"THE WILD ONE" Screenplay by John Paxton and Ben Maddow (uncredited) Based on the novel "The Cyclists' Raid" by Frank Rooney SHOOTING DRAFT FADE IN: EXT. HIGHWAY - DAY MOVING SHOT CLOSE On a motorcycle coming fast -- straight for the camera. The rider -- wearing a black leather jacket -- is low over the machine, part of it, his face hidden behind large goggles. He roars in close, the cycle and the noise filling the screen for an instant, then overtakes the camera. Now we see twenty- five or thirty more cyclists following the first. They are all identically dressed -- leather jackets and goggles -- giving them the look of an anonymous, faceless, and frightening horde. They roar toward us, cutting recklessly in and out of traffic on the busy highway, singly or in groups of three or four. They overtake cars and each other, at great speed, gathering finally into a speeding, roaring mass. Over them, SUPERIMPOSED, appears the following title: This is a story of shocking violence. It couldn't have happened in most American towns, but the fact that it happened in this one -- in this way -- is a stern warning that it must not happen again. AS THIS TITLE FADES: MOVING SHOT LOW ANGLE VERY CLOSE (PROCESS) A motorcycle racing down the highway at great speed. The explosive roar of the motor segues into the opening music; SUPERIMPOSED over this FAST MOVING SHOT, appears the MAIN TITLE: SERIES OF SHOTS UNDER CREDITS The cyclists, as they continue racing down the highway. When the road is clear of traffic for a moment, they move into tight formation. Then, suddenly, they break into small groups again to thread through traffic. Just as suddenly, they re-group again -- a solid, roaring mass. AS CREDITS FADE: EXT. ROAD APPROACH TO TOWN AND INTERSECTION - DAY LONG SHOT The troop of cyclists comes barrelling down the road, swerves into the main street of a small town, the CAMERA PANNING as they head straight for a crowded, busy intersection blocked to regular traffic. CLOSER SHOT TOWARD INTERSECTION An official A.M.A. race similar to the annual Catalina event is in progress. This intersection is the Control-Point and Finish Line, indicated by a banner. There are additional banners stretched across the street: "WELCOME AMERICAN MOTORCYCLE ASSOCIATION," "4TH ANNUAL CYCLE MEET," "WELCOME CYCLISTS -- SAFE WITH SAE OIL." A public address system is garbling constantly somewhere in the b.g., mostly drowned out by the noise of the machines. The timing officials and an Announcer are on a parallel, giving them a view over the heads of the crowd. ANOTHER ANGLE INTERSECTION The cyclists have headed directly into the middle of all this. As they are forced to slow down by the crowd, several white-uniformed officials and one or two cops step out quickly, shouting at them, waving them off. The rider in the lead hesitates momentarily, then veers off sharply into a side-street, the CAMERA PANNING as the rest of the group follows him. EXT. SIDE STREET - DAY FULL SHOT The newly arrived group of cyclists roars up the street -- past motorcycles backed into the curb in orderly rows. Finding an opening in front of a bar, the lead rider cuts in sharply, the rest following. ANOTHER ANGLE As the cyclists park their machines quickly and start dismounting we are on the backs of their leather jackets. Each is lettered: "B.R.M.C.". Underneath these letters is painted a skull with goggles. Crossed under the skull -- in place of bones -- are piston rods. As a succession of these identical insignias stop in the f.g., DISSOLVE TO: EXT. INTERSECTION - DAY PAST CROWD SHOOTING UP THE STREET Some of the contestants come roaring down the straightaway, gearing down for the turn at the intersection. The crowd is pressing forward against the ropes. Eight or ten of the cyclists wearing the B.R.M.C. jackets move into the shot in the f.g., start shouldering their way to the front. They have taken off their goggles and helmets -- which are hanging around their necks or from their belts -- but we still do not see their faces. Several people in the crowd react with annoyance, but the boys crowd forward anyway. REVERSE SHOT From the front as the boys crowd up, some of them drinking from beer bottles. We see now that they are all fairly young -- eighteen to twenty-two. Each has his name lettered on the left breast of his jacket, big enough to be read in most scenes. They look rough and arrogant, ignoring the spectators they are displacing. Automatically, almost like a group of royal retainers, the group splits in two -- making a place for one of its members. This boy -- whose jacket says "JOHNNY" -- moves regally into the spot thus created for him -- and automatically into a fairly CLOSE SHOT. He is just past twenty, handsome, rugged; the chip on his big shoulders is visible half a block away. Raising his bottle of beer, he looks off, almost bored. JOHNNY'S ANGLE A cyclist comes into the turn too fast, spins off, unloads into a bale of hay. Efficient A.M.A. officials in white suits, wearing A.M.A. arm bands, step out quickly, keeping the crowd back, running out to give oncoming riders the caution flag. The rider and machine are untangled from the hay, the cycle dragged aside. The rider gets to his feet, dazed, walks around in circles. Spectators crowd around to stare. An official darts into the street to wipe up some spilled oil with a handful of hay. (NOTE: Whatever dialogue we hear at this point is merely jargon, throw-away stuff -- for effect rather than sense. It is obscured and punctuated by the whine of the machines coming into the turn, gearing down, and the series of explosions as they come out of it and dig in.) FEATURING JOHNNY He looks toward all this with a kind of irritated condescension, nods, turns back into the crowd, the others following. A serious woman spectator gives them a look, moves into the spot just occupied by Johnny, making notations of some sort on a piece of paper. Meanwhile, something like the following can be understood over the P.A. system: ANNOUNCER Rick Riley has developed trouble back in the hills! We'll know in a minute if it's serious. He is still two minutes, twenty seconds ahead of Art Wilson -- Two minutes thirty-two ahead of Freddie Orr. It's still anybody's race -- The crowd edges a little closer. FINISH LINE A racer tears around the turn and off. The Chief Referee steps into the street with his set of flags, unfurling the yellow and checkered. CROWD AT FINISH LINE Johnny and his group re-appear, shouldering their way non- chalantly to the front again, through the densest part of the crowd. ANNOUNCER (O.S.) (shouting over the noise) -- When the winner gets the checkered flag -- don't cross the street yet -- please! That doesn't mean the race is over! Some of these boys will still have a lap to go -- As another racer grinds by, a girl beside Johnny leans out across the rope, yelling in a kind of crazy ecstasy: GIRL Come on, Al! She yells something else, but it is drowned out. Johnny gives her a look, a tense superior sort of smirk. CLOSER SHOT ON JOHNNY He flicks his eyes as a series of racers pass -- each with the characteristic zarumpphf! zarumphf! zarumphf! The CAMERA MOVES IN CLOSER as the sounds hit him, each one increasing his look of tense belligerence. SHOT OF FINISH LINE As the first rider in gets the checkered flag, swerves off, and is enveloped by his retinue. MEDIUM CLOSE SHOT JOHNNY Tense, about to explode. ANNOUNCER (shouting over noise) Art Wilson -- Art Wilson the first man in -- Stay where you are -- don't cross the street! Johnny steps abruptly out of the shot, into the street. Somebody yells. REVERSE ANGLE Johnny has started sauntering casually across the track, his group trailing loosely after him. Several angry A.M.A. officials are running toward them, shouting at them, waving them back and then on across. The Announcer is screaming something incoherent over the P.A. System. We hear a cycle grinding down into the turn. AN OFFICIAL Swearing under his breath, he grabs up a flag and darts out to slow down the oncoming machine. SHOT FROM OFFICIAL'S PARALLEL It's a near-miss. The oncoming cyclist manages just in time to brake, swerve around Johnny's group. He almost crosses- up, but recovers and makes the turn. ANOTHER ANGLE The last of Johnny's group to get across is a wiry little toughie whose jacket says "MOUSE." He pulls himself quickly up on a telephone pole and shouts, mockingly: MOUSE Please! Don't cross the street! Don't get hurt! Blood makes the track slippery! One or two people nearby titter, not many. GROUP SHOT Johnny in the center of a little whirlpool, angry officials and spectators crowding around. OFFICIAL (shouting; furious) What's the matter with you chowder- heads? You in such a big hurry to die? GRINGO (one of Johnny's group) About this man -- he says one of them little bikes would hurt -- CRAZY Straight man -- ANOTHER OFFICIAL Don't words mean anything to you squirrels? Or you just looking for trouble? During this, more cyclists have crowded up. Most of them -- in sharp contrast to Johnny's group -- are clean and smartly uniformed. Others, who have actually been racing, are in full leathers. MEDIUM SHOT A couple of the racers step forward. They are serious, tired. The white patches around their eyes where their goggles protected them from the dust give them a weird, intense look. RACER We're trying to finish a race out there. SECOND RACER If you goons want to have a circus why don't you go gulley-scramble someplace. Pick yourself a spot somewhere -- DINKY, a big, baby-fat boy, turns to one of the racers, simpering. DINKY Oh, you got all dirty! Crazy follows up, making a show of brushing off the racer. CRAZY Say, how much an outfit like this cost? That real leather? (to others) Hey, look, speedball's got himself a suit all real genuine leather! The others crowd around, the racer pushing them away. One of the officials starts to intervene; GRINGO grabs his arm. GRINGO Hey, Dr. Kildare! You want to see a race, whyn't you let my boy Johnny here race? ANGLE FEATURING JOHNNY He is just standing there. Another batch of B.R.M.C. boys appear from nowhere, crowding up, taking in the situation. Belligerent, ready, anxious for any kind of trouble, they eye Johnny, wait. OFFICIAL Nobody's stopping anybody from racing -- and you know it -- He turns away, turns back impatiently. OFFICIAL (continuing) All you screwballs know what you've got to do to enter these events -- if you want to -- If you're really interested in a good, clean, tough sport -- instead of seeing how much trouble you can cause -- The B.R.M.C. boys crowd around him in mock humility. MOUSE What we got to do? OFFICIAL First of all get yourself sober enough to get into a decent club -- DINKY We got a club already -- He turns around to show off the insignia on his back; this brings him face to face with a couple of the regular motorcyclists who have come up. DINKY (continuing) Hey, you squares want to join our club? You ride around the block and don't fall off, you can join for four bits -- ANGLE FEATURING THE OTHER CYCLISTS Trying to ignore the baiting, they start to turn away. CYCLIST SPECTATOR (to official in passing) They don't want to race. They just want to screw things up. None of these outlaw outfits wants to do anything but foul things up for everybody -- Another of Johnny's boys, RED, catches the regular cyclist by the arm. RED Hey, what kind of outfits? Say that again -- CYCLIST SPECTATOR (not intimidated) Outlaw outfits -- like yours -- RED (grinning unexpectedly) That's what I thought you said. Okay, Square -- Right now. You want to drag Johnny a hundred yards for beers? Or you chicken? The man gives him a look, ignoring him, turns away. DINKY Aw, the Square's chicken. They're all chicken -- (turning to official) You want to see something, you want to see Johnny go. He really goes. He really screws it on. Arraaaaah! He makes the noise of screwing it on, banks away, his elbow cocked on an imaginary turn. Another of the boys, DEXTRO, approaches the official, continuing the needling. DEXTRO Hey, what do you get when you win one of these scrambles? Five thousand dollars? Hey, I'd like to win me five thousand dollars! Red cuffs him roughly. RED Aw, you dummy! You win, they give you a beautiful gold statchoo! Solid gold! Solid gold dipped! DEXTRO (straight man; impressed) Yeh? Hey, what about that! (reacting) What do you do with it? RED You show it to your mother! Then you throw it away! It isn't good for nothing! A couple of the boys giggle. ANOTHER ANGLE As the officials, fed up, are about to turn away. Mouse follows, fawning one of them, fingering the material of his white suit. MOUSE Hey, wait a minute -- where can I get me one of these suits? I want to look like a street cleaner too -- The official flares, pulls his arm a way, gives Mouse a slight push. Johnny comes suddenly to life, reaches the official in one swift move. JOHNNY Who are you? What do you do here? You a cop or something? TWO SHOT A beat. Then, as the official turns, disgusted, to step past Johnny, he touches his shoulder. Johnny whirls with sudden violence, grabs him. JOHNNY Don't push anybody. At the same moment, he hunches his shoulder, starting a blow. It never lands. A big arm is flung across Johnny's chest, blocking it. Furious, he snaps his head. WIDER ANGLE The arm belongs to a big, business-like cop. COP Okay. Break it up -- Johnny stares at him with insolent bravado. One or two other cops move up in the b.g., ready. COP (continuing) We got enough entertainment here. Go on -- make yourselves scarce -- MOUSE We want to watch the thrilling race, Daddy -- COP (harder) One more cute remark and I'll run the bunch of you in, right now. Let's go. Get out of here. The boys smirk, but nobody says anything. Johnny breaks it suddenly, nods off. The whole group swaggers off, knocking its way through the crowd that falls back, a little disappointed. OFFICIALS AND COPS The cops eye the departing group. COP (to official) Where that bunch from? OFFICIAL (shrugging wearily) I don't know. Everywhere. I don't think they even know where they're going... Termites... Nutty. Ten guys like that give people the idea everybody rides a sickle is crazy... What are they trying to prove, anyway? COP Beats me. (rather sadly) They're usually looking for somebody to push them around so they can get sore and show how tough they are... And they usually find it, someplace, sooner or later... He stands there a moment longer than the officials, thoughtful. Then he moves off slowly toward his cycle. DISSOLVE TO: EXT. SIDEWALK AND SHOPS - AFTERNOON LONG SHOT The augmented B.R.M.C. group comes parading toward the camera, stretched out along the sidewalk in a long straggling line, Johnny himself somewhere in the rear. The boys in front force other people on the sidewalk to give way, pause in the f.g., looking into a shop window. DINKY Hey, look at all the gold -- ANOTHER ANGLE PAST BOYS to show an array of motorcycle trophies in the window of a combination printing and stationery shop. There are cups and trophies of various kinds, some of them quite large, with figures of motorcycle racers, etc. GRINGO Let's get us some gold -- He heads abruptly into the shop. As the others crowd in after him: OTHERS Let's get Johnny some gold -- Look at that -- Well, la-de-stinkin-dah! Johnny comes sauntering into the scene, glances after them casually, drifts on a bit past the door with his group. MEDIUM SHOT A sexy-looking girl is approaching. MOUSE (to girl, loudly) Hi, Red -- THE BOYS MOUSE (turning away as girl passes the group) -- in the papers the other day, that the world is coming to an end, sometime -- This is very funny. They all laugh except Johnny, who follows the girl sullenly with his eyes, the boys jostling her as she crowds through, embarrassed. ANOTHER ANGLE ON STREET Another group of boys including PIGEON, Dextro and Gringo, merges into Johnny's contingent, the whole group flowing along the sidewalk. Pigeon moves close to Johnny, hands him one of the trophies we've seen in the shop window. MEDIUM CLOSE SHOT As he hands it to Johnny. It's about ten inches high, the figure of a motorcyclist on a pedestal. CRAZY Hey, look at that -- OTHERS Look at the gold -- Look what Johnny won! JOHNNY How did you get this? PIGEON I bought it -- for a buck! This is greeted with a loud hurrah. WIDER ANGLE Red looking at the trophy over Johnny's shoulder. RED (reading the inscription; reacting) Hey, what's the matter with you? Second place! Johnny won second place! He raises his arm as if to strike Pigeon. PIGEON (pulling back) First place was two feet high -- Johnny slips it under his leather jacket, holds it against his body with his arm. The CAMERA HOLDS AND PANS as the group continues on, the boys in the lead turning into the side street where they left their cycles. EXT. SIDE STREET - AFTERNOON MEDIUM SHOT Johnny and his immediate group follow, rounding the corner. Just beyond, lined up at the curb outside the cheap bar, are their cycles -- big, beat-up Harleys and Indians. The remaining members of the club are here, tinkering with their machines, sleeping on them, fiddling with bed-rolls, etc. In the b.g. two boys are entertaining themselves with a rough slugging match. CRAZY Hey, Johnny, where we going to go? DINKY Let's get out of here, go someplace have us a ball, really cut up a hog -- BOXER Hey, Johnny -- these squares got themselves a big dance here tonight. We can really clobber that up -- Johnny gives him a patronizing look, continues toward his cycle. CLOSER SHOT ON SLUGGING MATCH This is at the far end of the line