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                      THE TAKING OF PELHAM ONE TWO THREE



                                 Written by

                                Peter Stone



                            Based on the Novel by

                                 John Godey

                         

                         

                         
                                                 16th April 1973
                         

          1.

          FADE IN: (BEFORE TITLES)

          EXT. NEW YORK CITY - BLOOMINGDALE'S - DAY

          The busy block between 59th and 60th-Streets in the
          middle of a weekday afternoon. Buses, taxis, trucks;
          shoppers, messengers, teenagers. In one corner of the
          screen the time is SUPERIMPOSED:

                         "1:52"
          Now a man (GREEN) is ZOOMED IN on -- little of his actual
          face is visible because of his thick white hair, large
          bushy white mustache, dark glasses and slouch hat. The
          rest of him is encased in a knee-length raincoat. He
          wears gloves and is carrying a large, brown-paper-covered
          package by a wooden handle attached to the twine securing
           it. The box has been addressed in black felt marker --
          "Everest Printing Corp., 826. Lafayette St." -- and appears
          quite heavy. But Green has the gait of a man. younger than
          he appears. As he turns and heads down a flight of stairs,
          CAMERA ZOOMS IN even more to the single word on a sign:

          "SUBWAY."

          INT. SUBWAY - 59TH ST. CHANGE BOOTH - DAY

          A level above the locals, two above the express trains.
          Green appears and joins the line waiting to buy tokens.
          Wordlessly he shoves two coins under the grille, receives
          his token, moves on, drops it into the slot, pushes
          through the turnstile and heads for one of the descending
          stairways. CAMERA HOLDS on a sign identifying his choice:

          "IRT. LEX. AVE. LOCAL. DOWNTOWN.."

          INT. SUBWAY PLATFORM - 59TH ST. DOWNTOWN LOCAL - DAY

          Green comes off the stairs and arrives on a line with a
          placard that hangs over the edge of the platform bearing
          the number "10", black on a white ground, indicating the
          point where the front of a ten-car train stops. Now the
          sound of a distant rumbling, growing louder, makes Green
          turn,.cross to the platform's edge, lean out over the
          track and peer into the darkness of the tunnel beyond the
          far end of the platform.

          SUBWAY TUNNEL - GREEN'S POV
          as the four lights -- amber and white markers over white
          sealed-beam headlights -- come into view and the train
          roars and clatters into the station. CAMERA PANS with
          the head car as it stops, its breaks sighing, and a pair
          of doors in EXTREME FOREGROUND, rattles open. CAMERA now
          MOVES forward, into the car, then TURNS and through the
          still-open door, focuses on the T.A. Cop, still standing
          on the platform, regarding Green (CAMERA).

                         

                         

                         

                         

          2.

          MED. SHOT - FIFTH CAR
           From the platform, featuring the conductor (BUD CARMODY)
          as he leans out of his window surveying the station. He
          has a young, boyish face surrounded by long, curly red
          hair.

          INT. FIFTH CAR

          The door to the conductor's cab is open as Bud continues to
          lean out the window. Directly, behind him is MATSON, an
          older Conductor of retirement age who is busy instructing
          the younger man.

                         MATSON
          C'mon, kid -- out loud so's I can
          hear what you're doin'.

                         BUD
          I'm checking the passengers getting
          on and off -- front and back --
          okay, it's all clear -- I'm shut-
          ting the doors; -.rear section

                         FIRST --
          (pushes a button)
          -- then the front section --

                         (PUSHES ANOTHER)
          -- and -- the doors are closed.
          He pulls his head in and checks a row of lights on a panel.

                         BUD
          Now I 'm checking the indicator box
          to make sure that the doors are
          all locked -- okay.
          The train starts with a jerk.

                         BUD
          Igo back out the window --

                         (HE DOES)
          -- for a distance of three car-
          lengths to see that nobody's
          being dragged --

                         (RETURNING)
          -- I remove my door key -- and
          then the skate key -- and then
          I hit the transmitter button.
          (into a mike)
          Fifty-first Street' next stop --
          the next stop is Fifty-first Street.
          (turning to Matson)
          How'd I do?

