cradles the machine gun in this sling under
the decking, hidden from sight.
Harry stands, hearing THE SOUND OF AN IDLING CAR on the bridge
above. He looks up the embankment. Oh hell...
Harry's POV: overhead, by the side of the road, the Sheriff
stands, looking down at Harry.



EXT. POLICE SEDAN ON THE BRIDGE OVER THE CREEK – CONTINUED
A police sedan idles on the side of the road. The Sheriff sits
at the wheel, smoking a pipe. Harry pokes his face in the
passenger side window.
                    HARRY
          Headed back into town, Winslow?
                    SHERIFF
          Hop in, Harry.


INT. POLICE SEDAN ON A ROAD IN KEY WEST – CONTINUED
The Sheriff and Harry putter on the road into town.
                    SHERIFF
          Did you hear, Harry? Those
          Customs boys said someone took
          your boat last night.
                    HARRY
          They should take better care of
          my boat.
                    SHERIFF
          Going to be another hot one.


EXT. FREDDY'S BAR / STREET – DAY
The police sedan idles in front of FREDDY'S BAR.
Harry climbs out and goes into the bar.
                                                                87



INT. FREDDY'S BAR – DAY
Freddy is behind the bar, talking with Albert. Three well-to-
do TOURISTS are seated on barstools —- MR. and MRS. LAUGHTON
(30's), and a wealthy yachtsman, WHITEHEAD (50). Two CUSTOMS
OFFICERS wait at the end of the bar.
                    MRS. LAUGHTON
          Oh, nerts to you.
                    WHITEHEAD
          How charming. I'd never heard
          the expression actually used in
          conversation.
                    MRS. LAUGHTON
          Nert, nerts, double nerts to
          you.
                    WHITEHEAD
          Beautiful. You put it so
          prettily.
                    MR. LAUGHTON
          Doesn't she?
Harry enters and Albert rushes up to him.
The Officers rise and begin toward Harry.
                    ALBERT
          The Custom boys are here,
          Harry. Where'd you put her?
                    HARRY
          Same as last time. I'm sorry,
          Al, I can't use you.
                    ALBERT
          I'd go cheap, Harry.
Mrs. Laughton notices Harry. She purrs to her husband.
                    MRS. LAUGHTON
          Oh, isn't he wonderful? That's
          what I want. Buy me that, Papa.
Harry scowls at the woman.
                    HARRY
          I'm going by myself.
                                            88

The Officers approach Harry.
                    CUSTOMS OFFICER
          Harry. Where were you last
          night?
                    HARRY
          Right here.
                    CUSTOMS OFFICER
          Anybody see you?
                    FREDDY
          Plenty of people.
                    HARRY
          What's the matter? You boys
          think I'd steal my own boat?
                    CUSTOMS OFFICER
          Don't get pissed at me.
                    HARRY
          I'm not pissed. I was pissed
          when they took my boat without
          any proof she carried liquor.
                    CUSTOMS OFFICER
          There was an affidavit. You
          know the big shot who made it.
                    HARRY
          Alright, go peddle your papers.
                    CUSTOMS OFFICER
          Don't get snotty with me or
          I'll see you get something to
          be snotty about.
                    HARRY
          Why aren't you out looking for
          my boat?
The Customs Officers exit.
                    ALBERT
          You don't want to make a trip
          like that alone.
                    HARRY
          What do you know about it? They
          teach you my business on the
          relief?
                                                            89

                    ALBERT
          Go to hell.
                    HARRY
          I will.
                    ALBERT
          I'd like to go, Harry.
                    HARRY
          Let me alone, will you? Freddy,
          can I speak to you?
                    MRS. LAUGHTON
          Certainly. Go right ahead. Say
          anything you like.
                    HARRY
          Shut up, you whore.
                    HARRY
          You seen Bee-lips?
Harry goes toward the back. Freddy pursues him.
                    FREDDY
          In the back. Listen, you can't
          call my trade names like that.
                    HARRY
          You hear what she said to me?
                    FREDDY
          You can't call a lady a whore
          in a decent place like this.
                    HARRY
          She's no lady, and this
          place...

INT. BACKROOM AT FREDDY'S – CONTINUED
Harry enters the backroom where Bee-Lips sits at a table,
waiting. Freddy follows.
                    BEE-LIPS
          Hello, big boy.
                    HARRY
          Shut up. You got the money?
                    BEE-LIPS
          Of course. Didn't I say I'd
          have the money?
                                                           90

                    HARRY
          Let's see it.
Bee-Lips hands over a roll of cash. Harry counts it.
                    BEE-LIPS
          Our boys are getting nervous.
                    HARRY
          I bet. It should be twelve
          hundred.
                    BEE-LIPS
          Less my commission.
                    HARRY
          You rat fuck. Everything you
          touch is poison.
                    BEE-LIPS
          Listen, I try to help you out
          and get you in on something—-
                    HARRY
          This whole job is poison.
               (Throws the money down)
          I want no part of it.
                    BEE-LIPS
          You're already a part of it,
          you big murdering slob.
Harry seizes Bee-Lips by his necktie.
                    BEE-LIPS
          Don't you bully me, you one-
          armed rummy.
                    HARRY
          I still got two stones and a
          trigger finger. Just being with
          you makes me feel like shit.
                    BEE-LIPS
          Maybe you are shit.
                    HARRY
          Maybe you're a lawyer.
                    BEE-LIPS
          Maybe, but I never killed
          anybody.
Harry releases Bee-Lips. He begins to pick up the money.
                                                              91

                    HARRY
          No, nor you never will.