of cycles belonging to the B.R.M.C. Beyond are the cycles of an orthodox club. One of the fighters stumbles off the curb, crashes against a clean English machine, knocks it over, knocks over the owner -- who with his girl companion was polishing it. He gets up, mad. Everybody else laughs. OWNER Hey, take it easy -- The two boys who were slugging, the other B.R.M.C. boys crowd around. One of them pushes the boy who knocked the machine over. RED What's the matter with you? You want to scratch all up Junior's bicycle? With mock concern, they gather around, helping right the fallen machine. GO-GO Polish it up for Junior -- He pours beer on the fender, starts rubbing it with an oily rag. The owner pushes him aside. OWNER Hey -- Somebody pushes back; very quickly it has all the makings of a real brawl. GIRL COMPANION No, Jack -- Please! JOHNNY He straightens up from his machine, starts toward the disturbance. ANOTHER ANGLE Almost simultaneously, three or four cops wheel in sharply on big Harleys, dismount. The big one in the lead is the same cop we saw earlier. He steps into the middle of the fight. COP Okay -- that does it --- The brawl stops. The cop looks up and sees Johnny standing there, gives him a sour look. STINGER Come on, Johnny, let's get out of here, go some place. Every place you look is cops -- Eyeing the cop, Johnny says nothing. Go-Go saunters up to the cop, looks over his impressive, chromium-plated Harley. GO-GO Where do I put the nickel in? I want to hear music. Show me where to put the nickel in. COP (jerking his thumb) We'll put you on your way, so you don't get lost in any bars. If I find any of you back here tonight, I'll take your sickles away for a month. He remounts. The other three cops remount, wait. COP (continuing) Let's go. The other boys wait to see what Johnny is going to do. For the moment he just stands there. The cop crosses his arms to indicate he can wait all day. Then, suddenly, Johnny moves to his cycle, gets on, still holding the trophy under his coat, revs up his machine. The others in the group quickly follow suit. The cop wheels back to give them room. The whole line of cycles is now revved up, making a terrific din. ANGLE FEATURING JOHNNY He throws his cycle in gear, digs in, roars out from curb in a reckless crazy burst of speed. The others follow. DISSOLVE TO: EXT. HIGHWAY - AFTERNOON (SERIES OF SHOTS) THE GROUP barrelling along at a crazy speed, passing cars, cutting in -- all wearing their helmets and goggles again. JOHNNY (PROCESS) As he rides, identifiable only by the gold trophy, which has now been wired to his front fender. MEDIUM FULL SHOT The group comes roaring down the highway, Johnny in the lead. The CAMERA PANS as he swerves off onto a side-road. The pack swerves off behind him. EXT. HIGHWAY APPROACH TO TOWN - (MATTE) - AFTERNOON LONG SHOT The road winds off through the hills toward a small town in the distance. The troop tears by and is lost from sight somewhere in the hills beyond, the sound dying out. DISSOLVE TO: EXT. TOWN - MAIN STREET FULL SHOT A mongrel dog ambles across in the f.g. In the b.g. one or two people stroll through. In this brief pause we get a feeling of quiet, peace, and dignity. Then we hear the cycles again -- a faint hum at first, growing quickly louder, until the troop of thirty riders pours into the street with a deafening roar. SERIES OF REACTION SHOTS Various local citizens pause in whatever they are doing, stop on the sidewalk, or step out of shops and stores, staring blankly at this sudden, noisy phenomenon. FULL SHOT STREET SHOOTING PAST a large sign in the f.g. It reads: "BLEEKER'S - BAR - CAFE." As the cycles bear down on the camera, it PANS with them TOWARD a garage and filling station across the street and beyond Bleeker's. INT. BLEEKER'S CAFE MEDIUM CLOSE SHOT WAITRESS She is a pretty girl, but not too pretty, about eighteen. She has paused just now, about to place two cups of coffee on the counter. This is KATHIE. WIDER ANGLE including the two men about to receive the coffee. One is HARRY; he is in his shirtsleeves, but beside him on the counter is a cap with a police badge. The other is BEN, who is in work clothes -- the garage man. Looking off through the windows toward the swarm of cyclists descending on his place, Ben is already getting up. ANOTHER ANGLE As another man moves into the shot, looking off over Kathie's shoulder. This is BLEEKER, Harry's brother; they look something alike, but Bleeker is a year or two older, more affable, relaxed. BLEEKER (smiling) Business before pleasure, Ben -- MEDIUM SHOT Ben is already on the way out. Bleeker picks up several clean glasses and starts off, toward a large archway through which we see into the bar. BLEEKER Tell Jimmy we need some glasses in the bar, Kathie. The CAMERA HOLDS ON Kathie, who has nodded vaguely. She is looking off toward the street. EXT. BEN'S GARAGE AND FILLING STATION CYCLISTS Milling around, yakking, scuffling, revving their motors, as Ben arrives and starts giving some of them gas. GRINGO Hey, let's get hot. Let's go someplace -- PIGEON What time is it? Nobody answers him. Nobody cares. DINKY (looking around) What's this joint? What war's this joint left over from? ANGLE PAST JOHNNY He is sitting his machine, nervously twisting the grips. In the b.g. is Bleeker's, with its prominent sign advertising beer. MOUSE (coming up) Hey, Johnny, where we going? STINGER Let's get gassed -- DEXTRO (looking off to Bleeker's) Hey, drag for beers! Who wants drag for beers? Last guy in the door that joint buys beers! As Ben passes, Dextro grabs the rag he uses for cleaning windshields out of his hip pocket. ANOTHER ANGLE Very quickly, fifteen or so riders respond to Dextro's suggestion, swing around abreast. Johnny ignores the whole thing. DEXTRO (shouting) Last guy in the door buys! The motors roar and pop. Dextro is about to drop the flag. Red grabs his arm, shouts: RED Hold it! A car comes down the street. Dextro is poised, waiting. The few people on the street stand aside, watching with interest. INT. BLEEKER'S CAFE HARRY AND KATHIE Harry has turned in his seat, reacting. EXT. STREET MEDIUM FULL SHOT TOWARD GARAGE Dextro flashes the rag. The fifteen or so machines leap out suddenly, coming straight for Bleeker's. MEDIUM FULL SHOT An old car appears suddenly from the other direction, heading straight for the cyclists. INT. CAFE FLASH OF KATHIE Reacting, frozen. EXT. STREET LONG SHOT The driver of the old car loses control, skids around. In an attempt to avoid a collision, the cyclists swerve away, piling into each other, shooting off in all directions... There is a crash as the car ends up against a light pole. One cyclist comes bouncing up onto the sidewalk, still in the saddle, just avoids crashing through the window. TOWARD BLEEKER'S Bleeker, Harry and the customers are already piling out into the street. TOWARD HARDWARE STORE The window lettered "HANNEGAN & THOMAS". Thomas and Hannegan themselves emerge from the store, joining the crowd hurrying toward the scene of the accident. MEDIUM FULL SHOT OF THE CHAOS One front fender of the car is crumpled into the pole, but it is still upright. Cyclists are trying to get out from under machines or scrambling around trying to cut them off. Others are just lying where they fell in the street, laughing like mad. Those who were left at the garage come tearing up on their cycles, everybody delighted. MEDIUM SHOT MAN IN CAR (ART KLEINER) He is smallish and fifty or so; badly-panicked, he is making a frantic attempt to get out, but the door is jammed. MEDIUM SHOT Bleeker and others hurrying forward. BLEEKER It's Art Kleiner -- (shouting to cyclists) Help that man out! They take this up, like a gay chant. CYCLISTS Help the man out! Help the man out! Several of them yank open the car door. CYCLISTS (continuing) Help the man out! They reach in, grab the frightened KLEINER, lift him bodily out from behind the wheel, and put him down on his feet. GENERAL CROWD SHOT Everybody yakking at once. DEXTRO Hey, who won? GRINGO Hey, you see Red unload? You seen him brodie? MOUSE Lucky he hit on his head -- went right over the risers -- DINKY (holding an exhaust pipe aloft) Who lost a funnel? ANOTHER ANGLE Bleeker and Harry have by now reached Kleiner, who is apparently unhurt but still a little rattled. BLEEKER You okay, Art? Art nods vaguely. Harry turns to the boys who lifted him out. HARRY What you guys think this is --? What are you trying to do? RED (with gestures) Just dragging for beers -- zarum! and this guy vreey! Karooey! Art is prevented from answering by MR. WILSON, the local druggist, who appears quickly from behind the car. WILSON There's a boy hurt here -- Bleeker and Harry turn, abandoning Art. ANGLE DOWN One of the cyclists, Crazy, is lying on the ground, his head on his twisted cycle. He looks calm and comfortable. Ben works Crazy's heavy boot off and rises just as the men step in. BEN Ankle's broken -- GRINGO (crowding in) Hey, Crazy, you can't sleep in the street -- GO-GO (also crowding in, seeing the twisted bike) Boy, look at that sickle -- you really stacked up that sickle -- WILSON (to Ben) I'll call Dr. Zeigler. Get your pickup and we'll take him over -- ANOTHER ANGLE Ben and Wilson move off in opposite directions. Art grabs Harry's arm and pulls him aside, toward his car. ART (excited) Harry, you seen how it happened. These motorcycles coming straight at me -- I swung the wheel hard as I could -- look at that -- Hannegan, Thomas, and a few other men move up. HANNEGAN What about this, Harry? HARRY (mildly) It was an accident. I saw it. Art got excited -- ART (bristling) Aren't you going to arrest them? HARRY No. I'm not going to arrest anybody. Take it easy, Art -- Before Art has a chance to reply, Johnny crowds up to Harry, giving with the real tough act, the big bluff. JOHNNY What's the beef? Harry looks at Johnny, taken aback. Johnny goes on quickly, not giving Harry an opening. JOHNNY (continuing) Okay, you're the big copy here or something -- (indicating Art) Tell him look where he's going next time. He don't know how to drive. Turn one way or the other. Guys all over the street trying miss him. He's okay. Got a guy all busted up. Harry just looks at him, unprepared for this attack. Art starts to protest. HARRY (quietly) Forget it, Art. Forget it. Johnny turns away, just as abruptly, followed by his group. JOHNNY AND GROUP As they move away, the boys smirk, pleased, proud of Johnny's act. AD LIBS Some cop, hey? You hear Johnny back him down? Real screwball joint here -- Johnny smiles ever so slightly. MEDIUM SHOT Kathie emerges quickly from the crowd, her head down as if affected by what she has seen. As she steps up onto the sidewalk, heading for the cafe, JIMMY appears around the corner of the building. Jimmy is at least sixty-five, no taller than Kathie, pushed down rather than stooped; his expression is vague and constantly abstracted, a little foolish. He is wearing a cook's apron and is carrying a pair of pruning shears. His voice is a little high, but unexpectedly vigorous. JIMMY What's all that, Kathie? What's all that? (mildly) Somebody killed? Kathie pauses an instant, gentle and indulgent with the old man. KATHIE Some boys on motorcycles ran into Art Kleiner's car -- JIMMY Art Kleiner? Art Kleiner's too old to be driving an automobile. Where was he going, anyway? Everybody always going someplace. Crazy, excited. Always taking a lot of vitamin pills -- drinking -- KATHIE (remembering) Oh. Uncle Frank wants some glasses in the bar, Jimmy. She starts on. Jimmy gives no evidence of having heard, stubbornly continues his original thought: JIMMY Over-stimulated. Jumping around -- (in general) Ought to arrest the lot of them. Call the militia. He turns firmly, disappears around the corner of the building. LOW ANGLE JOHNNY AT CURB Johnny is squatting down, fiddling with the trophy on his front fender. Kathie's figure moves through the f.g. An instant later, Johnny looks up sharply, following her toward the door of the cafe with his eyes, intent, an aroused animal. INT. CAFE MEDIUM SHOT Kathie steps behind the counter, busies herself automatically with the coffee apparatus. A moment later the door opens and Johnny comes in, standing there, dangling the trophy carelessly at his side. Then he starts across -- a slow, swaggering, self-conscious saunter. ANOTHER ANGLE As he sits, deliberately, near Kathie, places the trophy down in front of him. Kathie hesitates, somehow disturbed by him. KATHIE (finally) Do you want something? There is a beat -- as usual with Johnny -- before he answers. He scowls. Talking is painful for him. JOHNNY Sure... (what else could he want?) Beer. KATHIE Beer's just in the bar. She nods toward the bar. A flash of violent anger crosses Johnny's face, but he seems to control it with great effort, turns his head to look toward the bar, then back. He rises, starts for the bar, taking the trophy along. Kathie hesitates a moment before following him. INT. BAR MEDIUM SHOT The bar is empty and unattended, of course. Johnny steps up, throws down some coins, places the trophy in front of him. Kathie comes around behind the bar, bringing up a bottle of beer, opening it for him, meeting his eyes for an instant, then turning away to return to the cafe. Johnny picks up the bottle and glass in one hand, the trophy in another, turns to follow her, the CAMERA PANNING. INT. CAFE PAST COUNTER As Kathie comes around behind the counter again. In the street beyond, cyclists and others are grouped around Harry and Bleeker, apparently arguing. Other cyclists have started racing off senselessly in all directions, or burning circles. Another small group is starting for the cafe. Johnny, having followed Kathie back, sits again, re-establishing the trophy in front of him, looks around. JOHNNY What do you sell here? Kathie is disturbed, looks a little faint. KATHIE Coffee, milk, sandwiches... I got a little sick for a minute -- JOHNNY Why? KATHIE That boy -- his ankle -- I saw the bone sticking out... JOHNNY Yeh? He just looks at her, carefully, as if trying to understand why this would upset her. KATHIE AND JOHNNY There is a pause; she looks away from him to the trophy. JOHNNY You live here all the time? She nods, smiles a little wryly. KATHIE All my life. He thinks about that, glances around, frowns, wondering what to say next. JOHNNY (finally) We were over at Harrison. She nods. KATHIE A bunch of motorcycles went through that way yesterday. They didn't stop. (continuing; focusing on trophy again) Is that what they give you -- in those races -- for killing yourself? Johnny reacts sharply. His face works a moment, then: JOHNNY (abruptly) You want it? Kathie is startled. KATHIE What? JOHNNY You want it, I give it you. She is pleased, but confused, picks it up and looks at it more closely, puts it down again. KATHIE Well, no... you can't do that. You won it... You have to get your name engraved on it -- or whatever you do... (flustered) It's important to you. You wouldn't give something like that away, just like that... unless you knew a girl real well... and liked her... He reaches for the trophy suddenly, puts it down beside his beer. ANOTHER ANGLE Pigeon, Dextro, and Dinky have entered the cafe. They bust up to Johnny. PIGEON Hey, Johnny, about this town -- they got a doctor here -- DEXTRO (running it all together) They going to do a cement job on Crazy -- We going to sit around scratch ourselves? Hey, let's get a scramble going here! Blow those squares -- have a scramble for ourselves! Johnny isn't listening. PIGEON We going to wait for Crazy -- or we going to get with it? Johnny takes his time, pours himself some beer, glances at Kathie. JOHNNY We're going to wait for Crazy. Pigeon looks shrewdly from Johnny to Kathie. PIGEON (to Kathie) Hey, you know who this man is? He's a big important motorsickle racer. (pointing to trophy) See that? Wins big important races all the time. Wins five thousand dollars sometimes. Where you get that brew? KATHIE Beer's just in the bar -- She starts for the bar. Pigeon and Dextro follow her. DINKY (turning back to Johnny) We really got them going. Everybody out there kicking it around. The cop -- he don't know what to do. Another guy -- he smells a buck. He grins, goes on. Johnny glances toward the street. EXT. STREET - AFTERNOON MEDIUM SHOT A number of cyclists and local characters combine to push Art Kleiner's car back away from the light pole against which it stopped. Harry, Bleeker, Hannegan, Thomas, cyclists and others crowd up. KLEINER Harry, look at that fender. It's rubbing on the tire -- Red grabs the fender, braces a foot against the wheel, and pulls. The fender crunches up. RED (smoothing out old fender with hand) Okay. How's that? Now it's not rubbing on the tire no more. Just as good as the others -- ANOTHER ANGLE Pigeon and Dextro come elbowing their way back into the group, each drinking from a bottle of beer he has gotten in the bar. PIGEON (to Gringo) Hey, Johnny says we stick around for Crazy, they fix him up -- GRINGO What do we do here? DEXTRO Hey, I talked to Johnny -- we're going to scramble. GO-GO (to Dextro) Where's the brew? Dextro indicates the bar in the b.g.; Go-Go and several others troupe off in that direction. Bleeker follows them with his eyes. Red, Pigeon, and Stinger glance at each other, step toward him -- an act. RED Where do we eat? BLEEKER We can take care of you, all right. PIGEON You got some steaks? You got some Kansas City steaks? BLEEKER We serve good meat. STINGER (to Hannegan) Where's the motels? HANNEGAN There's the Valley Hotel, just