                         

                         

                         

                         

          3.

                         1

                         CONTINUED

                         MATSON
          How come you wanna be a conductor,
          anyway? Don't you know the con-
          ductor's sittin' in the goddam
          hotseat?

                         BUD
          What do you mean, Mr. Matson?

                         MATSON
          You're visible, for God's sake!
          Anything goes wrong -- anyone's
          got a gripe -- you're the one they
          see. Hell, in my twen'y-nine years
          o' stickin' my head out there I
          been slugged, spit on, hit by
          purses, fruit, rolled-up newspapers,
          baseball mitts -- an'.I been god-
          dam lucky! I never been puked on
          by a drunk like Charlie Boltzen was
          on the Parkchester line -- or
          stabbed in the neck like I heard
          one fella was on the Astoria BMT --

                         BUD

                         (QUIETLY)
          Jesus.

                         MATSON
          You take my advice, kid -- serve
          your six months an' then put in
          for Motorman. Watch it, we're
          cumin' in.
          Bud looks quickly off, sees the approaching station and
          hits his transmitter button.

                         BUD

                         (ANNOUNCING)

                         FIFTY-NINTH STREET

                         MATSON
          No it ain't

                         BUD

                         (CORRECTING)
          Fifty-first Street, sorry
          the station is Fifty-first Street.

                         MATSON
          Never say you're sorry, kid --
          somebody'll come back here an'
          bust your goddam nose.

                         

                         

                         

                         

          4.

                          CONTINUED - 2
           Bud sticks his head out the window, remembers what Matson
           told him and pulls it partially back in.

           51ST ST. STATION - BUD'S POV
           SHOOTING THROUGH the conductor's window as the train
           enters the station. We flash by the "rear-enders" (those
          I waiting for the last car) and gradually slow until we
          stop -- and we are looking right into the face of a man
          (GREY) whose frame and features, while entirely different
          from Green's, are covered by the same identical externals
          -- thick white hair, bushy white mustache, dark glasses,
          slouch hat, gloves and raincoat. He looks at the conduc-
          tor (CAMERA) for an instant, then darts away.

          PLATFORM - GREY
          RIDERS entering and exiting the train as Grey heads down-
          track. He carries a large tan valise trimmed in dark
          brown.

          INT. FOURTH CAR

          Grey just makes it to the car as the doors close, holding
          them back until he's squeezed through. The train starts
          with a lurch as he heads for the rear of the car and takes
          up a position, leaning his back against the storm door and
          placing his valise on the floor, between his feet. He
          surveys the car with cold, heavy-lidded eyes.

          INT. FIRST CAR

          Green has a seat opposite the shut steel door of the
          motorman's cab. His package is on the floor, between
          his knees, his arms resting on its top. TWO BOYS, ten
          and twelve, brothers, are at the window of the front storm
          door, their eyes glued to the track and tunnel before
          them, playing.: at driving the train.

          INT. FIFTH CAR - CONDUCTOR'S CAB

          Bud is removing his key and activating his mike.

                         BUD

                         (ANNOUNCING)
          Grand Central Station, next stop
          -- the next stop is Grand Central.

                         MATSON
          Yeah -- if I was you I'd start
          studyin' for that motorman's exam
          right now.

                         

                         

                         

                         

          5.

                         CONTINUED

                         BUD
          To tell you the.;truth, Mr. Matson,
          I have been. Want to hear some-
          thing?

                         (RECITING)
          Every car on the IRT is seventy-two
           feet long, cost $250,000 and weighs
          75,000 pounds. It holds 44 seats
          with room for 136 standing.

                         MATSON
          'Cept at rush hour when you can
          push in another 20, at least.
          Honest to God, I. know personally
          of a case where this guy on a number
          5 train dies of a heart attack at
          Union Square and he has t' wait
          until the Grand Concourse in the
          Bronx before enough people get off
          so's he can fall down.

                         (A PAUSE)
          Honest to God.

                         BUD
          Mr. D'Agostino who rode with me
          last week said that happened on a
          double -A train on the West Side.

                         MATSON
          Yeah? Who y' gonna believe? A
          wop or an American?