INT. FREDDY'S BAR – CONTINUED
Harry sits on his stool. Mrs. Laughton looks away with faux
disgust.
                    FREDDY
          What'll you have?
                    HARRY
          What's the lady drinking?
                    FREDDY
          A Cuba Libre.
                    HARRY
          Then give me straight whiskey.
          Get me a quart too, Freddy. And
          pull the cork, will you?
                    MR. LAUGHTON
          Hey, what's the idea talking
          that way to my wife?
Harry looks the man up and down. He turns to Freddy.
                    HARRY
          Say, what kind of place you
          running here?
                    MRS. LAUGHTON
          How I wish I was a man.
                    HARRY
          You'd do ok with those tits.
                    MR. LAUGHTON
          What did you say?
                    HARRY
               (Downing the shot)
          Take it easy. You came down
          here to relax, didn't you? So
          relax. I'll see you, Freddy.
Harry takes his bottle and goes out the door.
                                                               92

                    MR. LAUGHTON
          I should have hit him, I guess.
          What do you think, dear?
                    WHITEHEAD
          Maybe you could write a letter
          telling him what you think.
                    MRS. LAUGHTON
          Gosh, he was big. Like a
          barbarian or something.
                    WHITEHEAD
          He had only one arm.
                    MRS. LAUGHTON
          Really? I didn't notice. Gee,
          don't you think he was
          beautiful?
                    WHITEHEAD
          I thought his face looked like
          a ham with a broken nose on it.
                    MRS. LAUGHTON
          Men are so stupid. He's my
          dream man.
                    FREDDY
          He's a bad-dream man, lady. You
          want another?


EXT. A STREET IN KEY WEST – LATER THAT DAY
Harry emerges from a GENERAL STORE with a small sack of food
in his arm. He walks down the sidewalk, slowing as he passes
by --
-- the FIRST STATE TRUST AND SAVINGS BANK. Inside, a few
customers stand in line. Clerks go about their business.
Harry looks down the street where a taxi is coming.
                     HARRY
          Hayzooz!



INT. JESUS' TAXI ON A REMOTE ROAD – DAY
Jesus drives Harry toward the bridge.
                                                                 93

                    HARRY
          This is good, Hayzooz.
                    JESUS
          Here? You sure?
                    HARRY
          Yeah. Pull off right here.
The car stops on the side of the road, a short distance from
the bridge.
Harry searches his pockets for his money. As he does so, he
pulls a postcard out of his pocket. Harry hands Jesus a few
dollars.
                    HARRY
          Thanks, Hayzooz.
Harry turns the postcard over. He remembers now: the one he
took off the corpse in the hurricane.
                    HARRY
          Hey, do me a favor, will you?
               (Hands Jesus the postcard)
          Drop this off in a postbox when
          you get back to town, will you?
Harry gets out of the taxi.
                    HARRY
          Oh, and don't do any banking
          today, Hayzooz.
                    JESUS
          Watchoo mean? I no got money in
          no stinking bank. I don't trust
          no bank.
                    HARRY
          Smart man.
Harry starts walking up the road toward the bridge. The taxi
turns back to town.
                                                  DISSOLVE TO:

EXT. THE SEA – DAY
Clouds pile up on the horizon in the heat of late afternoon.
                                                                 94



EXT. ALLEY BY THE BANK – CONTINUED
Bee-Lips checks his watch in an ALLEY next to the bank.
Thunder grumbles in the distance. He looks to the sky.



EXT. THE ROAD TO THE BRIDGE – CONTINUED
Thunder continues as Albert trudges up the road toward the
bridge.



EXT. JESUS' TAXI AT THE BANK – CONTINUED
Bee-Lips looks up at Jesus' taxi rolls up in the alley.
Roberto, Emilio, and Paco emerge from the taxi, hefting their
guns.
Ernesto stays seated in the taxi, holding a gun on Jesus.



EXT. HARRY'S BOAT UNDER THE BRIDGE – CONTINUED
The engine hatches are open. Harry kneels, enacting the
motions of fooling with the engines and stealthily taking the
gun out of its sling.



INT. JESUS' TAXI AT THE BANK – CONTINUED
Jesus turns Harry's postcard over in his hand. He jumps at the
sound of LOUD GUNFIRE gunfire from the bank.



EXT. THE BANK – CONTINUED
Emilio emerges from the bank carrying a briefcase. Paco
follows with another. They shove Bee-Lips' into the taxi, a
gun at his head. They all pile into the taxi.
Roberto walks backwards out of the bank doors, tommy-gun
trained on the bank interior. The muzzle flashes -- BOP! BOP!
BOP! BOP!
                                                                 95



EXT. HARRY'S BOAT UNDER THE BRIDGE – CONTINUED
Distant thunder. Closing the engine hatches, Harry looks up to
the sky. He sees –-
-- Albert coming down the bank.