off the main street -- STINGER Hey, they got a real hotel here. KLEINER (pressing Harry) Aren't you going to do anything about this? BLEEKER (before Harry can answer) What do you want Harry to do, Art? Arrest all of these boys -- all thirty or forty of them, or whatever there is? KLEINER (hotly) It's a matter of principle. You let something like this go, anything goes. THOMAS (siding with Art) You want to make a complaint, Art? KLEINER I sure do -- HARRY Art, that's silly. Your car's okay -- you're okay -- you're lucky the way you drive -- Kleiner turns angrily, stomping toward his car. MEDIUM SHOT Kleiner gets into his car. The starter grinds, nothing happens. CYCLISTS (yelling advice) The fire went out! Turn on the jets! Hit it with a hammer! The motor catches with a great popping and banging; the car goes bucking and bolting off up the street, the CAMERA PANNING. As crowd scatters, the cyclists cheering, DISSOLVE TO: EXT. STREET (MILDRED'S BEAUTY SALON) - DAY MEDIUM CLOSE SHOT A cyclist burning a tight circle in the middle of the street. The CAMERA PULLS BACK on a small crowd of local people watching the circus. In the b.g., Mildred and a customer, BETTY, come out of the shop. Mildred looks up. The two girls move into the f.g., stop, watching a moment. Mildred is visibly excited. She nods to Betty and they move on, the CAMERA PANNING to HOLD on two rather elderly men, who are both puzzled and fascinated: MAN (raising his voice over the racket) What? What you say they're doing? OTHER MAN I don't know. Doesn't make any sense to me. I can't even understand what they're talking about -- EXT. BLEEKER'S - DAY MEDIUM SHOT Red, Dextro and Pigeon are sitting their machines at the curb when Mildred and Betty come up, entering the bar. The boys dismount immediately, waltz in behind them. INT. BLEEKER'S BAR - DAY PAST BLEEKER as Mildred and Betty enter, quickly lost in the crowd. Bleeker, in the f.g. is happily meeting the demand for beer, opening bottles like mad. The boys are picking them up as fast as he opens them, not waiting for glasses. AD LIBS Here you go -- One brew here, Pop -- Here you go -- Hey, gas me -- Knock one -- BLEEKER (simultaneously) Coming up -- how many here -- enough for everybody -- ANOTHER ANGLE Including Harry, sitting at the end of the bar near Bleeker, poking at some coins in front of him. BLEEKER Never rains but it pours -- nothing like beer to settle the dust, eh? Bleeker is raking in money, making change, opening beer, all at once. Harry glances around uneasily at the growing confusion. INT. CAFE KATHIE AND JOHNNY It is quiet here, by comparison. Johnny is just sitting, studying Kathie as she works. Then he gets up from the counter, moves restlessly to another seat, regards Kathie moodily. JOHNNY What do you do later? She hesitates, half-smiles. KATHIE I work. He scowls. We hear the noise of the cyclists and others trouping into the bar, yakking it up. JOHNNY You have to goof off, some time. KATHIE What? JOHNNY Nobody works forever. KATHIE It feels like it sometimes. JOHNNY Tonight, I mean. She shrugs. KATHIE I have to stay, as long as we're busy. She nods toward sound of growing activity in bar, smiles. KATHIE (continuing) Sounds like we're going to be busy, until you leave. ANGLE TOWARD BAR Johnny scowls again, uncertain how to proceed, shifts restlessly. A few cyclists have started wandering in from the bar with their beer. KATHIE Where are you going -- when you leave here? He raises his head sharply. She sees his completely blank expression, does a slight take, smiles. KATHIE (continuing) Don't you know? Johnny's face works a moment. JOHNNY We just go. KATHIE (shrugs) It's nothing to me. I was just making conversation. ANGLE FEATURING JOHNNY Kathie starts to turn away. Anxious to hold her, Johnny wets his lips. He is very tense. JOHNNY (abruptly) Weekends we go out. Kathie half-turns back. KATHIE What do you do? JOHNNY (impatiently) We just go. KATHIE You mean you just ride around? Or you go on a sort of a picnic, or something? He stares at her in blank frustration. JOHNNY You're real square, aren't you? Another pause; he scowls, obviously trying to explain something very difficult for him. JOHNNY (continuing) It builds up. You understand? She nods, understanding nothing. JOHNNY (continuing; with increasing tension) A bunch gets together... After all week. You got to have a ball. Every day the same thing. Crawling around underneath. You shoot a Chevvy. (continuing; the sound of a lube gun) Phhuuusp! Phhuuuusp! Okay. You shoot a Study. Phuuuusp! Phuuuuuuusp! Phhuuuuuuuuusp! Same thing. Grease. It builds up. You got to sing. You got to feel good. You got to really go. A pause; this Kathie understands. She nods, rather wistfully. KATHIE (quietly) I'd like to go some place, sometime. BLEEKER'S VOICE (O.S.) Kathie, where's Jimmy? She looks up, startled. WIDER ANGLE INCLUDING BLEEKER Who has come up, annoyed. KATHIE I guess he's our, back, working on his roses -- BLEEKER (very irritated) The roses. Every time we get a little business, the crazy old fool is doing something to his roses. Go get him. Tell him I'm swamped -- Kathie nods, starts toward a door in the rear. JOHNNY watching her go. He turns his head, aware that Go-Go is right beside him, also interested in the departure. Go-Go smirks. GO-GO (making the gesture of twisting the grips on a cycle) Araaaah! Araaaaah! Johnny's expression doesn't change; he looks back at the door through which Kathie has gone. OMITTED Sequence omitted from original script. INT. BAR MEDIUM SHOT Jimmy emerges from the door at back of the barroom with a tray of glasses, starts around behind the bar just as Bleeker returns, glowers at him. BLEEKER (snapping) Give me a hand here, Jimmy -- JIMMY (unruffled) Kathie said you wanted some glasses -- BLEEKER That was an hour ago. Get a couple more cases on ice -- never mind -- take over here -- He turns away. RED Hey, Jimmy, brew me here, Jimmy -- ANOTHER ANGLE Very unhurried Jimmy opens a bottle of beer and serves it. DEXTRO Hey Jimmy, what do you hicks do for kicks around here? JIMMY What? Speak up. Stop mumbling -- PIGEON Anything ever happen here? JIMMY What? Yes. The roses grow. People get married. Crazy as any place else. The bugs get on them and cause trouble, sometimes -- that is, if you don't spray good -- The boys give each other looks. This is fun. Here's the village idiot and he's fair game. RED No bugs on you, eh, Jimmy? JIMMY I mind my own business. Listen to the radio. Music, that is. News is no good. Excites people. DEXTRO How about TV, Jimmy? You like TV? JIMMY What? PIGEON Television. You heard about that new thing, Television -- JIMMY (placidly, as he works) Oh, pictures. No, no pictures -- Looking off down the bar, Dextro reacts, nudges Red. As Red looks: JIMMY (continuing) Everything these days is pictures. Pictures and a lot of noise. Nobody even knows how to talk -- just grunt at each other -- ANGLE DOWN BAR PAST RED AND OTHERS Mildred is at the bar, in the middle of a group of cyclists, laughing loudly at something one of them has said. MILDRED (raising her glass; loudly) Skol! Gesundheit! GROUP JIMMY, RED AND OTHERS Red looks back at Gringo, knowingly, lifts his glass elaborately. RED Skol! GRINGO (business of twisting grips) Araaaaah! Araaaaaah! Jimmy looks at him with distaste. MEDIUM SHOT Johnny has taken up a position against the wall near the archway, following Kathie with his eyes. Two cyclists, Go-Go and Boxer, come up to him, pulling Mildred and Betty. The girls are having a fine time. GO-GO Hey, Johnny, get Mildred! MILDRED Hi, Johnny. Skol! Meet Betty -- BOXER (to Mildred) Hey, show Johnny! He gives her a little push. Giggling, Mildred leans in very close to him, shaking her head to make her earrings tinkle. BETTY See! Real bells, isn't that cute? Johnny gives her a look, stares past her. GO-GO Mildred likes to dance. Hey, Mildred, let's dance -- Johnny ignores them, his eyes on Kathie. Mildred grabs Johnny's shoulder, indicating the legend on the back of the jacket. MILDRED Somebody tell me what that means -- B.R.M.C. -- What does that mean? BOXER Black Rebels' Motorcycle Club. MILDRED Oh, that's cute. What are you rebelling against? (grabbing Johnny) What are you rebelling against, Johnny Johnny gives her a quick stony look. JOHNNY What have you got? Kathie has come up during the above and paused -- her way through the archway cafe blocked by this group. Mildred turns now, laughing, sees her. MILDRED Hi, Kathie. Aren't they wonderful? Did you hear what I said? I said what does that mean -- B.R.M.C. -- and he said 'the Black Rebels' Motorcycle Club.' And I said what are you rebelling against, Johnny? Johnny said, 'what have you got?' What have you got! Isn't that cute? Kathie nods, starting pushing through. KATHIE Excuse me... TWO SHOT As she comes past Johnny, he moves with her back toward the cafe. JOHNNY You like to dance? As she hesitates, thinking he means now: JOHNNY (continuing) The squares got a dance tonight at Harrison. We could go over to Harrison. She stops, looks at him uncertainly, interested but cautious. KATHIE I don't dance very well... She continues on into the cafe. He frowns, follows her doggedly. INT. CAFE MEDIUM SHOT as Kathie comes around behind the counter again, Mouse and BEBOP sit down. MOUSE (to Kathie) Aren't you Miss -- (turning aside to Bebop) -- taken about that? Didn't you say... Turning, he looks past Bebop, trails off. The joke dies. ANOTHER ANGLE Johnny is looking at him hard; his expression says, "Lay off." MOUSE (mildly; back to Kathie) Coffee. Two coffees. Kathie glances at Johnny, nods, continues on to the coffee urn. Johnny follows. MEDIUM SHOT Johnny sits opposite Kathie as she gets the coffee. JOHNNY You like to go? Kathie shakes her head. JOHNNY (continuing) Why not? what's the matter? She turns, holding the coffee. KATHIE I can't... and it's crazy. You just came from Harrison. JOHNNY (shrugs) So I go back to Harrison. We go to the dance -- She smiles, wavering, turns with the coffee, stops. Johnny follows her look. MEDIUM SHOT Mouse and Bebop have gotten up from the counter and are wandering away toward the bar. JOHNNY AND KATHIE She hesitates, uncertain what to do with the coffee now. Johnny rises decisively. ARCHWAY Mouse and Bebop walking away. Johnny steps up behind, grabs them, spins them around and starts cuffing them roughly. They are thoroughly amazed, start swinging back, automatically protecting themselves. MOUSE (protesting loudly) Hey, Johnny, what's the matter with you? JOHNNY (shouting) You jerky or something! Drink the coffee! You ordered coffee -- sit down -- drink it! They stare at him. TOWARD BAR FEATURING HARRY poised to leave his stool. Everyone has paused, turned to see what this is about. BACK TO GROUP Johnny shoves the boys roughly toward the counter. JOHNNY Sit down. They exchange looks, but obey, drift back toward the counter, the CAMERA PANNING. BEBOP What's with him? Mouse shrugs. Kathie places the coffee in front of them. She smiles, glances toward Johnny. THREE SHOT Johnny has resumed his seat, staring at his beer. Harry drifts into the shot, sits beside him. Kathie moves closer. HARRY (awkwardly, indicating trophy) Won yourself something there, did you?... Nice souvenir to have -- ANGLE FEATURING JOHNNY He gives Harry at most a quick glance, ignores him. HARRY Look, Johnny, out there... I think you got me a little wrong... He has put his police cap between them on the bar; Johnny pushes it away from him. Harry reacts, but continues ineptly: HARRY I got a job to do around here, but I'm not hard to get along with... It's usually just a misunderstanding -- I mean anything that develops into any kind of trouble... Johnny tenses on "trouble," but refuses to look at Harry, jams a cigarette into his mouth. HARRY (continuing) It can be avoided most of the time -- if people sit down and talk it over... With this he has struck a match -- extending it to Johnny in his cupped hands. Johnny refuses it with an elaborate, don't crowd-me sort of gesture, pushing Harry's hands away, extracting the match and lighting his cigarette from it himself. ANOTHER ANGLE THREE SHOT Kathie looks from Johnny to Harry, who takes the rebuff, sits there a moment, rises abruptly. KATHIE (to say something) You want me to have Jimmy make you a steak sandwich, Dad? Johnny reacts sharply on the word "Dad." As Harry shakes his head, moves away, Johnny glances from him back to Kathie, gives her a sardonic look. Then he rises abruptly with his trophy, strides for the door. CLOSE SHOT KATHIE Uncertain, watching Johnny exit. EXT. BLEEKER'S FEATURING JOHNNY He steps to his cycle, starts quickly re-wiring the trophy to the fender. Several boys who have followed him out crowd up. BOXER (nodding back; grinning) Got yourself lined up? JOHNNY Her old man's that itchy cop -- DINKY (impressed) Yeh? How about that? MEDIUM CLOSE SHOT JOHNNY attaching the trophy. JOHNNY Come on, let's blow out of here -- RED'S VOICE (O.S.) I'd like to get me a cop's daughter sometime. Some deal -- Johnny's flicker of reaction is cut short by the sudden roar of a motor, the sound exploding right on top of the scene. He pulls back. TOWARD CAFE DOOR A cycle -- driven by Gringo, with Crazy on the jump seat, one foot sticking out in a plaster cast -- jolts past the group onto the sidewalk. A cyclist coming out just barely has time to jump aside, holding the door, the cycle charging past him. Johnny and his group swarm in after it, laughing. There is, simultaneously, a concerted shout from inside. OMITTED Sequence omitted from original script. INT. CAFE FULL SHOT The crowd scattering as Gringo crosses the cafe, rides through the archway into the bar. INT. BAR MEDIUM SHOT Mildred and the boy she was dancing with jumping aside. A tremendous din as Gringo heads the cycle straight for the bar. CLOSE SHOT ON BLEEKER Startled, a flash of outrage. HARRY Poised to leave his stool. MEDIUM SHOT Gringo bringing the cycle to a reckless but expert stop flanking the bar, opposite Bleeker, cutting the motor. GRINGO (loud in the momentary silence) One beer -- (nodding back to indicate Crazy) One sidecar -- A cheer goes up -- everybody talking at once, crowding around the cycle. Bleeker grins slowly, accepting the joke, starts filling the order. Harry glances at him, resumes his seat. A few intelligible phrases emerge from the bedlam as Johnny and his group come in from the cafe: AD LIBS Hey, drive-in service -- Hi, Crazy, how you been boy? Hey, Crazy had his clutch overhauled -- TOWARD STREET DOOR A flying wedge of cyclists, lead by Dextro, bursts through the door. They have rope and other props for a race. Several have improvised arm-bands with the word "Official" lettered on them. Dextro is waving a rag on a stick and shouting something. While he is climbing onto a stool in the b.g. the others crowd around Gringo and Crazy in the f.g. AD LIBS (seeing plaster cast) Hey, that's a wedgie, that's a real wedgie -- Hey, Crazy, we're going to scramble! You want in! Aarrraaaaaaah! Put it down, Crazy, put it down on the turn -- you won't feel a thing! DEXTRO Attention! Attention please! DEXTRO as he gets comparative quiet: DEXTRO Attention! The First Annual Hog Scramble Time and Trial Race starts in ten minutes -- CLOSE SHOT JOHNNY AT BAR He scowls. BACK TO DEXTRO DEXTRO You got five minutes to get gassed up! You get gassed up, report to the starting officials outside -- and let them smell your breath! Nobody isn't gassed up can race! This is a big yak, everybody crowding around, milling toward the bar, Dextro trying to continue. EXT. MAIN STREET MEDIUM FULL SHOT This is the same angle from which we saw the B.R.M.C. boys enter town. With a sudden roar, an entirely new group of cyclists swing into the street in single file. The rider in the lead comes abreast the camera, gearing down, slowing. The CAMERA HOLDS, PANS with him -- long enough to see that he is a fantastically-dressed character with a beard and dark glasses, some sort of big feather flowing from his hat. This is CHINO. The others come on by. They are each, in some way, outlandishly costumed. Some six or eight of the cyclists have girls on the jump seats, clinging to their backs. At this point, and from this angle, however, the girls -- in jeans and jacket and various screwy outfits -- are barely distinguishable from the boys. EXT. STREET (BLEEKER'S) MEDIUM SHOT The group comes abreast Bleeker, almost past. Chino stops so suddenly the riders behind pile up into him and around him. CHINO (looking toward parked cycles) Hey, looks like the Rebels! Johnny's here! He starts wheeling back toward Bleeker's. INT. BLEEKER'S BAR MEDIUM SHOT The uproar continuing. Go-Go turns to Harry. GO-GO Hey, Chief -- what are you drinking, Chief! Everybody gets gassed -- BOXER (to Bleeker) One gas for my friend the Chief! ANOTHER ANGLE JOHNNY He is still grim, apart from this. JOHNNY (to Gringo) Let's get out of here -- GRINGO We're going to scramble -- JOHNNY Scramble someplace else -- Dextro jumps onto a stool again, looking at his watch. DEXTRO (shouting) Time! Time! Everybody out! Report to the starting officials everybody wants to race! There is a concerted rush for the door. Johnny stands there leaning against the bar until the place is almost empty, then follows. HARRY AT BAR He looks up at Bleeker, worried. OMITTED Sequence omitted from original script. EXT. BLEEKER'S - AFTERNOON MEDIUM SHOT JOHNNY the last one out, pushes his way through the cyclists -- stops dead on the curb, staring off. MEDIUM SHOT CHINO'S GROUP It has arranged itself in a rough