                         (LOOKING OUT)
          Here's where I'm gettin' off --
          think you can get to Brooklyn
          Bridge all by yourself?

                         BUD

                         (GRINNING)
          Long as I don't have 'to drive --

                         MATSON
          Stick with it, kid -- you're doin'
          great. See ya t'morrow.
          He crosses to the nearest door as the train decelerates.
          Bud activates. his mike and announces, waving to Matson
          as he does.

                         BUD
          Grand Central Station -- change
          for the express. This is Grand
          Central.

                         

                         

                         

                         

                         CONTINUED - 2

                         IN
          The train stops, the doors open and Matson steps out,
          colliding with a very large man (BROW^?PN) who is in a hurry
          to get aboard. His face is adorned with a large, white,
          bushy mustache, dark glasses, a lot of white hair, a slouch
          hat and, covering the rest of him, a raincoat. He carries
          an outsized florist's box, big enough for several dozen-
          long-stemmed roses, under his. arm, and wears gloves.

                         MATSON
          What's your hurry, chief? We
          won't leave without you.
          Brown says nothing to Matson, does not look at him, does
          not even seem aware of their cohtact. Matson goes off
          into the crowd on the platform and Brown heads for the
          front of the car.

          INT. FIRST CAR - GREEN

          Still sitting, still facing the motorman's cab. The two
          boys continue to play at the front window. The doors can
          be heard slamming shut and the train jerks into motion.

                         BUD'S VOICE

                         (AMPLIFIED)
          Thirty-third Street -- next stop
          is Thirty-third Street .
          Suddenly Green's hand,clutches at his shirt collar, unbut-
          toning the top button and loosening his tie. He breathes
          a sigh of relief, ' then notices that his left leg is vibrat-
          ing. He quickly stills it by placing a hand on his knee.

          INT. FOURTH CAR - GREY

          Leaning back against the storm door. Now he picks up his
          valise, turns and.looks through the door, across the
          platform between the cars, into the fifth car, and catches
          sight of Brown who nods, almost imperceptively.
          Grey makes no sign of recognition at all. He turns and
          starts forward through the car, heading for the third car.
          At the far end a MAN is standing in front of the door,
          leaning down to talk to a seated GIRL. Grey stops and
          waits a moment. Finally:

                         GREY
          Your ass.
          The man looks around and surveys Grey.

                         

                         

                         

                         

          7.

                         CONTINUED

                         NSFN
          What about it?

                         GREY
          Move it.
          The man glances at Grey for a moment, then moves it.
          Grey opens the door and steps out onto the platform
          between the two cars.

          TWENTY-EIGHTH STREET PLATFORM

          CLOSE SHOT - STATION DESIGNATION
          The tile mosaics spelling out "28TH STREET." CAMERA now
          DOLLIES to a TIGHT CLOSE SHOT of still another man with a
          white bushy mustache, white hair, dark glasses, slouch hat,
          gloves and raincoat -- BLUE. The time is SUPERIMPOSED:
          "2a 01. "

                         WIDER ANGLE
          Blue stands at the downtown end of the platform, near the
          number 10 placard, carrying a bulging canvas valpac in
          one hazed and a trombone case in the other. A rumbling
          sound is heard, building, until a train roars through on
          the northbound express track, its lights flashing between
          the pillars. In a moment it is gone and the sound dies.
          Now a young black,.dressed in the latest extravagant
          PIMP's fashions -- flaring double-knit trousers, three-
          inch heels, wide-lapeled jacket and white, extra-wide-
          brimmed hat, swaggers, loose-jointed, to a spot near Blue
          and waits, cool and relaxed. He becomes aware of Blue
          observing him.

                         PIMP
          What's wrong, dude -- ain't you
          .never seen a sunset.before?
          Blue-smiles softly and looks uptrack.

          INT. FIRST CAR - GREEN


                         BUD'S VOICE

                         (AMPLIFIED)
          Twenty-eighth Street -- next stop
          is Twenty-eighth Street.
          Green glances at his watch, then turns to look at the
          storm door at the far end of the car.

                         

                         

                         

                         

          8.

          GREY - GREEN' S POV
          The far storm door -- with Grey's face seen through the
          glass.