EXT. THE STREET IN FRONT OF THE BANK – CONTINUED
The street is quiet as a Sunday morning. The taxi is gone.
One MAN peers cautiously out from the doorway of a shop.
ANOTHER MAN runs at a dash across the street toward the bank.
We look in through the windows of the bank--
--carnage.



EXT. HARRY'S BOAT UNDER THE BRIDGE – CONTINUED
Harry confronts Albert in the STERN.
                       ALBERT
             I wish you'd carry me, Harry.
                       HARRY
             Get off the boat, Al.
                       ALBERT
             They're only going to give us
             three days a week on the relief
             now. I was afraid to go home
             and see my old woman. She gave
             me hell this morning like it
             was me had laid off the relief.
                       HARRY
             Al, get off the boat.
                       ALBERT
             You can't go alone, Harry.
                       HARRY
             Listen, Al, you gotta get out
             of here now.
                                                                 96

The SOUND of a car stopping recklessly above on the side of
the road. BOOM! A GUN BLAST and the CRASH of glass.
                    ALBERT
          What the hell--!



EXT. JESUS' TAXI / THE BRIDGE OVER THE CREEK – CONTINUED
The windshield is blown out of the taxi. Jesus is slumped over
on the steering wheel.
The four Cubans and Bee-Lips, terrified, his hands in the air,
rush toward the bank.
                    ROBERTO
          Where is it? Where is it?
                    PACO
          Right there, you fool.
                    ROBERTO
               (To Bee-Lips)
          Thanks your help.
Roberto lifts the tommy-gun and shoots Bee-Lips' in the head.



INT./EXT. HARRY'S BOAT UNDER THE BRIDGE – CONTINUED
Harry and Albert watch Bee-Lips fall to the ground. The Cubans
stumble down the embankment toward them.
                    ALBERT
          Oh my Christ! They shot him!
          They shot him, Harry!
                    HARRY
          Take it easy, Albert.
The Cubans come down into the boat. They toss the two valises
onto the deck and begin to take up their places.
                    ERNESTO
          Getta going.
Roberto puts the gun against Harry's belly.
                    ROBERTO
          Come on, Cappie. Let's go,
          let's go!
                                                                   97

                    HARRY
          Okay, but point that some place
          else.
Harry moves to the wheel and starts the motors.
                    ALBERT
          What should we do, Harry?
Roberto turns and swings the tommy-gun on Albert.
                    ALBERT
          Hey, don't! Don't! Don't!
                      HARRY
          Hey --!
Roberto looses a single burst from the tommy-gun at Albert's
chest. Albert slides down to his knees in the stern, eyes
wide, mouth open as if trying to say "Don't!"
                     ROBERTO
          You don't need no mate, you one
          armed sonofabitch.
                  (To Paco, Spanish)
          Get that anchor.
                  (To Harry, English)
          Come on. Let's go.
                  (To Ernesto, Spanish)
          Put that gun in his back!
               (To Harry, English)
          Let's go. Or I blow your head
          off.
                      HARRY
          We'll go.
                                                    DISSOLVE TO:

EXT. THE SEA OFF KEY WEST – SUNSET
Thunderclouds are gathering over the sea.
Harry's boat cruises at top speed away from Key West in the
distance.



INT./EXT. HARRY'S BOAT AT SEA – CONTINUED
Albert lays crumpled up in the stern.
Paco sits on a gas tank, head in hands, nauseous.
                                                                 98

In the WHEELHOUSE, Harry stands at the wheel. Ernesto still
holds a gun to Harry's back. Roberto sits filling clips,
looking back over the stern. Emilio paces, gazing out to sea.
Except for Roberto, all the Cubans are very nervous.
                    ROBERTO
          Come on, Cappie. Hook her up.
                    HARRY
          Take that gun away.
                    ROBERTO
          Make some time.
                    HARRY
                 (Facing Ernesto)
          Take that gun away.
Chastened, Ernesto lowers the gun and sits.
                    ERNESTO
          I don't feel good.
                    EMILIO
          Here they come!
Their POV: four miles distant behind them, two small boats can
be seen in pursuit.
                    ROBERTO
          How fast you going, Cappie?
                    HARRY
          Twelve.
                    ROBERTO
          What can those boats do?
                    HARRY
          Maybe ten.
                    ROBERTO
          Can anything can catch us now?
                    HARRY
          Coast Guard plane.
                    EMILIO
          We cut the telephone wire
          before we came into town.
                    HARRY
          Did you cut the wireless?
                                                            99

                    EMILIO
          You think the plane can get
          here?
                    ROBERTO
          What you think, Cappie?
               (No response)
          Can we make it?
               (No response)
          Hey, you forget how to talk?
                    HARRY
               (To Emilio)
          What'd you let that sonofabitch
          kill my mate for?
                    ROBERTO
          Shut up. Kill you too.
Roberto goes to the STERN. He says something to Paco, who
suddenly vomits on his shoes. Roberto shouts at him.
                    EMILIO
          You think the plane will come?
                    HARRY
          How much did you get?
                    EMILIO
          I don't know. It's not ours
          anyway. We do it for the
          revolution.
                    HARRY
          You kill Albert for that too?
                    EMILIO
          I am very sorry. I cannot tell
          you how badly I feel. Roberto
          is a good revolutionary, but
          he is a very bad man. He thinks
          it is funny to kill. Of course,
          he kills in a good cause. The
          best cause.
In the STERN, Roberto sits in the fishing chair with the
machine gun in his lap.
                                                             100

                    ROBERTO
          What you doing? Making friends
          with the captain? What you
          want? To eat at the captain's
          table?
                    HARRY
          Take the wheel.
                    EMILIO
          What do I do?
                    HARRY
          See the course? Stay on two-
          two-five.
Harry goes AFT, passing by Ernesto, who has laid down on a
berth, groaning with nausea.



