THE TAKING OF PELHAM ONE TWO THREE
Written by
Peter Stone
Based on the Novel by
John Godey
16th April 1973
1.
FADE IN: (BEFORE TITLES)
EXT. NEW YORK CITY - BLOOMINGDALE'S - DAY
The busy block between 59th and 60th-Streets in the
middle of a weekday afternoon. Buses, taxis, trucks;
shoppers, messengers, teenagers. In one corner of the
screen the time is SUPERIMPOSED:
"1:52"
Now a man (GREEN) is ZOOMED IN on -- little of his actual
face is visible because of his thick white hair, large
bushy white mustache, dark glasses and slouch hat. The
rest of him is encased in a knee-length raincoat. He
wears gloves and is carrying a large, brown-paper-covered
package by a wooden handle attached to the twine securing
it. The box has been addressed in black felt marker --
"Everest Printing Corp., 826. Lafayette St." -- and appears
quite heavy. But Green has the gait of a man. younger than
he appears. As he turns and heads down a flight of stairs,
CAMERA ZOOMS IN even more to the single word on a sign:
"SUBWAY."
INT. SUBWAY - 59TH ST. CHANGE BOOTH - DAY
A level above the locals, two above the express trains.
Green appears and joins the line waiting to buy tokens.
Wordlessly he shoves two coins under the grille, receives
his token, moves on, drops it into the slot, pushes
through the turnstile and heads for one of the descending
stairways. CAMERA HOLDS on a sign identifying his choice:
"IRT. LEX. AVE. LOCAL. DOWNTOWN.."
INT. SUBWAY PLATFORM - 59TH ST. DOWNTOWN LOCAL - DAY
Green comes off the stairs and arrives on a line with a
placard that hangs over the edge of the platform bearing
the number "10", black on a white ground, indicating the
point where the front of a ten-car train stops. Now the
sound of a distant rumbling, growing louder, makes Green
turn,.cross to the platform's edge, lean out over the
track and peer into the darkness of the tunnel beyond the
far end of the platform.
SUBWAY TUNNEL - GREEN'S POV
as the four lights -- amber and white markers over white
sealed-beam headlights -- come into view and the train
roars and clatters into the station. CAMERA PANS with
the head car as it stops, its breaks sighing, and a pair
of doors in EXTREME FOREGROUND, rattles open. CAMERA now
MOVES forward, into the car, then TURNS and through the
still-open door, focuses on the T.A. Cop, still standing
on the platform, regarding Green (CAMERA).
2.
MED. SHOT - FIFTH CAR
From the platform, featuring the conductor (BUD CARMODY)
as he leans out of his window surveying the station. He
has a young, boyish face surrounded by long, curly red
hair.
INT. FIFTH CAR
The door to the conductor's cab is open as Bud continues to
lean out the window. Directly, behind him is MATSON, an
older Conductor of retirement age who is busy instructing
the younger man.
MATSON
C'mon, kid -- out loud so's I can
hear what you're doin'.
BUD
I'm checking the passengers getting
on and off -- front and back --
okay, it's all clear -- I'm shut-
ting the doors; -.rear section
FIRST --
(pushes a button)
-- then the front section --
(PUSHES ANOTHER)
-- and -- the doors are closed.
He pulls his head in and checks a row of lights on a panel.
BUD
Now I 'm checking the indicator box
to make sure that the doors are
all locked -- okay.
The train starts with a jerk.
BUD
Igo back out the window --
(HE DOES)
-- for a distance of three car-
lengths to see that nobody's
being dragged --
(RETURNING)
-- I remove my door key -- and
then the skate key -- and then
I hit the transmitter button.
(into a mike)
Fifty-first Street' next stop --
the next stop is Fifty-first Street.
(turning to Matson)
How'd I do?
3.
1
CONTINUED
MATSON
How come you wanna be a conductor,
anyway? Don't you know the con-
ductor's sittin' in the goddam
hotseat?
BUD
What do you mean, Mr. Matson?
MATSON
You're visible, for God's sake!
Anything goes wrong -- anyone's
got a gripe -- you're the one they
see. Hell, in my twen'y-nine years
o' stickin' my head out there I
been slugged, spit on, hit by
purses, fruit, rolled-up newspapers,
baseball mitts -- an'.I been god-
dam lucky! I never been puked on
by a drunk like Charlie Boltzen was
on the Parkchester line -- or
stabbed in the neck like I heard
one fella was on the Astoria BMT --
BUD
(QUIETLY)
Jesus.
MATSON
You take my advice, kid -- serve
your six months an' then put in
for Motorman. Watch it, we're
cumin' in.
Bud looks quickly off, sees the approaching station and
hits his transmitter button.
BUD
(ANNOUNCING)
FIFTY-NINTH STREET
MATSON
No it ain't
BUD
(CORRECTING)
Fifty-first Street, sorry
the station is Fifty-first Street.
MATSON
Never say you're sorry, kid --
somebody'll come back here an'
bust your goddam nose.
4.
CONTINUED - 2
Bud sticks his head out the window, remembers what Matson
told him and pulls it partially back in.
51ST ST. STATION - BUD'S POV
SHOOTING THROUGH the conductor's window as the train
enters the station. We flash by the "rear-enders" (those
I waiting for the last car) and gradually slow until we
stop -- and we are looking right into the face of a man
(GREY) whose frame and features, while entirely different
from Green's, are covered by the same identical externals
-- thick white hair, bushy white mustache, dark glasses,
slouch hat, gloves and raincoat. He looks at the conduc-
tor (CAMERA) for an instant, then darts away.
PLATFORM - GREY
RIDERS entering and exiting the train as Grey heads down-
track. He carries a large tan valise trimmed in dark
brown.
INT. FOURTH CAR
Grey just makes it to the car as the doors close, holding
them back until he's squeezed through. The train starts
with a lurch as he heads for the rear of the car and takes
up a position, leaning his back against the storm door and
placing his valise on the floor, between his feet. He
surveys the car with cold, heavy-lidded eyes.
INT. FIRST CAR
Green has a seat opposite the shut steel door of the
motorman's cab. His package is on the floor, between
his knees, his arms resting on its top. TWO BOYS, ten
and twelve, brothers, are at the window of the front storm
door, their eyes glued to the track and tunnel before
them, playing.: at driving the train.
INT. FIFTH CAR - CONDUCTOR'S CAB
Bud is removing his key and activating his mike.
BUD
(ANNOUNCING)
Grand Central Station, next stop
-- the next stop is Grand Central.
MATSON
Yeah -- if I was you I'd start
studyin' for that motorman's exam
right now.
5.
CONTINUED
BUD
To tell you the.;truth, Mr. Matson,
I have been. Want to hear some-
thing?
(RECITING)
Every car on the IRT is seventy-two
feet long, cost $250,000 and weighs
75,000 pounds. It holds 44 seats
with room for 136 standing.
MATSON
'Cept at rush hour when you can
push in another 20, at least.
Honest to God, I. know personally
of a case where this guy on a number
5 train dies of a heart attack at
Union Square and he has t' wait
until the Grand Concourse in the
Bronx before enough people get off
so's he can fall down.
(A PAUSE)
Honest to God.
BUD
Mr. D'Agostino who rode with me
last week said that happened on a
double -A train on the West Side.
MATSON
Yeah? Who y' gonna believe? A
wop or an American?
(LOOKING OUT)
Here's where I'm gettin' off --
think you can get to Brooklyn
Bridge all by yourself?
BUD
(GRINNING)
Long as I don't have 'to drive --
MATSON
Stick with it, kid -- you're doin'
great. See ya t'morrow.
He crosses to the nearest door as the train decelerates.
Bud activates. his mike and announces, waving to Matson
as he does.
BUD
Grand Central Station -- change
for the express. This is Grand
Central.
CONTINUED - 2
IN
The train stops, the doors open and Matson steps out,
colliding with a very large man (BROW^?PN) who is in a hurry
to get aboard. His face is adorned with a large, white,
bushy mustache, dark glasses, a lot of white hair, a slouch
hat and, covering the rest of him, a raincoat. He carries
an outsized florist's box, big enough for several dozen-
long-stemmed roses, under his. arm, and wears gloves.
MATSON
What's your hurry, chief? We
won't leave without you.
Brown says nothing to Matson, does not look at him, does
not even seem aware of their cohtact. Matson goes off
into the crowd on the platform and Brown heads for the
front of the car.
INT. FIRST CAR - GREEN
Still sitting, still facing the motorman's cab. The two
boys continue to play at the front window. The doors can
be heard slamming shut and the train jerks into motion.
BUD'S VOICE
(AMPLIFIED)
Thirty-third Street -- next stop
is Thirty-third Street .
Suddenly Green's hand,clutches at his shirt collar, unbut-
toning the top button and loosening his tie. He breathes
a sigh of relief, ' then notices that his left leg is vibrat-
ing. He quickly stills it by placing a hand on his knee.
INT. FOURTH CAR - GREY
Leaning back against the storm door. Now he picks up his
valise, turns and.looks through the door, across the
platform between the cars, into the fifth car, and catches
sight of Brown who nods, almost imperceptively.
Grey makes no sign of recognition at all. He turns and
starts forward through the car, heading for the third car.
At the far end a MAN is standing in front of the door,
leaning down to talk to a seated GIRL. Grey stops and
waits a moment. Finally:
GREY
Your ass.
The man looks around and surveys Grey.
7.
CONTINUED
NSFN
What about it?
GREY
Move it.
The man glances at Grey for a moment, then moves it.
Grey opens the door and steps out onto the platform
between the two cars.
TWENTY-EIGHTH STREET PLATFORM
CLOSE SHOT - STATION DESIGNATION
The tile mosaics spelling out "28TH STREET." CAMERA now
DOLLIES to a TIGHT CLOSE SHOT of still another man with a
white bushy mustache, white hair, dark glasses, slouch hat,
gloves and raincoat -- BLUE. The time is SUPERIMPOSED:
"2a 01. "
WIDER ANGLE
Blue stands at the downtown end of the platform, near the
number 10 placard, carrying a bulging canvas valpac in
one hazed and a trombone case in the other. A rumbling
sound is heard, building, until a train roars through on
the northbound express track, its lights flashing between
the pillars. In a moment it is gone and the sound dies.
Now a young black,.dressed in the latest extravagant
PIMP's fashions -- flaring double-knit trousers, three-
inch heels, wide-lapeled jacket and white, extra-wide-
brimmed hat, swaggers, loose-jointed, to a spot near Blue
and waits, cool and relaxed. He becomes aware of Blue
observing him.
PIMP
What's wrong, dude -- ain't you
.never seen a sunset.before?
Blue-smiles softly and looks uptrack.
INT. FIRST CAR - GREEN
BUD'S VOICE
(AMPLIFIED)
Twenty-eighth Street -- next stop
is Twenty-eighth Street.
Green glances at his watch, then turns to look at the
storm door at the far end of the car.
8.
GREY - GREEN' S POV
The far storm door -- with Grey's face seen through the
glass.
TIGHT CLOSE SHOT - GREEN
as he nods to Grey.
INT. SECOND CAR
as Grey comes back inside, closes the door and wedges his
hip securely against the brass handle.
TWENTY-EIGHTH ST. PLATFORM - LOCAL TRACK
as the train roars in, brakes,' and grinds to a stop. CAMERA
ZOOMS IN on a sign on the side of the first car: "PELHAM
BAY PARK" until only "PELHAM" fills the SCREEN.
MED. SHOT - BLUE
He hangs back until everyone has gotten on or off the
train, then, without haste, carrying the valpac in one
hand and the trombone in the other, he approaches the
front of the first car. The Motorman (DENNY DOYLE), a
middle-aged man with a ruddy face and wearing pin-striped
overalls, is leaning far gut of his window, looking back
along the platform. Blue puts down his bags, puts his
right hand into his raincoat pocket and leans against the
train with his left shoulder, blocking Doyle's view of
the rest of the train.
DOYLE
Hey -- how do you expect me to -- ?
He stops, suddenly aware that Blue has removed a very
large army automatic from his raincoat pocket and has
placed the muzzle against his (Doyle's) head. Doyle
jerks his head back, suddenly, banging it hard against
the windowframe. Blue crooks his hand inside the window
and now places the gun against the Motorman's cheek,
directly under his right eye.
DOYLE
(TERRIFIED)
For God's sake --.what do you want?
BLUE
I'm taking your train.
FREEZE FRAME.
(MAIN TITLE SEQUENCE BEGINS)
9.
MED. SHOT - BUD
as he hangs out his window of the fifth car, looking down-
track, trying to see Doyle.
TRAIN & PLATFORM - BUD'S POV
Blue's Lack, by the head car, blocking any sight of the
Motorman.
CLOSE SHOT - BUD
Confused for a moment -- then:
BROWN'S VOICE
Turn around -- I 've got some-
thing to show you.
Bud turns back, inside the car, then looks down.
CLOSE SHOT - REVOLVER
The snub-nosed weapon has been pushed into Bud ' s midsec-
tion. FREEZE FRAME.
(MAIN TITLE CONTINUES)
MED. CLOSE SHOT - BLUE & DOYLE
Blue's .45 still against Doyle's cheek. Blue speaks
calmly and quietly.
BLUE
Unlock your cab or.
Doyle seems dazed, in a trance. Blue presses on the
barrel of his gun, depressing Doyle's cheek.
BLUE
Pay attention to me. Open your
cab door or I '.11 kill you.
FREEZE FRAME.
(MAIN TITLE CONTINUES)
IT3T. FI TH CAR - CONDUCTOR'S CAE
MED. SHOT - BROWN & BUD
BROWN
Come in and turn around -- slow.
Brown, florist's box and all, has moved into the small
cubicle. When Bud pulls his head in from outside they
are very close.
CLOSE SHOT - DOYLE'S HAND
.as it gropes blindly for the latch, finds it and turns it
with a click. The door opens and CAMERA TILTS UP to dis-
cover Green standing outside. FREEZE FRAME.
(MAIN TITLE SEQUENCE ENDS)
INT. FIFTH CAR - CONDUCTOR'S CAB
Brown's gun is still pressed into Bud's side.
BROWN
Go back out the window and tell
me what you see.
Bud nods, licks his.dry lips and leans out, looking to the
left, downtrack.
FRONT CARS - BUD ' S POV
Blue is still leaning against the head car, his back to us.
BUD'S VOICE
There's someone leaning against
the head car.
BROWN ' S VOICE
The second he comes aboard shut
the doors.
Now Blue turns, picks up his valpac and trombone, enters
the train and the doors close.
INT. FIRST CAR - MOTORMAN ' S CAB
as Green has moved in with his large package, a gun in
his hand. Doyle stares at him, still terrified.
GREEN
Get rid of your seat.
Doyle springs to his feet and swats up the folding seat
with a clatter.
DOYLE
Yes, sir!
GREEN
Just take it easy. Now move
over to the window -- and if you
try to touch the mike pedal with
your foot I'll shoot it off.
12.
CONTINUED
A sharp rapping at the door and Green opens it. Blue
squeezes in, placing his bags atop Green's package. it
is becoming very crowded in the cab as Blue again pockets
his gun.
BLUE
All right, Mr. Green?
GREEN
A hundred percent.
BLUE
Then get it started.
Green moves over to face the controls. He stares down at
them for a moment, then reaches with his left hand to the
controller, his right to the brake handle. Pressing down
firmly on the controller, he nudges it to the left.
TWENTY-EIGHTH ST. PLATFORM
as the train starts to move forward -- slowly.
INT. FIFTH CAR - CONDUCTOR'S CAB
Brown still holding his gun on Bud.
BROWN
Okay -- announce the next station.
Bud presses the transmitter button.
I
BUD
(ANNOUNCING)
Twenty-third Street -- next
STOP IS
His voice croaks then fails -- he can't finish. Brown
prods him with his gun. Bud clears his throat, then
tries again. I
BUD
(ANNOUNCING)
Next stop is Twenty-third Street.
BROWN
Come on -- we're. taking a walk
up front.
INT. SUBWAY TUNNEL
as the train crawls slowly through the darkened tunnel.
13.
INT. FIRST CAR - MOTORMAN'S CAB
Green's eyes are on the controls as Blue and Doyle watch
the track.
GREEN
You say when, Mr. Blue.
BLUE
Keep going --
DOYLE
You're still in switching. Why
don't you peg it up to series?
You're green all the way through.
GREEN
We're in no hurry.
{
Suddenly there's a popping sound and the power fails for
a moment.
BLUE
What happened?
GREEN
She must've bucked.
BLUE
You said you could drive this thing.
GREEN
It wasn't mel
DOYLE
It's the train -- she bucks all
the time -- especially in switching.
She's a dog.
Green glances quickly at Doyle and grins.
GREEN
What's your name, motorman?
DOYLE
Denny Doyle, sir.
GREEN
You ever been written up?
DOYLE
Yes, sir -- once.
14.
CONTINUED
GREEN
What for?
DOYLE
Running a red signal. The trippers
stopped us cold and I hadda climb
down and reset 'em by hand but by
that time Control knew I was lying
dead. I never got written up since.
How about you?
GREEN
Twice. -- once on the Canarsie --
BLUE
That's right, Mr. Green -- tell him
all about yourself.
F
Green stops and looks at Blue.
BLUE
(LOOKING OUT)
There's the emergency power box.
Green knocks off his controller and eases the brake handle
to the right.
INT. TUNNEZ
as the train slows and screeches to a stop.
INT. MOTORMAN'S CAB
GREEN
Yeah -- I'm taking the brake handle
and the reverse key, Denny -- and
I want your cutting key, too.
He pulls the reverse key out of its receptacle and holds
out his hand.
Doyle fishes into his overalls, pulls out the large key
and gives it to Green who puts the brake handle and the two
bulky keys into his two raincoat pockets, then squeezes by
Blue and the packages and goes out.
INT. FIRST CAR
as Green comes out of the cab and closes the door after
him. The two Boys are still there. He smiles at them
and starts back, through the car. A COUPLE OF PASSENGERS
glance at him but without interest.
15.
INT. MOTORMAN'S CAB
Blue and Doyle.
BLUE
You'll be hearing from Command
Center in a minute )r two but you'll
ignore the call -- you won't answer
-- is that perfectly clear?
DOYLE
Yes, sir.
(A PAUSE)
They can call all they. want. to --
I'm deaf..
(ANOTHER PAUSE)
Yes, sir. I want to stay alive..
BLUE
Keep still!
INT. FIRST CAR
as Green nears the storm door, Grey, who stands guard in
front of it, glides to one side and opens the door for him.
GREEN
Thanks, Mr. Grey.
GREY
(EXAGGERATED)
Don't mention it, Mr. Green.
INT. SECOND CAR
Brown slides open the door for Green, then slides it shut
again. They speak in low tones.
GREEN
(TO BUD)
Give me your cab key.
BROWN
(as Bud hesitates)
You got three seconds to live,
conductor -- one -- two --
Bud whips the key from his pocket and hands it to Green,
who unlocks the cab door they're standing next to and
enters, closing the door after him.
BUD
What's he going to do?
16.
CONTINUED
BROWN
You wouldn't want me to spoil the
surprise.
INT. SECOND CAR - CAB
as Green seats himself before the panel and begins arming
it. He fits the brake handle into place, then fishes. the
reverse key out of his pocket -- it is five inches long,
with a shiny surface, and a wrench-type handle that fits
into a receptacle on the flat portion of the controller --
and finally inserts the cutting key -- similar to the reverse
key but with a slightly smaller head, and turns it.
CLOSE SHOT - SUBWAY TRAIN COUPLIb1GS
as they disengage.
INT. FIRST CAR - MOTORMAN'S CAB
Blue and Doyle, waiting, neither saying anything. Sud-
DENLY :
RADIO (CORRELL)
Command Center calling Pelham One
Two Three -- come in, please --
Doyle's foot moves toward the mike pedal and Blue kicks
him hard in the ankle.
DOYLE
Owl I'm sorry -- Z couldn't help
it -- it's automatic --
RADIO (CORRELL)
Pelham One Two Three, do you read
me? Come in, Pelham One Two Three --
Doyle looks imploringly but Blue shakes his head. Finally:
RADIO (CORRELL)
Pelham One Two Three1 Where the
fuck are emu? l
INT. GRAND CENTRAL SHUTTLE STATION
Two men are walking at a rapid pace: CAZ DOLOWICZ, Super-
vising Towerman, an overweight man in his fifties, and a
PLUMBER, a short man dressed in overalls and a cap, carry-
ing a long wooden box of wrenches; he struggles to keep up
with Dolowicz. The time is SUPERIMPOSED:
17.
CONTINUED
"2:07."
PLUMBER
What's the goddam hurry?
CAZ
I told you -- one of my towermen
dropped his wedding ring-down the
john.
PLUMBER
Yeah, but what're we runnin' for?
CAZ
(RUNNING)
Who's runnin'?
They pass the Nedick's stand and Caz pushes through a gate
marked: "TO SUPER'S OFFICE".
PLUMBER
How come that gate ain't locked?
CAZ
Who's gonna steal a subway train?
INT. TUNNEL RAMP
as Caz and the Plumber hurry along. -
PLUMBER
Christ, it stinks down herel Where
the hell are we goin'?
CAZ
To the.Tower.
PLUMBER
Tower? Then what're we goin' down
Hey, slow up, will ya?
CAZ
That's it up ahead -- those windows.
PLUMBER
What kinda tower?
They've come to the door of the Tower Room. They turn,
go up some steps and disappear inside.
G
18.
INT. TOWER ROOM
A long, unadorned room with a row of desks with phones, and
a door marked "TOILET". Several TOWERMEN (and MRS. JENKINS,
a black Towerwoman) sit at the desks before the flashing
phone consoles, talking to dispatchers, trainmasters and
other Towers. The predominant feature of the room, however,
i is the electronic Model Board, stretched high across one
wall, recording in colored slashes of light the movements
of every train that passes through the sector, all of it
superimposed on a painted map showing the line's track
routes and stations. One of the Towermen, MARINO, rushes
over to Caz as he and the Plumber enter.
MARINO
Jesus Christ, Caz•, you picked a
helluva day to be late --
CAZ
You wanted a plumber down here,
didn't you? Whose goddam wedding
ring was it?
MARINO
(POINTING)
Who else? Mrs. Jenkins.