          TIGHT CLOSE SHOT - GREEN
          as he nods to Grey.

          INT. SECOND CAR

          as Grey comes back inside, closes the door and wedges his
          hip securely against the brass handle.

          TWENTY-EIGHTH ST. PLATFORM - LOCAL TRACK
          as the train roars in, brakes,' and grinds to a stop. CAMERA
          ZOOMS IN on a sign on the side of the first car: "PELHAM
          BAY PARK" until only "PELHAM" fills the SCREEN.

          MED. SHOT - BLUE
          He hangs back until everyone has gotten on or off the
          train, then, without haste, carrying the valpac in one
          hand and the trombone in the other, he approaches the
          front of the first car. The Motorman (DENNY DOYLE), a
          middle-aged man with a ruddy face and wearing pin-striped
          overalls, is leaning far gut of his window, looking back
          along the platform. Blue puts down his bags, puts his
          right hand into his raincoat pocket and leans against the
          train with his left shoulder, blocking Doyle's view of
          the rest of the train.

                         DOYLE
          Hey -- how do you expect me to -- ?
          He stops, suddenly aware that Blue has removed a very
          large army automatic from his raincoat pocket and has
          placed the muzzle against his (Doyle's) head. Doyle
          jerks his head back, suddenly, banging it hard against
          the windowframe. Blue crooks his hand inside the window
          and now places the gun against the Motorman's cheek,
          directly under his right eye.

                         DOYLE

                         (TERRIFIED)
          For God's sake --.what do you want?

                         BLUE
          I'm taking your train.

          FREEZE FRAME.

          (MAIN TITLE SEQUENCE BEGINS)

                         

                         

                         

                         

          9.

          MED. SHOT - BUD
          as he hangs out his window of the fifth car, looking down-
          track, trying to see Doyle.

          TRAIN & PLATFORM - BUD'S POV
          Blue's Lack, by the head car, blocking any sight of the
          Motorman.

          CLOSE SHOT - BUD
          Confused for a moment -- then:

                         BROWN'S VOICE
          Turn around -- I 've got some-
          thing to show you.
          Bud turns back, inside the car, then looks down.

          CLOSE SHOT - REVOLVER
          The snub-nosed weapon has been pushed into Bud ' s midsec-
          tion. FREEZE FRAME.

          (MAIN TITLE CONTINUES)

           MED. CLOSE SHOT - BLUE & DOYLE
          Blue's .45 still against Doyle's cheek. Blue speaks
          calmly and quietly.

                         BLUE
          Unlock your cab or.
          Doyle seems dazed, in a trance. Blue presses on the
          barrel of his gun, depressing Doyle's cheek.

                         BLUE
          Pay attention to me. Open your
          cab door or I '.11 kill you.

          FREEZE FRAME.

          (MAIN TITLE CONTINUES)

          IT3T. FI TH CAR - CONDUCTOR'S CAE

          MED. SHOT - BROWN & BUD

                         BROWN
          Come in and turn around -- slow.
          Brown, florist's box and all, has moved into the small
          cubicle. When Bud pulls his head in from outside they
          are very close.

                         

                         

                         

                         

          CLOSE SHOT - DOYLE'S HAND
          .as it gropes blindly for the latch, finds it and turns it
          with a click. The door opens and CAMERA TILTS UP to dis-
          cover Green standing outside. FREEZE FRAME.

          (MAIN TITLE SEQUENCE ENDS)

          INT. FIFTH CAR - CONDUCTOR'S CAB

          Brown's gun is still pressed into Bud's side.

                         BROWN
          Go back out the window and tell
          me what you see.
          Bud nods, licks his.dry lips and leans out, looking to the
          left, downtrack.

          FRONT CARS - BUD ' S POV
          Blue is still leaning against the head car, his back to us.

                         BUD'S VOICE
          There's someone leaning against
          the head car.

          BROWN ' S VOICE
          The second he comes aboard shut
          the doors.
          Now Blue turns, picks up his valpac and trombone, enters
          the train and the doors close.

          INT. FIRST CAR - MOTORMAN ' S CAB

          as Green has moved in with his large package, a gun in
          his hand. Doyle stares at him, still terrified.