EXT. HARRY'S BOAT / STERN - CONTINUED
Harry goes up to Roberto who nurses a bottle of rum.
                    ROBERTO
          What you got to drink?
                      HARRY
          Nothing.
                    ROBERTO
          Look at those seasick babies.
          You got any last wishes,
          Cappie?
                      HARRY
          Just one.
Harry snatches the bottle from Roberto and tips it up.
                    ROBERTO
          Hey! That's all there is!
                    HARRY
               (Tosses the bottle at Roberto)
          I got some more. I was just
          kidding you.
                    ROBERTO
          You don't kid me. Go bring it.
                                                                101

                    HARRY
               (Points out to sea)
          There's your Coast Guard boat.
Their POV: the Coast Guard patrol boat, in pursuit, a mere
fleck of white on the darkening horizon.



INT. HARRY'S BOAT / FORWARD CABIN – CONTINUED
Harry shuts the door behind him. He goes to where his secret
stash is located. Harry waits, listens a moment. Then, with a
fish knife, he pries up the floorboard and reaches down into
the cavity.
The door suddenly opens. Ernesto stumbles in, sick as a dog.
He looks down at --
-- Harry. In his hand is the bottle of rum.
                    ERNESTO
            The toilet!
Ernesto spies the head, and hurtles himself into it.



INT. HARRY'S BOAT / WHEELHOUSE – CONTINUED
Emilio stands at the wheel. Harry comes up from down below.
                    HARRY
          Want a drink, kid?
                    EMILIO
          I do not drink.
Harry quietly notes--
--the compass is 15 degrees off-course and swinging.



EXT. HARRY'S BOAT / STERN – CONTINUED
In the STERN, Harry holds the bottle out to Paco, nearly
comatose with nausea.
                    HARRY
          Got your sea-legs yet, Paco?
          How about a drink?
                                                               102

Paco shoos him away.
Harry takes a drink and hands the bottle to Roberto. Harry
regards Albert, still crumpled up in the stern.
                    ROBERTO
          What's the matter? He scare
          you? You want to dump him? No
          sense stinking up the boat.
                    HARRY
          Take his arms.
Roberto lays the tommy-gun down on the stern gunwale, and
bends down to pick Albert up.
Harry hefts Albert's legs, following Roberto's lead. As he
does so, Harry takes note of –-
-- the machine gun.
                    ROBERTO
          The heaviest thing in the world
          is a dead man. You ever lift a
          dead man before, Cappie?
                    HARRY
          You ever lift a fat dead woman?
Roberto laughs, shoving Albert up onto the stern. He reaches
for the bottle.
                    ROBERTO
          You're a tough fellow. Listen.
          I am sorry I killed your
          friend. When I kill you, I feel
          worse. Over he goes!
Harry and Roberto shove the body out of the boat. As they do
so, Harry stealthily kicks the machine-gun overboard.
                    HARRY
          Poor hungry bastard.
Albert bobs up and down in the wake once or twice, his mouth
still crying "Don't!"
                    ROBERTO
          That's better. Make it
          shipshape.
               (Looking wildly around)
          Where is it? What did you do?
                                  103

            HARRY
What?
          ROBERTO
The ametralladora!
            HARRY
The what?
          ROBERTO
You know what. Now I kill you.
Now I kill you!
          HARRY
Take it easy. What're you going
to kill me for?
          ROBERTO
Give me a gun, Paco. Give me a
gun!
          EMILIO
You kill too much. You kill the
mate and now you want to kill
the Captain.
          ROBERTO
He knocked the machine gun
over!
          PACO
Kill him when we get there.
          ROBERTO
I tell you, you make a mistake
if you don't kill him now.
Someone give me a gun!
          EMILIO
Every time you're drunk you
want to kill somebody.
          HARRY
Relax, Roberto. Have a drink.
     (Pointing)
Watch, when the sun goes all
the way under, the sky will
flash bright green.
          ROBERTO
You think you got away with
something. But I tell you I am
going to kill you.
                                                                 104

                    HARRY
          Who will take you across?
                    ROBERTO
          I tell you now, you one-armed
          bastard, when we see the lights
          of Havana, I will kill you.
                    HARRY
          Have a drink. I'm going to have
          a look at the engines.
Harry turns and opens up the hatches.
Roberto settles into the fishing chair, in a murderous mood,
lifting the bottle.
Down with the engines, Harry fiddles with this and that.
Thinking. His eyes scan the Cubans in the boat.
The back of Harry's hand brushes the hidden tommy-gun.
Ernesto comes up from down below. He flops in a half-stupor on
a berth. He looks back at --
-- Harry, sweating.
The sun slips below the rim of the earth, and the sky flashes
green.



EXT. THE SEA - NIGHT
The sea by night. Lightning flares orange in thunderheads.