semi-circle, the boys sitting their machines, enclosing the cycles of the Rebels' parked at the curb. MEDIUM CLOSE SHOT LOW ANGLE CHINO In the center of the semi-circle. His arms are folded. He is a very heavy men, almost fat, with big swollen hands. He is smiling a peculiar smile. The dark glasses, the feather sticking out of his hat -- make him look like a kind of frightening clown. In the f.g., unmistakably attached to Chino's front fender, is Johnny's trophy. JOHNNY as he stares angrily. THE TROPHY attached to Chino's front fender. CYCLISTS'S VOICE Hey, look, Chino gleeped Johnny's gold! MEDIUM FULL SHOT The babble in the b.g. has stopped abruptly. Johnny takes a step forward, glaring at Chino, and for an instant the whole scene is frozen. Chino just sits there, grinning. MEDIUM SHOT KATHIE She comes up, stops, then edges a little closer, curious, apprehensive. FULL GROUP SHOT The cyclists of both groups look from Johnny to Chino to see what is going to happen. Other cyclists move up in the b.g. to increase the circle around them. MEDIUM SHOT JOHNNY AND CHINO confronting each other. CHINO (abruptly) Hi-ya, sweetheart. What are you doing here in this miserable gully, Johnny, my love? Johnny steps toward him in his slow, insolent way, stops, looking off. ANOTHER ANGLE Johnny meets Kathie's eyes for a moment, seems to hesitate. A beat, then he continues to Chino; Kathie follows him with her eyes. MEDIUM SHOT Johnny moves to the front of Chino's machine, stops, looking from the trophy to Chino, who unfolds his arms, props his chin elaborately on one hand: CHINO (expansively) Johnny, I love you. I been looking in every ditch, Fresno to here, hoping you were dead -- (with a wicked smile) I looked for you in the race. I looked all over. I didn't see you race. I wanted to see my hot-shot boy scramble and win some gold... Wouldn't they let my boy scramble? Was my boy too tough? KATHIE interested, puzzled. BACK TO SCENE Chino looks Johnny over carefully, solicitously. CHINO Johnny, you look pale. You been taking care of yourself? You been staying out too late? JOHNNY (hard; indicating trophy) That's mine. Take it off. Without changing his expression, Chino leans forward a little, gives the trophy a pat. JOHNNY Take it off. Chino doesn't move. Johnny reaches out suddenly to grab the trophy. Chino gives him a vicious cut on the forearm with the side of his big hand. Johnny pulls back, furious, and swings on him. It's a solid blow. It knocks Chino backwards, half off his cycle. With no change in expression, Chino scrambles the rest of the way off, onto his feet, with surprising agility. He dives at Johnny, who is now trying to unfasten the trophy, envelopes him in a bear-hug, pinning down Johnny's arms. In a crazy rage, Johnny fights free, lets fly at Chino again. The blow lands on Chino's shoulder, sends him backwards. Chino -- still grinning, his dark glasses at a cockeyed angle -- spreads wide his arms in an expansive gesture of delight and admiration. CHINO Johnny -- that's better -- I've missed you. Ever since the club split up, I missed you -- (with a wicked leer and a wide gesture to indicate his flock) Everybody missed you. All the beetles missed you -- SEVERAL CUTS to members of Chino's group, looking toward the protagonists expectantly. We get a better look at the "beetles," the girls in their tight jeans, kerchiefs, black leather jackets. One of them, with a sad, sultry face, almost calls out; the word "Johnny" forms, but is not quite said. BACK TO SCENE Chino moves slowly toward Johnny, cautious, grinning, his arms spread wide as if to embrace him. CHINO Johnny, I love you. Let's have a beer -- then I'll beat the living Christmas out of you, Johnny -- As he steps forward, Johnny shoves him roughly back, starts to work the trophy loose. ANOTHER ANGLE Recovering his balance, Chino suddenly assumes a ridiculous, wheedling, mendicant-like pose, comes sidling up with his hands clasped together. CHINO Johnny, don't take that away from Chino. It's so beautiful. Chino needs it. It makes Chino feel good. It makes Chino feel like a big strong man -- For some reason, this hits Johnny hard; he pauses. CHINO (continuing; having a fine time) Chino didn't win it, my boy. Chino just gleeped it. Chino gleeped it off a guy didn't win it either -- Johnny straightens up, furious, leaves the trophy dangling by a wire. CHINO (continuing) If you want one -- go gleep one some place for yourself -- ANGLE SHOT FEATURING KATHIE A suspended, thoughtful look on her face. Over her shoulder, Dextro waves the starter's flag, shouts: DEXTRO Hey -- scramble for it! Put it up for stakes! MEDIUM SHOT Chino whirls toward Dextro. CHINO Who said that? There is a chorus of shouts: AD LIBS Scramble for it, if you want it! Hey, Johnny, you and Chino scramble! Put up the gold! Hey, Chino, you and Johnny scramble for the gold! Chino whirls back, grabs Johnny by the shoulders, delighted. CHINO Johnny, you got a scramble going! You didn't tell Chino! Okay. I feel hot! (grabbing trophy, snapping the last wire) I'll screw it on with you! Big man takes the gold! You get to prove to your girl here what a big brave jerk you are! Okay? JOHNNY (a beat; a quick glance toward Kathie; then grimly) Okay. Everybody starts crowding around, talking at once. Chino waves the trophy aloft, shouts over the noise. CHINO Big man takes the gold! Big man takes the stakes -- (whirling, he comes face to face with Kathie, thrusts the trophy on her) The lovely young lady here will hold the golden stakes! The timid maiden of the hills clutches the gold to her breast and fights back a tear as her hero bleeds to death in the street -- Where do we start? Dextro pushes importantly to the front of the group crowding around Chino: DEXTRO (hammy; the big official) The officials are now laying out the course, young man! You will all proceed to your positions for the massed start! Right this way! The officials are now laying out the course! Chino and the others have already turned toward their cycles; there is a general noisy milling about. EXT. START OF RACE ON CROWD that has started to collect. An "Official", wearing one of the improvised arm-bands, steps out to make like an announcer, using a beer can for a "mike". OFFICIAL The daring contestants will follow the white line on a thrilling, death- defying ride through the scenic countryside -- and return here for the finish! CLOSER SHOT PAST OFFICIAL as two boys on a cycle start off to mark the course. One of them, on the jump-seat, is riding backwards, a hundred pound sack of flour in his arms. OFFICIAL Just follow the white line! Follow the Flugel's Flour -- it's white as snow! The cycle bucks forward, the CAMERA PANNING TO FOLLOW it off down the street -- the boy on the back spilling flour as they go. The crowd laughs. EXT. BLEEKER'S JOHNNY He is now moving grimly to his cycle, unsnapping his goggles from his belt. Several of his group follow, talking it up. CYCLISTS Hey, Johnny, you can take him! You can take Chino! Come on, Johnny, let's go! The girl who almost called out Johnny's name catches up with him, impulsively catches his arm. GIRL (eagerly) Hi, Johnny -- He stops dead, turns and stares at her with vacant intensity, with absolutely no indication of recognition. GIRL (continuing) Hi, Johnny... Her hand goes to her name, BRITCHES, printed on her jacket, in the manner of the Rebels. GIRL (continuing) Britches... you remember... Britches... (uncertainly, as he just stares) You remember -- the last weekend we went out scrambling before the club split up... How you been, Johnny? I didn't know what happened to you... Well, it's been a year I didn't see you... I thought about you... She trails off, embarrassed. Johnny pulls his arm free, turns abruptly away. The CAMERA HOLDS AN INSTANT on Britches as she looks after him, confused and hurt. MEDIUM CLOSE SHOT JOHNNY He reaches his cycle, jumps on, snaps down his goggles -- a look of maniacal intensity in his eyes -- kicks the starter. The machine roars and pops. WIDER ANGLE He backs out to turn, and then guns off crazily; Kathie reaches the curb too late and stands there, holding the trophy. EXT. MAIN STREET START OF RACE - LATE AFTERNOON SERIES OF SHOTS The crowd is growing. In the center, a jumble of motorcycles and noise. KATHIE Hanging onto the trophy, pushed forward by the people crowding up for a view of the start of the race. KATHIE'S ANGLE OF STARTING LINE This is a massed start, highly disorganized. Popping, revving up, cycles jockeying for position in the ragged line stretching across the street and up onto the curb... There are perhaps fifteen members of Johnny's group -- all helmeted and goggled -- and ten of Chino's -- identifiable by their weird costumes. ANOTHER ANGLE Most of the cyclists who are not entering the race are wandering around, wearing "Official" arm-bands, shouting, arguing, fighting, adding to the confusion. CLOSER SHOT ON JOHNNY finds a spot in the line. Intense, twisting the grips, a maniacal look behind his goggles. CHINO Several riders away, grinning, clowning, waving his feathered hat at the crowd. CRAZY Moving into the line of starters, the leg in the cast jutting out. There is a cheer for him. GROUP OF LOCAL MEN They crowd up, starting to bet. FOX Three to one on the feather-in-the hat -- WEAVER You got a bet -- that's my boy -- Johnny -- OTHERS I'll take half of that -- Five on the side -- Who holds the stakes? MEDIUM FULL SHOT THE START Dextro staggers out front, raises his starter's banner, whips it in the air, and almost falls down. There is a deafening concert of explosions. The cyclists take off -- more or less simultaneously -- in one hell of a tangled mess, half of them colliding with each other, some of them unloading immediately. KATHIE IN CROWD Jumping back out of the way with the crowd as a cycle spins toward her. MEDIUM SHOT AT FIRST TURN An "Official" with a napkin tied to a stick waves around the four or five riders who have taken the lead. Chino skids around into the f.g., glances back over his shoulder for an instant, grinning. Then Johnny comes slithering around, hot after him. MILDRED A little tipsy, giggling, being lifted onto the shoulders of several cyclists. CYCLISTS Go, go, Johnny! MILDRED Go. Go, Johnny! EXT. OUTSKIRTS OF TOWN MOVING SHOT The boys on the cycle marking the course with flour, well ahead of the racers. They leave town, head for open country. EXT. TOWN HALL MEDIUM FULL SHOT A small crowd has collected here -- where the course makes a right angle around the Town Hall. This is a small, neat building in the b.g., housing all the municipal functions, including the police department and jail. The leaders, including Chino and Johnny, tear past in the f.g. OMITTED Sequence omitted from original script. ANOTHER ANGLE SHOT A cyclist spins out on the turn. A couple of others pile into him. One of them rights his cycle, but can't get it started. Pigeon, Boxer and Dinky, who have crowded forward to give advice, have to jump back as Crazy comes around the turn, the CAMERA PANNING WITH him. He puts his foot with the cast down on the ground and slides around the turn on it. PIGEON Come on, Crazy! Screw it on! EXT. RESIDENTIAL STREET MEDIUM SHOT This is a street of pretty, white-framed houses, neat lawns and flower beds. Chino in the lead, tears past in the f.g., then Johnny, trying to pass. ANOTHER ANGLE AT TURN Johnny cuts in, takes Chino on the turn. There is a shout of "He got him!" The CAMERA HOLDS ON the turn as other cycles follow them around. One of them hares off at a tangent, up over the curb, right through a low picket fence. ON CYCLIST cutting a swath of devastation across the lawn, through flower beds, miring for a moment in mud, recovering and plunging through the picket fence again, back onto the course. A furious, frantic woman, moves quickly into the f.g. WOMAN Can't somebody stop this? Nobody pays any attention to her; they are all too interested in the race. EXT. OPEN COUNTRY MOVING SHOT The trail markers laying a difficult course through the hills. DISSOLVE TO: SHOTS OF RACE As the contest continues through the hills. JOHNNY AND CHINO (PROCESS) Alternate CLOSE SHOTS, first one in the lead then the other. RACE SHOTS Continuing through the hills, INTERCUT WITH SHOTS of FLOUR being spilled to mark the trail -- entering town again and leading to Bleeker's. DISSOLVE TO: EXT. MAIN STREET (BLEEKER'S) MEDIUM SHOT A group of cyclists comes through with an improvised sign -- the word "FINISH" lettered on a sheet torn lengthwise, ropes tied to each end to suspend it. KATHIE In the crowd, still clutching the trophy, the crowd pressing forward. EXT. RESIDENTIAL STREETS (NEWHALL) JOHNNY AND CHINO as they re-enter town. Johnny comes into a turn, takes it a little wide and Chino, with an opening, takes the inside and cuts him off. Johnny swerves to miss him, goes out of control, spins off. MEDIUM SHOT Several of Johnny's group have rushed over to help him, all talking at once, all giving advice, helping right the cycle. CYCLISTS Come on, Johnny -- You can still get him -- Go get him, Johnny -- Furious, Johnny is already scrambling back onto the machine. He kicks it twice before it starts -- then takes off like a rocket, the CAMERA PANNING. Chino is out of sight. SERIES OF SHOTS RESIDENTIAL STREETS with Chino holding his lead -- Johnny a very poor second, tearing recklessly around the turns some two hundred yards behind. Members of Johnny's group look at each other. "What happened?" In the final shot, Chino enters the straightaway into the finish line. Johnny isn't in sight yet. EXT. MAIN STREET (RANCH) MEDIUM FULL SHOT Chino coasting into the stretch, heading for the "Finish" banner now stretched across the street. CLOSER SHOT ON CHINO (PROCESS) He glances back, slows down, and starts clowning. He stands up, tipping his feathered hat to the crowd on either side -- wobbles, loses control. He goes one way, the bike the other. The crowd parts, the machine bounding off, riderless. CLOSE SHOT JOHNNY Flat out. MEDIUM SHOT CHINO Picking himself up from the middle of the street -- still some yards from the finish. He starts after his cycles, stops suddenly, hearing a sound, looking back. CHINO'S ANGLE Here comes Johnny. Everybody is yelling. MEDIUM SHOT CHINO He hesitates just an instant, calculates, decides to abandon the bike, takes off under his own power and starts hot-footing it ponderously for the finish line. FROM FINISH LINE Chino scrambling for the finish -- Johnny bearing down on him. Chino makes it, just a few seconds before Johnny flashes past. Everybody starts shouting, closing in. MEDIUM SHOT Cyclists and townspeople crowding around Chino, who clasps his hands over his head, fighter fashion, then starts looking around. CHINO (very winded, but delighted) Where's my gold? Where did that gorgeous little stake-holder go? He starts pushing his way through the crowd, the CAMERA PANNING. There are cries of "Here! Here!" He turns. MEDIUM SHOT KATHIE Frightened, as Chino comes swooping down on her, arms outstretched. CHINO Come to Chino! Come to Chino, baby, you beautiful thing! All in one motion he lifts the trophy from Kathie's arm and kisses her on the forehead. MEDIUM SHOT JOHNNY having overshot the finish and circled, he stops now, his group crowding around to congratulate him. JOHNNY (abruptly) Come on, let's blow this joint -- Wait'll I get back my gold -- He heads his cycle into the crowd. MEDIUM SHOT as Johnny stops his machine, jumps off, rips off his goggles. Furious, he reaches for the trophy. Chino defends it, pushes Johnny away. CHINO Now, Johnny, Chino won it -- Chino won the race -- GRINGO You won the flat-footed race -- you didn't win any sickle race -- LOVER BOY He crossed the finish first -- who says you got to cross the finish on a sickle? During this, Johnny has come for Chino again, Chino has pushed him back once more. Now -- with sudden violence -- Johnny throws himself at Chino, knocking Chino backward and into the crowd near Kathie. ANOTHER SHOT Chino shakes himself, a weird smile on his face, thrusts the trophy on Kathie again, and lunges. MEDIUM SHOT Gringo, Lover Boy, and several others crowd forward, talking it up. GRINGO Right this way! Everybody right this way! We are not awarding the prizes! SERIES OF FIGHT SHOTS JOHNNY AND CHINO They both attack and retreat alternately, putting as much speed and weight behind their blows as possible -- so that it is a sort of ambulatory fight, rather than a stationary slugging match. Chino has more weight and is more durable perhaps, scrambling to the attack and then scrambling away -- like a stubborn, flat-footed bear. Johnny has more skill and more real savagery. He steps in quickly, delivers cutting blows, steps back. Chino reels after him, trying to tackle him, the silly pleased smile rarely leaving his face. This is INTERCUT WITH VARIOUS REACTION SHOTS of: a. KATHIE, frightened, horribly fascinated, swept along with the crowd. b. CYCLISTS of both groups, watching in objective, stoical silence. c. TOWNSPEOPLE, children, and various characters already established. MEDIUM CLOSE SHOT ON JIMMY in the crowd. SIMMONDS (to Jimmy; excited) What happened? What are they fighting about? JIMMY Don't know. Don't know themselves probably. -- World situation -- Simmonds is pushed aside; Jimmy finishes the speech to nobody in particular. Nobody is listening. JIMMY (continuing) Mad at everybody. Confusion. Fight and make a lot of noise... Terrible waste... Corruption ... GROUP SHOT A number of the local men have collected around Hannegan in the doorway of the hardware store. WILSON (concerned) This is getting rough -- Harry walks into the SHOT; Thomas ignores him. THOMAS (hotly) Let's stop this. I've seen hoodlums like this before. If you don't get tough with them the minute they get out of line you're sunk -- ANOTHER ANGLE as Den returns with Harry, who looks harassed. HANNEGAN (quickly; to Harry) We're getting a lot of complaints. This is getting out of hand -- THOMAS You a cop or aren't you? If you can't boot these jerks out, there's plenty of us can -- even if we have to bust some heads -- HANNEGAN Wait a minute, Charlie, wait a minute now -- THOMAS (disgusted) You're wasting your time talking. I'm going to see if everything's all right at home -- He turns away. MEDIUM SHOT JOHNNY AND CHINO Johnny has knocked Chino backwards and is standing back waiting for him to get up. Chino sitting on the ground, trying to get his breath. Johnny just standing there, breathing hard, waiting. Lover Boy steps in, hands him a bottle of beer. He takes a swig, grins up at Johnny foolishly, his mouth bleeding. CHINO Johnny, I love you -- MEDIUM SHOT Thomas' car is hemmed in by spectators and cyclists sitting on their machines to watch the fight. Thomas appears, starts -- around the front of his car, through the cyclists. THOMAS Make some room here, boys, I'm going out -- They just stare at him rudely. ANOTHER ANGLE Thomas comes around, gets in on the driver's side, starts the motor, honks, waves the cyclists aside. Inching forward, cramping his wheels, he manages to pull away from the curb. The cyclists refuse to give, just sit there as he barely scrapes by. MEDIUM SHOT Pulling out some ten or fifteen feet, Thomas is completely blocked by cyclists on their machines who have encircled the fighters. CLOSE SHOT THOMAS Irritated, he honks without effect. MEDIUM SHOT Thomas blowing his horn. Red steps over to him. RED Pipe down. Where you think you're going? THOMAS I'm going out -- RED Aw, come on, get back -- you're blocking the street -- CHINO AND JOHNNY Both more or less in the same position; Johnny standing, waiting; Chino sitting in the middle of the street, swigging the beer. CHINO Johnny, I'll tell you -- He starts to rise, but sits again promptly as Johnny makes a move toward him. He grins, starts propelling himself slowly toward Johnny on his ass. CHINO (continuing) -- I'll tell you what we'll do -- Thomas's horn has started blowing insistently. Chino reacts, breaks off, annoyed by this interruption. CHINO (continuing; bellowing off) Shut up! He grins back at Johnny, inches forward, reacts again as the honking continues, louder. CHINO (continuing) Shut up! I'm negotiating with my boy, Johnny, here! HANNEGAN AND GROUP They have reacted to the honking. HARRY I'll get hold of this boy, Johnny, and have a talk with him -- Harry reacts to a sudden burst of honking, shouting, starts off. The crowd around him surges forward. CHINO AND JOHNNY They react too. Chino gets to his feet. Johnny turns with him toward the center of the disturbance. MEDIUM SHOT FRONT OF THOMAS' CAR Tremendous confusion, shoving, and angry shouting. Whatever happened -- there is now a cyclist (MEATBALL, Chino's group) on the ground in front of the car, his cycle knocked over and partly under one of the front wheels. Cyclists are diving in helping Meatball up, pushing Thomas' car back to free the crushed cycle, yelling; another group has descended angrily on Thomas himself, shouting at him, trying to open the door and pull him out -- Thomas yelling back, trying to defend himself. KATHIE trying to protect herself in the crush. HARRY moving forward quickly. SHOT FEATURING CHINO diving into the center of the brawl, not asking any questions. He thrusts aside the boys trying to get at Thomas, grabs him himself, hauls him from the car -- gives him a couple of solid cuffs that send him reeling aside. CHINO (exhilarated; to Red) What'd he do? RED Tried run Meatball over -- Chino reacts quickly, leaves Thomas in other hands, turns to the car. CHINO (bellowing over the noise) Up and over! Other cyclists join him, putting their weight against the car, taking up the cry. CYCLISTS (CHINO'S GROUP) Up and over! Up and over! Hep! Ho! Heave! OPPOSITE SIDE OF THOMAS' CAR as it comes up on two wheels, teeters an instant, then topples over onto its side -- the crowd scrambling back out of the way, a woman dragging a child back by the hand, just in time. MEDIUM SHOT Harry diving into the middle of the group of boys man-handling Thomas, shouting at them, pushing them aside. HARRY (shouting) All right! All right! Flailing about him, he manages to break it up. Cyclists and local men start pressing in from all sides -- everybody yelling at everybody else. GRINGO Hey, Harry, hey Chief -- you seen him try to run Meatball over --? Thomas, dishevelled, apoplectic, gets into it, too. THOMAS (whirling angrily on Gringo) Nobody ran anybody over! He ran his motorcycle into the front of my car -- CHINO (getting into it) And then that sickle just crawled right in under your front wheel -- all by its little self -- Thomas whirls on him, his face close to Chino's distorted with rage. THOMAS Harry, I want this man arrested! CHINO Hey, is that your face? Or you wearing a mask? Thomas sputters. Chino does a phony, delayed take, turns on Harry in meek alarm. CHINO (continuing) He wants me arrested, Harry! You hear what he said? THOMAS (to Hannegan, who has come up) He hit me! CHINO (spreading wide his arms) Well, hit me back -- you coward! ANGLE TO INCLUDE KATHIE crowded in between several men, including Art Kleiner, who shouts angrily at Harry: KLEINER I seen it! Arrest them both! Arrest them both, Harry! Kathie glances off, from Harry toward Johnny. JOHNNY just standing there, near Chino, watching the whole procedure with contempt. GROUP SHOT FEATURING HARRY He is getting a little rattled by people shouting at him from all directions. Thomas turns on him. THOMAS Harry -- HARRY (with sudden decision) I'm going to take the both of you and lock you up -- so we can talk without everybody yelling -- Thomas' mouth drops. HARRY (continuing) Whether I hold anybody depends on how bad this boy here is hurt -- He turns aside. Thomas is left there, unable immediately to believe this. MEDIUM SHOT Meatball is limping around in circles, holding onto Lover Boy's shoulder. HARRY (coming up) You hurt, son? He just gives Harry a vicious look; the other cyclist answers for him: LOVER BOY He don't feel a thing -- Harry turns back, the CAMERA PANNING. Hannegan takes his arm, pulling him aside. HANNEGAN Harry, look, you sure you know what you're doing? HARRY I know what I'm doing -- HANNEGAN (quickly; low) Charlie could be part to blame, but let's just try and get these guys out of town -- Harry wavers, rattled, suddenly pulls his arm away. GROUP SHOT Harry steps grimly up to Chino. HARRY Okay, let's go -- Chino turns and embraces him, his long-lost brother. CHINO Harry! HARRY (fighting off Chino's embrace) Come on -- He starts herding Chino off, the CAMERA FOLLOWING. Chino hangs back, struggling, hamming it up. CHINO Harry, no! I don't want to leave my friend Frog-Face here! You said you were going to arrest him, too! Harry pushes him on. Johnny steps out in front of them, belligerently blocking the way. CHINO (to Johnny) Johnny, look at me! In the hands of the law! Isn't it terrr--rrrible! JOHNNY What'd he do? Harry tries to ignore him, pushing on, but Johnny blocks him with his body. JOHNNY (continuing; evenly; menacing) What'd he do that guy didn't do? He nods off. GROUP SHOT FEATURING THOMAS He is flushed, angry. Harry turns abruptly to Johnny. HARRY Johnny, come here -- He puts his arm around Johnny to lead him aside; Johnny brushes him off angrily. HARRY (continuing) I want to talk to you, Johnny. Come here. As Harry moves out of the hubbub with Johnny and Chino, Johnny posing indifferently. HARRY (continuing) Johnny, I've given you a couple of chances... Now, I don't know what you're after -- CHINO Let me tell you about Johnny, Daddy -- HARRY Shut up. Chino shuts up momentarily, but continues mugging and posturing. HARRY (continuing) I'm in a spot -- You can make it easier for me -- You move on. You take your boys -- and this other bunch -- CHINO Can I go, too? HARRY And he goes, too. Johnny is rigid, cynical. GRINGO Hey, Johnny, don't fall for that corn -- Harry gives Gringo an angry look, waits. A beat. JOHNNY I made a deal with a cop once. He touches his finger to his nose. Several of the cyclists give a choked laugh. CHINO Let me tell you about Johnny, Daddy -- Harry doesn't stop him this time. CHINO (continuing) He's okay, you just don't get on his back. He don't like anybody on his back. We had the same club once. The beetles got on his back all the time. He didn't like that... Harry is still looking steadily at Johnny, waiting for the answer. HARRY You don't want to do what I say, then... He shrugs. CHINO (clasping his hands together) Johnny, I'm going to the can! Save me! A beat. HARRY Yes or no. JOHNNY I don't make deals with cops no more. I learned better. CHINO See? MEDIUM SHOT Harry waits an instant more, turns grimly to Chino. HARRY Come on. CHINO (calling back as Harry starts off with him) Johnny! Write my mother and tell her I'm in the can! Write my mother to send me a case of beer! Oh, the shame of it all! His voice trails off. JOHNNY He jams a cigarette into his mouth. The other cyclists start crowding around. GRINGO Hey, Johnny, we going to let that phony cop get away with that? Mouse extends a light for Johnny, who reacts as he reacted with Harry -- with the same sweeping don't-crowd-me-gesture, pushing Mouse's hands away and taking the match. DEXTRO Hey, let's give this joint the needle -- RED What are we going to do, Johnny? GRINGO Hey, let's wait till dark -- then spring Chino! Johnny reacts to this, looks at him. Then, abruptly: JOHNNY Hey, where's my gold? Where'd that beetle go Chino gave my gold to? DEXTRO Was standing right there -- As Johnny whirls, pushing off through the crowd in search of Kathie, the CAMERA PANNING. OMITTED Sequence omitted from original script. INT. BLEEKER'S CAFE MEDIUM SHOT The cafe, emptied for the race, is still empty as Johnny comes in, looking around. He strides toward the counter, stops, looking off. MEDIUM CLOSE SHOT THE TROPHY It is on the shelf behind the counter with the dishes and cup WIDER ANGLE Johnny takes a stride toward the counter, as if to vault it, stops as Kathie appears from behind the shelves. Without looking at him, she walks to the shelves, takes down the trophy, and puts it in front of him. She turns away -- then turns back, as a sort of an after thought. Her manner toward him is entirely changed; she is tense, and a little sardonic. KATHIE (indicating trophy) You're faster than I thought. That's for the race tomorrow... He glowers, stands there as if he were going to say something, doesn't. ANOTHER ANGLE Kathie busies herself with the coffee cups a moment. A few cyclists enter from the street, glance at Johnny, move slowly, restlessly off toward the bar. KATHIE (tautly) All right -- you've got your little toy back. What do you want now? Have you got any idea? He glances up, surly. KATHIE (continuing) Why don't you go someplace else and cause trouble? He sits, stubbornly. We hear people returning to bar on the other side of the partition. JOHNNY (with feeling; in general and to himself) What a phony joint... (mockingly sing-song) Give me a break, I give you a break... Phony cop -- Kathie nods. KATHIE He's the town joke. And I'm stuck with him... ANOTHER ANGLE Johnny stares at her; this confuses him. She goes on, almost softly, but with repressed bitterness. KATHIE He's got about as much business being a cop as... (indicating trophy) ...as you have with that. He's a fake -- like you -- Furious, he reaches out and grabs her wrist. She flinches. It hurts, but she looks at him steadily. KATHIE (continuing) Go on, break it. I don't need it. You want to break something. JOHNNY You're too good for me, you're a cop's daughter or something. KATHIE (almost softly) Go away, Johnny. Go away. JOHNNY (a funny smile) You're afraid of me... She nods slowly. KATHIE I'm afraid of everything... He lets her wrist go suddenly. JOHNNY I don't let anybody get away with anything like that. I know Chino a long time. He puts Chino in the can, whyn't he put that Frog-Face ran into Meatball in the can? KATHIE (simply) He's afraid of making a mistake. He needs the job, even if he doesn't like it. She starts to turn away. He grabs her wrist again. JOHNNY Listen -- Then whatever he was going to say fades into confusion; he loses his resolve, lets her go just as suddenly, grabs up the trophy and strides for the bar. INT. BAR - LATE AFTERNOON JOHNNY as he pushes his way angrily to the bar, which has started to fill up again, bangs down his trophy. JOHNNY Hey, beer -- DISSOLVE TO: INT. BAR - EVENING JOHNNY At the other end of the bar now, glaring at his beer. The CAMERA PULLS BACK QUICKLY. A light has been turned on. The bar is about half full, but oddly quiet -- the atmosphere heavy and ominous. Johnny turns abruptly from the bar, starts cut. AT BOOTH - BRITCHES rises from where she is sitting with a cyclist, but Johnny brushes rudely past her and out. She sits again, slowly. DISSOLVE TO: EXT. MAIN STREET - NIGHT FULL SHOT It is dark now. Nothing, really, is happening. The street is waiting. From somewhere a boy shouts, "Hey, Dextro!" Then quiet again. Perhaps someone laughs. GROUP OF CYCLISTS They are shadows, sitting their machines quietly at the curb. Two local girls come by on the sidewalk. They hesitate slightly, hurry on past, uneasy. The boys just look. DRUGSTORE ENTRANCE Wilson, the druggist, coming out with a customer, locking up. A cycle starts somewhere up the street, roars off. Both men jump. CUSTOMER What are they hanging around for? What are they doing? Wilson looks off, disturbed, doesn't answer. CUSTOMER Gives me the willies... STREET HARRY'S POV FROM JAIL DOOR The sound of the cycle dies away. Harry turns back into the room, closing the door. INT. JAIL - NIGHT HARRY He glances toward the cell, sits at his desk. He fingers his bunch of keys for a moment, toys with the phone. EXT. STREET - NIGHT FULL SHOT Quiet. Two children move into the f.g. on bicycles. Then very suddenly -- glass shattering. The children jump, whirl at the sound. STORE FRONT - THE BROKEN GLASS As if this were a signal of some sort, a concert of noises erupts on all sides: cycles starting up. exploding, roaring off; yelling, men running and calling. INT. TELEPHONE OFFICE - NIGHT TELEPHONE OPERATOR The operator, DOROTHY, a middle-aged, nervous woman, has reacted to this -- half rising to look through a window beyond. We hear the gathering uproar. DOROTHY (into receiver) I'll see if I can get through, Harry -- PAST DOROTHY to open door in b.g. Lover Boy appears there suddenly. LOVER BOY Hey, look, in here! Five or six others appear, crowd in. FEATURING DOROTHY Closing a key, plugging in, she looks up, struck dumb with terror. The cyclists are just crowding curiously around. AD LIBS Hey, how does this work? Hey, can I get my mother on this? You're too dumb to have a mother! Let me, I saw somebody once -- Get your big hands off it! The cyclists have started pushing and scuffling among themselves. Dorothy watches, absolutely petrified, comes to suddenly, rises, yelps into the receiver: DOROTHY Help! This is Dorothy! With that, she grabs her hat, forgetting her purse, bolts for the door. MEATBALL (into receiver) Help! This is Dorothy's brother! CYCLIST (CHINO'S GROUP) Goodbye, Dorothy. She stops, turns back in panic. CYCLIST (handing her the purse) Take the day off, Dorothy! She snatches the purse, tears wildly for the door, the CAMERA PANNING WITH her. o.s. the cyclists laugh, call after her: "Goodbye, Dorothy," "You're through for the day," etc. INT. HARRY'S OFFICE - NIGHT HARRY AT PHONE reacting to some kind of jabbering. HARRY What? I want the Sheriff's office at Elsberg -- who is this? Get off the line! . . . Hello! The phone apparently goes dead. He drops the receiver, rises, glances once more toward the cell. Then -- in a kind of panic -- he hurries out. EXT. STREET - NIGHT GROUP OF CYCLISTS Their machines backed into the curb, motors running, poised. CLOSER SHOT JOHNNY AND GRINGO in the center of this group. Johnny tensely twisting the grips. GRINGO Hey, Johnny, come on, let's spring Chino -- one phony cop -- JOHNNY (cutting him off) Come on! He gives it the gun. The others roar out after him. DISSOLVE TO: EXT. THOMAS' HOUSE (RANCH) - NIGHT TOWARD HOUSE Some eight machines are ridden up onto the sidewalk -- motors idling, headlights playing across the porch and steps. Thomas appears there, angry, raises his hand to shield his eyes. THOMAS (shouting over the motors) What do you think you're doing here! Get off my lawn! He starts down the steps. MEDIUM SHOT THOMAS As he advances into the lights, blinded, we see two figures approach him from opposite sides. The rest is confused and obscured -- the headlights swinging away, leaving the center of the action dark, the accelerating motors drowning out anything that is said. Then suddenly, the whole group is gone off up the street, just enveloping Thomas. TOWARD OPEN DOOR A woman's figure appears there. WOMAN Charlie! What is it? What was -- Silence. She turns and hurries back into the house. DISSOLVE TO: INT. JAIL MEDIUM SHOT A group of Johnny's boys enter from the corridor with Thomas, push toward cell. Johnny follows them in -- he has Harry's keys. AD LIBS Hey, here it is! Hey, look at Chino! Chino passed out! FROM