MRS. JENKINS
I'm sorry, Mr. Dolowicz -- it just
slipped off.
CAZ
What were you doin'r with your hand
in the john, anyway?
MRS. JENKINS
(indignant).
My hand-wasn't in the john, Mr.
Dolowicz -- it was over the john.
CAZ
What's the difference?
(to the Plumber)
Go fish it out, will ya?
As the Plumber heads off, Caz turns to Marino.
CAZ
The classification's been open to
women for only a month and already
we're in the goddam toilet!
(glancing at the
BOARD)
What the hell's that?
19.
CONTINUED
MARINO
That's what I've been tryin' -to
tell you, Caz -- a southbound local.
He's laying down between 28th and
23rd.
CAZ
What the hell for?
MARINO
Dunno yet.
CAZ
How long?
MARINO
Couple-three minutes. Command
Center's been trying to raise him
but so far he don't answer the
radio. Jesus, Caz -- why don't
he answer the radio?
CAZ
Take it easy, Marino -- there's
lots o' reasons. Maybe he jumped
a ball and hadda leave the cab to
reset a tripper -- or a door got
hung and he hadda go fix it. Any-
thing more serious and he'd'a
called in for a car knocker.
MARINO
It's been too long, Caz --
CAZ
Then maybe his radio's busted and
the sonuvabitch is too lazy to climb
down and use a telephone! I'm gonna
write him up for.this, goddammit --
I'm gonna have his assn
TOWERMAN
Hey -- it's moving!
Everyone wheels around to stare up at the Board.
CAZ
For Jesus Christ sake! The dumb
bastard's moving backwards!!
20.
INT. SUBWAY TUNNEL
Slowly, the second to the tenth cars are moving away from
the first car which continues to lie motionless on the track.
The rear cars roll about a hundred feet.
INT. SECOND CAR - CAB
as Green, leaning out the window and looking behind him, now
applies the brake handle and the train grinds to a halt.
INT. TOWER ROOM
Caz, Marino and the others are staring up at the Model Board.
MARINO
He's stopped again!
CAZ.
Stopped is better than backwards.
INT. SECOND CAR - CAB
as Green removes the brake handle and the two keys, stuffs
them back into his pockets and leaves the cab.
I
INT. SECOND CAR
Brown and Bud are waiting as Green steps out. Bud stares
at him.
GREEN
What's wrong with you?
BUD
I didn't know these things'd
c o o backwards !
BROWN
(IMPATIENTLY)
Let's go, Mr. Green.
He opens the storm door and holds it as Green goes through
first.
INT. TUNP'EL
as Green comes out onto the threshold plate, crouches low
to ease the impact, then jumps down onto the concrete
roadbed. Bud is next and Green helps him down. Then
Brown. They walk quickly through'the tunnel to the first
car. Grey has opened the storm door for them and steps
out onto the plate to help them up.
21.
INT. FIRST CAR - MOTORMAN'S CAB
Blue and Doyle, the latter watching wide-eyed as the former
opens his trombone case and removes a submachine gun. He
checks it then sets it aside and removes the cord from
Green's package.
RADIO (CORRELL)
Come in, Pelham One Two Three
for Chrissake come in -- I
Blue opens the package, removing a second, identical
automatic weapon. As he checks it out, a rapping sounds
at the metal door and Blue opens it. Green squeezes in.
BLUE
Any trouble, Mr.'Green?
GREEN
Smooth as silk, Mr. Blue.
BLUE
I unpacked your weapon. Get
this thing moving -- we're run-
ning almost two minutes behind.
Picking up his submachine gun, and holding it vertically
along his pants leg, Blue eases himself through the door
and shuts it after him.
RADIO (CO RRELL )
(WEARY)
Pelham One Two Three -- can you
hear me, Pelham Ond Two Three -- ?
Green quickly replaces the brake handle and eases the
controller to the left.
INT. TUNNEL
as the single subway car starts to move slowly forward.
INT. TOWER ROOM
CLOSE SHOT - MODEL BOARD
as a set of red slashes begin to flicker.
REVERSE SHOT
All eyes staring up at the Board (CAMERA).
MARINO
She's moving again -- forward
this time!
22.
CONTINUED
CAZ
I got eyes, haven't I?
M MARINO
Well -- whatever it was, he's
okay now, thank God.
INT. FIRST CAR
it is moving slowly. Blue stands by the cab, his gun still
held hidden behind his leg. He looks down the length of
the car.
MED. SHOT - BROWN ,
He undoes his flower box and removes another submachine gun.
MED. SHOT - GREY
He has opened his valise and has taken out still another
submachine gun which he grins at, happily.
MED. SHOT - BLUE
He comes forward to the center of the car, now, making no
attempt at inconspicuousness any more.
BLUE
(LOUDLY)
Attention, please!
Some faster than others, the Passengers in the car are
either distracted from their reading or talking, or around
from their limbo of subway dead-headedness. Registering
different degrees of interest, surprise, confusion, or
(in.some cases, upon seeing the guns) fright and even
terror, they turn to face Blue.' There are some sixteen of
THEM:
-- The black, modishly-dressed Pimp, in his 30's, seen
earlier on the station platform.
-- A . plump. MOTHER, forty-ish, high-strung, the parent of
the t':o Boys seen earlier play:.ng motorman.
-- A Puerto Rican DELIVERY BOY, 20,-with acne, wearing a
lumberman's wool jacket, a small hat, and carrying a
large manila envelope.
-- A black SECRETARY, 25, attractive, with a natural, and
well-dressed, who's been reading a book.
CONTINUED 23.
-- A HIPPIE type, 24, with shoulder-length blond Jesus
Christ hair and a beard to match, wearing a Navajo-
patterned woolen poncho, a headband, leather sandals
and a zonked-out expression.
-- A black MAID, 50's, overweight, tired, wearing a wig
and an old fur-collared coat, end carrying two Blooming-
dale's shopping bags.
-- A HOOKER, 32, white, flashy, dark-haired, wearing a
short skirt, no bra and an Anzac-type hat.
A W.A.S.P. type, 40's, short-hair, wearing a brown tweed
jacket and a narrow tie.
-- A black SALESMAN, 35, with a, sample case and an order
book, wearing glasses.
-- A woman WINO, a derelict of indeterminate age, with
rolled down stockings, layered in ratty coats and sweaters,
wearing wool gloves with the fingers out, missing most of
her teeth, her hair stringy, her eyes red-rimmed, her
complexion sallow, carrying a pint bottle in a paper bag,
passed out, dead to the world.
-- An OLD MAN, 70's, tiny and alert, dressed in an expen-
sive but old-fashioned cashmere overcoat.
-- TWO CO-EDS, 18 and 19, scrubbed, pretty, serious
(Hunter College, 68th St. Station), carrying briefcases.
-- A black FAG, 25, his hair straightened and pompadoured,
his eyebrows plucked and redrawn, his figure trim, his
clothes calculated to attract other men, his mouth con-
stantly pouting, carrying a shoulder bag and listening
to a transistor radio.
In all, SIXTEEN -- seven men, two boys, seven women; ten
white, five black and one Puerto Rican.
Center-car, Blue addresses them. He holds his submachine
gun in the crook of his arm, the barrel resting on his
right hand.
.BLUE
You will all remain- seated.
Anyone who tries to rise will
be shot.
PASSENGERS
Oh my God
What'd he say?
What's going on?
I don't believe it.
(Etc.)
24.
CONTINUED - 2
BLUE
And. you will remain silent! There
will be no further warning -- any-
one who moves or speaks without
permission is going to be killed.
There is immediate silence as he-looks around.
BLUE
This weapon fires 450 rounds of
.45 calibre ammunition per minute.
In other words, if all of you de-
cided to rush me simultaneously,
not a single one ,of you would get
any closer than you are right now.
Is that understood?
This news is met in stony, awe-struck, terrified silence.
Except for the Pimp who smiles, seemingly relaxed.
PIMP
I should'a know'd you was the
main man, man.
INT. TUNNEL
as the slowly moving car comes to a stop.
INT. TOWER ROOM
CLOSE SHOT - CAZ
He is staring up at the Board.
CAZ
He stopped again! The crazy,
dumb-assed sonuvabitch stopped
again!
WIDER ANGLE
Including Marino, Mrs. Jenkins and the other Towermen.
MARINO
What's he doing now? He's half-
way between stations.
CAZ
A pure mental case. I'm gonna
nail his pecker to the goddam
wall for this!
25.
CONTINUED
MARINO
(indicating Mrs.
JENKINS)
Hey, Caz, take it easy, will you?
CAZ
If I gotta watch my language just
because they let a few broads in'
I'm gonna quit! How the hell. can
you run a goddam railroad without
swearing?!
RADIO (CORRELL)
Grand Central Tower -- this is the
Desk Trainmaster -- who the fuck's
in charge down there?
Caz glances at Mrs. Jenkins, grins, and leans over a desk
to flip on a mike.
CAZ
It's me, Frank --CazDolowicz.
We're watchingitonthe Board.
I RADIO (CORRELL)
What good's watching it, for Chris-
sake? We got trains piling up
behind it. Get some goddam super-
vision down there!
CAZ
On my way, Frank.
(AN AFTERTHOUGHT)
Oh, and Frank -- please don't say
"fuck" anymore on the radio -- we
got some ladies down here now --
and you know how it is with ladies,
Frank--- the cunts don't like it.
He flips off the key and walks out the door.
INT. SUBC47AY -. FIRST CAR
Blue maintains his position in min?-car. He turns now to
the rear section.
BLUE
Everybody in this half of the car
-- that's from here on back --
move up front, please. Everybody.
(as they hesitate)
Right now -- upi
I
26.
CONTINUED
As the. six or seven passengers in the rear section rise
and move forward, the cab door opens and Doyle comes out,
i followed by Green who is covering him with his gun.
BLUE
Get going, Mr. Green.
Green nods and goes to the front, uses a key to slide open
the storm door, steps out and closes it again, then jumps
down onto the tracks.
BLUE
Motorman -- come here.
DOYLE
Yes, sir?
BLUE
I want you to walk uptrack and
collect all the passengers in
the nine cars we out loose, and
lead them back to the 28th St.
Station -- is that clear?
DOYLE I
People hate getting off in the
middle of a tunnel --
BLUE
Just do as you're told:
The Hooker raises her hand.
HOOKER
Can I go with them, please? I've
got this important appointment,
you see, and --
BLUE
No. No one else can leave.
MOTHER
I'm sure you wouldn't mind if
the children were to. go --
BLUE
Nobody leaves!
OLD MAN
(raising his hand)
Excuse me, mister -- don't you
think we should be let in on what's
happening?
27.
CONTINUED - 2
BLUE
Yes. What's happening is that
you're all being held by four
dangerous men with machine guns.
OLD MAN
(SMILING)
I suppose. if you ask a foolish
QUESTION
The fluorescent lights suddenly go out and the emergency,
incandescent bulbs immediately go on, thereby diminishing
the brightness in the car by half. There's a general
stirring among the Passengers as they look around them,
their alarm peaking again.
BLUE
Please be quiet -- nothing's
going to happen if you do as
you're told. Get going, Motorman.
As Doyle leaves at one end of the train, Green reappears
at the other.
BLUE
All right, Mr. Green?
GREEN
All power's out between 14th and
33rd Streets on all four tracks,
local and express, north- and
southbound. r
BLUE
I still see some tunnel lights.
GREEN
Emergency. They're on A.C. like
the signals.
BLUE
(a pause).
Stay here -- and leave the cab door
open so you can hear the radio.
Blue returns to the center of the car but CAMERA stays
on Green as he opens the cab door.
RADIO (CORRELL)
Coir�mand Center to Pelham one two
Three -- did you cut the power down
there? -- without calling Power
(MORE)
1
28.
CONTINUED - 3
RADIO (CORRELL) (Contd)
Central to explain? All right,
Pelham One Two Three -- cut this
shit right now and answer me!
You're fucking up tie whole god-
dam New York Subway System!
EXT. M.T.A. HEADQUARTERS - BROOKLYN - DAY
The large, granite-f aced building in the Borough Hall
complex. The following legend is SUPERIMPOSED:
"TRANSIT AUTHORITY
370 JAY ST.
BROOKLYN"
INT. T.A. HDQRS. -- SECOND FLOOR CORRIDOR - DAY
Elevators and the Information Desk. CLIVE PRESCOTT, a
black plainclothes lieutenant in the Transit Police, is
pacing, waiting. The time is SUPERIMPOSED:
"2:09."
A uniformed TRANSIT COP sits behind the desk, watching him.
Finally: an elevator door opens and a smart, efficient
SECRETARY emerges, followed by FOUR JAPANESE in business
suits.
SECRETARY
Ah, Lieut. Prescott -- it was nice
of you to leave your duties long
enough to show our distinguished
guests around the facilities. May
I present Mr. Yashimura, Mr. Mat-
sumoto, Mr. Tomashita, and Mr.
NAKABASHI
The small-framed.Orientals bow in turn.
SECRETARY
-- who are all Directors of the
Tokyo Metropolitan Subway System.
Gentlemen, this is Lieut. Clive
Prescott of our own Transit Authority
Police.
PRESCOTT
A pleasure, gentlemen.
29.
CONTINUED
SECRETARY
When you're through the Chairman
would like to say goodbye per-
sonally so send them up to
thirteen, will you?
PRESCOTT
I sure will.
She smiles at the Japanese and walks back to the elevators,
pressing the UP button. Prescott looks at the four men
for a moment, uncertainly, then goes after the Secretary
and speaks to her in low tones.
PRESCOTT
THEY SP
eak English, don't they?
SECRETARY
We're not sure.
PRESCOTT
You're not.
SECRETARY .
We've been proceeding on the
assumption that they do.
PRESCOTT
You have.
The elevator door opens and-she steps in, smiling sweetly.
SECRETARY
Sayonara.
The door closes. Prescott shrugs, then turns and smiles
at the visitors. They smile back. He takes a deep
breath, then begins.
PRESCOTT
The New York City Subway System
is the largest'in the world, with
237 miles of track and seven
thousand cars that carry over a
billion and a third passengers
every year, making it also the
busiest railroad in,the world.
I can see that this last fact
surprises you.
The Japanese look anything but surprised. Prescott goes
on, resolutely.
30.
CONTINUED - 2
PRESCOTT
Yes. Well- Grand Central is
the busiest station passenger-wise
-- train-wise, it's West 4th St.
on the I.N.D. line. Now, if you'll
step this way, gentlemen -
They step no way at all. Prescott gestures broadly.
PRES COTT
This way --
He hurries ahead of them to open the door and hold it for
them as they finally follow.
PRES COTT
We are entering the headquarters
of the Transit Police, occupying
the entire second floor of this
building. We call it the Nerve
Center.
INT. OPERATIONS - DAY
CLOSE SHOT - STATUS BOARD
A huge police map covering one wall, divided into pastel
shadings of yellow, red, orange, blue and green, showing
the various areas of the system. Colored lights -- red an&
yellow -- are continually changing and flickering.
PRESCOTT'S VOICE
The Status Board pinpoints the
disposition of every Transit
Authority policeman presently in
the field. Things are usually
jumping pretty good in here.
CAMERA begins to ZOOM BACK, revealing the scene: a large
room, cut. up by glass dividers into a maze of squares and
rectangles manned by uniformed T.A. POLICEMEN, sitting at
desks with telephone consoles. The place is absolutely
dead -- some reading, some eating, some sleeping.
PRESCOTT'S VOICE
We have one of our own T.A. cops
on every station and every train
in the entire system between the
hours of eight P.M. and four A.M.
Since we instituted this watch,
we've out crime in the subways by
about 60%.
31.
CONTINUED
CAP4ERA has finished its ZOOM and now PANS to include
Prescott and his four Japanese.
PRESCOTT
I'm sure you have your own share
of crime on the Tokyo subway, right?
They merely stare at Prescott and smile.
PRESCOTT
Right.
He.clears his throat, loosens his tie and looks around for
help.
PRESCOTT
Uh -- follow me, gentlemen,
PLEASE --
He starts off through the room, the Japanese following.
PRESCOTT
These are the assignment desks,
one for each of the three lines --
the I.R.T., the B.M.T. and the
I.N.D. -- and.over here, the Oper-
ations Lieutenant, Sol Garber.
Prescott has stopped beside a desk. GARBER, 40, stocky,
dour, with a dark stubble that requires shaving twice a
day, is absorbed reading the Village Voice.
F
PRESCOTT
Uh -- Sol -- I'd like you to meet
some friends of the Chairman.
Garber looks up over his paper for a moment.
GARBER
HI YAA
PRESCOTT
Good friends of the Chairman.
GARBER
Hi ya.
PRESCOTT
They're -- uh -- directors of the
Tokyo Subway.
32.
CONTINUED.- 2
GABBER
(F LATLY)
You don't say.
PRESCOTT
I do say. I -- uh -- told them
things are usually jumping. like
crazy in here.
GARBER
Jumping. Right.
PRES COTT
Tell them about some of the excit-
ing things that have been happening
lately, Sol --
GARBER
Yeah, well -- we had a bomb scare
in the Bronx yesterday -- but it
turned out to be a cantaloupe.
He and Prescott look at the Japanese. Nothing.
PRESCOTT
How about another one, Sol?
GARBER
Well -- uh -- Thursday there were
three unrelated knife fights in a
single half hour -- two dead and
three wounded --
(PAUSE)
-- one critical?
The Japanese smile.
GARBER
I'm busy, Clive, okay?
He goes back to his newspaper as Prescott leads his four
charges away.
PRESCOTT
In the course of a normal week the
T.A. Police have to deal with such
crimes as robbery, assault, murder,
drunkenness, injury, illness,
vandalism, abusiveness, sexual
molestation and exhibitionism.
(A PAUSE)
You know, flashing?
33.
CONTINUED - 3
To illustrate, he waves a bottom corner of his jacket at
the Japanese who nod appreciatively. Then he lifts a
pistol from his shoulder holster, just far enough to show
the handle.
PRESCOTT
We carry firearms, of course --
off duty as well as on
(RETURNS IT)
-- and we're fully empowered to
make arrests.
(A THOUGHT)
in fact -- you're all four under
arrest right now. You get me?. I'm
tossing you all in the pokey and
throwing away the key.
He smiles and they smile back. He feels much better.
P RES COTT
(GAYLY)
All right, you creeps, let's go
upstairs to the Command Center.
They start off.
EXT. PARK AVE. - 28TH ST. SUBWAY ENTRANCE -.DAY
as a Taxi pulls up and Caz jumps out after paying the
DRIVER.
DRIVER
Hey! These are subway tokens:
CAZ
(CALLING BACK)
Sounder than the U.S. Dollar!
He disappears down the steps.
28TH ST. PLATFORM - TRAVELLING
A train is standing with its doors open, and lit within
only by the emergency bulbs. Caz hurries south along the
platform, heading for the first car, his ample stomach
bouncing over his low-slung belt, CAMERA LEADING him until
he comes to the front of the train and stops to talk to
the MOTORMAN, a grizzled old-timer who needs a shave.
CAZ
When did the power go?
34.
CONTINUED
PMIOTORMAN
Who wants to know?
CAZ
The Supervisor of the Grand Central
Tower wants to know!
MOTORMAN
Oh -- sure -- it went a 'couple of
minutes ago.
He starts off.
MOTORMAN
What happened down there -- a man
under?
CAZ
Who wants to know?
INT. TUNNEL
as Caz comes to the end of the platform, climbs down to
the roadbed and starts through the darkened tunnel. He
breaks into a trot, only to slow to a walk and then stop
as he sees something approaching in the darkness: a
large CROWD of people, being guided by Doyle who uses a
flashlight. Caz scratches his head.
CAZ
What now, for Chripsake?
INT. SUBWAY - FIRST CAR
as Blue surveys.the scene. The rear section is empty.
The Sixteen remaining Passengers and Bud are sitting
quietly. Brown and Grey stand mid-car, guarding from
that side. Now Blue joins Green at the front end.
BLUE
What time've you got, Mr. Green?
GREEN
(CHECKING)
Two-ten.
BLUE
Correct. Time to start. Any-
thing you want to say first?
35.
CONTINUED
GREEN
(A PAUSE)
I'in going to die today,
BLUE
(ANOTHER PAUSE)
Could be.
He turns and enters the Motorman's cab.
RADIO (CORRELL)
Pelham One Two Three -- do you
read me now -- ?
INT. T.A. BLDG. - THIRD FLOOR COMMAND CENTER - DAY
CLOSE SHOT - FROM ABOVE
SHOOTING DOT1N at the enormous, block-long, high-ceilinged
area in which the three Divisional units (IRT, BAIT and IND)
are scattered widely, using so little of the space that
the arrangement looks provisional. Over this, one VOICE
can be heard, Correll's, continuing from the previous scene.
CORRELL'S VOICE
-- Come in, Pelham One Two Three
-- if you can receive and not
transmit please use a phone --
CA14FRA now ZOOMS IN on Correll, the desk trainmaster,
seated at a steel desk, talking over a two-way radio/
telephone console.
R
CORRELL
-- Come in, Pelham One Two Three --
(punches a button)
Power Central -- have you restored
Lex 14-33 yet?
RADIO
Not yet, Command Center. Still
working.
CORRELL
(PUNCHING ANOTHER
BUTTON)
Grand Central Tourer -- any movement
on Pelham One Two Three?
RADIO-(MRS. JENRINS)
Still lying dead, Command Center.
I
36.
CONTINUED
CORRELL
(PUNCHING ANOTHER
BUTTON)
Maintenance -- how about a report,
for Chrissake?
I
RADIO
I On what, Command Center?
CORRELL
How many trains we got laying down,
you dumb bastard?
CAMERA PANS to pick up Prescott as he leads his four
Japanese through the room, moving and speaking rapidly.
PRES COTT
Each train is identified by the
name of its terminus and the time
of its departure --thus, an
express leaving Woodlawn at 6:30
P.M. would be Woodlawn Six Three
Oh, while on its return trip its
new destination might be Flathush
Eight Two Five. I hope you're
memorizing all this junk -- I'm
going to ask questions later.
He has said this within earshot of a DISPATCHER who now
reacts.
DISPATCHER
Jesus, Prescott, have you lost
your marbles or what?
PRESCOTT
Don't worry -- they don't under-
stand a word.