INT. HARRY'S BOAT / WHEELHOUSE – NIGHT
Chomping a sandwich, Harry comes up to Emilio at the wheel.
Ernesto has laid down, sea-sick. Roberto and Paco remain on
the STERN as before.
                    HARRY
          There's bread and corn beef in
          the galley. Make some coffee if
          you want.
                    EMILIO
          I don't want any, thank you.
          You know, Captain, I feel bad
          about your mate.
                                                               105

                    HARRY
          I hated to throw Albert over
          like that. At least it'll save
          his wife the cost of a burial.
                    EMILIO
          Roberto doesn't mean to do
          wrong. It's just what this
          phase of the revolution has
          done to him.
                    HARRY
            (Smiling plastic)
          Yeah, I guess he's not such a
          bad skate. What kind of
          revolution you make now?
Emilio sparks with radical fervor, licking his lips eagerly.
Harry nods, smiles a plastic smile.
                    EMILIO
          We are the only true
          revolutionary party. We want to
          do away with all the old
          politicians, with all the
          American imperialism, and the
          tyranny of the army. We want to
          start clean and give every man
          a chance. But we are not
          Communists.
Harry smiles, eyes the compass --
-- twenty-five degrees off-course, and drifting rapidly.
                    HARRY
          Un-hunh. So how's that going
          then?
                    EMILIO
          We just raise money now for the
          fight. To do that we have to
          use means that later we would
          never use. Also we must employ
          men we would never employ
          later, men like Roberto.
                    HARRY
          I guess you got a good program
          there if you're out to help the
          working man.
                                                               106

                    EMILIO
          I regret the necessity of
          violence in the present phase
          of the revolution. I hate
          terrorism. I feel very badly
          about the methods for raising
          the money. But there is no
          choice. You do not know how bad
          things are in Cuba.
                    HARRY
          Yeah, I guess they're plenty
          bad alright.
                    EMILIO
          It is an absolutely murderous
          tyranny. I love my country and
          would do anything to free it
          from tyranny. That is why I do
          things I hate. But for the
          common man, I would do things I
          hate a thousand times more.
                    HARRY
            (Enough bullshit)
          I see. Sometimes to help the
          common man it's necessary to
          rob a bank and kill a man like
          Albert with five kids and a
          wife waiting for him at home,
          and that poor taxi driver
          Hayzooz with a new wife and a
          new baby, and even that bastard
          Bee-Lips who was just trying to
          feed his kids.
Emilio looks with sad confusion at Harry.
                    EMILIO
          In the present phase --
                    HARRY
          What do I care about your
          revolution? Fuck your
          revolution.
            (In Spanish)
          And fuck you too.
Emilio watches Harry stalk toward the STERN. Emilio looks as
if he is about to weep.
                                                                 107

EXT. HARRY'S BOAT / STERN – NIGHT
It's time. Harry comes up to Roberto, and holds out his hand
for the bottle. Roberto sulks in the chair, drunk.
                    HARRY
          Give me some of that.
                    ROBERTO
          You go to hell.
                    HARRY
          Alright, let's go.
Harry turns, opens the hatches to the engines, steps down. He
crouches, fiddles with the motor, peers with poker eyes at the
Cubans:
Paco slumbers on the gas-tank.
Roberto drinks, looking out to sea, his back to Harry.
Ernesto lies in a berth in the wheelhouse.
Harry's hand presses against the tommy-gun.
Paco's head bursts red as
BOT! BOT! BOT! BOT! Harry opens up.
Ernesto tugs at the pistol in his belt. BOT! BOT! He flops
over.
Emilio turns around at the wheel. BOT! BOT! BOT! The kid
drops.
Harry pivots and looks astern, crouching low. He sees –-
-- the fishing chair is empty.



EXT. THE SEA – CONTINUED
Harry's boat arcs in a wide lazy circle.



EXT. HARRY'S BOAT / STERN – CONTINUED
In the engine pit, Harry peers through the darkness of the
stern.
There. A movement in the corner. Roberto is creeping toward
                                                                 108

Paco's fallen pistol.
The muzzle flashes: BOT! BOT! BOT! BOT!
Roberto flops with a thud.
Hundred dollar bills fly out of one of the valises and flutter
in the breeze.
Harry climbs up out of the hole and goes over to Roberto. He
puts the muzzle against his Roberto's head.
                    HARRY
          You big-faced murdering--
BOT-BOT-BOT-BOT! Harry empties the clip into Roberto's head,
thumping like a pumpkin.
Harry shoves the machine-gun in the crotch of his stump and
proceeds to feed another clip into it. He notices –-
-- gas streaming from a two holes in the tank where Paco
collapsed.
                    HARRY
          Dammit! God--!
He starts urgently toward the WHEELHOUSE. Stops.
Emilio is standing before him, pistol lifted.
BANG! Harry, startled, surprised, punched in the gut, drops to
the deck. He lifts the machine-gun, trying to reload it with
one hand.
Emilio limps toward him, pistol raised.
BANG! The wood splinters near Harry's head. Harry drops the
clip--
--and it slides into the open engine pit. That's trouble.
Emilio creeps toward the STERN, aiming carefully.
Harry slides across the decking, turns over, trying to reach
down into the engine pit.
Emilio emerges from the WHEELHOUSE and stands in the STERN. He
levels the pistol at Harry's--
BOOM! A bullet kicks Emilio in the forehead. He drops to the
deck.
Done.
                                                                 109

Harry sits up and lowers the .38 Special, its muzzle smoking.
Harry rips open his shirt. He fingers the hole in his belly.
There is almost no blood.
                    HARRY
          Goddamn it. Goddamn you! One
          thing. One thing to spoil
          everything! Oh, goddamnit, I'm
          a gone son-of-a-bitch.