CELL PAST CHINO, asleep on a bench in the f.g., in a ridiculous position, almost falling off. GRINGO (looking in) Hey -- Chino! Wake up! Unlock the door! Johnny gets the door opened. Thomas is pushed in - the cyclists crowding along. RED Hey, Chino! You're sprung! ANOTHER ANGLE CELL The cyclists start to shake Chino, bellowing in his ear: AD LIBS Chino, wake up! The fire went out! Chino! Chino wakes up suddenly, the peaceful expression on his face replaced by a look of absolute fear. He rises, starts flailing with his arms, knocking his rescuers in all directions. Then he staggers back and collapses on the bench again. MEDIUM SHOT They try to haul him up again. Johnny yells at them, angrily: JOHNNY Come on! Let him alone! Let him sleep! They drop Chino reluctantly, step back outside with Johnny, who starts locking the door. THOMAS (stepping to bars) Look here, you -- JOHNNY Have yourself a time. Don't write on the walls. He throws the keys out of the scene, follows the others already crowding out the door. THOMAS He stands there a moment, glances across at the sleeping Chino, sits heavily on the opposite bench. EXT. JAIL (TOWN HALL) - NIGHT GROUP OF CYCLISTS as they come out. DEXTRO Hey, Johnny, what we going do now? Johnny ignores him. AD LIBS Hey, where the beetles? Let's go find the beetles -- Johnny slips unobtrusively aside. The CAMERA HOLDS ON the group, milling around indecisively. AD LIBS Hey, this is better than the ball we had at that place... What was the name of that joint? o.s. Johnny's cycle starts, roars off. AD LIBS I need gas... This is a ball! Hey, let's get us some quail! Hey, where'd Johnny go? EXT. BLEEKER'S - NIGHT MEDIUM SHOT When Johnny rides up, an uproar is issuing from the bar. He ignores it, starts for the cafe door. Britches steps up to him. BRITCHES Hi, Johnny, where you been, Johnny? TWO SHOT JOHNNY AND BRITCHES He turns, stares at her. She is carrying a bottle of beer and is a little drunk, her eyes very brilliant. JOHNNY What do you want? BRITCHES Talk to me, Johnny. Sing me a song -- He gives her a look, starts through the door. She hangs on, following. INT. CAFE - NIGHT MEDIUM SHOT The uproar from the bar is coming over as Kathie appears from the short hall leading to the kitchen. She stops, looks off toward the street door. JOHNNY AND BRITCHES She has stopped him again, just inside the door. BRITCHES Buy me a beer -- JOHNNY You got a beer -- IN HALL as Kathie steps back quickly out of sight. Jimmy is at the phone on the wall in the b.g. JIMMY (into phone) Hello! Hello! He drops the phone just as Bleeker comes into the shot, angry and rattled. JIMMY Phone's dead. Better send somebody for the militia -- BLEEKER (to Kathie) Go see if you can find Harry. Tell him I need him right away. He turns back. Jimmy urges Kathie through the door to the kitchen. JIMMY You go home and stay there -- MEDIUM SHOT as Bleeker hurries back toward the disturbance in the bar. Britches is still holding Johnny, near the center of the cafe. BRITCHES AND JOHNNY He flinches angrily, pulls away. BRITCHES I want to know how you been... I'm singing tonight, Johnny. I'm really singing. I'm on the Christmas tree. He jerks his arm away, takes the bottle of beer out of her hand and drinks it himself. BRITCHES You got a date? JOHNNY (grim) Yeh, I got a date -- BRITCHES (intensely; trying to hold him) Johnny, remember the night -- the first time I went out scrambling with the Rebels? Remember? (as he says nothing) That was the first time I saw you. I haven't seen you since then. We really got hung on the Christmas tree, didn't we, Johnny? He glowers at the beer bottle, stubbornly refuses to say anything. Britches continues with a sort of desperate, transparent self-mockery: BRITCHES (continuing) Boy, was I green! Was I really green, Johnny? I thought I was really living it up! I had me a guy and we were really going to go! She laughs, but she is actually beginning to cry a little. BRITCHES (continuing) Was I green! We had a lot of yaks, anyway, didn't we? We really got ourselves hung on the Christmas tree! She breaks suddenly, revealing herself. BRITCHES (continuing) Well, say it, can't you? Won't you say something to me, Johnny? I won't get on your back. I wouldn't do that. But we had a lot of yaks, didn't we? Johnny just looks at her in impotent anger. JOHNNY What do you want me to do -- send you some flowers? He takes the last swallow from the bottle -- hands her the empty, starts for the bar. She stands there -- really crying now, silently. OMITTED Sequence omitted from original script. ANOTHER ANGLE Jimmy appears behind the counter. JOHNNY Hey, where's that girl? Where's that Kathie? JIMMY Counter's closed. Bar's closed. Everything's closed. Johnny glares at him, starts through the archway. INT. BAR - NIGHT TRUCKING SHOT as Johnny enters. He just wades through, looking around. Bleeker, completely helpless, reaches his side. BLEEKER Can you stop this? JOHNNY Where's Kathie? I want to see her. BLEEKER I don't know... Look. I've treated you boys right... If you can stop this, Johnny -- I'll do whatever -- JOHNNY I don't stop anything. He continues on, looking around; Bleeker stays with him, pleading. BLEEKER They're wrecking my place. This is going to cost -- JOHNNY You're doing all right. Satisfied that Kathie is not here, Johnny continues quickly on and out the door off the bar. Bleeker is left standing there. EXT. STREET BEAUTY SHOP - NIGHT MEDIUM SHOT Kathie comes hurrying along. A cyclist who has been standing in the doorway of the beauty shop steps out into the light. CYCLIST Quail! Kathie stops, her way blocked, starts back. But it's too late. Several more boys have stepped out. CYCLISTS (chorus) Quail! ANOTHER ANGLE as they swoop down on her, surround her, before she has gotten ten yards. AD LIBS Hey, you know how to dance? Hey, it's Johnny's girl! So it's Johnny's girl -- she knows how to dance -- She looks around wildly, but there is no escape. They start taking her back toward the beauty shop. Radio music and hilarity is coming over from inside Mildred's. INT. MILDRED'S BEAUTY SALON - NIGHT MEDIUM SHOT A small radio on a makeup table -- the volume as high as it will go. Empty beer bottles everywhere. WIDER ANGLE Mildred dances two or three drunken steps with a cyclist, laughs hysterically as she is passed on to another partner, and then another. A cyclist simpers up to her -- wearing a hair-dryer on his head. CYCLIST Hey, Mildred! Look at me! CYCLIST Hey, Buck Rogers! MILDRED No, don't! That's expensive! You'll break it! She pulls away from the boy she is dancing with, tries to grab the dryer off the guy's head, but he grabs her in an embrace and starts dancing around with her. Other cyclists, delighted with this new game, grab other dryers and various equipment. CLOSE SHOT MILDRED Frantic and frightened now, she struggles to get free, but the cyclist hangs on to her. MILDRED You're hurting me! ANOTHER ANGLE as the other group enters with Kathie. CYCLISTS Hey, Quail! New talent! Several boys descend on her, fighting for her, a couple fall down. KATHIE Terrified, as she is grabbed by a boy who starts staggering around the little room with her, holding her roughly. Another boy grabs her away. The CAMERA FOLLOWS as she is passed, grabbed or pushed from one boy to another. INT. JAIL - NIGHT CLOSE SHOT The cell door being unlocked. CAMERA PULLS BACK. A dozen men, including those we have seen before and several others, start gathering around Thomas as he comes out. HANNEGAN You all right, Charlie? Grim, angry, Thomas gives him a curt look. THOMAS Let's get to work on these boys -- (to Sawyer) You bring me one? Sawyer nods, hands him a gun; we see now that several of the men have guns. Hannegan steps in, protesting: HANNEGAN Now wait a minute, Charlie -- THOMAS What for? You want to wait till somebody is killed before we take action? SIMMONDS (to Hannegan) I don't go all the way with Charlie, either, Bill. But we've got to do what we can to protect ourselves -- you've got to admit that -- HANNEGAN I admit that -- all I say is two wrongs never made anything right. If you start using guns on these boys -- THOMAS Well, I've got a gun and I'm going to use it -- one end or the other. Anybody wants to talk some more can stay here and have an ice cream social with Tom -- anybody don't can come with me -- He starts out. There is a moment's hesitation, then about half the group follows him out the door. The other half hangs back with Hannegan. THOMAS You find him, bring him to the back of the store -- we'll meet back there -- The men nod. HANNEGAN'S GROUP They watch the others go, then: HANNEGAN (grim) Well, we'll do what we can... Let's try and get hold of this boy Johnny, before Charlie and the others do -- They exit. CHINO IN CELL Forgotten in all this, he opens one eye, rises cautiously, tries the cell door. It isn't locked. INT. MILDRED'S BEAUTY SALON - NIGHT MILDRED crying hysterically and fighting off a boy trying to make her dance. Cyclists staggering around wearing hair-dryers, roaring at each other with laughter. Kathie in the b.g. being passed from boy to boy. MEDIUM SHOT Mildred fights free, flings open a side door and careens out into an alley. CYCLISTS Hey, she got away! Hey, catch Mildred! Don't let her get away! They pile out the door after her, running into each other and into the door jamb, falling down, getting up. ANOTHER ANGLE The boy dancing with Kathie lets her go suddenly -- literally dropping her -- to follow the others out the door. She sags. KATHIE huddled trembling on the floor, on one knee. The radio blaring. She raises her head. She's alone. She rises quickly, hurries past the partition to the front of the shop. FRONT ROOM OF SHOP Kathie stops in the darkened f.g., hearing cycles start up outside. AD LIBS (O.S.) Come on, get her! Tallyho, the fox! At a sound behind her, she glances back over her shoulder. KATHIE'S ANGLE TO REAR OF SHOP past the partition, a glimpse of Mildred -- being led back in by two cyclists. CLOSE SHOT KATHIE horrified, trapped. PAST KATHIE TO STREET Hearing the last cycle leave, Kathie slips quickly out the door. EXT. STREET - NIGHT KATHIE hurrying along the sidewalk. Suddenly there are shouts behind her. AD LIBS Hey, there she goes! Hey, this way! It's the other one -- get her! Terrified, uncertain which way to go, Kathie breaks into a run, cutting diagonally across the street. MEDIUM FULL SHOT STREET A cyclist brings his machine to a sudden stop directly in Kathie's path. She stops, starts the opposite way, the CAMERA PANNING. Another cycle stops, blocking her escape in this direction. She whirls, finding herself completely surrounded as several more cycles are brought up in quick succession, forming a ring around her. FEATURING KATHIE as the cyclists start closing the ring. She is terrified. Suddenly there is the sound of still another cycle descending on her. She whirls. MEDIUM SHOT JOHNNY He rides into the shot, stops, looking around the circle at the other cyclists, murderously. CLOSE SHOT KATHIE just staring at him numbly. GROUP SHOT FEATURING JOHNNY Poised, he looks from the cyclists to Kathie. CYCLIST (weakly) Hiya, Johnny. His eyes still on Kathie, Johnny nods -- indicating the jumpseat behind him. Kathie hesitates just an instant, then stumbles forward and clambers on behind him. He guns the motor. She grabs him around the shoulders to keep from falling. The other cyclists scatter back out of the way, the CAMERA PANNING to FOLLOW Johnny's cycle off up the street. EXT. STREET AND PARK - NIGHT MEDIUM SHOT Johnny, with Kathie on the back, rides through. DISSOLVE TO: EXT. HIGHWAY - NIGHT JOHNNY'S CYCLE It roars past on the open highway, Kathie on the back. JOHNNY AND KATHIE (PROCESS) He is wide-open, staring straight ahead with a glazed intensity. Kathie, torn and whipped by the wind, is holding on -- there's nothing else she can do. MEDIUM SHOT (PROCESS) Without warning, Johnny gears down, skids around off the pavement. KATHIE (PROCESS) Startled, confused, by this. Unable to call out as the cycle bounces back onto the pavement. She just hangs on, closes her eyes. HIGHWAY THE CAMERA HOLDS Johnny roaring away toward town again. DISSOLVE TO: EXT. PARK AND STREET - NIGHT MEDIUM SHOT Johnny rides through with Kathie (as in #315A but opposite direction and slower). MEDIUM SHOT A secluded spot, large trees, shrubbery. For a moment the scene is empty and quiet, except for motorcycles in the distance. Then Johnny, with Kathie on behind, comes through the bushes, stops. He cuts the motor. MEDIUM CLOSE SHOT ON KATHIE For a moment she sits there, still clinging to Johnny's shoulders, her hair torn by the wind. Then she looks up vacantly, lets her hands slip down, almost caressing the leather jacket, gets off. ANOTHER ANGLE Kathie drifts off to one side. She leans for a moment against a tree, then melts down into the shadow at the base. Not until then does Johnny dismount, slowly, kicks down the foot. Something about the cycle annoys him. He gives it intense concentration, stares at it, pokes at it. AT TREE Kathie is just a figure slumped down in the shadow. Johnny comes over slowly, stands there, his face a mask. JOHNNY (abruptly) Get up -- She doesn't move. He reaches down angrily and pulls her up. CLOSE TWO SHOT She leans back against the tree for support, looks at him emptily, without fear. As he makes a move to grab her: KATHIE (quietly) Do you have to be back at work someplace Monday morning? He stops, a look of surprise and confusion on his face for an instant. Then: JOHNNY (intensely) Listen -- nobody's too good for me -- anybody thinks they're too good for me makes sure I knock them over sometime -- I can cut you up, show you how good you are -- tomorrow I'm someplace I don't know anything -- KATHIE (simply) Do you want to? ANGLE ON JOHNNY His face contorts with fury. He looks trapped. His eyes leave her; she reaches out, with a sort of instinctive gesture of tenderness, touches his shoulder. KATHIE Johnny... He flinches sharply, jerks away. Kathie looks down. KATHIE That's crazy, isn't it? You're afraid of me... I don't know why, but I'm not afraid of you now... You're afraid of me... He grabs her with sudden, compulsive violence, forcing her against him roughly, awkwardly, kisses her. There is no resistance. Nothing. ANOTHER ANGLE He releases her just as suddenly, with the same violence. She leans back against the tree again. KATHIE I'm sorry... I'm sorry I can't fight back... I'm too tired... That would be better, wouldn't it? Then you could hit me. He stands there in an impotent rage as she continues. KATHIE Do you hate me because my father's a cop? Or do you hate everybody? (pause; he doesn't answer) Sometimes I hate everybody, too, I guess... I hate this whole place. I hate my father... I even hate myself... She leans away from the tree and moves slowly past him, close, continues on a few steps. He stands there rigidly, his back to her. She sinks down to the ground. KATHIE (out of nowhere) I've never ridden on a motorcycle before... It's fast... It scared me. But I forgot everything. It felt good... Is that what you do? He whirls to face her, menacing, shouting: JOHNNY Stop asking me. I don't like them to ask me all the time! I don't like them getting on my back! I feel like it, I go! Okay? I feel like it, I stick around, you got ten fathers all phony cops -- they're going to work me over or something -- stick their big fat hands in my face! I been worked over! Nothing! They don't scare me! A pause. Kathie sinks slowly to the ground. LOW ANGLE PAST KATHIE resting her chin on her knee; Johnny still stands in the b.g. his head and shoulders out of the frame. KATHIE He just doesn't know how to be a cop... He wanted to raise dogs once. I don't know what he was going to do with them. Just raise them. He didn't like to hunt. He shot a rabbit once. It didn't die right away. He got sick... A slight pause. Johnny lowers himself slowly to the ground where he is, some four feet away, in deep shadow. KATHIE You know what I used to think about? No reply, of course. KATHIE (continues) I used to think about it a lot after my mother died... That somebody would come here, stop at Uncle Frank's for a cup of coffee and he would like me right away. He'd take me with him... She lifts her head, listens for a moment to the sound of motorcycles somewhere beyond the park. KATHIE Johnny, you were going to give it to me... Will you give me that statue now? There is a pause; then Johnny's voice, strange from the dark: JOHNNY Why? KATHIE (a vague shrug) I'd like to look at it sometime... to remember... JOHNNY What? KATHIE This. It's crazy... but I saw a movie once. I forget, anyway a couple of people. They sat at a place -- like on a hill. There was a town burning. And it was all over. Another pause. JOHNNY Where did you want this guy to take you? This guy had a cup of coffee? Kathie is thrown for an instant, then retrieves the thread, smiles wryly. KATHIE Oh, Wherever he was going... (she sits up; a tremor runs through her body) I'm shaky... I wish I was going someplace... I wish you were going someplace. We could go together... Another tremor runs through her body. She raises her hands to her face. Then suddenly, she cracks, everything catching up with her at once. She rises slightly, throws herself at Johnny, grabbing him around the shoulders, sobbing hysterically. KATHIE Johnny! Johnny! Startled, angry, Johnny fights her off. KATHIE (hanging on) Johnny! JOHNNY (furious) Cut it out! He tears her violently away, pushes her off, and rises, all in the same motion. She falls at his