(to the Japanese)
Come on, you dummies -- get the
lead out l
MED.-SHOT - CORRELL
Bent over his console, shouting into the boom mike curling
out of it, as Prescott and the Japanese arrive..
CORRELL
Pelham One Two Three -- come in,
Pelham One Two Three -- Goddanmit,
why don't you answer your fucking
radio?!
37.
CONTINUED
PRESCOTT
There he is, gentlemen -- Train-
master Frank Correll, the Lord
Byron of the New York Subway
System. Observe the way smoke
and fire shoot out of his ears.
CORRELL
Don't bug me, Prescott -- I've
got trouble here. •
PRESCOTT
What's the matter, Frank?
CORRELL
Oh, nothing much -- a train's down,
its radio's dead, the power.'s off
and it's dumped its load. Other
than that everything's ginger
peachy.
PRESCOTT
No idea what's wrong?
CORRELL
I told you -- his goddam radio's
NOT --
Pelham One Two Three to Command
Center -- this is Pelham One Two
Three -- do you read me -- ?
CORRELL
There he is -- !
(punching a button)
.I read you, you sonuvabitch --
where.the hell have you been?
What are you trying,to do, screw
up this entire railroad single-
handedly? -- Come in, you bastard,
and start explaining -- and you'd
better make it good!
Pelham One Two Three-to Command
Center -- your train has been taken
-- repeat, your train has been
TAKEN --
Correll looks at Prescott in astonishment, then wheels to
shout at the room.
38.
CONTINUED - 2
CO RRELL
Shut up in here!! I said shut
it--- everybody!!
REACTION SHOTS
as EVERYONE in the room turns to look at Correll.
MED. SHOT - CORRELL
Into the radio:
CORRELL
Pelham One Two Three -- what the
fuck do you mean the train's been
taken?! Are you the Motorman?
Negative.
CORRELL
Then who the hell are you? No
one's authorized to be in that cab
except the goddam motorman!
Identify yourself!
Listen to me, Trainmaster -- your
train has been hijacked by a group
of heavily-armed men --
CORRELL
It what?!
-- We are holding sixteen passengers
and the Conductor hostage in the
first car and we will not hesitate
to kill any or all of them if you
do not do precisely as we say. Do
I make myself clear, Trainmaster?
CORRELL
You're out of your fucking mind!
Be that as it may, are you ready to
take down our list of demands?
CORRELL
(FLUSTERED)
No -- wait a minute -- stand by --
(MORE)
39.
CONTINUED
CORRELL (CONTD)
(DISCONNECTING; THEN
TO PRESCOTT)
Why would anybody want to hijack
a goddam subway train for?
PRESCOTT
Hit your six button, will you,
Frank? I want T.A. Police in
on this.
CORRELL
(NOTICING)
What the hell are all those Chinamen
doing in here?.
PRESCOTT
Holy Christ, I forgot!
(LOOKING AROUND)
Somebody take these monkeys up to
Thirteen, will you -- ?
FIRST JAPANESE
It is all right, Lieut. Prescott
-- I'm sure.we can find it by our-
selves.
SECOND JAPANESE
(BOWING)
Thank you for a most instructive
visit, Lieutenant.
THIRD JAPANESE
And. most exciting, too.
They all bow low and file out. Prescott watches them in a
near state of shock.
PRESCOTT
- Since this is my last day on the
job, I might as well make it a
good one.
He leans over Correll and, pushing a button, speaks into the
mike.
PRESCOTT
Prescott to Garber --
RADIO (GARBER)
This is Garber --
J
40.
CONTINUED - 2
PRESCOTT
Sol -- plug everything you've
got into the I.R.T. Trainmaster's
circuit, will you? -- an all-unit
stand-by, on the d-)uble. And
call in the city cops -- put it
on a 9-11 so their computer
gets it.
RADIO (GARBER)
What's up, Clive?
PRES COTT
You won't believe it.
RADIO (GARBER)
You know me -- I'll believe any-
thing.
PRESCOTT
A train's been hijacked.
RADIO (GARBER)
(A PAUSE)
I don't believe it.
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
Blue waits at the radio, calmly doing one of the crossword
puzzles in a book of them. There's a knock and he opens
the door. Green sticks his head, in.
BLUE
What do you want, Mr. Green?
GREEN
How's it going?
BLUE
All right.
GREEN
Did you tell them?
BLUE
Part of it.
GREEN
What are they doing now?
BLUE
Recovering. They sounded a
little upsat.
.41.
CONTINUED
GREEN
(SMILING)
Yeah -- I guess they would.
BLUE
Go back outside -- I don't want
Mr. Brown and Mr. Grey left alone
with the passengers any longer
than we have to.
GREEN
Don't you trust them?
BLUE
I trust Mr. Brown -- Mr. Grey's
another matter. He's a cocky
little pain in the ass who could
turn out to be real trouble if
we don't watch him.
GREEN
Where'd you find him, anyway?
BLUE
He was recommended.
RADIO (CORRELL)
Pelham One Two Three, this is
Command Center -- come in, Pelham
One Two Three --
BLUE
Go on --
(as Green goes;
into the mike)
This is Pelham One Two Three,
Trainmaster -- are you ready to
take down the list of our demands?
RADIO (CORRELL)
I'm listening, you shitheel --
what do you want?
BLUE
Do you have a pencil?
RADIO (CORRELL)
Go on, goddammitii
BLUE
To begin with it is important that
you understand three things: One --
42.
INT. COMMAND CENTER - DAY
MED. SHOT - TRAINMASTER'S DESK
Prescott and OTHERS grouped around Correll at his desk,
everyone straining to hear.
I -- Pelham One Two Three is
completely in our control. Two
-- we are armed with fully auto-
matic weapons. Three -- we have
no scruples whatsoever about killing.
Do you read me so far?
CORRELL
I read you, you goddam lunatic --
you'll never get away with this,
you know --
Please inform-the Mayor that we
demand one million dollars in cash
for the release of the car and all
of the hostages --
CORRELL
That'll be the day --
The time is now 2:13. The money
must be in our hands no later
than 3:13 -- one hour from now.
If it is not, we will kill one
hostage for every' minute you are
late.
CORRELL
Keep dreaming, maniac --
Furthermore, if anyone attempts
to interfere -- anyone --.in any
way -- we will begin killing the
hostages immediately. Confirm,
PLEASE --
CORRELL
Look, I'm only the Trainmaster
around here -- I don't know any-
thing about contacting the goddam
Mayor!
43.
CONTINUED
(A PAUSE)
All right -- patch me into the
Transit Police.
CORRELL
Hold on -- I've got one here now.
He disconnects and turns to Prescott.
CORRELL
He's all yours, the sonuvabitch
(as Prescott reaches
for the mike)
Not here, for Ch'rissake -- Take
it over there!
He points to another, empty desk. Prescott goes to it and
sits, then punches in a line on the console and speaks
into the mike.
PRES COTT
Pelham One Two Three -- can you
hear me?
RADIO MUE)
This is Pelham. Identify your-
self, please.
PRES COTT
Lieut. Prescott of. the Transit
Police. Identify yourself.
I'm the man who stole your train.
PRESCOTT
There's no way you can get away
with it -- you're underground,
in a tunnel.
Why do you concern yourself with
that, Lieutenant? At precisely
3:13 we will begin executing the
passengers. Don't you think you'd
better contact the Mayor without
wasting any more time? The moment
you've done it report back to me
for further instructions. Sign-
ing off.
44.
CONTINUED - 2
There is a click as the line goes dead. Prescott pushes
another button.
PRESCOTT
Sol -- did you get all that?
RADIO (GARBER)
I only get your end but I could
piece the rest of it together.
Jesus, it's crazy!
PRESCOTT
What about the city cops?
RADIO (GARBER)
They've got two cars from the
14th precinct on the way now.
PRESCOTT
Two cars -- you sure they can spare
that many? What about our own men?
We got anyone at 28th St.?
INT. OPERATIONS - DAY
Garber at his desk as he swivels to regard the Status Board.
GARBER
Just checking on that -- uh --
yeah, he's around there somewhere.
RADIO (PRESCOTT)
You'd better tell him to hold the
fort -- it's liable to be a couple
of hours before any city cops show
up.
GARBER
Will do, Clive.
He disconnects, turns and shouts.
GARBER
Sargent -- get me our guy at Lex 281
INT. 28TH ST. PLATFORM
Bedlam. The train still stands idly, empty now, its doors
closed. There's a CROWD milling about, some pounding
futilely at the doors of the train, others just standing
around, waiting. ARTIS JAMES, a black T.A. cop is talking
45.
CONT INUED
to a small group of irate citizens. He carries a radio on
a strap over his shoulder.
JAMES
I'm sorry, lady, I don't know
how long the delay will be--
it's just a minor technical problem.
MAN
Anybody hurt?
2ND MAN
How many killed?
JAMES
Look -- everybody just calm down
(his radio BEEPS)
Hold on --
He turns away and lifts the radio to his face.
JAMES
Patrolman James --
RADIO (GARBER)
This is Lieut. Garber in Opera-
tions. Where are you now?
JAMES
Twenty-eighth southbound. Every-
thing's shut down, Lieutenant --
what's going on? "
RADIO (GARBER)
Look, don't react to this -- but
a train's been hijacked --
JAMES
Holy shit.
RADIO (GARBER)
Exactly. Try and maintain order
on the platform and for God's
sake don't say anything! Oh, and
there's a Supervisor from Grand
Central Tower around there some-
where -- see if you can find him.
JAMES
I saw him a couple of minutes ago,
Lieutenant -- he was headed down-
track on foot.
46.
CONTINUED - 2
RADIO (GARBER)
-Oh Jesus! You'd better go after him
-- see if you can turn him back.
INT. TUNNEL
Caz is hot in conversation with Doyle as the long line of
Passengers files by, on their way out of the tunnel.
CAZ
I don't give a goddam what they
were armed with -- your job is to.
stay on that train until you get
authorization to leave!
DOYLE
They said they'd kill me, for God's
sake!
CAZ
You're like the captain of a ship --
you're supposed to go down with it.
PASSENGER
(as he passes)
Bullshit.
CAZ
Butt out!
(TO DOYLE)
All right -- tell Command Center
I'm on my way to investigate.
DOYLE
You're going down there? Hey, I
wouldn't, if I were you.
CAZ
I know you wouldn't.
He leaves Doyle and starts down the track. A few Passengers
in the line call to him.
2ND PASSENGER
You work for the :,ubway? Tell 'em
I'm gonna sue this time -- I really
mean it -- I'm gonna sue!
M E D. SHOT - JAMES
He is trotting, following Caz, passing the line of Passengers
headed the other way.
47.
CONTINUED
3RD PASSENGER
(TO 6TH)
I'll tell you whose goddam fault it
is -- it's the Mayor's goddam fault.
4TH' PASSENGER
Why's it his fault?
3RD PASSENGER
'Cuz he's the head o' the city,
ain't he? That makes him respon-
sible. They oughta impeach the bum!
INT. TUNNEL - CAZ ,
as he sees the first car ahead of him -- and as he gets
closer, the silhouette of a man (Grey) through the rear
storm door window.
INT. FIRST CAR - GREY
He stands guard at the rear storm door. Now he sees some-
thing moving in the tunnel and slides open the door, calling.
GREY
Stop right there, cowboy -- !
REACTIONS SHOTS - GREEN AND BROWN
as they look around, surprised.
INT. TUNNEL - CAZ
CAZ
(SHOUTING BACK)
Who the hell are you?
The voices echo and distort in the tunnel.
GREY
You'll find out if you take another
step -- !
MED. SHOT - JAMES
He is scooting along, crouched, hearing the voices, advancing
from pillar to pillar, using each for a brief instant of
concealment.
CAZ' VOICE
I'm warning you, mister -- that's
city property you're fooling around
with -- I
48.
CONTINUED
GREY'S VOICE
That's just too fucking bad!
INT. TUNNEL - CAZ
CAZ
Why didn't you ga grab a goddam
airplane like everybody else?!
GREY
We're afraid of flying. Now I'm.
tellin' you, buster -- clear out
or I Ill shoot your ass off!
CAZ
Stand back -- I'm coming on board -- !
He starts forward.
GREY €¢
I warned you, stupid -- I
MED. SHOT - GREY
CAZ' POV (SLOW MOTION & SILENT)
Dead silence as CAMERA ADVANCES toward Grey. Now the sub-
machine gun he's pointing at Caz (CAMERA) begins spitting
fire and spewing out the spent shells.
CLOSE SHOT - CAZ (SLOW MOTION & SILENT)
P
Only his face -- as his eyes and mouth open wide in shock and
disbelief and sudden death.
CLOSE SHOT - JAMES (SLOW MOTION & SILENT)
His face peeking out from behind- a pillar, the flashes from
Grey's gun reflected in his eyes and on the pillar.
MED. SHOT - GREY (SLOW MOTION & SILENT)
as he continues firing.
FLASH CUTS - GREEN, BROWN, PASSE` SERS (SLOW MOTION & SILENT )
Astonished; unfeeling; horror-struck.
MED. CLOSE SHOT - CAZ (SLOW MOTION & SILENT)
as his dead body hits the ground, bounces, and rolls over,
face up, eyes still-open.
49.
INT. FIRST CAR - BLUE (TRAVELLING)
The SOUND returns with a rush. Blue rushes out of the
Motorman's cab and runs down the length of the car, CAMERA
FOLLOWING as he goes past Green and Brown without speaking
to them. He looks out the rear or for a moment, at the
dead body.
GREY
I warned the bastard but he kept
on coming anyway.
BLUE
Was he alone?
GREY
I didn't see anybody else.
(A PAUSE)
I guess I got us on the scoreboard,
huh?
Without a word, Blue moves to Brown at mid-car.
BLUE
Take over back there. I want Mr.
Grey up closer to me so I dan keep
an eye on him.
BROWN
He' s a little trigger-happy.
BLUE
Maybe it was necessary -- I didn't
see it.
BROWN
He loved every minute of it.
INT. TUNNEL - JAMES
as he-peers around the pillar he's hiding behind. Smoke
from the gun still hangs in the air. He ducks back behind
the pillar, unslings his radio and, holding it close to his
mouth, whispers into it.
JAMES
Patrolman James calling Operations
RADIO (GARBER )-
This is Garber --
It comes in too loud and James frantically lowers the volume.
50
CONTINUED
RADIO (GARBER)
-- what's going on? Did you find
that Supervisor?
JAMES
He's dead, Lieutenant.
RADIO (GARBER)
Speak up, will you? I can't hear
you.
JAMES
I can't -- I'm only about 20 yards
from the hijacked train. They just
shot him.
RADIO (GARBER)
Shot who ? .
JAMES
The Supervisor -- with a motherfuckin'
machine gun!
RADIO (GARBER)
Is he dead?
JAMES
Wouldn't you be?
RADIO (GARBER)
But you're not sure.
JAMES
What do you want me to do, Lieutenant
-- go out there and feel his pulse?
INT. OPERATIONS - DAY
Garber at his console.
GARBER
All right -- stay put and keep an
eye on things.
(punches a button)
Clive -- they just drew first blood.
That Tower Supervisor from Grand
Central -- we don't know his name
-- they just killed him.
INT. COMMAND CENTER,- DAY
Prescott at his console.
I
51.
CONT IMED
PRESCOTT
Oh, God --
4 (TURNING)
Frank -- do you knew who went down
to 28th Street from Grand Central?
CORRELL
Yeah -- Caz Dolowitz. It7hy?
PRESCOTT
Jesus -- I knew him --
CORRELL
What do you mean knew him?
PRESCOTT
They just shot him.
CORRELL
(UNBELIEVING)
Caz? Fat Caz?
(slams his fist down)
Christ!!
RADIO (COSTELLO)
Lieutenant. Prescott -- are you there,
Clive -- ?
PRESCOTT
(pushing a button)
Who's this?
RADIO (COSTELLO)
Costello.
PRESCOTT
Yes, Captain.
RADIO (CO STELLO )
I'm putting you in charge at this
end, Clive --I'm going down to
28th Street. If I don't show up
pretty quick the city cops Ill hog
all the action. They've ordered
up a major mobilization, calling
in units from four of the five
boroughs -- there's even one on
board the train -- one of the
hostages.
PRESCOTT
You're kidding! A cop? How do you
know?
52.
CONTINUED - 2
RADIO (COSTELLO)
There were two of 'em -- one got
off at 33rd Street and called in
later when the news got out. That
means the other one's still on the
damn thing.
PRESCOTT
Plainclothes?
RADIO (COSTELLO)
That's right.
PRESCOTT
Man or woman?
RADIO (COSTELLO.)
(A PAUSE)
You know something? I never
thought to ask.
PRESCOTT.
Male Chauvinist Pig -- sir.
RADIO (COSTELLO)
Yeah. Keep in touch with 'em,
Clive -- don't let communications
break clown. Tell l em the wheels
are grinding -- tell 'em the
Commissioner's on his way up to
see the Mayor -- tell 'em we need
more time -- tell 'em -- oh, shit,
I don't know what to tell 'em.
Jesus, what a city!
PRESCOTT
Captain -- I wouldn't mind getting
over there myself.
RADIO (COSTELLO)
Out of the question, Clive -- we
need you here. Incidentally, the
Chairman asked me to thank you.
PRESCOTT
What for?
RADIO.(COSTELLO)
The way you treated those four Japs.
They said they had a great time --
the highlight of their whole trip.
53.
CONTINUED - 3
PRESCOTT
What do you know.
EXT. GRACIE MANSION - DAY
The Mayor 's splendid residence on the East River. The
following TITLE is SUPERIMPOSED:
"GRACIE MANS ION.
THE MAYOR `S RESIDENCE."
Then, the time is SUPERIMPOSED: "2:21".
INT. MAYOR'S BEDROOM - DAY
MICRO-CLOSE SHOT - THERMOMETER
Being held between a NURSE's fingers, slowly turning so the
mercury catches the light.
MAYOR'S VOICE
What does it say?
NURSE'S VOICE
103 -point -4 .
WIDER ANGLE
Including the MAYOR, a short, swarthy, roly-poly man with
a fringe of dark hair and modish aviator's glasses;. un-
shaven, lying in bed, the covers. pulled up to his chin;
suffering from the flu; a glass,of juice on his bedside
table along with sprays and vials of pills; and the Nurse,
an elderly, white-haired we nan who, in case of invasion,
could hold off the Mongols single handedly.
MAYOR
103-point-4?! It was-only 102-
point-9 the last time!
NURSE
Last time it was orally. Orally is
generally a half a degree lower.
MAYOR
Don't remind me. All I know is I've
got a chill, my bones ache, my head
is ready to come off and my nose is
a disaster area I'm the Mayor of
the goddam city of New York, the
second most important elective
office in the entire United States --
(MORE)
54.
CONTINUED
MAYOR (CONTD)
are you telling me that I have
to lie here feeling lousy like every
other zhlub in the country?
NURSE
(unperturbed, as she goes)
Don't forget to drink your juice
at three. And take two of the
blue pills.
MAYOR
Orally? ,
(but she's gone)
Boy -- boy oh boy --
He picks up the remote-control clicker and raises the sound
of his TV set.
EMCEE'S VOICE
Couple number two, Arthur and
Eleanor -- you have twenty points
-- answer the bonus question
correctly and you'll move into
first place --
The phone rings and he clicks the sound off with one hand
and lifts the receiver with the other.
MAYOR
Yeah.
WARREN'S VOICE
(PHONE FILTER)
Hello, Nate, it's Warren -- I'm
coming upstairs.
MAYOR
No!
WARREN ' S VOICE
Sorry, Nate, it can't be helped.
MAYOR
Yes it can -- I'll already be dead
when you get here.
WARREN' S VOICE
Hang on a little longer, will you,
Nate? We've got a real bitch on
our hands.
55.
CONTINUED
MAYOR
Don't tell me, I don't want to know.
WARREN ' S VOICE
I'm coming up.
MAYOR
Can't you handle it, Warren?
WARREN'S VOICE
Sure I can handle it -- like I
handle every other rotten filthy
job in this miserable city --
but I won't:
MAYOR
What do you mean you won't? You're
the goddam Deputy Mayor -- of course
YOU WILL
WARREN'S VOICE
This one you've got to handle your-
self, Nate.
MAYOR
What is it, another strike? That's
all right -- I can take another
STRIKE --
WARREN'S VOICE
A gang of men has hijacked a subway
TRAIN --
MAYOR
What?!!
WARREN'S VOICE
-- they want a million dollars for it.
MAYOR
(A PAUSE)
Come on up.
(HANGS UP)
Shit. Shit, piss, fuck.
He clicks the TV back on.
EMCEE'S VOICE
-- And that means couple number
one, Tom and Rusty, are the winners
of today's Newlywed Game!!
MAYOR
I missed it.
56.
CONTINUED - 3
He clicks off the TV as WARREN LASALLE enters, a tall, lean,
no-nonsense executive with long, blond hair, sideburns and
a large blond mustache.
MAYOR
I thought it over, Warren -- you
know what we're gonna do?
WARREN
No, tell me.
MAYOR
Let 'em keep the goddam subway train.
Hell, we've got plenty more just
like it -- we'll never miss it.
WARREN
How about the seventeen hostages
-- will we miss them?
MAYOR
Oh. Dammit, Warren, the city hasn't
got a million dollars!
WARREN
Then you'd better empty out one
of your Swiss bank accounts because
there's no other way out.
MAYOR
Don't we even get` to think about
it?
WARREN
There's no time! In --
(checking the time)
-- exactly forty-nine minutes they're
gonna start shooting those hostages.
How would that look in the Daily
News? -- "1NEW YORKERS DIE WHILE
MAYOR THINKS!"
MAYOR
I still want the full picture.
Get the Police Commissioner, the
Chairman of the Transit Authority,
and that putz we've got for a
CONTROLLER --
WARREN
They're on their way over now.
(MORE)
57.
CONTINUED - 4
WARREN (CONTD)
But it's no good running to them,
Nate -- you're the Mayor -- which
means You're gonna do it my way
-- just like always.
I
MAYOR
(A PAUSE)
Shit. Shit, piss, fuck.
INT. T .A . COMMAND CENTER - DAY
Prescott at his console, Correll in the b.g.