EXT. THE SEA – CONTINUED
Harry's boat arcs in a great circle. The engines go SILENT. It
drifts, dark, quiet, rolling with the sea.
                                                  DISSOLVE TO:


EXT./INT. HARRY'S BOAT AT SEA – AFTERNOON
Harry's boat drifts lifelessly on the sea. A seagull perches
on the roof of the WHEELHOUSE.
The carnage by daylight: spent shells roll on the blood-
spattered decking...splintered woodwork and cracked
glass...hundred dollar bills float on the shifting tide of
blood and gasoline on the deck...
In the STERN, Roberto and Paco and Emilio lie twisted in the
sun.
The door to the WHEELHOUSE bangs shut, creaks open, swings to
and fro with the rolling of the boat.
Ernesto lie dead WITHIN.



INT. HARRY'S BOAT / FORWARD CABIN – CONTINUED
Harry lies on a berth in the forward cabin. His dry, black,
cracked lips mutter something.
A shadow darkens his face. The shadow of a bird, the angel of
death perhaps, fluttering outside the porthole overhead.
Harry tries to lift his head. He looks, eyes unseeing. His
mind has gone.
                                                                110

                    HARRY
          A man alone...
                    SON (OS)
          I don't think he hears you,
          Father.
REVEAL: An OLD YACHTSMAN (70's) and his SON (20) stand over
Harry. The Old Yachtsman wets Harry's lips with a damp
kerchief. The cloth comes away bloody.
Behind them, in the doorway, NILS, the Yacht Captain, and his
MATE, look in.
                    NILS
          Eduardo contacted the Coast
          Guard. They're at least an hour
          away.
                    OLD YACHTSMAN
          We'll have to turn back, Nils.
                    NILS
          I agree. Henry, let's get that
          stretcher down here.
                    SON
          Do you think he'll live,
          Father?
                    OLD YACHTSMAN
          No, but you can never tell.


EXT. BOATS AT SEA – CONTINUED
Harry's shattered boat has been lashed to a magnificent 150
foot luxury yacht, the New Exuma II. A CROWD OF BOATERS, all
in handsome dress white, gather on the deck, watching four
CREWMEN haul Harry aboard in a stretcher.



INT. THE NEW EXUMA II / DECK – CONTINUED
Harry looks around in bewilderment as he is carried over the
deck, among the ELEGANT BOATERS, wine glasses in hand.
                                                                 111

INT. THE NEW EXUMA II / BELOW DECKS – CONTINUED
Harry is carried down into the ship, ported through corridors
of rosewood and teak.
Past tables set with linen and china and silver and heavy with
feasts.
CREWMEN, SERVANTS, GUESTS in dinner jackets and long gowns
stand aside to let him pass.



INT. THE NEW EXUMA II / MASTER STATEROOM – CONTINUED
Harry is layed -- a filthy wreck -- on the clean white sheets
of the bed, among vases of fresh flowers and impeccable decor.
                                                  DISSOLVE TO:

INT. THE NEW EXUMA II / MASTER STATEROOM – DUSK
The dim light of the stateroom. Harry, his head on the pillow,
opens his eyes. He struggles for clarity.
                    HARRY
          A man alone ain't got no any
          can't really isn't any way.
REVEAL: the Old Yachtsman sitting on the bed next to him. A
few shadowy figures in the doorway behind him.
                    OLD YACHTSMAN
          Don't talk. Try to get some
          rest.
                    HARRY
          No matter what how the way
          things they go.
                    OLD YACHTSMAN
          Rest, rest.
The Yachtsman stands to go. Harry seizes his arm. The
Yachtsman bends down to hear.
                    HARRY
            (Sotto voce)
                                                                    112

          Don't fool yourself. Like
          trying to pass cars on the top
          of a hill. Anywhere. Just like
          that. I mean how things. The
          way they been going. For a
          while yes sure all right maybe
          with luck. But. A man alone.
                    OLD YACHTSMAN
          I understand, my friend.
Harry's hand finds the Yachtsman's, and they hold hands. Not
shaking hands or gripping hands, but holding hands.
                    HARRY
          No bloody fucking chance.
                    OLD YACHTSMAN
          I understand.
                                                     DISSOLVE TO:

EXT. THE SEA - NIGHTFALL
A waterspout churns on the horizon.



INT.   THE NEW EXUMA II / MASTER STATEROOM – NIGHT
Harry lays in the bed, eyes open, watching, waiting. The
sheets are rinsed bright red.
Harry watches the door in anticipation.
The door swings open. The shark swims in.



