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 email@example.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.