F PRESCOTT
Command Center calling Pelham One
Two Three -- come in, Pelham One
Two Three --
(TURNING)
Hey, Frank -- you're hogging all
my circuits!
CORRELL
What do you want me to do? I got
motormen calling in from all along
the line trying to find out what
the hell's going on!
PRESCOTT
Tell 'em to shut up and get off
the air -- I need some more lines
open !
CORRELL
I never thought I'd see the day
when talking to murderers got
priority over running a railroad.
PRESCOTT
Oh, get off it, Frank -- our priority
is trying to save the lives of those
passengers!
CORRELL
Screw the goddam passengers! What
do they expect for their lousy thirty-
five cents -- to live forever? !
PRESCOTT
Oh, you're beautiful.
(into the mike)
Do you read me, Pelham One Two Three -- ?
58.
CONTINUED
CORRELL
If I were handling it I'd go storming
in there with guns and tear gas and
I blast 'em outl
PRESCOTT
Yeah, well, you're not handling it
so why don't you start doing your
own work and let the police do theirs.
CORRELL
Like that lily-livered cop who's
on the train? Why hastn't he started
shooting yet?
PRESCOTT
We don't.even know it is a he --
(into the mike)
Do you read me, Pelham One Two Three -- ?
CORRELL
Goddam woman cops -- what the hell
good are they? She probably can't
find her gun in her goddam purse!
This is Pelham One Two Three --
do you have any news to report?
INTERCUT - PRESCOTT & BLUE
PRESCOTT
Nothing yet.
BLUE
What were you' calling about?
PRESCOTT
We need more time.
BLUE
It's 2:24, Lieutenant -- you still
have 49 minutes.
PRESCOTT
Be reasonable, will you? We're
trying to cooperate but you're not
giving us enough time to work with.
BLUE
49 minutes.
59.
CONTINUED
PRESCOTT
We're dealing with City Hall, for
God's sake -- you know what a mass
of red tape that is!
BLUE
49 minutes.
PRESCOTT
Look, I know how to tell time, too,
but we aren't gonna get anywhere if
all you do is repeat 49 minutes!
BLUE
48 minutes.
MED. SHOT - PRESCOTT
Sobered and subdued.
PRE-SCOTT
Yeah. All right, we'll get back
as soon as we can.
He disconnects and sits back in his chair, staring at the
ceiling.
CORRELL
Christ -- to hear you pleading with
that chickenshit -- it makes me
ashamed to be an American.
PRESCOTT
Go away, Frank -- go play with
your trains.
INT. FIRST CAR
as Blue steps out of the cab. Green is staring at the
hostages, nervously.
BLUE
Everything quiet out here, Mr. Green?
GREEN
Yeah -- except I think we've got our-
selves a cop.
BLUE
what do you mean?
60.
CONTINUED
GREEN
One of the hostages -- fuzz if I
ever saw it.
BLUE
Which one?
GREEN
(POINTING)
On the right --
PANNING SHOT - HOSTAGES
On the right side of the car, from face to face.
GREEN'S VOICE
-- the fourth, fifth, sixth,
seventh -- that's him, next to
the freak --
It's the W.A.S.P. type, who is staring off into space,
I sitting next to the Hippie who seems hypnotized by his own
wiggling toes.
GREEN'S VOICE
You ever see anybody look more
like a cop?
MED. SHOT - BLUE & GREEN
BLUE
I'd better frisk him. Cover me.
He walks slowly down the aisle and stops. in front of the
W.A.S .P .
BLUE
On your feet.
W.A.S.P.
What?
BLUE
You heard me -- stand up!
Nervously, the man stands. Blue frisks him, quickly and
expertly. When he fails to find a weapon, he takes the
man's wallet.
BLUE
Okay -- you can sit down.
I
61.
CONTINUED
As the man sits, Blue looks through the wallet.
BLUE
School teacher.
W.A.S.P.
That's right.
BLUE
You ever been told you look like a
policeman,?
W.A.S .P .
All the time -- but I can't help
IT --
Blue tosses the wallet back into the teacher's lap, then
turns to face the other hostages.
BLUE
Listen to me, everybody. I'm sure
you've' all figured out what' happening
by now -- you're hostages.
VARIOUS REACTION SHOTS
The Passengers -- some groaning -- some frightened -- the
Puerto Rican crossing himself -- the Hippie smiling softly
-- etc.
MED. SHOT - BLUE r
BLUE
That means when we get what we,want
you'll be released unharmed. Until
then, you will continue doing
precisely as you're told. _
OLD MAN
And if you don't get what you want?
What'll happen. to us?
BLUE
(A PAUSE)
We expect to get it..
EXT. EAST RIVER DRIVE - DAY
The Brooklyn Bridge and the myriad ramps leading onto the
Drive. An official city limousine curves around a ramp and
heads uptown, its siren wailing.
The time is SUPERIMPOSED: "2:27".
62.
INT. LIMOUSINE - DAY
The POLICE COMMISSIONER sits alone in the back seat. He's
.on the phone. From the front seat, MUSIC can be heard
coming from the radio.
F
COMMISSIONER
f This is the Police Commissioner --
get me theBorough Commander.
(to the DRIVER)
Turn off that goddam music, will
you, George?
(INTO PHONE)
Harry? I'm heading up to see the
Mayor right now. What's it look
like down there?
EXT. PARK AVENUE - 28TH STREET SUBWAY STATION - DAY
The BOROUGH COMMANDER sits on the front seat of a prowl car,
his feet hanging out the open door, talking on the phone.
Around him: SPECTATORS, COPS, activity, noise and confusion.
BOROUGH COMMANDER
It's murder, Phil -- as usual,
they're coming out of the woodwork.
I wouldn't be surprised if we got
a couple of thousand thrill-seekers
-- they really smell blood on this
one.
PHONE (COMMISSIONER)
Your barriers up?
BOROUGH COMMANDER
Hell yes -- and we're pushing the
overflow into the side-streets.
We aren't gonna win any new friends,
PHIL --
PHONE (COMMISSIONER)
Do we ever? How about traffic?
BOROUGH COMMANDER
I stuck a patrolman at every inter-
section from 14th to 34th, and
crosstown from 2nd to 5th.
PHONE (COMMISSIONER)
Who's your Number Two?
BOROUGH CO01N NDER
Deputy Chief Inspector Daniels --
(MORE)
63.
CONTINUED
BOROUGH CO1.10MANDER. (C ontd )
from Special Operations. He's a
good man, Phil -- he handled that
protest at Bryant Park last month.
PHONE (COMMISSIONER)
How are you deployed?
BOROUGH COMMANDER
I've got about fifty men inside the
TUNNEL --
INT. SUBWAY TUNNEL - VARIOUS SHOTS
as we see what the Borough Commander describes -- RIOT
POLICE, armored and helmeted, scurrying into positions,
resembling a commando raid.
BOROUGH COMMANDER'S VOICE
-- north and south of the train,
well concealed -- all wearing vests
and armed with machine and sub-
machine guns, shot guns, riot guns,
hand guns, tear gas grenades -- and
a half-dozen snipers with night
scopes. We could fight the goddam
third world war down there.
PHONE (COMMISSIONER)
Just make sure they stay out of sight
-- if the hijackers see them we may
have a massacre on our hands.
BOROUGH COMMANDER'S VOICE
We have a sniper's report that
they're moving around inside the
car pretty freely -- and the one
in the motorman's cab is fully
exposed and a damn easy shot.
INT. COMMISSIONER'S CAR
COMMISSIONER
No! Under no cirL:umstances! Do
you understand me, Phil? Absolutely
no! We're taking their threats
seariously. What've you got above
ground?
EXT. 28th STREET - BOROUGH COMMANDER
Again, if feasible, we can see what he describes.
64.
CONTINUED
BOROUGH COMMA DIDER
Trucks, cars, emergency, medical
and rescue units, searchlights,
bullhorns -- the works, Phil.
I've got two men stationed at
every emergency exit as far south
as Union Square.
PHONE (COMMISSIONER)
Any direct communications with the
hijackers?
BOROUGH COMMANDER
Negative. It's awkward as hell.
The T.A. Command Center in Brooklyn
has the only direct contact.
INTO COMMISSIONER'S CAR
COMMISSIONER
Harry, tell me something, will you?
They're in a tunnel -- surrounded
on all sides, top and bottom -- how
the hell do they expect to get away?
71 PHONE (BOROUGH COMMANDER)
Beats the shit out of me, Phil.
EXT. GRACIE MANSION - DAY
as the Commissioner's car swings into the circular drive
leading to the side entrance and comes to a lurching stop,
the siren trailing off, behind three other official black
limousines. The Commissioner jumps out and trots up onto
the verandah.
INT. MAYOR'S BEDROOM - DAY
CLOSE SHOT - THE MAYOR
as he-sneezes into a Kleenex. As CAMERA PULLS BACK he
dries off his upper lip, wads the tissue and throws it
.onto the floor. JESSIE, his wife, with frosted hair and
harlequin glasses, jumps up from a chair and retrieves it.
JESSIE
Nate, for God's sake.
She baskets it, then turns to Warren LaSalle.
JESSIE
Warren -- tell him other Mayors have
to use the house after we're gone.
65.
CONTINUED
There's a knock and Warren hurries to open the door. in
walk three men: The Commissioner, the CONTROLLER and the
CHAIRMAN of the Transit Authority.
WARREN
Thanks for coming up on short
notice, fellas -- you all know
Jessie, don't you? The Police
Commissioner -- the Controller --
the Chairman of the Transit
Authority -- ?
JESSIE
Yes, it's nice to see you again.
COMMISSIONER
Mrs. Mayor --
CONTROLLER
Hi, Jess --
CHAIRMAN
Good afternoon.--
JESSIE
Coffee for everybody -- and some
cake?
WARREN
Uh -- better skip it, Jessie --
we're running a little short of
time. We all know what's going
on underground, right? So the
main issue is whether to pay the
ransom or not. All the rest is
secondary. Phil? What do you
think?
COMMISSIONER
Well -- we're fully mobilized --
I can go down there any time you
say with enough firepower to wipe
out an army -- but I can't guarantee
the safety of the 'hostages.
WARREN
In other words, you're for paying
the rarlsom.
COMMISSIONER
We don't want another Attica on
our hands, do we?
66.
CONTINUED - 2
WARREN
So your vote is -- ?
COMMISSIONER
I abstain.
WARREN
Shit. Barny?
CHAIRMAN
The safety of the passengers is
the only concern of the Transit
Authority.
WARREN
Your vote?
CHAIRMAN
Pay the two dollars.
CONTROLLER
Sure -- two dollars I'd pay!
But it's a million, Barfly -- a
one with six zeroes! Is it coming
out of your pccket?
WARREN
Come on, Sid -- save the poor-
mouth for later. How do you vote?
CONTROLLER
I'm not through discussing it yet.
WARREN
Yes you are. Now vote.
CONTROLLER -
My concern is with the taxpayers
-- someone's oughta be. "Millions
for defense but not one cent for
tribute!"
WARREN
So that's a no. All right, Nate --
you've heard from the Three Wise
Men -- what do you say?
Everyone turns to the Mayor. He sneezes into a Kleenex
and tosses it onto the floor.
MAYOR
What're they gonna say, Warren?
67 .
CONTINUED
WARREN
They who?
MAYOR
Everybody -- the press, the man on
the street --
JESSIE
He means the voters.
WARREN
Just what you'd expect -- the Times
will support you on purely humani-
tarian grounds -- the News'11 knock
you for coddling criminals -- and
the Post will take both sides at
the same time. As for public
opinion -- you'll carry Manhattan,
lose Queens and Staten Island, and
split down the middle in Brooklyn
and the Bronx. The rich'11 support
you -- likewise the blacks -- the
Puerto Ricans won't give a shit.
So how about it, Nate? -- quit
I. stalling.
MAYOR
Stop trying to bully everybody,
Warren -- this is supposed to be
a democracy!
WARREN
Wise up,. for Chrissake! We're trying
to run a city, not a goddam democracy!
I
Nate! Stop farting around! We've
got to pay !
MAYOR
(A PAUSE)
What do you say, Jess?
JESSIE
I know a million dollars is a lot
of money -- but just think what
you'll, get in return.
MAYOR
What?
JESSIE
Seventeen sure votes.
68.
CONTINUED - 4
MAYOR
(SMILING)
Go ahead, Warren -- arrange for the
pay-off.
WARREN
Halleluja!
(as everyone rises)
You heard it, fellas. Phil --
pass the word to the bad guys
that we're coughing up.
COMMISSIONER
(GOING)
Will do.
WARREN
Sid -- what bank do we do the most
business with?
CONTROLLER
City National Trust -- I'll give
'em a call.
WARREN
I'll call -- you're liable to spend
an hour trying to knock down the
interest rate. Come on -- everyone
downstairs -- let's move it!
The Mayor and Jessie are left alone. She picks up the
crumpled Kleenex.
MAYOR
I thought I handled it all right.
JESSIE
A regular Fiorello LaGuardia.
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
CLOSE SHOT - CROSSWORD PUZZLE
as Blue's hand is busy filling in a word. A knock is heard
and CAMERA PULLS BACK as Blue opens the door. Green enters.
GREEN
Nothing yet?
(as Blue shakes his head)
They're sure taking their time.
BLUE
Don't worry -- they're going to pay.
They have no choice.
69.
CONTINUED
GREEN
The hostages. Yeah. At first I
thought to myself, "Five of 'em are
spades -- who's gonna pay anything
for spades?" But they don't know
who we've got, do they?
BLUE
It wouldn't matter if all seventeen
were dope pushers -- they have to pay,
so relax.
GREEN
I know they have to -- but what if
they don't?
BLUE
Then a lot of people are going to
die.
GREEN
Including us.
BLUE
Either you live or you die.
GREEN
Living's better.
BLUE
It depends. It's Y not better than
trying to sell mutual funds, for
example.
GREEN
Did you do that?
BLUE
I tried.
GREEN
I thought you were in the army.
BLUE
I was. That's where I developed
my expensive tastes.
GREEN
In the army? Sure' -- on three-fifty
a month.
70.
CONTINUED - 2
BLUE
The Biafrans paid me twenty-five
hundred for leading a battalion.
GREEN
A month? Holy Christ l Why'd
you ever get out of that?
BLUE
The market dried up.
GREEN
At least you weren't fired. But
shit, I didn't mind -- who wants
to drive a goddam subway train for
the rest of.his life?
BLUE
What'd they nail you for?
GREEN
Nothing! They framed me -- the
goddam Beakies had to find a fall-
guy and they --
BLUE
Beakies?
GREEN
Transit inspectors -- undercover
men. They got wind of a gang passing
dope -- you know, transporting it
from downtown to uptown, giving it
to a motorman, and then someone
picking it up in Harlem. The
Beakies tried to pin it on me,
but they never had any evidence..
BLUE
You were innocent?
GREEN
Hell yes, I was innocentl Do you
think I'd do anything like that?
BLUE
Yes.
INT. GRACIE MANSION - LASALLE' S OFFICE - DAY
Warren sits on the edge of his desk, on the phone.
71.
CONTINUED
WARREN
City National Trust? -- the Chairman
of the Board, please? --
(WAITS)
This is Warren LaSalle in the
mayor's office -- may I speak to
the Chairman, please?
PHONE (SECRETARY)
The Chairman is on an overseas call
at the moment --
WARREN
I don't care if he's talking to the
moon -- get your ass inside that
of fice and put him on the line!
He lights a cigarette while he waits.
PHONE (CHAIRMAN)
Good afternoon, Mr. LaSalle -- what
is it I can do for you?
WARREN
A subway train's been hijacked.
Unless we can deliver a million
dollars within --
(checks his watch)
-- twenty-eight minutes, seventeen
people will be assassinated.
INT. BANK CHAIRMAN'S OFFICE - DAY
The BANK CHAIRMAN is a silver-haired man in his sixties,
sitting behind a large desk; on the phone.
BANK CHAIRMAN
A subway train -- how very original.
A million, you say?
INTERCUT - WARREN & BANK CHAIRMAN
WARREN
Yes, sir -- is there any problem
about that much cash being available?
BANK CHAIRMAN
None whatsoever. We're members of
the Federal Reserve.
WARREN
Swell. Then will you arrange for us
to be given that amount right away?
72.
CONTINUED
BANK CHAIRMAN
Given? I'm not sure I urde-rstand
what you mean by "given," Mr.
LaSalle.
WARREN
(VOICE RISING)
Lent, of course -- I didn't expect
it as a gift --
BANK CHAIRMAN
Lent to whom, Mr. LaSalle?
WARREN
To us, goddammit -- the sovereign city
of New York --
BANK CHAIRMAN
Yes, well, there are certain techni-
calities involved in such a trans-
action, Mr. LaSalle -- terms,
duration, signatures --
WARREN
There isn't time for all that -- I
BANK CHAIRMAN
(CHUCKLING;
But "all that," as you put it,
happens to be what we do for a
living, Mr. LaSalle --
WARREN
Listen to me, you stupid goddam
piece of shit! if you don't come
through in five seconds flat I will
er ssona Illy find a violation in every
in c h ofplumbing and wiring in every
branch you've got in this whole
fucking city!
The Chairman looks as though he's been struck between the
eyes. After a pause, he speaks z.iietly:
BANK CHAIRMAN
Do you know something, Mr. LaSalle?
In my entire sixty-seven years no
one's ever spoken to me like that.
EXT. EAST RIVER DRIVE - UN BUILDING - DAY
as the Police Commissioner's limousine is now heading downtown
1
73.
CONTINUED
on the F.D.R. Drive, passing the Sutton Place apartment
houses and approaching the United Nations, siren screaming.
INT. COMMISSIONER'S LIMOUSINE - DRY
He is in back, on the phone.
COMMISSIONER
Harry -- ? I'm on my way down.
We just got the green light.
EXT. PARK AVENUE & 28TH STREET - DAY
The Borough Commander, on the phone.
BOROUGH COMMANDER
Green light -- you mean we can
rush 'em? Jesus, Phil, that's great
news -- the men are raring to go -- !
PHONE (COMMISSIONER)
Not you asshole! -- we're paying
the ransom money! Pass the word
along to the hijackers.
BOROUGH COMMANDER
(DISGRUNTLED)
Roger.
(clicks a phone button)
Borough Commander-to 28th Street
Platform -- Daniels -- do you
read me -- ?
114T. 28th STREET SUBWAY PLATFORM
FEATURING the motorman's cab of the stalled train. DANIELS,
a beefy cop wearing riot gear and helmet, now hears the
voice coming over his walky--talky.
RADIO (BOROUGH COMMANDER)
-- come in D .C .I . Daniels -- this
is the Borough Commander -- I
DANIELS.
(INTO WALKY-TALKY)
This is Daniels --
RADIO (BOROUGH COMMANDER)
Pass the word along: the Mayor's
agreed to pay. Let the hijackers
know right away, will you?
74.
C1 CONTINUED
DANIEL S
Roger.
He sets the hand radio aside and activates the subway
transmitter.
DANIELS
Command Center, this is 28th Street
-- do you read me, Command Center -- ?
INT. COMMAND CENTER - DAY
Prescott at his desk and console. He pushes a button.
PRESCOTT
This is Command Center --
RADIO (DANIELS)
This is Daniels -- the Mayor's
agreed to pay -- inform the hijackers
right away.
PRESCOTT
Will do.
(punching another button)
Command Center calling Pelham One
Two Three -- come in, Pelham One
Two Three --
This is Pelham --rgo ahead, Prescott --
PRESCOTT
We agree to pay the ransom --
repeat, we agree to pay.
INT. SUBWAY FIRST CAR-- MOTORMAN'S CAB
CLOSE SHOT - BLUE
as he greets this news calmly.
RADIO (PRESCOTT)
Do you read me, Pelham -- ?
BLUE
I read you. Please take down the
next set of instructions. As before,
they're to be obeyed to the letter.
First -- the money is to be paid in
the following denominations: five
hundred thousand dollars in fifties,
five hundred thousand dollars in
hundreds.
75.
INTERCUT - PRESCOTT & BLUE
PRESCOTT
(WRITING)
Five hundred thousand in fifties,
five hundred thousand in hundreds --
BLUE
Making a total of ten thousand
fifty dollar bills and Alive thousand
hundred dollar bills -- which will
then be put up in stacks of two
hundred bills each, bound with a
thick rubber band lengthwise and
another widthwise.
PRESCOTT
(writing).
Ten thousand fifties, five thousand
hundreds, in packs of two hundred,
bound fore and aft with rubber
BANDS --
BLUE
Point two: all of the bills will
be old bills, their serial numbers
to erandom.
PRESCOTT
(WRITING)
Old bills and no serial number
.sequences --
BLUE
That's all for now. When the
delivery arrives we will contact
you with further instructions.
PRESCOTT
About your getaway?
BLUE
I'm signing off now.
PRESCOTT
It might interest you to know I've
figured out how you're going to do
IT --
BLUE
(A PAUSE)
Yes -- it would interest me.
76.
CONTINUED
PRESCOTT
You're going to make every man,
woman and child in New York City
close their eyes and count to a
hundred.
BLUE
It's two-forty-seven, Prescott
you have twenty-six minutes.
PRESCOTT
What? Don't be stupid -- we've
agreed to pay the money. Now
turn off the clock.
BLUE
Twenty-six minutes, Prescott.
MED. SHOT - PRESCOTT
PRESCOTT
Look -- your instructions are
complicated! The money has to be
counted, stacked, tied, transported
all the way uptown -- it just isn't
physically possible!
You'd be surprised what's physically
possible. The clock's running,
Prescott.
PRESCOTT
(A PAUSE)
All right. At least let us pick
up that man you shot. We want to
send a. stretcher for him.
Negative.
PRESCOTT
But he may still be alive
He's dead.
PRESCOTT
But you can't be sure --
Very well -- we'll put another half
(MORE )
77.
CONTINUED
dozen rounds into him so everyone
can be sure. Over and out.
Prescott turns and sees that the others, at nearby desks,
have been watching and listening. He stares back at them
for a moment., then checks his watch.
PRE SCO TT
Twenty-five minutes -- after that
we can start scratching them off
-- one per minute.
INT. SUBWAY - FIRST CAR - PASSENGERS - BLUE'S POV
SHOOTING down the length of the car. Most of the Passengers
excepting the Wino Lady and the Hippie. Both are enjoying
their own reveries.