EXT. THE YACHT BASIN AT KEY WEST – NIGHT
An ambulance and some police sedans are parked out on the
street. A CROWD of curiosity-seekers, reporters,
photographers, yachtsmen, stand outside the closed gate.
The old Cuban Watchman stands inside the gate, overwhelmed.
THREE YACHTSMEN elbow their way through the crowd and shove
past the gate.
                    WATCHMAN
          Hey! You no can come in.
                                                                 113

                    PUSHY YACHTSMAN
          What the hell. We're off a
          yacht.
                    WATCHMAN
          Nobody supposa come in.
                    PUSHY YACHTSMAN
          Don't be stupid.
The Yachtsmen stride down to the docks. They walk by yacht
after magnificent yacht, past POLICE and ONLOOKERS going here
and there.
Marie stands under a lamp nearby with her three daughters. The
girls hold hands.
                    MARIE
          Stay right here.
                    MARTHA
          But we want to see Daddy.
                    MARIE
          Goddamn it, I said stay here.
Marie goes toward Harry's boat in the next dock.
Lashed to a Coast Guard cutter, Harry's BOAT is a dark hulk
lit by flashlights. The carnage has not been cleaned up.
Marie wanders into the crowd of people now gathering around
the boat.
The Sheriff and his DEPUTIES and a DETECTIVE are busy in the
stern or combing through the wheelhouse.
A Coast Guard SKIPPER and two of his OFFICERS stand on the
dock with the Nils, the Yacht Captain and his Mate.
                    SKIPPER
          I thought it was better to
          leave the money exactly like it
          was.
                    SHERIFF
          You did right.
                    DETECTIVE
          A lot's missing.
                    SKIPPER
          No one touched a thing.
                                                                 114

                    DETECTIVE
          Ten thousand. Maybe more.
                    SKIPPER
          No one touched a thing.
                    SHERIFF
          Alright, alright. God knows
          what happened here. We'll sweep
          it again tomorrow, Dick.
A PHOTOGRAPHER'S flashbulb turns the Sheriff's head just as
Albert's wife, Teresa, pushes forward through the crowd.
                    TERESA
          Where's Albert? Where they put
          my Albert?
                    SHERIFF
          Who left that gate open? Get
          something to cover those
          bodies.
                    TERESA
          Where's Albert?
                    SHERIFF
          He's not here, Mrs. Tracy.
                    TERESA
          Oh, my God, where's my Albert!
                    SHERIFF
          Charlie, get these people out
          of here!
Teresa drops to her knees and screams. She starts to pull her
hair out.
Marie starts to wander away from the crowd, looking around.
And then she sees him.
Marie walks faster and faster until she nears THE NEW EXUMA II
docked at the end of the basin.
Marie slows and stops before a gurney, guided by two MEDICS.
The Old Yachtsman and his Son stand alongside. A small GROUP
off the yacht watch the gurney.
                    MARIE
          Harry?
                                                                 115

                    MEDIC
          He's gone, ma'am.
                    MARIE
          He's dead?
                    OLD YACHTSMAN
          He died at sea an hour ago.
                    MARIE
          I want to see him.
A Medic pulls back the sheet.
                    MARIE
          Oh, hell. Oh, Harry. Oh, Harry.
The Old Yachtsman puts a hand on her arm.
                    MARIE
          Don't touch me! Where's his
          ring? What'd you do with it?
          Oh, Christ, look at his
          goddamned face!
                                                       CUT TO:
The crowd mills away from the boat.
Marie marches along the pier toward the exit. Her daughters
trail behind, Pauline sobbing.
                    MARTHA
          What about Daddy, Mommy?
                    ELIZABETH
          How is he, Mother?
                    MARTHA
          Where is Daddy?
                    MARIE
          Don't talk to me. For Christ
          sake, don't talk to me.
                    MARTHA
          But what about Daddy?
                    MARIE
          Shut up, Honey. Just shut up
          and pray for him.
Exhausted, Marie half-collapses under a light. She sits on a
curb. The girls all begin to cry.
                                                                 116

                    MARIE
          Goddamn it, I said pray for
          him. Don't you dare cry!
The medics pass by Marie and the girls on their way to the
ambulance. They watch the gurney rattle by.
                    MARIE (VO)
          I don't know. I can take it
          just a day at a time and a
          night at a time, and maybe it
          gets different. It's the
          goddamned nights. How do you
          get through the nights if you
          can't sleep?

INT./EXT. KEY WEST / VARIOUS / MONTAGE – NIGHT
Most of this is a montage, with Marie talking on the phone in
VOICE-OVER.
Marie sits at the table on her PATIO in the dark, having a
drink, talking on the phone.
Weeds push up through the cracks in the patio bricks.
Unwatered flowers wilt in their pots.
A tree-swing hangs motionless in the backyard.
                    MARIE (VO CONT'D)
          I don't know. Maybe you get
          over being dead inside. I guess
          it don't make any difference.
          It's been a week today and I'm
          afraid if I think about him
          I'll get so I can't remember
          how he looks. That was when I
          got that awful panic when I
          couldn't remember his face.
The cat sleeping in his comfy chair by the radio.
A cheap painting over the piano. The metronome.
The girls in their BED.
Elizabeth sits at the window, clutching a Bible, staring up at
the moon.
                                                                117