feet in a heap, sobbing. TWO SHOT JOHNNY AND KATHIE He stands over her, shouting at her in a crazy mixture of fury and self-torment -- very close to breaking. JOHNNY What's the matter with you? I didn't do anything to you. I didn't touch you! Listen -- What am I supposed to do? What do you want? Cut it out! She gets suddenly to her feet and plunges off through the bushes still sobbing. CLOSE SHOT ON JOHNNY frozen there for a moment. Then he whirls back to his cycle, jumps on, starts the motor, goes crashing through the bushes. STREET AND PARK - NIGHT MEDIUM SHOT Kathie comes running out of the park, stumbling and crying, heading diagonally across the street. Johnny rounds the corner in the b.g., after her. ANOTHER ANGLE Kathie running and stumbling down the street. Johnny overtakes her, skids to a stop, cutting her off. CORNER OF BUILDING Art Kleiner, a short length of pipe in his hand, pulls up suddenly as he rounds the corner, looking off. Another man looks over his shoulder. KLEINER'S ANGLE Kathie tries to dodge around Johnny. He grabs one arm, almost loses his balance on the machine. JOHNNY Kathie -- listen -- what's the matter with you? I -- She swings on him with crazy fury, strikes him solidly across the face. ART KLEINER AND MAN They react, duck quickly back around the corner. TWO SHOT KATHIE AND JOHNNY She is staring up at Johnny -- appalled by what she has done. She almost speaks, but can't -- whirling suddenly and racing off. He just sits, his head slightly bowed. EXT. STREET - NIGHT KATHIE hurrying along, close to the buildings, pulls up short at the sound of glass breaking. KATHIE'S ANGLE Chino and several other cyclists are careening toward her. KATHIE She is about to cut diagonally across the street when she is stopped again by the sound of a cycle. ANOTHER ANGLE It's Johnny. Overtaking Kathie -- not seeing her in the shadows, he cuts in at the curb just ahead of her, jumps off. CHINO AND GROUP Chino is very drunk. He has a stick in one hand, a beer bottle in the other. He is wearing -- over his other clothes -- a full dress suit. Johnny hurries to him -- grabs him. JOHNNY Hey, Chino -- how'd you get out of the can? Chino just leers at him. CHINO Johnny, I love you! Let's you and me have a beer -- then I'll knock the living Christmas out of you -- He swings ineffectually, almost falls. Johnny holds him. JOHNNY Listen, Chino -- come on -- let's get everybody. Let's blow out of here. (almost pleading) Come on, Chino. Chino stares at him a moment, glazed, then raises his stick, shouts: CHINO Storm the Bastille! He almost falls. Johnny lets him go, just stands there as the group careens on. He looks lost. KATHIE pressed back against the wall until Chino and the others are past. At the same moment she starts for Johnny we hear his motor start -- the machine roaring. She stops -- the cry dying in her throat -- then hurries after him. MEDIUM SHOT Johnny goes perhaps a hundred yards, stops near an intersection. MEDIUM CLOSE SHOT JOHNNY He looks off down the side street. Someone shouts down there. We hear someone running. On all sides, the vague, muffled sounds of rioting. He looks confused, uncertain which way to turn. Suddenly -- so quickly that it is upon him before he realizes it -- a sedan comes to a stop, boxing him in at the curb. Thomas and several other men swarm out. THOMAS This is the one! Get him! Taken by surprise, Johnny can neither start the cycle nor dismount fast enough to defend himself. KATHIE She has stopped, some fifty yards down the street, reacting to this. LONG SHOT KATHIE'S ANGLE Johnny is quickly overwhelmed and dragged into the car, his cycle left where it fell over at the curb. KATHIE frozen for a moment -- the sound of the car starting up and skidding around. She whirls and dashes off around the corner. EXT. STREET (TOWN HALL) - NIGHT MEDIUM SHOT As Kathie reappears, pulls up. A group of men, either locals or cyclists, is moving toward her. She veers aside, runs toward the jail. INT. JAIL - NIGHT MEDIUM SHOT TOWARD DOOR The room is dark, illuminated only by whatever light enters through the windows. We hear Kathie at the door. It opens and she comes in quickly. She bolts the door, stands there getting her breath, looks around. MEDIUM SHOT The room is empty. Kathie moves into the shot, slumps. Then she looks up to Harry's locker against the wall in shadow. She considers, decides, crosses quickly, starts searching in the locker. CLOSE SHOT AT LOCKER Kathie's hand comes out with a gun she has found on the top shelf. Harry's hand reaches in and closes on her wrist. She jumps, turns. WIDER ANGLE INCLUDING HARRY One hand clamped on Kathie's wrist -- in the other an almost empty glass. He is not drunk. He just looks at her -- his expression and his whole manner completely vacant. Kathie stares at him. KATHIE They've got Johnny, I -- Harry puts the glass down on the desk, slips the gun from her fingers, turns with it and sits. ANOTHER ANGLE Kathie follows, looking down at him. KATHIE Have you just been sitting here? Aren't you going to do anything? HARRY There isn't anything to do, Kathie... KATHIE (desperately) I've got to help him. They took him -- in a car -- Mister Thomas and some mem -- He wasn't doing anything -- he was trying to stop it -- he was going to leave -- HARRY (vaguely) How is it at Frank's? KATHIE A fight started. I don't know -- I left to look for you. Uncle Frank -- HARRY (an odd smile) Well, business before pleasure... He sips his drink. Kathie leans down, trying hard to penetrate his detachment. KATHIE Dad -- listen -- they've gone crazy. Everybody -- They got Johnny. You've got to help him. They're going to -- I don't know -- beat him up or something -- He looks at her quickly, then away. Some of this is getting to him. He would like to ignore it. HARRY I tried to talk to him... He rises abruptly, turns his back, replacing the gun in the locker. CLOSE TWO SHOT KATHIE AND HARRY Kathie presses him. KATHIE Don't you even care? Whatever he's done -- it's still wrong -- When Harry turns back to face her, he has a pint bottle of whiskey in his hand. More important -- his poise has cracked. He is suddenly tense, fighting himself, and his voice rises slightly. HARRY It's all wrong! Everybody's wrong! I saw it coming! What could I do? In a way, they brought it on themselves! Charlie Thomas? He's a bully! He was a bully in the second grade... What am I supposed to do -- shoot somebody? ANOTHER ANGLE KATHIE AND HARRY There is a pause. Kathie looks at her father bitterly, turns her back. KATHIE I don't know... He looks at her back, uncomfortable, glances at the locker where the gun is, at the glass on the desk waiting for the whiskey. He makes his decision. As he quickly pours himself a drink: KATHIE I don't know. Just nothing, I guess... You're worse than any of them... Harry's face works; he stares at the drink in his hand. DISSOLVE TO: INT. STOCKROOM HARDWARE STORE - NIGHT MEDIUM SHOT FEATURING Ben, the garage man. He is installed comfortably on a nail bin, looking off as he sips from a half-pint bottle of whisky. On the wall behind him are farm tools and various other items of hardware; rope, pipe, lanterns, etc., hanging overhead, suspended from the low rafters, casting a pattern of shadows. A blow is struck o.s. BEN (getting off the bin) Hold on there, save a piece of that for me -- The CAMERA PANS WITH him as he crowds up to take his turn. Johnny himself is party masked by Thomas, who has just hit him. ANGLE FEATURING JOHNNY He has taken the blow with cynical arrogance. JOHNNY Come on, what's the matter with you farmers? My old man was sick all the time, he clopped me harder than that -- Ben starts to swing on Johnny. Hannegan grabs his arm. HANNEGAN Ben, Charlie -- let me talk to him -- Thomas pushes Hannegan angrily aside. THOMAS Bill, I warned you -- The two groups are poised for an instant. In that instant a shot explodes, loud in the low-ceilinged room. The men jump, whirling toward the rear of the stock room -- a lantern crashing down from above, not far from Johnny's feet. PAST JOHNNY TO REAR DOOR Johnny has half-risen in the chair. The men who were grouped around him have jumped back. Harry has burst through the alley door, brandishing his gun. HARRY Everybody get back -- away from that boy -- JOHNNY He is staring at Harry, incredulously -- poised to leave the chair. ANOTHER ANGLE Hannegan moves toward Harry. Misunderstanding, Harry pushes him aside. Thomas plants himself between Harry and Johnny. THOMAS This has got nothing to do with you, Harry -- we've got a little job that has to be done -- HARRY Come on, son -- JOHNNY Poised, he looks past Harry, reacts. JOHNNY'S ANGLE Past Harry to Kathie standing in the alley door. Ben moves in, insolent. BEN (to Harry) We're doing something should have been done a long time ago -- pounding a little respect for law and authority into this guy's thick skull -- HANNEGAN You won't do it that way -- MEDIUM SHOT Harry looks at Hannegan, surprised. THOMAS You got a better way -- either of you -- you had a long time to try it. This way, we make good and sure he don't try to pull anything like this right away soon -- Harry gives him a glassy look, starts crowding past, gesturing with the gun. HARRY Come on, fellow -- ANOTHER ANGLE It looks like an impasse. Sawyer moves to Harry. SAWYER (patronizing) All right, Harry... Let's take it easy. We're all old friends here, Harry... Let's keep calm -- talk this over -- Harry turns his body slightly, about to reply; at the same moment, Kathie screams: KATHIE'S VOICE Dad! Before Harry can turn, one of the men who has gotten around behind, jumps him, grabbing his arm to get at the gun. It fires into the ceiling. Thomas tackles him low. Rushed from all directions he goes down. ANOTHER ANGLE FIGHT The chair Johnny was sitting on is empty in the f. g. Stepping back out of the scramble for an instant, Thomas reacts. THOMAS (shouting furiously) The boy got away -- get him! Several men look up, leave Harry to the others, starting after Johnny. Hannegan throws himself in their path. KATHIE Pressed against the wall as Johnny comes by. She instinctively reaches out to him. He sees her, hesitates just a fraction of a second -- plunges on and out into the alley. EXT. ALLEY - NIGHT MEDIUM SHOT Five or six men come out, stumbling up the dark alley after Johnny. JOHNNY Momentarily confused, tired, he stops, uncertain which way to go. Then he dives aside. OMITTED Sequence omitted from original script. FULL SHOT Having lost the trail, the men are milling around, muttering, calling to each other: VOICE Hey, Ben -- you see which way he went? EXT. STREET - NIGHT FULL SHOT Johnny runs through and off into the darkness, just a figure. EXT. STREET AND PARK LOW ANGLE Johnny's cycle lying on its side where he abandoned it, in the f.g. Johnny comes into the b.g., stops, looking around, very tired. MEDIUM CLOSE SHOT JOHNNY He leans back against a tree. Very suddenly, he breaks completely -- just goes to pieces, trembling convulsively, tears streaming down his face. MEDIUM SHOT There is a beat before Johnny pushes himself away from the tree with his shoulders, with great effort, crosses to the cycle. He opens one saddlebag, takes out his Trophy, puts it back. Then he rights the machine, kicks the starter. The second time it catches. He rides off, the CAMERA PANNING and HOLDING as he disappears around a corner. OMITTED Sequence omitted from original script. EXT. MAIN STREET - NIGHT AT CORNER The two children on bicycles race around the corner, colliding with Jimmy. He stares at them, recovers, then: JIMMY You children seen Kathie Bleeker? They shake their heads. Jimmy starts on, stops, realizing something is wrong here. JIMMY (sternly) What are you doing out, anyway? Why aren't you in bed?... I'll take you home -- As he moves toward the children, they quickly retreat. OMITTED Sequence omitted from original script. EXT. INTERSECTION - NIGHT FULL SHOT HIGH ANGLE Johnny rides into the center of the intersection, pauses. He turns one way, stops. A group of men are approaching quickly He reverses, starts the other way. Two figures appear suddenly in front of him. He stops again, looks back. The men jump back into the shadows. TWO MEN AGAINST BUILDING The men are Art Kleiner and Bleeker. KLEINER That's him -- that's the one I saw after Kathie --- Bleeker steps grimly forward, raising some sort of a weapon. MEDIUM CLOSE SHOT JOHNNY He looks back. We hear the group of men running, closer. He has to go forward past Bleeker and Kleiner. He throws the cycle in gear. OMITTED Sequence omitted from original script. GROUP OF MEN One of them emerges from the pack, stops, throwing a tire- iron like a boomerang. MEDIUM LONG SHOT LOW ANGLE Johnny is about opposite Bleeker and Kleiner when it happen It is impossible to see whether the tire-iron hits Johnny or the cycle. But we see the result: the cycle goes out of control, veering crazily for an instant -- then Johnny goes off; the machine bucks, jumps forward, careens toward camera under its own power. THE RIDERLESS CYCLE It wobbles, continues on, straight for the camera. SIDEWALK AROUND CORNER The three children with Jimmy in pursuit -- following them around the corner. They ride into the path of Johnny's machine. We hear the sound of the impact, the screams of the children. MEDIUM SHOT JOHNNY thrown clear, onto the sidewalk, where he lies motionless. o.s., we hear people yelling, running in from various directions. SEVERAL QUICK CUTS Townspeople and cyclists running toward the scene. CLOSE SHOT TIRE-IRON lying in street. CAMERA PULLS BACK. Kleiner starts to pick it up. BLEEKER (pulling him back) No, Art... Stay out of this -- AT CORNER The small crowd that has already collected masks the scene. Several people come pushing out, carrying the children, hysterical but unhurt. LOW ANGLE PAST JOHNNY TOWARD scene of accident. He stirs, gets slowly to his feet He starts forward as if to retrieve his cycle. MEDIUM SHOT CROWD People pressing up to look down. MAN'S VOICE Old Jimmy from Bleeker's -- JOHNNY He stops suddenly in a CLOSE SHOT, staring off, stunned and dazed. His mouth works. REVERSE FROM CROWD TO JOHNNY who is still standing there, weaving slightly. MAN I just come out of Wilson's -- I saw one of these guys let go a cycle and head it straight for the kids -- He breaks off, pointing toward Johnny in the b.g. MAN There he is! That's him! Three or four of the men start for Johnny. MEDIUM CLOSE SHOT JOHNNY He takes just one step back, stands there. As the men grab him: JOHNNY (bewildered, dazed) What happened? Simultaneously, o.s., we hear the whine of sirens. EXT. MAIN STREET - NIGHT FULL SHOT Several squad cars turn into the street, their sirens whining, the CAMERA PANNING with them. CLOSE PAN SHOT following lead car, the Sheriff's insignia on the door. MEDIUM SHOT As the last car passes, Harry and Kathie step off the curb, follow the cars up the street. EXT. SIDE STREET - NIGHT MEDIUM SHOT A group of deputies has dived in, pulling off the men who went for Johnny. Two deputies grab Johnny's arms. In a sudden crazy kind of panic, he fights free, whirls and stumbles back toward the spot where he was thrown. ANOTHER ANGLE The deputies are right after him, surrounding him. He thrusts them away, searching in the street. Then suddenly he stops, picks up something from the gutter. MEDIUM SHOT It's the trophy. He stares at it. Several men grab him quickly. He makes no effort to resist. They start off with him, through the crowd. EXT. MAIN STREET - NIGHT FEATURING SINGER, THE SHERIFF standing by his car. He is a big, businesslike man, extremely competent. He turns now as he sees Harry come up. SINGER How did this get started, anyway? Harry just wets his lips. Before he can answer, Thomas barges up, grabs Singer's arm. THOMAS (hotly) Sheriff, we had this boy, we had the whole thing stopped -- (indicating Harry) -- when he stuck his nose in and -- HANNEGAN (stepping in) There's a little more to it than that -- Singer pushes them both back. SINGER All right. All right. We'll find out what happened. ANOTHER ANGLE as Singer turns to address a couple of his deputies. SINGER Round up everybody on a sickle -- all the witnesses you can -- They nod, start off into the crowd. Another deputy steps quickly to his side. DEPUTY (matter-of-fact) Old man's dead. Dishwasher in a place up the street -- Johnny, being brought through the scene by the deputies, pulls up short. MEDIUM CLOSE SHOT JOHNNY holding back for an instant as the man try to pull him on. There is a look of blank fear on his face. THOMAS' VOICE That makes it a manslaughter charge, doesn't it, Sheriff? SINGER'S VOICE We'll see, we'll see. Let's get this off the street, Harry, and sort it out -- The deputies have already pulled Johnny on. KATHIE following Johnny a moment with her eyes; then she glances at her father. MEDIUM SHOT Harry and Singer follow the men with Johnny. The CAMERA PAN and HOLDS, FRAMING the Town Hall in the b.g. as the whole group flows in that direction. DISSOLVE TO: EXT. STREET AND TOWN HALL - EARLY MORNING FULL SHOT From the scene of the accident, across the crowd to Town Hall. In the pale, half-light of very early morning, people are standing around in silent little groups. In contrast to everything that has gone before, there is an absolute, expectant hush. THE FACES OF THE CROWD Some of these are faces we have seen and known earlier. The expressions are weary, grim. These are the faces of people who have been through a shocking, sobering experience. THE CYCLISTS They are miserable looking lot now -- slumped on the