BLUE'S VOICE
Your attention please --
At the far end, Brown guards the rear door. At mid-car,
Grey stands with his legs astride.
ANOTHER ANGLE
Including Blue and, behind him, at the front storm door,
Green.
BLUE
The city has agreed to pay for
your release.
No one quite knows how to greet this news -- except the Pimp
who slowly, mockingly, claps his hands together.
PIMP
(DRAWLING)
Far out, man --
Blue starts forward, walking slowly, looking at passengers
on both sides of the aisle as he goes.
MOTHER
As soon as the money gets here --
will you let us go?
BLUE
No -- but soon afterwards.
78.
CONTINUED
OLD MAN
Do you mind telling us now how much
you're getting?
BLUE
What difference does it make?
OLD MAN
A person likes to know his worth.
BLUE
A million dollars.
OLD MAN
Each?
BLUE
Altogether.
OLD MAN
(DISAPPOINTED)
That's not so terrific..
Blue, still walking toward mid-car, stops at the Hippie's
estended legs and taps the soles of his sandals with the
muzzle of his submachine gun.
BLUE
Pull in your feet -- someone's
liable to get hurt.
The. Hippie looks up at him, smiles, and slides his feet
back. Blue continues until he comes to Grey. He speaks
quietly to him.
BLUE
Stop fooling around with that
girl, Mr. Grey.
GREY
What's the big deal? She's a
twenty buck a trick hooker.
BLUE
I said leave her alone.
GREY
Don't worry -- I could do this
job and hump that broad at the
same time -- without missing a
stroke.
79.
CONTINUED - 2
BLUE
(A PAUSE)
I
I once ordered a man shot for
talking to me that way.
GREY
That's the difference between us,
Mr. Blue -- I've always done my
own killing.
BLUE
Maybe we'll get a chance to work
that out.
EXT. LIBERTY STREET - FEDERAL RESERVE BANK - DAY
Number 33, the large, stone fortress occupying the entire
block, its ground floor windows barred. The following
IS SUPERIMPOSED:
"FEDERAL RESERVE BANK of N.Y."
AND THEN:
"2: 51"
INT. FEDERAL RESERVE - PRESIDENT'S OFFICE - DAY
The PRESIDENT stands in the middle of his large green rug,
putting golfbaLls at a gadget that automatically catapaults
them back. As he finishes lining up a long one, and is just
about to stroke, the office intercom buzzes. A little
annoyed, he crosses to his desk.
PRESIDENT
Yes -- ?
INTERCOM (SECRETARY)
The Chairman of the City National
Trust on five-seven -- he said it's
important.
The President pushes a button putting the call on the speaker-
phone ar_d he returns to his golf.
PRESIDENT
Hello, Ben -- what can I do for you?
SPEAKERPHONE (B .CHAIR . )
I need a million, Henry.
PRESIDENT
A million what?
80.
CONTINUED
SPEAKERPHONE (B .CHAIR . )
Dollars, of course.
PRESIDENT
(stops golfing, surprised)
A million ones?
SPEAKERPHONE (B .CHAIR . )
No, not in ones -- in fifties and
hundreds.
PRESIDENT
(PUTTING AGAIN)
I got you now, Ben -- a million
fifties and hundreds. That's more
like it. When can you pick it up?
SPEAKERPHONE (B .CHAIR . )
I don't think you're following me,
Henry --.a million dollars, that's
all -- in fifties and hundreds.
PRESIDENT
(STOPPING AGAIN)
One million? My secretary said
it was important. What are you
calling me about petty cash for?
SPEAKERPHONE (B.CHAIR.)
It's ransom money -- a subway
train's been hijacked -- they've
threatened to kill all the passengers.
PRESIDENT
(going to his desk)
Why the hell didn't you say so?
Tell me how you want it and have
a truck at the Maiden Lane loading
platform in ten minutes.
EXT. PARK AVENUE. & 28TH STREET - DAY
T .V . INTERVIEWS
A seriea of head-on television interviews with various
individuals in the large crowd gathered at the scene. They
all speak directly to CAMERA with the VOICE of a well-known
Six O'Clock News PERSONALITY O .S .
ROGER'S VOICE
This is Roger Grimsby for Eye-
witness News, here at the inter-
section of 28th Street and Park
Avenue South, the scene of this
incredible subway hijack --
81.
1. TACTICAL POLICE
A group of the blue-helmeted COPS manning the lines and
pushing back part of the crowd .
ROGER'S VOICE
You're looking now at members
of the T .P .F . -- the Tactical Police
Force -- as they attempt to deal with
this enormous crowd which is con-
tinuing to grow every minute.
Officer -- officer -- this is
Eyewitness News --
An OFFICER turns to CAMERA.
ROGER' S VOICE
Officer, how would you estimate the
size of this very large crowd?
OFFICER
Very large.
ROGER'S VOICE
Would you describe it as unruly?
OFFICER
Compared to some I've seen, Roger,
I'd have to say it was ruly.
Definitely ruly.
2. A WOMAN
Middle-aged, overweight,.dyed blond hair.
ROGER'S VOICE
Excuse me, madam -- do you have
any comment on the drama that's
unfolding beneath our feet at this
very moment?
WOMAN
What particular part of the drama
do you want me to comment on?
ROGER'S VOICE
Some people feel that our subways
have becomes jungles.. Any comment
on that?
WOMAN
In my opinion, Roger, our subways
have become jungles.
82.
3. TEEN-AGE GIRL
Wearing glasses and braces.
ROGER ' S VOICE
Would you feel more secure if,
instead of eight hours a day, the
trains and platforms were manned
by the Transit Police twenty-four
hours a day?
TEEN-AGE GIRL
(THINKS)
Twenty-four hours minimum.
4. BLACK DELIVERY BOY
DELIVERY BOY
Dogs --,all they gotta do is loose
I
a pack of Doberman Pinchers an'
sic 'em onto that train --
5. FASHION MODEL
MODEL
Yeah -- I definitely heard it on
the radio -- they're asking a
million dollars for each passenger.
That makes sixty-five million dollars
in all --
6. CONSTRUCTION WORKER
WORKERR
You know how they're gonna get
away? The sewers -- they got a
map of the sewers -- just like
that French guy, the Count of Monte
CARLO -
7. HOUSEWIFE
HOUSEWIFE
I met you before, Roger -- remember
two years ago? -- at that three-
alarm fire in Crown Heights -- ?
8. HOTDOG VENDOR
Under his yellow and red umbrella, doing a land-office
business.
ROGER'S VOICE
Excuse me, sir -- from the looks
of things, you could use another
pair of hands. I s this your regular
corner?
83.
CONTINUED
VENDOR
(ACCENT)
For seventeen years.
ROGER' S VOICE
What do you think of all this?
VENDOR
Terrific -- really terrific! What's
going on, a parade?
INT. FEDERAL RESERVE - THIRD FLOOR - DAY (SILENT)
The President comes out of an elevator, is let through an
iron gate by a GUARD who unlocks it, locks it again, then
turns to unlock a second gate, allowing the President to
pass into a corridor.
MED. SHOT - TX. MONITORS (SILENT)
A bank showing various areas of the building on closed
circuit. CAMERA ZOOMS IN on one monitor: the.Presid ent is
seen walking down the corridor.
INT. THIRD FLOOR CORRIDOR (SILENT)
The President passes a few wooden trucks on wheels being
pushed by armed GUARDS. Farther, on his left, cages marked
"PAYING/RECEIVING"; on the right, "SORTING/COUNTING." He
turns right.
INT. TUNNEL - PATROLMAN JAMES
Still stuck behind the pillar, standing rigidly so as not
to be seen from the other side. Now he lifts his radio and
speaks softly into it.
JAMES
Patrolman James calling operations
-- come in, operations --
RADIO (GARBER)
This is Garber -- what's going on?
JAMES
That's what I want to know, Lieutenant
-- standing here like a statue --
it's drivin' me bananas!
RADIO (GARBER)
Just sit tight, James -- it won't
be much longer.
84.
CONTINUED
JAIIES
I just want to know one thing,
Lieutenant -- there's a whole mess
of feet runnin' around out there
in the dark -- I can hear 'em. I
figure it's a couple of dozen
snipers and sharpshooters -- am
I right?
RADIO (GARBER)
I wouldn't- be surprised.
JAMES
Yeah, well, would you make sure
they know about' me standin' here
between them and the hijackers?
INT. FEDERAL RESERVE - SORTING/COUNTING - DAY (SILENT)
Several COMITERS, mostly men, are breaking open the seals
on dirty grey canvas money bags, and spilling out the
contents -- currency tied into packets -- and start counting
the packets.
INT. GRACIE MANSION - MAYOR'S BEDROOM - DAY
His Honor is getting a shot in the rear-end from a DOCTOR
as Warren enters without knocking.
WARREN
Pull your pants up, Nate -- we're
going downtown. "
DOCTOR
It's totally out of the question,
Mr. LaSalle.
WARREN
Nobody asked you!
MAYOR
Warren, for Chrissake, I'm sick as a
goat. What's the point?
WARREN
The point, you dumb cluck, is that
the Mayor of the City of New York,
trailing by twenty-two points in all
the polls, cares enough about seven-
teen citizens in jeopardy to make a
personal appearance in their behalf!
85.
CONTINUED
MAYOR
You know what'll happen -- what
always happens -- I'll get booed.
The Doctor starts taking the Mayor's pulse.
DOCTOR
This is a very sick man.
WARREN
(slapping his hand)
Let go of that! You're off the
case! Look, Nate, all you have to
do is say a few words to the hi-
jackers over a bullhorn -- make a
dignified plea for mercy
MAYOR
Do you think it will help?
WARREN
Of course it'll help!
MAYOR
(HOPEFULLY)
The hostages?
WARREN
No, You.
MAYOR
Warren -- suppose the hijackers
start shooting at me --
WARREN
Will you stop? They've got no
reason to shoot at you.
MAYOR
(SMILING)
You mean they're from. out-of -town?
INT. FEDERAL RESERVE - COUNTING/SORTING - DAY (SILENT)
The SORTERS, mostly women, occupy a large office of. the bull-
pen variety. Each is sorting bills by denomination from a
batch in her hand, separating them almost faster than the
eye can see into the slots of a counting machine, deviating
only to throw old, overused bills away into a basket.
86.
INT. COMMAND CENTER - DAY
CLOSE SHOT - WALL CLOCK
It reads: 2:58. CAMERA PANS to Correll, in his shirtsleeves
and sweating now, jumping around, checking teletype messages
and bits of scratch paper, talking over several phones at
once.
CORRELL
-- Shut up and listen to me! All
Lexington Avenue trains departing
from Dyer Avenue and 180th Street
in the Bronx. are diverted to the
West Side tracks at 149th Street
and the Grand Concourse -- !
CAMERA PANS to Prescott, who is sitting at his desk, watching
Correll and shaking his head.
RADIO (GARBER)
CLIVE --
PRESCOTT
(punching a button)
Yeah, who's this?
RADIO (GARBER)
It's Sol -- what're we waiting for,
Clive?
PRESCOTT
I'll be goddamned if I know. Jesus!
How long does it take to get that
money together? r
RADIO (GARBER)
We'll never make it. The passengers
are dead ducks.
PRESCOTT
There's still fifteen minutes.
I'm signing off,. Sol.
(pushing another button)
Command Center calling 28th Street
-- can you read me, Daniels -- ?
RADIO (DANIELS)
This is Daniels -- came in, Command
CENTER --
PRESCOTT
Has the money left yet?
RADIO (DANIELS)
Not yet.
87.
CONTINUED
PRESCOTT
Well for God's sake, give then a
goose, will you? We're running out
of time!
(pushing, another button)
Command Center calling Pelham One
Two Three -- come in, Pelham --
This is Pelham One To Three --
PRESCOTT
This is Prescott. Listen -- we're
moving too slowly at this end. We
need some more time.
Sorry -- no more time.
Prescott's face hardens, his jaw. muscles tense.
CORRELL
-- Here's the flex south of 14th
Street -- I want the expresses run
off into Brooklyn --
PRESCOTT
(COVERING MIKE)
Hold it down, will you, Frank -- ?
CORREL?J
-- and all locals"sent around the
loop at South Ferry and shot up
the West Side from Bowling Green --
PRESCOTT
I said knock it off! I'm trying
to buy some more time!
A silence in the room as everyone turns to watch Prescott as
he speaks into the mike.
PRESCOTT
All we want is another fifteen
minutes, all right? A lousy
fifteen minutes !
Negative.
PRESCOTT
Ten minutes, then -- what difference
can ten minutes make?
88.
CONTINUED - 2
Negative.
PRESCOTT
(QUIETLY)
You son of a bitch.
INT. FEDERAL RESERVE - COUNTING - DAY (SILENT)
A single CLERK is now assembling the ransom money. He
selects ten bundles of fifties and five bundles of hundreds
-- each bundle containing ten packets of one hundred bills
-- and, after cutting the strings holding the bundles
together, proceeds to pair the packets into two hundred
bill thicknesses (one inch) and fasten on the two rubber
bands.
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
Blue, as Green enters the cab.
GREEN
I heard you on the radio -- anything
wrong, Mr. Blue?
BLUE
They've requested more time.
GREEN
How much more?
BLUE
Ten minutes.
GREEN
I guess it won't hurt anything.
BLUE
I 'didn't -give it to them.
GREEN
(A PAUSE)
Suppose they can't make it?
BLUE
Then we do what we said we'd do.
There's no other way.
GREEN
Maybe an hour wasn't enough time
89.
CONTINUED
BLUE
An hour's plenty! You know how the
system works -- you give them two
hours and they take two -- three
and they take three. An hour's
plenty!
GREEN
And what if it isn't?
(NO ANSWER)
Do you think we'll actually have
to do it?
BLUE
I don't know. They're running
pretty late.
INT. FEDERAL RESERVE - COUNTING - DAY (SILENT)
CLOSE SHOT - MILLION DOLLARS
It is now neatly piled together -- the fifteen thousand
bills make a block approximately twenty inches high and
twelve inches deep. CAMERA PULLS BACK as the clerk stuffs
the money into a canvas bag, then pushes it through a
raised window.
INT. ADJOINING ROOM - TRAVELLING (SILENT)
TWO GUARDS take the bag, leave the room, CARA FOLLOWING,
and hurry down a corridor to the right. Another GUARD opens
a gate leading to the security elevators.
R
EXT. FEDERAL RESERVE - MAIDEN LANE SIDE - DAY
A police panel truck, its motor running, parked at the side-
walk in front of the loading bays. In front of the truck,
eight police MOTORCYCLISTS, astride their bikes, the engines
also running, and occasionally racing them with a flick of
the accelerator. The time is SUPERIMPOSED:
"3:03".
INT. POLICE TRUCK - DAY
It is manned by two patrolmen of the Special Operations
Divison -- WENTWORTH, the driver, a young, red-headed man
with a boyish face, and RICCI, slightly older, on the
moody side.
RICCI
it sure is taking them a helluva
long time --
90.
CONTINUED
WEN T WORTH
It's a lot of money, Albert. Do
you realize how many times you've
got to wet your thumb when you're
counting out a million?
RICCI
That's right -- kid around. But
you know damn well that if we don't
get it up there on time they're
gonna blame us for it -- you know
they're gonna blame us for it.
WENTWORTH
Look out there, -Albert -- eight
cycles -- just for us -- and I
hear there's gonna be a cop at
every single intersection all the
way uptown.
RICCI
Yeah, and while we're tying up
the entire New York Police Force,
the whole East Side's gonna be
ripped off.
WENT WORTH
Albert, this might be the biggest
day of my life and you're determined
to spoil it, aren't you?
RADIO r (BOROUGH COMMANDER)
This is the Borough Commander --
come in, Car Fourteen-David --
RICCI
(grabbing the mike)
This is Fourteen-David ---
RADIO (BORC.UGH COMMANDER)
Jesus Christi Aren't you guys
moving yet? What the hell's going
on down there -- do you know what
the goddam time is?
RICCI
(rolling his eyes
AT WENTWORTH)
Yes, sir -- we're still waiting for
the money to come out, sir --
91.
EXT. PARK AVENUE & 28TH STREET - BOROUGH COMMANDER - DAY
Be' s on the radio.
BOROUGH COMMANDER
Yeah? Well if it's not there
in thirty seconds you have my
permission to go in after it!
A LIEUTENANT interrupts him.
LIEUTENANT
Sir -- we just got word that
the Mayor's on his way down.
BOROUGH COMMANDER
Terrific. Tell him we'll hold
the crowd 'til he gets here.
(into the mike)
I'm warning you two guys -- if I
don't see your faces before the
deadline, I don't'want to see
them at all! Ever!!
He slams down the mike.
INT. POLICE TRUCK
RICCI
What'd I tell you? It's all
gonna be our fault.
EXT. LOADING BAY - DAY
as the two Guards run out of the Federal Reserve, each
holding one end of the money sack, each with his gun
drawn, and head for the Police Truck. The time is
SUPERIMPOSED:
"S:05°.
They throw it into the front seat on Ricci's side and slam
the door. The motorcycles are already starting to move,
shoving off, their sirens wailing and the truck starts
after them.
EXT. MAI,)EN LANE & NASSAU STREET - DAY
A COP on the corner waves the procession -- motorcycles and
truck -- right on Nassau, one of the narrowest streets in
the city -- cars are parked half up on the sidewalk -- and
they head uphill toward John Street.
92.
OVERHEAD SHOT
From the roof of one of the office buildings, as the police
truck continues along Nassau, past john, Fulton, Ann, and
on toward Beekman, the eight motorcycles leading it.
M
.EXT. PARR: ROW - DAY
CAMERA PANNING with the truck as it follows the cycles out
of Nassau, a swing to the right at Spruce, and then enter-
ing Park Row (with City Hall on their left) heading up the
wrong way, against the traffic, COPS at every intersection.
INT. POLICE TRUCK
WENTWORTH ' S POV (UNDERCRANKED )
SHOOTING through the windshield from the Driver's point-
of-view -- the eight cycles clearing the way, the oncoming
traffic pulling over (and the expressions on the drivers'
faces) as the truck careens through.
INT. POLICE TRUCK - [WENTWORTH & RICCI
Wentworth is grinning, really enjoying himself. Ricci,
holding the sack of money on his lap, is scowling.
WENT WORTH
Beautiful -- really beautiful!
I've always wanted to do this --
we're scaring the shit out of
everybody.
RICCI R
Including me.
WENTWCRTH
What's wrong with you, Albert?
This is something you can tell
your kids about some day.
RICCI
(CHECKING WATCH)
Eight minutes. We're never gonna
make it.
EXT. 14UNICIPAL BUILDING - DAY
as, tires screeching, the truck swings over to the right
side of the street. Traffic coming off the Brooklyn Bridge
is being held up at the ramp. The time is SUPERIMPOSED:
"3:06"
CAMERA PANS with the truck as it passes Chambers Street
and heads up Centre.
93.
EXT. CENTRE STREET - DAY
as the cycles, sirens screaming, followed by the truck,
race past the Federal Court Building, the City Courthouse
and the Criminal Courts Building.
INT. COMMAND CENTER - DAY
MED. SHOT - PRESCOTT
He's on the radio.
PRESCOTT
Where are they now, Daniels -- ?
RADIO (DANIELS)
Centre Street, just north of
Chambers.
PRESCOTT
What've we got -- ?
(CHECKS CLOCK)
-- seven minutes. Christ, it's
just not enough.
RADIO (DANIELS)
Even if they make it up here to
28th Street in time -- we've still
gotta carry it down track on foot.
PRESCOTT
No way.
(punches a button)
Pelham One Two Three -- this is
PRESCOTT --
This is Pelham One Two Three --
PRESCOTT
The money's en route -- making
pretty good time, too -- but it
won't get to you by 3:13.
I'm sorry to hear that.
PRESCOTT
Listen -- suppose we get it to
the station entrance by then --
will you change the deadline from
delivery to you to arrival at 28th
Street? Will you do that at
least -- ?
(NO ANSWER)
Pelham One Tuv Three -- do you read -- ?
94.
CONTINUED
I'm here, Prescott.
(ANOTHER PAUSE)
All right. I agree. But no more
concessions, is that clear?
PRESCOTT
Clear, clear.
(punches a button)
Daniels -- they bought it. If
we get it to the station entrance
by 3:13 we'll be okay.
RADIO (DANIELS)
Good job, Prescott.
PRESCOTT
Except for one thing --
RADIO (DAN IEL S )
What's that?
PRESCOTT
We still won't make it.
71, EXT. CANAL STREET - DAY
as a COP at the corner waves the cycles and truck left on
Canal, the traffic ahead on Centre being too heavy. The
time is SUPERIMPOSED:
"3:09".
INT. POLICE TRUCK - DAY
Wentworth and Ricci, the latter on the radio.
RICCI
-- proceeding west on Canal Street
on our way to Lafayette. Traffic
heavy. Over.
RADIO
Keep it coming --• you've got five
minutes.
RICCI
We'll make it.
(hangs up mike)
We'll never make it.
95.
CONTINUED
tl?ENTTIORTH
Five minutes? No sweat, Albert
-- you want to stop for a beer?
RICCI
Jesusl Look out -- I
EXT. CANAL & LAFAYETTE - DAY
as the cyclists turn right onto Lafayette, against the on-
coming traffic (Lafayette is one-way downtown at this
point) the two lead bikes sideswipe each other and, going
out of"control, topple over, sending their drivers sprawling.
The truck slams on its brakes,.screeching to a stop just
short of the pile-up.
EXT. PARK AVENUE & 28TH STREET - DAY
A SERGEANT manning the radio at the Command Post shouts to
the Borough Commander who is off to one side, issuing orders
to a small squad of policemen.
SERGEANT
Sir -- there's been an accident --
BOROUGH COMMANDER
Jesus Christ, I don't believe it!
He starts for the radio in one of the vehicles. The time
IS SUPERIMPOSED:
"3:10 'F.
He grabs the mike.
BOROUGH COMMANDER
This is the Borough Commander --
what the hell happened?
RADIO (RICCI)
Two cycles went down -- both riders
got banged up-pretty bad. They'll
need an ambulance.
BOROUGH COMMANDER
Never mind! Drop off two more
bikes to look after them and keep
going -- do you hear me? Keep
96.