                    MARIE (VO CONT'D)
          If he'd left some money or if
          there'd been a reward it would
          have been better but I wouldn't
          feel no better. I've got to do
          something. I've got to get
          started on something. Ain't
          nobody coming back anymore when
          they're dead.
Marie lies awake on her side of the BED, twisting her wedding
ring.
                    MARIE (VO CONT'D)
          Not him. Not those bastards
          that shot him and robbed my
          nights and stole my days. Those
          dirty bastards. Seven good
          souls and all that money
          overboard. And Harry's ring too
          what we got in Havana with my
          name on the inside.
EXTREME CLOSE UP: interior of a wedding ring: "Marie."
Marie bounds out of bed, tossing on some clothes.
                    MARIE (VO CONT'D)
          Those dirty goddamn bastards.
          That's the only feeling I got
          left. Hate and a hollow
          feeling. I'm empty like a empty
          house.
Harry's HOUSE with a "For Sale" sign out front. The lights of
the car in the drive come on.
                    MARIE(VO CONT'D)
          I know I shoulda gone to the
          funeral. But I couldn't. People
          don't understand that. They
          don't know how you feel.
          Because good men are scarce.
Marie drives the car past Key West CEMETARY.
The gravestones and vaults.
The carved cherubs and stone Christ.
A fresh grave.
                                                                 118

                    MARIE (VO CONT'D)
          They just don't have one.
          Nobody knows the way you feel,
          because they don't know what
          it's all about that way. I know
          it. I know it all too well.
Albert's wife, Teresa, stands on a SEAWALL, looking out to
sea. She turns her gaze toward--
--the lighthouse.
The STREETS of Key West at night.
Marie drives past FREDDY'S BAR.
In front of the bar, the Sheriff's sedan is parked, lights
going. The Sheriff is arresting several drunken WWI VETS.
                    MARIE (VO CONT'D)
          Especially him, like he was,
          snotty and strong and quick,
          like some kind of animal. It
          would always get me just to
          watch him move. I was so lucky
          all that time to have him. But
          his luck went bad in Cuba. And
          then it kept right on getting
          worse and worse until a Cuban
          killed him.
INSIDE FREDDY'S BAR, a pack of VETS are engaged in a ferocious
barroom brawl.
Freddy swings a pool cue, whacking one VET in the head.
Wesley hops on one leg (his other has been amputated), using a
broom as a crutch. He shakes his fist and curses TWO TAUNTING
VETS, who have stolen his false leg.
Harry's stool in the corner stands empty, surrounded by the
tide of drunken brawling Vets.
Tacked to the wall behind his stool, a photo of Freddy and
Harry on a fishing trip.
                                                                 119

                    MARIE (VO CONT'D)
          Cubans are bad luck for Conchs.
          I remember the first time he
          took me over to Havana back
          when he was making such good
          money. Two Cubans said
          something to me on the street
          and Harry hauled off and decked
          them both right there.
Marie's POV: as she drives in the car along the beach--
--a drunk, bottle in hand, comes stumbling up the middle of
the road, his face lit white by the headlights. Eddy.
A dozen gorgeous yachts lie at anchor in the YACHT BASIN.
In one YACHT, Mr. and Mrs. Laughton are shouting at each
other. Mrs. Laughton throws a drink at him. A BUTLER rushes to
clean it up.
                    MARIE (VO CONT'D)
          That was when I made my hair
          blonde for the first time there
          on the Prado. They were working
          on it all afternoon, and I was
          afraid I'd look terrible. But
          when I come out of the place
          and saw myself in the mirror
          and it was just like gold in
          the sun and was so soft and
          silky, I couldn't believe it
          was me. And I went down to the
          cafe where Harry was waiting
          and I was so excited, feeling
          all funny inside, and Harry
          stood up when he saw me coming
          and he couldn't take his eyes
          off me and his voice was thick
          and funny when he said, "Jesus,
          Marie, you're beautiful."
In THE NEW EXUMA II, the Old Yachtsman stands alone on the
vast deck watching--
-- Marie going by the DOCK below.
We TRACK with Marie now as she goes toward Harry's BOAT,
climbs down into the stern, goes forward through the
WHEELHOUSE. She throws a switch and a light comes on.
                                                                 120

                    MARIE (VO CONT'D)
          And I said, "You like me
          blonde?" And he said, "Don't
          talk about it. Let's go to the
          hotel." And I said, "Okay,
          then, let's go."
Marie enters the FORWARD BERTH. She throws the light switch.
Goes to the place in the floor. Grabs a fish knife and
wrenches the floorboard up.
                    MARIE (VO CONT'D)
          That was when I was twenty-six.
          And now I'm fat and old and
          ugly and he ain't here no more
          to tell me that I ain't. And I
          wish to Christ it was me was
          dead. 'Cause he was so
          goddamned good to me, and he
          always put food on the table
          some way or other, and the
          girls never knew they were
          poor, and I never had to worry
          about money, only about him.
Marie reaches into the cavity and begins to pull up fistful
after fistful of hundred dollar bills. She tosses these aside
as though they mean nothing.
                    MARIE (VO CONT'D)
          But that's how he always was
          with me and that's how I was
          with him. He said he never had
          anything like me, and I know
          there never was nor never will
          be anything like him. I know
          it. I know it all too well.
Marie's hand reaches deep into the cavity under the decks. At
the very bottom, her fingers find the ring with the twine.
                                                     FADE OUT.

				
DOCUMENT INFO
Shared By:
Categories:
Stats:
views:10
posted:8/13/2011
language:English
pages:121