ground, sprawled in various attitudes near the Town Hall steps. Their air of braggadocio has slumped completely. Under the eyes of the several deputies standing over them with riot guns, they look much younger, very un-dangerous. INT. TOWN HALL - COUNCIL ROOM - EARLY MORNING MEDIUM CLOSE SHOT JOHNNY in a chair, staring bleakly at nothing. He looks up, down again. ANOTHER ANGLE to include Singer. The big man is standing, looking down at him with weary distaste. In the b.g., against the wall, sits anonymous deputy with a notebook, just part of the room. SINGER (abruptly; hard) Well, you've done it. Real good job. Got yourself some real big trouble. Shows what you can do if you work at it long enough -- Johnny attempts a cynical smirk that doesn't quite come off; the fear shows through. SINGER (continuing sarcastically) All right, you're a big important fellow now. Everybody's listening. What do you want to say? No answer. SINGER (continuing) You know what you're going to get for manslaughter -- forgetting the count on the girl? Johnny flares suddenly, in desperate imitation of his previous arrogance. JOHNNY Somebody jumpy's yelling they got hurt, where is she? What's the beef? A door opens o.s. Singer snaps his head. PAST JOHNNY AND SINGER Harry has stepped through the door in the b.g., closed it behind him. He stands there, drooping wearily in the shadows. HARRY (very flat) I got hold of my daughter, Stu... She's out here. She went home, and came back again... Singer turns toward him. The deputy with the notebook rises and follows him like a shadow. JOHNNY watching Singer go, his expression wavering from cynical contempt to fear. Another deputy appears from nowhere and stands near him. INT. ADJOINING ROOM MEDIUM SHOT Kathie is standing forlornly in the middle of this smaller room. Harry has re-entered and moved to her side. ANOTHER ANGLE As Singer and his deputy follow Harry in, there is a sudden commotion at another door in the b.g. Bleeker appears, trying to bluster his way past a deputy there. BLEEKER This girl's my niece! I have a right to be with her! There's no telling where her father -- He sees Harry and stops. Singer nods to the deputy barring his entrance. SINGER All right. But sit down and be quiet. I want to wind this up and get to bed. Bleeker slips under the deputy's arm and sinks into a chair near the door, avoiding Harry's eyes. MEDIUM SHOT Singer indicates a chair for Kathie. As she sits apprehensively, not sure what is going to be expected of her, the Sheriff pulls up a chair for himself, takes a big breath. SINGER (gently) All right, can you tell me about this now? Kathie hesitates, appeals to Harry with her eyes. HARRY Just what you told me, Kathie... SINGER (seeing Kathie's confusion) It's all right if you want to wait, but the sooner I get the facts the better... Where did he take you? KATHIE I don't know. We just rode, real fast... SINGER (nodding) It doesn't matter... Then he attacked you, or tried to... Kathie shakes her head. Not immediately understanding, Singer stares at her. KATHIE We just talked. ANGLE SHOT FEATURING BLEEKER He is on his feet. BLEEKER Kathie -- don't be foolish. Don't try to protect this boy. He deserves everything he gets... SINGER (sharply) Sit down! As Singer turns back to Kathie, she is suddenly on her feet, too, breaking under the strain. KATHIE I'm not trying to protect anybody! I don't even know what you're talking about! You're all crazy! Leave him alone! BLEEKER Kathie! HARRY Sit down, Frank, and shut up! Startled, Bleeker sits. ANOTHER ANGLE SHOT A pause. A little confused, Singer turns to Kathie again. She has started to cry. SINGER All right... Take your time. How did you happen to go for a ride with him? KATHIE (after a moment) I was looking for Dad... A lot of them on motorcycles were after me... ANGLE SHOT FEATURING KATHIE She looks up, not crying now, remembering her terror. KATHIE Johnny stopped them. I just got on with him. It was all I could do... ANOTHER ANGLE SHOT SINGER He glances thoughtfully from Kathie to Harry, who is just standing there at her shoulder, studying his hands. KATHIE as she continues. KATHIE I was afraid at first. Then I wasn't. We just rode... I don't remember. I know why he likes to go fast... (bringing herself back) He brought me back. We stopped in the park awhile... and talked, that's all. Bleeker has risen again, despite himself, moved into the scene. Singer doesn't stop him this time. BLEEKER Kathie, Art saw you struggling with him -- crying -- trying to get away from him -- weren't you? She shakes her head. KATHIE (softly) No... I was just trying to get away, not from him... Bleeker looks at her a moment, as if trying to understand, moves back out of the scene. ANOTHER ANGLE Singer looks thoughtfully from Kathie to Harry and back again. SINGER (quietly) You in love with him, Kathie? KATHIE (simply; no hesitation) No... I never could be... He's wrong -- about everything... I'm sorry for him. SINGER Why? (as she doesn't answer) You liked the old man, Jimmy?... Johnny killed him -- with a sickle, instead of a gun, that's all. KATHIE (erupting) They beat him! I saw them beat him! And he wasn't doing anything! Not then! He was trying to stop the others! He was trying to do what I wanted him to do! SINGER That's fine. But Jimmy's still dead. And Johnny's going to jail for that, for a long time. ANOTHER ANGLE PAST KATHIE She looks down, covers her face with her hands. In the b.g., the chair Bleeker was sitting in is empty. EXT. TOWN HALL - EARLY MORNING MEDIUM SHOT Bleeker comes pushing his way up the steps with a very frightened Art Kleiner in tow. BLEEKER (to deputies; with authority) The Sheriff wants to see this man... The deputies let him through. INT. COUNCIL ROOM MEDIUM SHOT Johnny's trophy is in the f.g. on the desk, scattered with papers. In the b.g. Johnny himself is still sitting more or less in the same attitude of miserable dejection. The deputy moves around. The floor boards squeak. The voices from the other room are suddenly louder, more excited, doors are being hurriedly opened and closed. THE DEPUTY He looks up, listens. Johnny doesn't move. INT. ADJOINING ROOM GROUP Singer, Harry, Kathie, Bleeker, Art Kleiner, and several deputies. Everybody is trying to talk at once. SINGER (shouting over them) All right! All right! (as they stop; to Kleiner) You saw this man, whoever he was, come out of the alley, and throw something? Kleiner nods, frightened. SINGER What was the boy doing? As Kleiner looks vague. SINGER Okay, nothing... You don't know who this man was? KLEINER No, sir. SINGER What were you doing there? KLEINER (with an uneasy look at Bleeker) We were after him. BLEEKER (a quick, guilty look at Kathie) We had the wrong idea about... what had happened. A pause, Singer frowns. SINGER Kathie... He puts his arm around her shoulder, starts leading her out. She goes, puzzled. INT. CORRIDOR - TOWN HALL MEDIUM SHOT as Singer brings Kathie out into the semi-dark corridor. In the b.g., vaguely, we are aware of a group of local citizens, held back by one of Singer's men. Slowly, his arm still around Kathie, Singer starts walking with her. Up the corridor, then back again, pausing now and then, their footsteps hollow on the marble floor. SINGER (quietly serious) Kathie... I want your advice... This has been a pretty mixed up business here... You know a little, I guess, about what it means to be a policeman... (he pauses thoughtfully) Well, I think you were a little closer to this boy tonight than anybody else... Maybe a lot closer than anybody has ever gotten to him. You're a decent girl... what do you think? She raises her eyes, looks at Singer. He goes on: SINGER I mean, what happens to him now. He pulled a lot of rough stuff here -- anyway his gang did. And I can hold him. I will, too, if I decide he's too far gone -- just to see he doesn't pull it again, someplace else... But I've got a feeling he never met a girl like you before... and he may have learned something. If he has, there's a chance of saving him, if he's treated right... What do you think? Kathie looks up again, hesitates before answering -- moved and troubled. EXT. TOWN HALL THE CYCLISTS A sudden, nervous restlessness sweeps through the group. Several of them rise from the ground. Alert, the deputies straighten up, ready. INT. COUNCIL ROOM MEDIUM CLOSE SHOT JOHNNY Lost in his own miserable reverie, he is unaware that Singer has entered and doesn't react until the Sheriff is standing over him. Then he pulls back, half raises his arm as if to ward off a blow. TWO SHOT Singer just stands there a moment looking at him. Then he turns back to the desk and picks up a driver's license from beside the trophy. SINGER Johnny Donato... (after a pause) You ever had any friends, Johnny? Johnny reacts cautiously; what gives here? SINGER Well, you picked up a few around here tonight. Strange as it may sound. Not many, but a couple. They've got you off the hook a little. ANOTHER ANGLE Johnny blinks. His face works. He picks a spot on the floor and stares at that. In the b.g. is the door to the adjoining room. Singer has left it open. And now Kathie appears there. Harry and Bleeker move up behind her. If Johnny hears them, he doesn't turn his head. SINGER Now, look, get this straight. I'm not soft. And I may be making a big mistake. Whatever your boys think of you, you're no hero to me. But you didn't kill anybody. You didn't actually hurt anybody. I'm going to take a big chance and put you on your way. MEDIUM CLOSE SHOT JOHNNY His careful expression collapses and is replaced by a mixture of fear and confusion. His eyes stray ever so slightly toward Kathie, standing just inside the door. ANOTHER ANGLE Singer addresses one of the deputies. SINGER Get that other bunch of goons loaded up -- The deputy nods, exits, as Singer steps to Johnny, hands him his driver's license. SINGER There'll be some straightening out to do. You'll get a summons for an inquest. (very hard) And you'd better show up for it, or else. Johnny stares at the license. SINGER (nodding to the trophy) Is that yours? Johnny starts guiltily, glances at the trophy, then toward Kathie. He hesitates an instant, then quickly picks up the trophy and puts it carelessly under his arm. SINGER (to deputies) Put him on the road. Johnny starts out between two deputies. SINGER (nodding to Kathie and others) Haven't you got something to say to these people? MEDIUM SHOT Johnny stops, meets Kathie's eyes for a moment, then has to look away, just stands there stubbornly. SINGER (angrily) Oh, tough boy. What's the matter with you? You been beat over the head so much you don't know when somebody gives you a break? Nobody ever taught you any way to say thank you? Johnny looks as if he would like to say something, but nothing comes out. Singer waves him off, and he continues on out with the deputies, past Kathie, Harry and Bleeker. ANOTHER ANGLE Singer turns wearily, scoops up his papers from the desk and follows. EXT. TOWN HALL - EARLY MORNING MEDIUM SHOT Several deputies come out, herding a bunch of cyclists down the steps. Most of them are from Chino's group, the extremists who have participated in the early scenes, caused actual damage, etc... There is a slight murmur from the crowd as they are hurried toward the Sheriff's cars. ANOTHER ANGLE As the rest of the cyclists, mostly Johnny's group, look up, react. Sensing the end, some of them rise. One of them glances back toward the steps of the Town Hall. MEDIUM SHOT Johnny appears with the two deputies, who turn him loose at the head of the steps. He comes on down. Gringo steps out to meet him. GRINGO Hey, Johnny, you sprung? Johnny looks at him as if he had never seen him before, glances off. JOHNNY'S ANGLE The other cyclists being herded into cars, their cycles being loaded onto a truck. BACK TO JOHNNY As he looks around vaguely. JOHNNY (emptily; to nobody) Where's Chino? What happened to Chino? DEXTRO (very flat) They said he was dragging, real stinko. Real Brodie. They found some doctor was trying to stick his brains back in... Johnny blinks, looking around. JOHNNY Where's my sickle? ANOTHER ANGLE Singer appears on the steps, addressing the cyclists who are left. SINGER (hard; forceful) Okay, the rest of you crumbs, let's get going. I want you out of here -- right away. And don't get the idea you're getting away with anything, because you aren't. I don't think you're funny, or cute, or anything like that. I think you're stupid. I'd lock the whole bunch of you up, except I don't want to get the jail dirty. Any of you stick your nose in this county again without a good reason -- and the right reason -- I'll take your sickles away from you for a year. MEDIUM CLOSE SHOT JOHNNY reacting, standing there in a sort of a daze, glances at the trophy under his arm. One of the others nudges him and he moves with the group toward the cycles. TOWARD STEPS Kathie, Harry, Bleeker and Kleiner start down the steps. Kathie looks up at the sound of the cycles starting, exploding. Harry takes her hand. ANGLE FEATURING JOHNNY The deputies standing by with riot guns supervising the departure. Johnny looks back once, guns his machine -- and looks off, the others roaring out behind him. The CAMERA PANS TO FRAME the troop until it disappears and the noise of the motors dies away. MEDIUM SHOT BLEEKER, KATHIE, HARRY They stand there a moment. It is suddenly quiet. BLEEKER (strangely embarrassed) I'll go ahead and put on some coffee... He starts off. HARRY AND KATHIE With a sudden, impulsive movement, she goes into her father's arms. He holds her tight. She is shaking. QUICK DISSOLVE TO: INT. BLEEKER'S CAFE - EARLY MORNING MEDIUM SHOT Bleeker is behind the counter, staring abstractedly at the water burbling in the silex. The door opens o.s. ANOTHER ANGLE Kathie and Harry come in slowly, moving toward the counter. The place is a wreck. BLEEKER What a mess --- (a flash of irritation) Where's Jimmy -- He catches himself, frowns. The others sit at the counter, silently, waiting for the coffee. Harry takes a deep, audible breath. Kathie takes his hand. Bleeker puts four cups on the counter. From the street there is sudden popping and exploding. The whole group tenses, turns to look. THROUGH WINDOW It's Art Kleiner's car passing. It goes by. GROUP AT COUNTER They turn back, relax. Bleeker starts pouring coffee. Harry takes his and cups it in his hands. Reaching for the sugar, Kathie looks up and sees that Bleeker is staring past her toward the door. KATHIE'S ANGLE Johnny is standing framed in the door. KATHIE She catches her breath. JOHNNY Slowly, with a suggestion of the insolent swagger of his first entrance, he comes on in, swinging the trophy limply at his side. He stops, midway, unwilling to meet their eyes. SHOT AT COUNTER They exchange looks. Harry starts to get up. Kathie stops him. MEDIUM SHOT Johnny saunters over, still avoiding their eyes, takes a seat around the corner by himself, places the trophy carefully beside him. JOHNNY (not looking up) Got any coffee? Bleeker nods, turns, fills the cup, puts it before Johnny. Johnny pushes forward a coin. BLEEKER That's all right. PAST KATHIE AND HARRY TO JOHNNY who leaves the coin there, takes two scalding swallows of coffee. HARRY AND KATHIE Moved, Kathie lowers her eyes, then looks up again quickly, instinctively alarmed at the sound of a car outside. ANGLE PAST GROUP TO STREET It's one of the Sheriff's cars. Someone is starting to get out. With a quick look at Johnny, Harry rises and starts for the door. JOHNNY staring rigidly into the coffee cup. EXT. BLEEKER'S CAFE - EARLY MORNING MEDIUM SHOT Two deputies, followed by Thomas and Wilson, have gotten out. Harry arrives just in time to intercept them. DEPUTY That boy in there? THOMAS (angry) We saw him turn back -- HARRY Give him a couple of minutes. He's got something he wants to say before he leaves -- WILSON A couple of minutes is all that boy needs to start a whole new riot -- HARRY (appealing to the deputies) Give him a couple of minutes -- he'll be right out. INT. BLEEKER'S CAFE - EARLY MORNING ANGLE FEATURING JOHNNY He is still just sitting there, obviously struggling with something. Bleeker moves to him, stands there awkwardly. BLEEKER How you fixed? You got any change in your pocket. If... He stalls. Johnny sits there a moment longer, downs one more swig of coffee and rises, all in the same motion, picking up - his trophy. He takes about three steps with it, stops, turns back. Never meeting Kathie's eyes, he returns and places it carefully on the counter where he was sitting. Then turns and stalks out. Bleeker looks from the trophy to Kathie. She is looking into space. The door slams. EXT. BLEEKER'S CAFE - EARLY MORNING MEDIUM SHOT Johnny stops, looks from Harry to the deputies to the other men, then back to Harry. He steps toward Harry, jamming a cigarette into his mouth. JOHNNY Got a match? Harry nods, fumbles out a box of matches, strikes one. FEATURING HARRY AND JOHNNY Johnny reaches out, takes Harry's cupped hands, brings them close, lights his cigarette, brushes past the other men to the cycle, kicks the starter, and roars off up the street. EXT. STREET - EARLY MORNING ON JOHNNY A dog dashes out into the street ahead of the cycle. Johnny swerves, brakes hard to avoid hitting it, stalls. CLOSE SHOT ON JOHNNY He swears under his breath, kicks the starter viciously; he kicks it again and it catches -- the machine leaping forward again. The CAMERA PANS, FRAMING him as he rides off up the street, disappears into the darkness beyond. As the sound of the cycle dies away, FADE OUT: THE END