EXT. LAFAYETTE STREET - DAY
as the truck, led by only four cyclists now, continues
speeding north. The time is SUPERIMPOSED:
"3:11".
INT. POLICE TRUCK
RICCI
(ON RADIO)
Fourteen-David heading north on
Lafayette, approaching Vannrnare.
RADIO
Get the lead out, for Chrissakel
RICCI
(hanging up mike)
Why don't they face it -- it
just can't be done!
WNETWORTH
You know something, Albert --
you're absolutely right. Next
corner we're turning right,
crossing the bridge to Brooklyn
and you and me, we got ourselves
a fast million bucks, free and
clear.
RICCI
Are ou crazy? !
(3.0o cs at him)
You're kidding around again.
WENTWORTH
But I had you going there for a
minute, didn'.t I, 'Albert? _
INT. SUBWAY TUNNEL - FIRST CAR
as it sits in the darkness. The time is SUPERIMPOSED:
"3:11.34--"
as now the seconds are shown, running -- '135-36-37-38--"
and will continue to do so throughout the following scenes.
INT. MOTORMAN'S CAB
as the SUPERIMPOSED time continues running -- "3:3.1.39-40-
41-42--" and Blue regards his watch. Then he opens the cab
door.
97
CONTINUED
BLUE
Mr. Green --
GREEN
(appearing at. door)
What?
BLUE
Coming up on one minute.
GREEN
(A PAUSE)
Have you decided which one it's
gonna be?
BLUE
(SHRUGGING)
Does it make any difference?
GREEN
I guess not.
(A PAUSE)
Who's gonna do it?
BLUE
Mr. Brown.
GREEN
Does he know?
BLUE
He won't mind.
GREEN
Neither would Mr. Grey.
BLUE
Mr.. Brown's better. With hint
it's just a job -- not kicks.
He looks at his watch as the.SUPERIMPOSED time continues to
run: "3:12.07-08-09--to
BLUE
Fifty seconds -- then we erase one.
EXT. LAFAYETTE & HOUSTON - DAY
as the four motorcycles and the truck, sirens all going,
whip through the intersection against the light, a COP
holding traffic. The SUPERIMPOSED time continues running:
"3:12.10-11-12-13--"
98.
INT. POLICE TRUCK
RICCI
(ON RADIO)
Fourteen-David crossing Houston,
heading for Cooper square --
RADIO
You've still.got twenty-eight
blocks -- floor the sonovabitch! !
Wentworth is bent over the wheel, all determination now.
WENTWORTH
Tell him I'm doing over sixty now!
RICCI
Holy Christ: -- the street's blocked!
I WENTWORTH
Hold on -- I'm going through -- !
WENTWORTH'S POV
SHOOTING THROUGH the windshield (as the SUPERIMPOSED time
continues to run: "3:12.26-27-28-29--") The tail-lights
of the cycles are twinkling red'as they begin braking --
a tractor-trailer is stretched across the street, lining
up its rear-end with the narrow opening of a loading
bay, in preparation for backing into it. Now the truck
starts backing, and while there is still some space open
(on the sidewalk) it is closing fast. The cycles screech
to a stop but it is clear that the truck doesn't intend to
as it bumps up onto the sidewalk, and starts for the
opening. But it is now too narrow. The screeching brakes
of the truck are heard as it starts to skid around, the
panorama flashing by sickeningly and, perhaps, a crash
and, perhaps, the scene flopping over as the truck,
perhaps, rolls over onto one side.
EXT. LAFAYETTE STREET - DAY
The Police Truck lying on its side, its wheels still
spinning, the siren still running eerily. And the SUPER-
IMPOSED time still running: "3:12.38-39-40-41--"
INT. COMMAND CENTER - DAY
CLOSE SHOT - PRESCOTT
On the radio -- the time still SUPERIMPOSED and running:
"2:12.42-43-44-45--"
PRESCOTT
Daniels -- for God's sake answer me!
Where's that goddam money -- ?!
99.
CONTINUED
RADIO (DANIELS)
Hello, Prescott -- the truck's
been wrecked -- somewhere on
Lafayette Street. Their radio's
gone dead --
PRESCOTT
what the hell are you talking
about?! It can't be wrecked --
we're out of time, goddammit!
RADIO (DANIELS)
What do you want me to do?! We
couldn't make it, that's all!
PRESCOTT
What do you mean, that's all?!
They're just about to shoot some
poor sonuvabitch -- 1!
RADIO (DANIELS)
What do they expect us to do?
If they know we're wrecked how can
they ask us to --
PRESCOTT
They don't know anything, for
Chrissake! How can they know
anything down where they --
Holy shit, that's it!!
He punches a button on the console as the SUPERIMPOSED
numbers now reflect the time down to the tenth of a second:
"3:12.55(0-1-2-3-4-5-6-7-8-9)-56(0-1-2-3-4-5-6-7-8-9)-57,
(0-1-2---) --fl
PRE-SCOTT
(shouting into radio)
Pelham One Two. Three -- ! The money's
arrived -- repeat, the money's
arrived!!
(SHORT PAUSE)
You made it just in time, Prescott.
The SUPERIMPOSED 'time freezes: 113:59.58.6." Prescott exhales
sharply and sits back in his chair, exhausted. The SUPER-
IMPOSED numbers disappear.
You still there, Prescott?
100.
CONTINUED - 2
PRESCOTT
Yeah. I'm still here. Tell me
something -- if we were a couple
of seconds late -- you'd have
knocked off an innocent person?
Affirmative. Now if you're ready,
I'll give you instructions for
the delivery of the money. Again,
I'll have to insist you follow
them to the letter.
PRESCOTT
Go ahead.
Two unarmed policemen will walk
down the track -- one with the
money, the other with a light which
he'll flash continuously from side
to side in a sweeping motion.
When they reach the car the rear
door will open and the one with
the money will throw it in onto
the floor. Then they will both
turn and walk back to the 28th
Street Station. Acknowledge.
PRESCOTT
I've got it. Is that all?
For now. But keep it in mind
that the same ground rules apply
-- any wrong move by anyone and
we'll kill a hostage.
PRESCOTT
I could've. guessed that part.
You have ten minutes to deliver the
money. If it isn't here by then --
PRESCOTT
Yeah, I know -- -it's getting mono-
tonous. I don't suppose you'll give
us longer than ten minutes --
Ten's more than enough, Prescott
(MORE)
1 01.
CONTINUED - 3
unless you weren't telling the
truth about the money having
ARRIVED --
PRESCO'.�T
(QUICKLY)
It's all right, ten minutes is fine.
No further discussions then.
When we have the money in hand
I'll call you with the final set
of instructions.
PRESCOTT
You don't really think you're
gonna get out of there, do you?
I
The clock's running, Prescott
I've got three-fourteen -- you've
got until three-twenty-four.
Over.
PRE-SCOTT
Over. Over, you bastard.
EXT. PARK AVENUE & 28TH STREET - DAY
as two motorcycles, sirens blasting, push their way through
the crowd and stop at the Borough Commander's command post.
One driver alights and goes to help the other remove the
canvas sack of money off the back of the second bike. They
carry it together to the Borough Commander.
BOROUGH COMMANDER
Well, it's about fucking time!
(TURNING)
You two --
He has addressed two uniformed men -- a Transit Cop
(MISKOWSXY) and .a Tactical Policeman (O'KEEFE) -- standing
I
together drinking coffee out of containers. They hurry
over and salute.
BOROUGH COMMMIDER
Which one has the flashlight?
MISKOWSKY
I do, sir --
He shows it hanging from his belt.
102.
CONTINUED
BOROUGH COMMP-11"DER
All right -- then you
(O'KEEFE)
carry the money. Now move it --
you've only got about eight and
a half minutes.
(as they salute)
Never mind the goddam salutes
just get going!
They take the sack from. the cyclists, hike it up onto
O'Keefe's shoulder and hurry off, running down the steps
into the subway.
Now a chorus of booing is heaxd.
BOROUGH C0124ANDER
Christ, it's the goddam Mayor!
SERGEANT
(CRANING)
I don't see him --
BOROUGH COMMANDER
No, but I can sure hear him --
WIDER ANGLE
The Mayor, wrapped in a blanket, is smiling and nodding
as he passes through the crowd, led by a wedge of COPS,
flanked on one side by the Commissioner, and on the other
by Warren LaSalle. The BoroughrCommander waits for him,
shaking his head in disgust.
BOROUGH COMMANDER
And to think that I voted for the
ba stard .
The Mayorand entourage join him.
WARREN
Hello, Commander -- His Honor wants
to go down into the tunnel with a
bullhorn and make a personal appeal
to the hijackers.
BOROUGH COMMANDER
I'm afraid not.
WARREN
I wasn't asking for your permission
-- all you have to do is clear the
way.
103.
CONTINUED
The Commander looks at the Commissioner who stares right
back, blankly. Then he turns to the Mayor.
BOROUGH COMMANDER
I appreciate your wanting to
help, sir, but you've come at
a very bad time.
WARREN
Mr. Commissioner, will you order
your man to comply?
MAYOR
Cool it, Warren'-- the Commander
knows the situation here and we
don't.
WARREN
Nate -- I'm warning you --
MAYOR
I feel shitty, Warren -- I'm going
back to bed.
The Mayor turns and starts back through the crowd, Warren
chasing after him.
WARREN
Nate -- ! For God's sake, Nate -- !
INT. SUBWAY TUNNEL r
All that can be seen in the darkness is a flashlight, its
beam swinging back and forth, coming toward CAMERA. The
time is SUPERIMPOSED:
"3:18".
ANOTHER ANGLE (TRAVELLING)
Miskowsky and O'Keefe walking along the roadbed, between the
rails, Miskowsky swinging the flash, O'Keefe.carrying the
sack on his shoulder, both looking around nervously, CAMERA
MOVING with them. Finally:
MISKOWSKY
My name's Miskowsky. What's yours?
O'KEEFE
O'Keefe .
104.
CONTINUED
MISKOWSKY
Pleased t' meet ya. Tactical Force?
O'KEEFE
That's right.
MISKOWSKY
You get the feelin' we're not alone
down here?
O'KEEFE
What do you mean?
MISKOWSKY
I thought I saw'someone -- a couple
of times in fact --
0 ' KEEFE
Sharpshooters -- we got a couple
dozen of 'em spread all over the
place. There's one --
MED. SHOT - SHARPSHOOTER
MISKOWSKY'S POV (TRAVELLING)
A FIGURE in the shadows, standing behind a pillar, seen
only in silhouette as CAMERA PASSES him -- his helmet, his
high-powered rifle, etc. -- looking very menacing.
MED. SHOT - MISKOWSKY & O'KEEFE (TRAVELLING)
MIS KOWSKY
You realize we got four submachine
guns ahead of us and all those
jokers behind us? I feel like I'm
walkin' into the fuckin' O.K. Corral.
O ' KEEFE
Look -- there it is -- I can see
it. There's somebody standin' in
the rear door.
LONG SHOT - FIRST CAR - O ' KEEFE ' S POV
The lone car, lit from within -- and the silhouette of Brown
at the rear storm door.
MED. CLOSE SHOT - JAMES
Standing behind his pillar. Now he turns his peaked cap
around and, turning his face to the pillar, slowly moves
his head to one side.
105.
MED. SHOT - FIRST CAR - JAMES' POV
SHOOTING from behind the pillar. As the CAMERA slowly
CRABS, the subway car comes into view -- and we see Brown
standing at the rear door, much more clearly than before..
MED. CLOSE SHOT - JAMES
as he. peeks around the pillar. Now, slowly, he brings his
right hand up and, pointing his index finger.like a gun,
"fires."
JAME S
P'choo, p'choo, p'choo --
He blows imaginary smoke from the end of his finger, pleased
with himself.
JAMES
Shiiiiiit.
ANOTHER ANGLE
From the other side of the pillar as James ducks back behind
it, turns his back to it and looks around for another way
of amusing himself. He notices his real gun in a holster
at his belt and unbuttons the strap, freeing it. Then he
assumes the stance of a gunfighter, hand poised over it,
knees slightly bent. Then, moving suddenly, he slaps his
holster, wheels, fires without aiming -- and there's a
reverberating BANG, the shattering of glass and the figure
in the subway car reels back. James looks at his hand in
amazement -- there's no gun in it. Then, at the same-time,
Brown has recovered his balance and begins firing his
submachine gun, the bullets ricocheting off the metal
pillars.
MED. SHOT - MISKOWSKY & O'KEEFE
as they drop onto the roadbed, bullets whining all around
them.
MISKOWSKY
For Chrissake, they're shooting
at us!,
O'Keefe pushes the sack of money in front of them and they
press flat behind it.
INT. FIRST CAR
Blue is hurrying from the Conductor's cab to the rear of the
car, passing between the two rows of stunned passengers
who watch in silence. The storm door window has been smashed
106.
CONTINUED
and there is glass all over the floor nearby. Brown is
just in the process of sitting heavily in the single
isolated seat near the door, a dark red patch blossoming
on his sleeve, just below the right shoulder, his sub-
machine gun resting in his lap. He begins examining his
wound with his left hand. Grey s--ands at the rear door,
pressed flat against the wall, peering out.
BLUE
Return to your position, Mr. Grey.
GREY
Maybe they're not through --
BLUE
You heard me, Mr. Grey! I don't
think there'll be any more.
I
Reluctantly, Grey goes back to mid-car.
BROWN
It's not too bad -- I think it
went right through.
I
Blue spots something, bends and picks up a lump of metal
which he tosses to Brown who watches it in his bloodied left
hand, glances at it, then throws it away.
BLUE
How does it feel?
BROWN.
Okay -- I never feel pain too much.
BLUE
How many shots were there?
BROWN
Just one -- the rest was me. I
didn't see anything -- I guess I
just got mad -- no sense to it --
BLUE
(THINKING)
Somebody got nervc..us -- or bored
-- they've been out there a long
time. We can't let it pass.
BROWN.
I'm not mad any more -- forget it.
107.
CONTINUED - 2
BLUE
We can't afford to.
(looking around,
at the Passengers)
I'll go pick one cut.
INT. TUNNEL - JAMES
His back to the pillar,'he has his radio up to his face,
whispering into it.
JAMES
-- I don't know who did it,
Lieutenant -- it came from
behind me somewhere -- in the
dark. It hadda be one of them
snipers they got down here --
RADIO (GARBER)
Acting on whose orders?
JAMES
I don't know -- maybe nobody's.
RADIO (GARBER)
You mean somebody just took it
into his head to fire? On his
own? How could he do such a thing?
JAMES
(THINKING)
Easy -- real easy.
RADIO (GARBER)
Can you see what's going on inside
the train?
JAMES
Not too good.
RADIO (GARBER)
What do you think -they'll do?
JAMES
I don't know -- but I'd sure hate
to be in there finding out.
INT. FIRST CAR - PASSENGERS - BLUE'S POV
CAMERA PANNING the Passengers sitting on one side of the car,
the Passengers staring back at CAMERA (Blue), then we cross
the aisle and PAN BACK up the other side.
100 .
CLOSE SHOT - BLUE
BLUE
(CALMLY)
You. Stand up, please.
REACTION SHOTS - PASSENGERS
as they turn to look at whomever Blue has indicated.
CLOSE SHOT - BUD
The conductor as he looks up and touches his. chest with a
finger.
BUD
You mean me -- ?
WIDER ANGLE
BLUE
That's right, conductor. Would
you come along with me, please?
BUD
Why? -- what are you going to do?
BLUE
There's something you can help us
with.
Bud still hesitates.
BLUE
Don't worry, conductor -- come
ALONG --
He leads Bud by the arm back to the rear of the car, every
Passen gar's eye on the conductor as he passes, his free
hand moving from overhead strap to strap.
BLUE
All you have to do is walk uptrack
about a hundred feet and wait for
the men delivering the money.
They have reached the rear where Bud manages to avoid looking
at Brown while Blue slides open the door.
BLUE
I'll help you down onto the track.
BUD
Why do I have to go -- ?
109.
CONTINUED
BLUE
(LEVEL GAZE)
I told you -- there's nothing to
worry about.
(FIRMLY)
Now please go.
Bud looks at him, then accepts Blue's offer of help as he
starts to swing down onto the roadbed.
INT. TUNNEL - MISKOWSKY & O ' REEFE
Still face down behind the canvas sack. Now O'Keefe raises
his head.
0 'KEEFE
Look -- somebody's being helped
down onto the track --
MISKOWSKY
(PEEKING)
Christ, he's coming this way --
he's headed straight for us -- !
LONG SHOT - FIRST CAR - MISKOWSKY'S POV
as the conductor heads for CAMERA. He hesitates, turns back
to the subway car behind him, then continues walking.
Suddenly Brown looms in the doorway, his submachine gun
poised, and now fires a short burst, the muzzle flashing.
V
MED. SHOT - BUD
as he staggers, reaches upward, then crumples as he passes
CAMERA, falling forward, CAMERA following him down. One
of his outstretched hands comes to res: near a pillar and
a black shoe. CAMERA then PANS UP to James' terrified face.
INT. COMMAND CENTER - DAY
Prescott on the radio.
PRESCOTT
What the hell are you talking about,
Sol? How do you know they shot a
hostage?
RADIO (GARBER)
Because one of our own cops is right
there! The body almost landed on
him, for Chris sake !
110.
CONTINUED
PRESCOTT
But why?! We're still under the
delivery deadline --
RADIO (GARBER)
Somebody threw a shot at them --
now they're showing us they're men
of their word.
PRESCOTT
Who the hell fired at them?
RADIO (GARBER)
Nobody knows. My bet is we never will.
PRE-SCOTT
How far did the money get?
RADIO (GARBER)
Our guys says about fifteen yards
back of him. It stopped when the
shooting started. What do we do
now, Clive?
PRESCOTT
I better find out. Christ, what a
fucking mess!
(punching another button)
Pelham One Two Three -- come in,
Pelham, this is Prescott --
This is Pelham -- go ahead, Prescott --
PRESCOTT
Did you have to do it, you bastard?
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
BLUE
One of my people was shot -- I
warned you what the penalty would be.
RADIO (PRESCOTT)
I'm going to get you, you know -- me
personally.
BLUE
In the meantime, where's the money?
(CHECKING WATCH)
You only have three minutes left.
INT. TUNNEL - MISKOV7SKY & O'KEEFE
Still lying behind the sack of money.
O'KEEFE
What do we do now?
MISKOWSKY
Pray that a million bucks is
bullet-proof.
JAIES' VOICE
Hey, you guys --
MISKOWSKY
(draws his gun)
Jesus, who's thgt -- ?
JAMES' VOICE
Transit cop -- I'm up ahead. I
got orders for you. Resume your
delivery.
NISKOWSKY
I don't suppose we could have it
in writing --
JA•IES' VOICE
Get going -- the orders are
make it snappy.
Miskowsky and O'Keefe regard one another, then get slowly
to their feet and brush themselves off.
MISKOT`JSKY
I'll never get this crap off.
One of these days they oughta
clean up this subway.
He switches on his flashlight.
INT. FIRST CAR
Brown at the rear door, watching the track. Now he turns
and calls. -
BROWN
Mr. Blue -- there's the light.
Blue returns to the rear and stands watching with Brown.
INT. TUNNEL - MISKOWSKY & O'KEEFE
as they proceed, Miskowsky sweeping the light from side to
side, and O'Keefe carrying the sack. Now Miskowsky's light
112.
CONTINUED
picks out Bud's dead body on the track -- and then Caz
Dolowitz.
MISKOWSKY
It looks like Vietnam down here.
They continue toward the first car.
INT. FIRST CAR
Blue now opens the rear door as the flashlight's beam sweeps
across the back end of the car. Now Miskowsky and O'Keefe
appear -- only their faces peering into the car. O'Keefe
tosses the sack off his shoulder onto the car's floor and it
lands with a thud. Miskowsky and O'I :eefe look up at Blue
and Brown who merely stare back. No one speaks. Then the
two policemen turn and go. Blue now busies himself with
opening the neck of the sack, then lifting the other end so
that the 75 bricks of money spill out onto the floor in a
heap.
REACTION SHOTS -
In rapid succession: Blue, Brown, Grey and Green, their eyes
glued on the money -- and then Various Passengers: the Pimp,
the Hooker, the Old Dian, the Drama Critic, the Hippie, the
Puerto Rican, the Fag.
MED. SHOT - REAR OF CAR
BLUE
Mr. Grey --
He gestures for Grey to join them which he does, his eyes on
the money all the time.
GREY
Well -- will you look at that,
NOW --
BLUE
Get your things off -- both of
you -- and start loading up.
Blue watches while both Grey and :Brown remove their
raincoats, jackets and finally their shirts. Brown has a
blood-stained kerchief tied around his right upper arm.
Both wear what can only be called money vests: canvas,
sleeveless, fitting over the head like a Mae West, with ties
on the sides, and containing pockets, 20 in all, front and
back.
113.
CONTINUED
BLUE
Jr. Grey, you do Mr. Brown, then
he'll do you -- nineteen packets
each.
Blue continues to observe for a mc-,ment as Grey starts
inserting packets of pills, one to a pocket, into Brown's
vest, as Brown stands stiffly, his hands at his sides.
Then Blue walks to the front end of the car, joining Green.
GREEN
All that money -- I can't believe
IT --
BLUE
When they're finished it'll be
your turn. Mr. Grey will load
you up. But don't go down there
until Nr. Brown has come here to
take your place. I'll load up
as soon as I talk-to Prescott.
GREEN
I just wish it was all over
already.
BLUE
Pretty soon now.
He goes into the motorman's cab and shuts the door.
INT. COMMAND CENTER - DAY
Prescott at his desk, waiting. Then:
This is Pelham One Two Three --
do you read me, Prescott -- ?
PRESCOTT
(punching a,button)
This is Prescott --
INTERCUT - BLUE & PRESCOTT
BLUE
I'm going to give you five specific
instructions. Each one i.s.to be
followed precisely -- is that
clear?
PRESCOTT
So far.
114.
CONTINUED
BLUE
One: at the end of this conversation
you will restore power to the entire
sector.
PRESCOTT
(WRITING)
Restore power --
BLUE
Twos you will clear the local track
all the way from 28th Street to
South Ferry. By clear I mean
switches properly set and all
signals green. I emphasize green,
Prescott -- if eve so much as see
a red light, let alone get tripped
by one, we will shoot a hostage.
PRESCOTT
(WRITING)
Local track cleared to South Ferry
and all signals green --
BLUE
Three.: all southbound trains
behind us, local and express, are
to remain lying dead. Likewise
all northbound between South Ferry
and here.
PRESCOTT
(WRITING)
Got it --
BLUE
Four: you will con-",act me as soon
as the track is clear and all
signals are green.
PRESCOTT
(WRITING)
Go ahead --
BLUE
Five: you will remove all police
personnel from the tunnel. If we
see a single cop between here and
South Ferry we will shoot a hostage.
In fact, any deviation from these
instructions and we will shoot a
hostage.
115.
PIED. SHOT - PRESCOTT
PRE, SCOTT
Are you aware that you're insane?
(after a pause)
Let me know when all five points
have been complied with. Over
and out.
Prescott sits back for a moment, thinking. Then he punches
a button.
PRESCOTT
Sol -- you there -- ?
RADIO (GARBER)
I'm here, Clive, what's up?
PRESCOTT
Hold on while I cut in the city
COPS --
(punches a button)
Daniels -- ? This is Prescott --
RADIO (DANIELS)
Come in, Prescott, this is Daniels --
PRESCOTT
Daniels, I've got Lieutenant Garber
of the Transit Police on the line
with us. I have the latest instructions
from the hijackera•. They want power
restored, the tracks cleared, all
signals green as far as South Ferry,
and no cops anywhere. Okay, so we
go along -- we have to -- but then
what? What do you think they've
got in mind?
(A SILENCE)
Don't all talk at once.
I
INTERCUT •- PRESCOTT, GARBER & DANIELS
GARBER
Beats hell out of me, Clive. I
wouldn't've picked a tunnel to
make my getaway from in the first
place.
PRESCOTT
But they did pick it'-- and since
everything they've done so far has
(MORE)
116.
CONTINUED
PRESCOTT (CONTD)
been organized down to tha
smallest detail, it stands to
reason they've got the rest
worked out, too.
GARBER.
Power restored and the track cleared
-- so they're gonna move their
car, obviously. But why South
Ferry?
DANIELS
If I remember right it comes
after Bowling Green -- what
comes after South Ferry?
GARBER
Bowling Green again -- the track
loops around and heads back uptown.
PRESCOTT
All they'll do is bottle themselves
up. That's no good.
DANIELS
So that means they want South
Ferry. Why?
PRESCOTT
Do you think it's the water, Sol?
Maybe they've got a boat waiting
in the harbor -- dr a seaplane --
GARBER
Who knows? We'd.better play it
a step at a time. Clive, you see
about restoring power and clearing
.the track. Daniels and I'll start
pulling our units out of the tunnel.
We can follow them just as well
up above, on the street.
DANIELS
How'1l we know where they are?
PRESCOTT
Grand Central Tower has 'em on
their model board -- we can see
every move they make. If they
stop anywhere before South Ferry
we'll know about it.
117.
CONTINUED - 2
DANIELS
We'd better put some men on all
of the emergency exits just in
case. I'll check back in when
I've found a squad car I can use.
GARBER
Wait a minute! I think I just
figured out how they're gonna
get away!
PRESCOTT
I'm listening --
GARBER
They're gonna fly the train
to Cuba!
MED. SHOT - PRESCOTT
PRE-SCOTT
(SMILING)
You're a sick man, Sol.
He disconnects, then rises and crosses to Frank Correll
who's still frantically leafing through teletype dispatches
and shouting into a phone.
CORRELL
What do you want me to do, for
Chrissake? -- the goddam power's
still off ! You' llr have to move
them by bus -- what do you mean
you don't have any buses?! -- go
hiiack some!
He slams the receiver down, then notices Prescott looking
down 'at him.
CORRELL
What's going on, Prescott -- do
I get my trains back now or
don't I?
PRESCO'I T
You don't -- not yet.
CORRELL
Jesus! Do you realize that in
less than an hour the goddam
rush hour starts?
118.
CONTINUED
PRESCOTT
Will you shut up and listen?
I've got a new set of instructions.
CORRELL
(TURNING AWAY;
I don't give a rat's ass for your
fucking instructions! I'm not doing
anything to help the killers of
Caz Dolowitz!
Prescott reaches into his pocket, removes his service
revolver and, grabbing Correll by the chin, pushes his head
back and places the muzzle of the gun into his eye.
PRESCOTT
If you don't do what I tell you,
Frank, you'll be having dinner
tonight with Caz Dolowitz.
INT. SUBPAY TUNNEL - FIRST CAR
It stands, as before. in the semi-darkness. Then, suddenly,
the lights in the tunnel and inside the car flash on -- the
power has been restored. The time is SUPERIMPOSED:
°3:28.
INT. FIRST CAR
All lights are on and the Passengers react to the sudden
brightness. Brown, fully dressed again but looking even
bulkier with the addition of the money, stands at the front
end of the car now. Grey.is at mid-car, also dressed again.
Blue and Green are at the rear end, the latter having just
finished filling the former's money vest and now helps him
on with his jacket and raincoat. Blue moves to the center
of the car.
BLUE
Your attention, please -- in a
moment we're going to start moving
again. You will all remain seated
and quiet. We expect to release you
unharmed in a short while, but until
then you must continue doing exactly
as you're told. Come along, Mr.
Green.
He heads for the motorman's cab, Green right behind him.
The Pimp looks at Grey for a moment.
119.
CONTINUED
PIMP
Hey, dude.-- long as you goin'
downtown anyway, you mind droppin'
me off at Fulton Street?
GREY
Smart-assed nigger --
PIMP
You pretty, smart too, baby -- long
as you holdin' that piece.
FAG
Will you please?!
INT. MOTORMAN'S CAB
Blue stands to one side as Green sets up at the controls
and checks the track ahead.
GREEN .
Green all the way down.
BLUE
Go ahead then.
GREEN
This is gonna hand 'em a jolt,
you know -- moving before they
expect it.
BLUE
Go ahead, Mr. Green.
Green edges the controller forward and the car responds.
INT. TUNNEL
As the car starts to move.
INT. GRAND CENTRAL TOWER
CLOSE SHOT - MODEL BOARD
as the red slashes representing Pelham One Two Three are
moving.
WIDER ANGLE
Featuring Marino who is staring up at the Board.
MARINO
Holy Christ, she's moving!
(MORE)
120.
CONTINUED
MARINO (CONTD)
(TURNING)
What the hell's goin' on? They
said they'd wait until we'd cleared
the track all the way down!
Jenkins -- get the Command Center.
MRS. JENKINS
(INTO MIKE)
Grand Central Tower calling Command
CENTER --
INT. COMMAND CENTER - PRESCOTT - DAY
PRESCOTT
Come in, Grand Central Tower
RADIO (MRS. JENKINS)
She's moving.
PRESCOTT
Who's moving?
RADIO (MRS. JENKINS)
Pelham One Two Three
PRESCOTT
Mat?! Since when?
RADIO (MRS. JENKINS)
She just started.
R
PRESCOTT
Hold on --
(Punches a button)
Sol -- she's moving!
RADIO (GERBER)-
Who's moving?
PRESCOTT
Who the hell do you think?! Pelham!
What's she doing now, Grand Central?
RADIO (MRS. JENKINS)
Still moving -- pretty slow, but
no sign of stopping.
RADIO (GERBER)
It's too goddam soon! We're not
set up yet!
121.
CONTINUED
PRESCOTT
Which is probably why they did
it. You heard from Daniels yet?
I RADIO (GARBER)
Yeah. He's in a squad car on Park
Avenue South. Try him on seven-
FIVE --
PRESCOTT
(punching another button)
Daniels -- ? It's Prescott --
RADIO (DANIELS)
I read you, Prescott -- what's up?
PRESCOTT
She's moving.
RADIO (DANIELS)
Who's moving?
PRESCOTT
What's the matter with everybody?!.
How many hijacked trains we got
around here?i
RADIO (DANIELS)
You mean Pelham? But they're not
supposed to do that yet -- how
far have they gone?
PRESCOTT
Grand Central -- ?
RADIO (NiRS. JENKINS)
They're coming up on the 23rd
Street Station.
RADIO (DANIELS)
Oh shit, I'd better clear the cops
off that platform. Signing off.
PRE-SCOTT
All right, everybody -- listen to
me! They jumped the gun on us but
we're gonna.stick right with 'em.
That means every single person in
every department's gonna shake his
ass, do you get that?
RADIO (MRS. JEN INS )
Don't worry, Lieutenant -- it's shakin',
122.
INT. SUBWAY. TUNNEL
as Pelham One Two Three rolls.slowly along.
INT. FIRST CAR - MOTORMAN'S CAB
Blue and Green.
GREEN
We're coming in to 23rd Street.
BLUE
Keep it steady.
GREEN
I'm still in switching -- can I
push it up a notch?
BLUE
No -- steady as she goes.
GREEN'S POV
SHOOTING through the windshield. Ahead, the 23rd Street
Platform is drawing nearer -- and there is a CROWD waiting,
many leaning over to look uptrack at the approaching train.
GREEN'S VOICE
Jesus -- look at 'em hanging
over the edge. When I was a
motorman I had nightmares
about them falling off in
front of me.
E
INT. 28TH STREET PLATFORM
as the lone car passes slowly through. The long-stranded
would-be RIDERS start to shout, whistle and bang on the
windows and side of the. slowly passing car.
INT. FIRST. CAR
The. terrified Passengers and the uncertain Brown and Grey
as the car runs the gauntlet of the irate crowd outside;
they all shy from the poundi ng fists.
INT. GRAND CENTRAL TOWER - MODEL BOARD
The red lights moving past 23rd Street. CAMERA WHIP PANS
to Mrs. Jenkins on t ::e radio.
MRS. JENIINS
Pelham One Two Three passing
23rd Street Station --
123.
EXT. PARK AVENUE SOUTH & 23RD STREET - DAY
A police squad car inches along, crossing 23rd Street,
heading downtos'm.
INT. SQUAD CAR - DAY
Daniels and a uniformed police DRIVER.
DANIELS
(INTO MIKE)
Speed?
RADIO (MRS. JENKINS)
Continuing slow, at around five
miles per hour -- what they call
the switching position.
DANIELS
Prescott -- ?
RADIO (PRESCOTT)
Go ahead, Daniels.--
DANIELS
I just had a terrible thought:
what if they're not on the train?
What if they set the throttle and
jumped off? While we're chasing
the train they're sneaking out an
emergency exit somewhere behind us.
RADIO (PRESCOTT)
Ingenious -- except for one
thing: it's impossible.
DANIELS
Why?
RADIO. (PRESCOTT)
A.little gizmo called the-dead
man's feature. It was built into
the controller handle in case a
motorman should ever drop dead.
It has to have a man's hand
pressing down on it at all times
in order to work. Otherwise the
train stops cold.
DANIELS
Yeah?
RADIO (PRESCOTT)
Nice try, though. But in case
(MORE)
124.
CONTINUED
RADIO (PRESCOTi) (Contd )
you're- still worried, I was just
about to call them. I'll let you
know if I get their answering
service.
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
CLOSE SHOT - CONTROLLER HANDLE
Green's hand pressed down on it.
RADIO (PRESCOTT)
Command Center calling Pelham
One Two Three --
CAMERA PULLS BACK to include Green and Blue.
BLUE
(INTO MIKE)
This is Pelham.
RADIO (PRESCOTT)
What's going on? The track
isn't clear to South Ferry yet
-- how come you're moving?
BLUE
Slight change of plan. We decided
to put some distance between us
and all those cops you had hidden
in the tunnel back there.
RADIO "(PRESCOTT)
If you keep moving you're gonna
start running into red signals.
I don't want you to blame us
for it.
BLUE
We'll be stopping soon. Just
get back when you've cleared
the rest of the track.
Signing off. '
GREEN
Do you think he's figured anything
out? All those questions --
BLUE
Perfectly natural under the
circumstances. They're thinking
just the way we want them to.
125.
INT. 18TH STREET PLATFORM
Closed down for some years, the station platform is no more
brightly lit than the rest of the tunnel, giving it an
eerie look. The first car of Pelham One Two Three rolls
slowly through.
INT. MOTORMAN'S CAB
BLUE
Look sharp now -- it's coming
UP --
Blue and Green are straining their eyes against the
darkened tunnel ahead.
BLUE
Do you see it?
GREEN
It's that white light about a
hundred feet ahead.
BLUE
All right -- this is close enough.
Green starts to apply the brake.
INT. GRAND CENTRAL TOWER - MODEL BOARD
The red lights representing Pelham One Two Three stop.
CAMERA PULLS BACK to include Marino, Mrs. Jenkins and
some of the Towermen, all watching the board.
MARINO
She's shut down again. Pass it
along.
MRS. . JENKINS
(INTO MIKE)
Grand Central'Tower calling
Command Center -- come in,
Command Center --
INT. COMMAND CENTER - PRESCOTT - DAY
at his console. He punches a button and speaks into the
mike.
PRESCOTT
This is Command Center --
RF DIO (MRS. JENKINS)
She's stopped again, Lieutenant
-- just below the 18th Street Station.
126.
CONTINUED
PRESCOTT
Gotcha, thanks.
(pushing a button)
Daniels? Come in, Daniels
this is Prescott --
RADIO (DA1NIELS )
This is Daniels.
PRESCOTT
They've stopped again. Where
are you?
RADIO (DANIELS)
Just crossing 17th Street.
PRESCOTT
Pull over -- you're right above
them.
RADIO (DANIEL S )
And then what?
PRESCOTT
It's up to them. I'll get back
to you.
(punches a button)
Pelham One Two Three -- this is
PRESCOTT --
(NO ANSWER)
Pelham One Two Three -- do you
read me -- ?
11
INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB
Blue is hanging the mike back on its hook before lending
Green a hand with the bulky valpac that originally came
onto the train with Blue.
RADIO.(PRESCOTT)
Come in, Pelham.One Two Three
this is Prescott calling -- can
you hear me, Pelham One Two
Three -- ?
BLUE
Ignore him -- he'll get tired and
quit after a while. Let's get
this stuff unpacked -- there
isn't much time.
They are unbuckling the straps and unfolding the canvas
bag, then attacking the zipp`rs.
127.
CONTINUED
RADIO (PRESCOTT)
Come in, Pelham One Two Three --
INT. COIiTiAND CENTER - PRE- SCOTT - DAY
PRESCOTT
(INTO MIKE)
Goddarani.t, Pelham One Two Three,
what the hell's wrong with you -- ?!
Still no answer. He sits back and thinks for a moment.
Then he turns to Correll.
PRES CO TT
Frank -- how long before you're
clear all the way to South Ferry?
CORRELL
You mean before this railroad is
so totally fucked up that it'll
take a goddam computer,to put it
back together?
PRES COTT
Right, Frank, that's what I meant.
CORRELL
Five or six minutes. I've got a
snag at Brooklyn Bridge.
PRESCOTT
(pushing a button)
SOL ---
RADIO (GARBER)
Yeah, Clive --•-
PRES COTT
Something's going on down there --
I haven't the faintest idea what
but I'm gonna go'over and join
Daniels at 17th Street. Come on
up here and take over on the
radio -- but don't tell 'em the
track's clear until I check in
with you. I don't want them
starting up again before I
get there.
INT. SUBWAY - FIRST CAR - IHiOTORF,IAN' S CAB
CLOSE SHOT -- GLZ11CK
as it is pulled from the valpac -- a cast-iron, shoe-like
128.
CONTINUED
form with a molded, hollowed-out area on one side. It is
clearly heavy enough to require both of Green's hands to
heft it. CAitIE A PULLS BACK to reveal him, grunting,
setting it over the controller handle which it fits
perfectly. Blue stands by, watching.
GREEN
Perfect fit.
Blue now hands him a length of pipe, some six inches in
length. Green takes it, fits one end into a socket on top
of the gimmick, facing toward the windshield, and screws
it in. Then Blue hands him his submachine gun. Green
looks at him for reassurance.
BLUE
Go ahead.
Green attacks the windshield with tine stock of the gun,
opening a great splintered hole.
INT. SUBWAY CAR
as the Passengers react to the sounds of breaking.glass
coming from within the i iotorman's cab.
INT. 14OTMMM'S CAB
The front window is almost completely out -- only a few
pieces of glass cling to the frame.
BLUE
Get it all -- it's got to look
right.
Green uses the gun's barrel to scrape around the edges,
clearing away the last traces of glass. Blue now hands
Green another length of pipe -- this one about three feet
long. Green fits one end over the protruding end of the
attached short pipe -- not screwing it, merely fitting it.
The other end extends straight out the glassless windshield.
BLUE
Try.it once -- make sure it
comes away clean.
Green yanks at the long pipe and it separates from the
shorter one.
GREEN
Perfect.
He reattaches it.
129.
CONTINUED
BLUE
Okay. Now j um_ down --- Ill hand
the other oiece through.
Green leaves the cab.
FRONT STORM DOOR
Brown standing guard as Green comes out of the cab. The
two men exchange glances but no words as Green opens the
storm door, stepping out.
INT. TUNNEL
As Green jumps onto the roadbed and comes around in front
of the car, his shoes crunching the broken glass. %Lbove,
from the cab, Blue hands Green down still a third pipe,
this one the same length (three feet) as the second. Green
now screws one end of the third to the protruding end of
the second, but at such an angle that the construction now
.turns sharply left, extending toward the tunnel wall,
beyond the side line of the train.
BLUE
Make sure its tight.
GREEN
I did.
BLUE
Come on back in.
Green returns to the storm door c There Brown extends his
left hand and pulls Green back up into the car.
INT. MZOTORIIAN' S C,` B
Blue is inspecting. the placement of the gimmick over the
controller as Green enters.
GREEN
It's all set to go. I only wish
we were.
BLUE
Don't worry -- ten minutes from
now we'll be free and clear.
EXT. PARK AVENUE SOUTH & 16TH STREET - DAY
Union Square Park. A police squad car sits at the curb.
The time is SUPERIiIPOSED:
:'3,41,:'
130.
INT. SQUAD CAR - DAY
Daniels on the radio.
RADIO (BOROUGH CO:f LANDER )
This is the Borough Commander,
Daniels •--- what the hell's going
on?
DANIELS
Not very much at the moment, sir
--- they're sitting down there and
we're sitting up here.
RADIO (BOROUGH COF..-ANDER)
That's swell. What are you trying
to do, starve them out?
DANIELS
No, sir -•- but it's their move.
¶7e're just waiting for them to
make it.
RADIO (BOROUGH C011-2NDER)
All right --- keep me posted.
As Daniels hangs up the mike the rear door opens and
Prescott sticks his head inside.
PRE-SCOTT
Daniels?
D-MIELS
Who the hell are you?
R
PRESCOTT
Prescott.
DANIELS
Prescott? I thought -- I don't
know what I thought. Get- in.
Prescott climbs into the back and closes the door.
PRESCOTT
Anything happening?
DANIELS
No. They're still down there.
If the street collapsed we'd
probably land right on top of
them.
i31.
CONTINUED
PRESCCTT
(grabbing the mike)
Prescott to Command Center
Garber?
RADIO (GARBER)
Yeah, Clive -- the tracks been
clear for a couple of minutes.
Can I call the hijackers?
PRESCOTT
Let 'em know. And let us know
when they start moving.
(hangs up mike)
DANIELS
What do we do -- wait or get
started? If they ever get up
to speed we're.gonna have trouble
staying with them.
PRESCOTT
(THINKING)
Let's go -- for once we'll be a
step ahead of them.
EXT. SQUAD CAR
as it pulls away from the curb.
INT. SUBWAY FIRST CAR - MOTORMAN'S CAB
Blue and Green.
RADIO (GABBER)
Command Center to Pelham One Two
Three -- come in, Pelham --
GREEN
That's not Prescott --
BLUE
(INTO MIKE)
This is Pelham -- what happened
to Prescott?
RADIO (GARBER)
Even stars have to pee. Just
letting you know the track's
clear -- all the way to South
Ferry.
132.
CONTINUED
BLUE
Thanks, Command Center. Give
Prescott our regards.
RADIO (GARBER)
You can do it youraelf -- at
the arraignment.
BLUE
Over and out.
He gives the mike a strong tug and-snaps the wire.
BLUE
I want this train moving in
thirty seconds. Tell Mr. Brown
and Mr. Grey they.rcan cut the
emergency brake cords.
Green leaves the cab. Blue examines the gimmick one
last time, then follows Green out.
INT. SUBWAY CAR
CLOSE SHOT - EMERGENCY BRAKE CORD
as the rope with the red wooden handle, which dangles
some six inches from a hole in the ceiling of the car,
is cut by a pair of clippers inserted into the hole.
CAMERA PULLS BACK to include Brown, standing on a seat
behind the Motorman's cab.
WIDER ANGLE
Including Grey who is cutting the brake cord at the other
end of the car. Now, submachine gun in hand, Brown opens
the front storm door, crouches and drops out of sight.
Then Grey starts for the rear door, hesitates, returns
to the Hooker and bends to whisper something in her ear.
HOOKER
You and what army?
Snickering, he returns to the rear door, opens it and
disappears. At the front of.the car, Green backs out of
the door, closing it after him, and is helped down to the
roadbed by Brown from below. Only Blue is left. He holds
his submachine gun easily cradled in one arm as he moves
through the car.
BLUE
You will remain in your seats.
Don't try to get up.
133.
CONTINUED
MAID
You mean ever?
BLUE
I mean remain seated.
He has reached the rear, walking backwards, and now gropes
behind him for the door handle.
OLD MAN
Aren't you going to tell us
what a great bunch of hostages
we've been?
Blue doesn't answer as he opens the door and backs out onto
the metal landing. Then he closes the door and drops down
to the track. The Passengers, left alone, look at one
another uncertainly.
INT. TUNNEL
The four hijackers are deployed along the side of the car
-- Green in front with Brown, Blue in back with Grey.
BLUE
All right, Mr. Green --
Green, a hand on the protruding pipe connected to the
controller handle inside the Motorman's cab, now grabs it
with both hands and pushes inward, toward the train.
W
INT. MOTOR11AN' S CAB
CLOSE SHOT - CONTROLLER HANDLE
as it is moved clockwise, through switching, into the
series position.
INT. TUNNEL
The train starts to move. As it does, Green tugs sharply
back on the pipe and the two longer sections, angled
together, disengage and come loose in his hand. He starts
to lose his balance but Brawn grabs him and pulls him back
to the tunnel wall. The train it picking up speed rapidly
as it slides by them.
INT. FIRST CAR
as it accelerates. The Passengers continue looking around,
not sure what's happening. Suddenly, without warning, the
Hippie jumps to his feet and, running in a crouch toward
the rear of the car, draws a revolver.
T
134.
CONTINUED
MOTHER
They said to remain seated -- I
HIPPIE
I'm a police officer -- !
He slides open the rear door of the now-rapidly-moving car
and dives out, leaving the Passengers even more confused.
INT. TUNNEL - HIPPIE
as the car rattles away and he lands hard, rolling over
(perhaps hitting a pillar), dropping his gun and sustaining
arm and head lacerations. He lies, face upwards, semi-
conscious, fairly bloody.
MED. SHOT - BLUE, GREEN, BROWN & GREY
as they group.
BLUE
Let's move along, gentlemen --
there's no time to waste. You
all remember the drill. What's
wrong, Mr. Brown?
1
BROWN
(LOOKING DOWNTRACK)
I thought I saw something fall out
the back of the train.
BLUE
What did it look like?
BROWN
I don't know -- a shadow -- could've
been a person -- I'm not a hundred
percent sure I saw it.
GREY
(hefting his gun)
Want me to go check?
' BLUE
(peering aid thinking)
Forget it -- there's no time.
INT. GRAND CENTRAL TOWER - MODEL BOARD
The red blips are moving.
I
135.
CONTINUED
Mrs. JENKINS' VOICE
Grand Central Toner to Cozna.nd
Center -- Pelham One Two Three
in motion --
INT. SQUAD CAR - DAY
Prescott still in the back seat, Daniels up front with the
Driver.
RADIO (JENKINS )
-- passing 14th St. station and
running. Speed approaching 35
miles per hour.
DANIELS
We're right on top of her.
PRESCOTT
It doesn't make any sense -- they
know we're monitoring their position
-- that we've got to be following
THIN --
DANIELS
So?
PRESCOTT
So it's dumb.
DANIELS.
Whoever said crooks were smart?
PRESCOTT
But these have been -- up to now,
that is. They haven't made a single
mistake. I tell you we're over-
LOOKING SOMETHINGS
INT. TUNNEL - EMERGENCY EXIT
Blue, Green, Brown and Grey have moved to the door leading
to the exit chamber (under a grating in the street above),
beneath the bare white bulb.
BLUE
All right, we do it exactly as
we did in the drill -- by the
numbers.
I
136.
CONTINUED
GREY
Drills, numbers -- it's all chicken-
shit. Why don't we just do it?
BLUE
Shut up and do what you're told.
SUBMACHINE GUNS
They set them down on the roadbed.
BLUE
Hats, glasses, wigs and mustaches --
They remove their disguises anal we see their faces for
the first time.
INT. SUBWAY CAR
as it bumps and rattles along. The Passengers have
remained seated.
MOTHER
Can you imagine? That beatnik
being a policeman?
OLD MAN
Hippie -- they don't call them
beatniks any more.
CO-ED
They don't call them hippies any
more, either.
MOTHER
How can they let policemen dress
like that?
OLD NAN I
That's his job -- he's in cognito.
W.A.S.P.
He's also dead, most likely. We
were moving pretty fast by the
time he jumped o,;t.
SALESMAN
They're trained to do that.
PIMP
Jump headfirst off a subway? Shiiit.
I
137
CONTINUED
MOTHER
Where do you think they're taking
us now?
OLD LIAD
Don't worry -- they'll let us go
pretty soon.
The Hooker has been looking around with growing anxiety
and now, she stands up.
HOOXER
You dumb bastards -- can't anybody
count?! They all four got off.--
there's nobody driving the fucking
train!
There's a moment's silence as everyone digests this news.
Then the Mother screams.
111T. ASTOR PLACE PLATFORM
as the lone car hurtles through the station.
INT. TUNNEL - HIPPIE
He raises himself on one elbow and shakes his head. He
wipes some blood off his face and looks at his fingers.
BLUE'S VOICE
Remove your coats -- turn inside-
out -- and put back on.
He looks off.
EMERGENCY EXIT - HIPPIE'S POV
as Blue, Green, Brown and Grey take off their coats and
begin turning them inside out -- illuminated by the over-
head bulb.
CLOSE SHOT - HIPPIE
He blink, still in a foa. He lcoks at his empty hand for. a
moment, trying to remember what should still be in it but
isn't. Then he begins groping around on the ground, and
whispering to himself, barely audibly.
HIPPIE
Gun -- gotta find my gun --
138
NED. SHOT - BLUE, GREEN, BROWN & GREY
as they are putting their coats on again. Grey's is now a
light beige poplin; Brown's a mediumn grey with fur collar;
Green's a tan herringbone ;weed; Blue's a salt and pepper
Donegal.
BLUE
HATS --
They remove new hats from their coat pockets -- Grey's a
powder blue low-crowned golfing hat; Brown's a grey with
short upturned brim; Green's a grey Russian astrakhan;
Blue's a brown cap with short visor.
BLUE
Remove gloves --
I
EXT. ASTOR PLACE - DAY
as the squad car goes through, siren screaming.
INT. SQUAD CAR - DAY
RADIO (JEN_'CINS )
Pelham One Two Three reported
halfway, between Astor Place and
Bleeker, speed increasing --
DANIELS
Christ, they're gaining on us!
PRESCOTT
it has something Co do with that
short move they surprised us with
-- from 28th to 17th St. --
DANIELS
What does?
PRESCOTT
Their scheme -- it's tied up some-
how with that move -- it has to
bet But why'd they do it?
DANIELS
I give up.
PRESCOTT
To get away from the cops in the
tunnel, that's what they said --
all right, why not? Suppose they
were doing something they didn't
want anybody to see?
139
CONTINUED
DANIELS
Like what?
CLOSE SHOT - PRESCOTT
PRESCOTT
(softly and evenly)
Like getting off the train.
Daniels --- turn around, we're
going back.
WIDER ANGLE
Including Daniels.
DANIELS
Like hell we are.
PRESCOTT
They're not on the train -- I'm
sure of it!
DANIELS
Look, Presoctt -- I'm the one who
suggested that in the first place
-- but you shot me down -- something
about a 'dead man's feature" --
PRESCOTT
They figured out how to beat it --
that's their aanl,, -- that's what
they started with!
Daniels considers for an instant, then turns to the Driver.
DANIELS
Turn it around -and burn rubber!
EXT. SQUAD CAR
as it pulls a U-turn in the middle of the block (Broadway),
tires squealing, barely avoiding a bus. The time is
SUPERIMPOSED:
"3:48."
INTO TUNNEL
Blue, Green, Brown and Grey.
BLUE
Check handguns in coat pocket --
140
CONTINUED
They each remove a snub-nosed pistol, check it, then
return it.
BLUE
Remove magazines from submachine
guns.
All of them pick up their submachine guns but only three
remove the magazines and then place the guns back dcwn again.
Grey merely watches the other three,. continuing to hold his
gun under his arm, a slight smile on his face.
BLUE
Did you hear me, Mr. Grey? Disarm
your gun and put it down so we can
I get out of here.
GREY
I'm not leaving it -- it goes out
with me.
BLUE
Put it down, Mr. Grey --
GREY
What if something's gone wrong?
What if they're waiting for us up
there? I want more'n just a dinky
pea-shooter!
BLUE
Nothing's gone wrong. The plan
depends on our walking away un-
noticed. You can't do that carry-
ing a submachine gun.
GREY
I won't just carry it -- I'll hold
it under my coat --
GREEN
This is crazy! Do what he says so
we can get going!
BLUE
You're leaving your gun here, Mr.
GREY --
GREY
(SMILES INSOLENTLY)
In a pig's ass, Mr. Blue --
141
CONTINUED - 2
Without any warning, Blue, whose Wright hand has been in
his pocket, fires his pistol through his coat, catching
f Grey full in the chest. He staggers back, bumps against
the tunnel wall and collapses, landing on his side. Blue
bends, pries the submachine gun 'Loose from Grey's death
grip, removes the magazine, pockets it, and tosses the gun
away. Green has watched all this in near panic.
GREEN
Oh my God --
Brown watches with a detachment bordering on disinterest.
BROWN
I What about his money vest?
BLUE
Mr. Green will put it on over
his own.
GREEN
Me? Why me?
BLUE
You're the thinnest one -- it'll
show less. Hurry up and undress.
Mr. Brown -- help me with Mr. Grey.
They start to work on the dead body as Green starts
undressing.
TNT. GRAND CENTRAL TOWER - MODEL BOARD
The red lights progressing. CA14ERA PULLS BACK.
MRS. JENKINS
She's passing Canal St.,.doing
around fifty miles per.
MARINO
That's a,pretty good clip -- I
hope they know what they're doing.
MRS . JENKINS
Only four more stations to South
Ferry.
INT. CANAL ST. PLATFORM
as the single car roars through the station, the darkened
front window divulges nothing.
I
142
INT. FIRST CAR
Some of the Passengers have gone to the front of the car.
The W.A.S.P. is trying to open the door to the Motorman's
cab, but there's no outside handle so all he can do is pound
impotently against it. The Mother remains in her seat
holding her two boys pressed against her. Now the Old Man
starts pushing his way up front.
OLD MAN
My friends -- please -- the situa-
tion isn't as lousy as it looks --
FAG
Just a little lousy's good enough
for me.
W.A.S.P.
I never knew these things went
so fast.
MOTHER
We're going to be killedl
OLD MAN
No -- no we won't! I admit that
right now we're on a run-away train,
but it's only temporary --
The car careens into a curve and sways wildly as the metal
wheels scrape and screech. There's a good deal of scream-
ing and shouting from the Passengers as several fall down.
The Old Man starts to topple but the Pimp steadies him.
OLD ILXN
Thank you, brother.
W.A.S.P.
Ahelluva lot you know --
OLD MAN
But I do know -- I've been riding
the subways for over sixty years
-- I'm an expert!
HOOKER
Why don't we cut all this crap and
beat down that goddam door, for
CHRISSAKEL
OLD.MAN
It isn't necessary! They got
something called stoppers or
trippers or stickers or something
(MORE)
I
143
CONTINUED
OLD MAN (Contd)
like that -- so whenever a train
goes through a red light these
things automatically stop it.
PIMP
(looking cut the
FRONT WINDOW)
There's jest one thing, baby --
OLD MAN
(TURNING)
What's that?
I PIMP
They all green.
THE TUNNEL (UNDERCRANKED)
SHOOTING straight ahead from the-front of the train.
Nothing but green lights ahead as the train races along.
INT. TUNNEL - HIPPIE
Propped up now against a pillar, straining to look at
something, off.
HIJACKERS - HIPPIE'S POV
Blue and Brown are tying the second money vest on Green,
then help him on with his shirt 4nd coat.
MED. SHOT - HIPPIE
He returns his attention to the business of locating his
gun. He scrapes the heel of an extended leg (to his extreme
discomfort) along the ground hoping to discover it -- and
does. Seeing it, he now goes through the painful exercise
of reaching for it -- finally managing this, too. Now,
lifting one knee as a gun mount, he holds the revolver in
both hands and starts to take aim.
HIJACKERS - HIPPIE'S POV
with the gun in the foreground, its sight being shifted as
the three men are preparing to leave through the emergency
exit. Now the Hippie's vision (FOCUS) blurs for a moment,
and when it clears, Green has already disappeared through
the door and Brown is right behind him. The gunsight centers
on Brown's broad back -- and the gun fires. Brown convulses
and topples backwards.
144
EXT. BROADWAY - DAY
The Squad Car, racing uptown now.
INT. SQUAD CAR
DANIELS
You'd better be right about this,
PRESCOTT --
P RES COTT
Even if I am, we're probably gonna
be too late.
INT. TUNNEL
Blue stands behind a pillar, his gun in hand, peering into
the darkness, trying to locate the marksman. Green is in
the well of the emergency exit, beside the metal ladder
that leads up through a grate and out onto the street.
Between them, before the open doorway to the well, Brown's
body lies face up on the ground. Green now gestures for
Blue to come across the open area separating then.
GREEN
Come on -- i
BLUE
I'd never make it -- I
(POINTING DOWNTRACK)
It came from down there someplace
-- I've got to. get him. Go on
UP -- 1
Green hesitates, looks up the ladder, looks back at Blue.
GREEN
I -- I'll wait for you -- 1
Blue looks at him fora moment, then checks his pistol and,
slowly, steps out from behind the pillar. A shot rings out
immediately and the ricochet off the pillar zings loudly.
Blue calmly fires twice at the muzzle flash.
MED. SHOT - HIPPIE
Both shots have connected, one hitting his arm and sending
the pistol flying away, the other into his upper chest,
below the right shoulder. He topples over, sprawling
across one rail, onto the roadbed.
ICED, SHOT - BLUE
He has stepped back behind his pillar again to listen.
Silence.
145
CONTINUED
GREEN
Did you hit, him -- ?!
BLUE
Quiet!
He listens again, then leaves his pillar, and hurries
downtrack to the next where he again waits and listens,
MED. SHOT - HIPPIE
Inadvertently, he groans.
MED. SHOT - BLUE
He has heard. Now he steps out from behind the pillar and
starts forward to the next, a-little more secure.
INT. WALL ST. PLATFORM
as the single car flashes through the station.
THE TUNNEL (UNDERCRANKED)
As before, SHOOTING straight ahead from the front of the
train. Still nothing but green lights.
INT. FIRST CAR
Most of the passengers are now packed at the front of
the car, staring out at the track-ahead.
W.A.S.P.
Where are the goddam red lights?!
SALESMAN
There aren't any!
MOTHER
We're not stopping -- we're going
to be killed!
i OLD MAN
There's gonna be a red light --
there has to be!
HOOKER
And what if there isn't -- ?!
OLD MAN
(LESS SURE)
There has to be --
'34.6
INT. TUNNEL - BLUE
Now he can see the Hippie lying across the track ahead.
He slowly starts toward him, calm, his pistol at his side.
BLUE
Mr. Green -- ! It's all right!
Go on up -- I'll be right with
you -- !
MED. SHOT - GREEN
as he climbs up the ladder and starts pushing up the
grating above his head.'
MED. SHOT - HIPPIE
Barely conscioous, unable to move, he watches Blue approach.
MED. SHOT - BLUE
as he continues walking, unhurried, toward the Hippie.
Finally he arrives, stops, looks down at the injured man.
BLUE
You were on the train. Are you
a cop?
Almost imperceptibly, the Hippie nods -- just once.
BLUE
Then the Mayor will come to your
funeral. X
He lifts his gun to aim and fire and the Hippie manages to
turn his head away. Then there's a shot -- and Blue
crumples to the ground, dead.
ANOTHER ANGLE
I
as Prescott comes up and stands looking down at Blue's body.
Then he turns his attention to the Hippie, bending beside
him. All he can see is the long blond hair.
PRESCOTT
I'll have an ambr lance here in
no time at all, Miss -- every-
thing's going to be all right.
INT. SOUTH FERRY PLATFORM
CLOSE SHOT - SIGN
Identifying the stop -- "SOUTH FERRY". CAMERA Ti7HIP PANS
to the track as the lone car of Pelham One Two Three roars
in and, speed undiminished, roars out.
147.
INT. FIRST CAR
The old man is sitting now, his head in his hands. The
W.A.S.P., the Hooker, the Pimp and one or two others, are
still jammed up against the window. '
HOOKEP
My God -- look -- 1 !
THE TUNNEL - HOOKER' S POV (UNDERCRANKED)
A sharp curve ahead.
W.A.S.P.'S VOICE
We're going too fast to make it -- I
The train rushes into the curve and then, as the wheels 1
start to screech, a red signal comes into view -- and
CAMERA ZOOMS IN on it.
HOOKER'S VOICE I
Look -- I It's red!!
INSERT - SUBWAY CAR WHEELS
If possible, showing the trippers working on the car to
stop it.
INT. FIRST CAR
I
With a hissing sound, and as everyone is thrown forward,
the car decelerates quickly and finally stops -- and there
is complete silence.
VARIOUS REACTION SHOTS -- PASSENGERS
-- The Puerto Rican crossing himself.
-- The Mother hugging her two sons to her, weeping.
-- The Pimp, sitting, his head back, staring at the ceiling.
-- The W.A.S.P. lightin_g.a,cigarette with trembling. hand.
-- Etc.
MED. SHOT - OLD MAN & HOOKER
He slowly looks up, then around, finally at the Hooker and
he smiles.
OLD MAN
I told you it would stop, didn't I?
HOOKED
You win, pop.
148.
CLOSE SHOT - WINO LADY
She opens her rheumy eyes for the first time.
WINO LADY
Forty-secon' stree' aw'ready -- ?
EXT. PARK AVE. SO. & 16TH ST. - DUSK
TRAVELLING with Prescott as he walks and surveys the scene:
Several squad cars standing at the curb, their red lights
flashing and revolving; and now an ambulance, siren wailing,
pulling up. A couple of COPS help the ATTENDANTS with their
wheeled stretcher and hurry off with it. Prescott heads for
one of the squad cars and the time is SUPERIMPOSED:
"4:06 I IT
He arrives at the car and leans in to talk to Daniels.
PRESCOTT
What about the train?
DANIELS
Stopped itself just past South
Ferry. Everybody's okay.
P RES COTT
That's a break. So what's the
score?
DANIELS
On our side -- two' dead and a long-
haired cop on the critical list.
Their side?
PRESCOTT
Three dead.
DANIELS
And don't forget. him
He indicates the back seat with his thumb. CAMERA PANS
to pick up Green, sitting sadly, staring at nothing in
particular.
INT. COMMAND CENTER - CORRELL - NIGHT
At his desk, operating furiously on the phone, the radio,
with dispatches, his sweat-soaked shirt clinging to him.
CORRELL
-- Maintenance -- you got those
trippers reset yet? -- well, it's
(MORE)
149.
CONTINUED
CORRELL (CONTD)
about fucking time! -- Nevins St.
Tower -- the South Ferry loop's
open again, repeat, South Ferry
loop open -- Opera ons, this is
my last warning -- if all your
cops aren't out of the tunnel at
16th St. in thirty seconds I'm
gonna run 'em down -- what? --
well, why the hell didn't you say
so?! -- to all Motormen, to all
Motormen -- resume normal routes
and schedules, effective immedi-
ately!
He shuts off all his lines and sits back, looking around.
His RELIEF MAN is standing by.
CORRELL
Okay, Augie -- I'm givin' you
back your railroad -- full ser-
vice restored -- try and keep it
that way, will you?
711 .He rises wearily, takes his coat off the back of his chair,
and <<;atches as the Relief Man slips into the seat.
RELIEF MAN
Great job, Frank -- great job.
Correll nods and starts out. Y
TRAINM.ASTER
It's gonna be pretty dull around
here tomorrow, Frank -- what're
you gonna do for an encore?
CORRELL
Bring charges against that nigger
cop.
He waves and starts off, across the large room. The others
watch him go.
TRAINMASTER
With that mouth he eats?
The time is SUPERIMPOSED:
€ŽA
:21. "
150.
INT. HOSPITAL ROOM - NIGHT
HIPPIE'S POV - BLURRED
Then coming into FOCUS -- a group of men (the Mayor, the
Commissioner, Warren LaSalle and a DOCTOR) are standing
looking down at the Hippie (CAMERA) lying in bed.
DOCTOR
I believe he's awake now --
ANOTHER ANGLE
including the Hippie in bed and a NEWS CAMERMAN standing
by. The Mayor is wrapped. in a heavy overcoat, a woolen
muffler and a fur hat with ear-muffs.
MAYOR
Congratulations, Patrolman --
UH --
COMMISSIONER
Berry -- Robert G.
MAYOR
-- Patrolman Berry -- all right if
I call you Bob? You performed an
act of extraordinary valor, Bob --
the people of the city of New York
are in your debt.
(HE SNEEZES)
WARREN
Shake his hand, Nate --
The Mayor reaches out to shake hands, but the Hippie is too
weak to lift his -- so the Mayor picks it up from atop the
covers and pumps it. A flashbulb pops from the Photo-
grapher's camera. Then the Mayor sneezes again.
COMMISSIONER
Splendid work, Berry -- the De-
partment's very proud of you.
I've already put you in for pro-
motion.
HIPPIE
(WEAKLY)
Thank you, sir -- I only did what
any other man on the force would've --
MAYOR
So long now, Bob -- hurry up and
get well, will you, fella? And
congratulations again.
151.
CONTINUED
HIPPIE
Thank you, sir -- I only did what
any other man on the force
But they're already moving toward the door.
MAYOR
He looks better than I do --
probably feels better, too.
The Hippie's eyes slowly close as he goes back to sleep.
The time is SUPERIMPOSED:
"9:03."
EXT. TRANSIT AUTHORITY BLDG. - J AY ST. - NIGHT
as Prescott comes down the front steps, alone, wearing a
raincoat against the night's chill. He starts off down the
street.
EXT. FULTON ST. - NIGHT
Most of the stores closed, their iron grills drawn, as Pres-
cott walks along. He stops at a corner newsstand that's just
being boarded up by an OLD WOMAN. He spots the Daily News
headline -- "I.R.T. TRAIN HIJACKED!" -- and buys one.
OLD WOMAN
Know what's gonna go next? The
Empire State Building.
PRESCOTT
(SMILING)
I wouldn't be surprised.
He starts off down the street again, having folded back the
front page and. now reading the third page. Suddenly he
crumples the paper into a ,ball between his two hands, fakes
dribbling it along the sidewalk, makes a good move, fakes
one man, spins away from another and, hooking a high arching
shot at a wire mesh trash basket, watches it hit the rim and
bounce away, onto the pavement.
PRES CO"'T
(SOFTLY)
Shit.
He keeps on walking as the time is SUPERIMPOSED:
"10:14."
FADE OUT.
THE END
| Taking of Pelham One Two Three, The
Writers : Peter Stone John Godey
Genres : Crime Drama Thriller
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