                         GREEN
          Get rid of your seat.
          Doyle springs to his feet and swats up the folding seat
          with a clatter.

                         DOYLE
          Yes, sir!

                         GREEN
          Just take it easy. Now move
          over to the window -- and if you
          try to touch the mike pedal with
          your foot I'll shoot it off.

                         

                         

                         

                         

          12.

                         CONTINUED
          A sharp rapping at the door and Green opens it. Blue
          squeezes in, placing his bags atop Green's package. it
          is becoming very crowded in the cab as Blue again pockets
          his gun.

                         BLUE
          All right, Mr. Green?

                         GREEN
          A hundred percent.

                         BLUE
          Then get it started.
          Green moves over to face the controls. He stares down at
          them for a moment, then reaches with his left hand to the
          controller, his right to the brake handle. Pressing down
          firmly on the controller, he nudges it to the left.

          TWENTY-EIGHTH ST. PLATFORM
          as the train starts to move forward -- slowly.

          INT. FIFTH CAR - CONDUCTOR'S CAB

          Brown still holding his gun on Bud.

                         BROWN
          Okay -- announce the next station.
          Bud presses the transmitter button.

                         I

                         BUD

                         (ANNOUNCING)
          Twenty-third Street -- next

                         STOP IS
          His voice croaks then fails -- he can't finish. Brown
          prods him with his gun. Bud clears his throat, then
          tries again. I

                         BUD

                         (ANNOUNCING)
          Next stop is Twenty-third Street.

                         BROWN
          Come on -- we're. taking a walk
          up front.

          INT. SUBWAY TUNNEL

          as the train crawls slowly through the darkened tunnel.

                         

                         

                         

                         

          13.

          INT. FIRST CAR - MOTORMAN'S CAB

          Green's eyes are on the controls as Blue and Doyle watch
          the track.

                         GREEN
          You say when, Mr. Blue.

                         BLUE
          Keep going --

                         DOYLE
          You're still in switching. Why
          don't you peg it up to series?
          You're green all the way through.

                         GREEN
          We're in no hurry.

                         {
          Suddenly there's a popping sound and the power fails for
          a moment.

                         BLUE
          What happened?

                         GREEN
          She must've bucked.

                         BLUE
          You said you could drive this thing.

                         GREEN
          It wasn't mel

                         DOYLE
          It's the train -- she bucks all
          the time -- especially in switching.
          She's a dog.
          Green glances quickly at Doyle and grins.

                         GREEN
          What's your name, motorman?

                         DOYLE
          Denny Doyle, sir.

                         GREEN
          You ever been written up?

                         DOYLE
          Yes, sir -- once.

                         

                         

                         

                         

          14.

                         CONTINUED

                         GREEN
          What for?

                         DOYLE
          Running a red signal. The trippers
          stopped us cold and I hadda climb
          down and reset 'em by hand but by
          that time Control knew I was lying
          dead. I never got written up since.
          How about you?

                         GREEN
          Twice. -- once on the Canarsie --

                         BLUE
          That's right, Mr. Green -- tell him
          all about yourself.

                         F
          Green stops and looks at Blue.

                         BLUE

                         (LOOKING OUT)
          There's the emergency power box.
          Green knocks off his controller and eases the brake handle
          to the right.

          INT. TUNNEZ

          as the train slows and screeches to a stop.

          INT. MOTORMAN'S CAB


                         GREEN
          Yeah -- I'm taking the brake handle
          and the reverse key, Denny -- and
          I want your cutting key, too.
          He pulls the reverse key out of its receptacle and holds
          out his hand.
          Doyle fishes into his overalls, pulls out the large key
          and gives it to Green who puts the brake handle and the two
          bulky keys into his two raincoat pockets, then squeezes by
          Blue and the packages and goes out.

          INT. FIRST CAR

          as Green comes out of the cab and closes the door after
          him. The two Boys are still there. He smiles at them
          and starts back, through the car. A COUPLE OF PASSENGERS
          glance at him but without interest.

                         

                         

                         

                         

          15.

          INT. MOTORMAN'S CAB

          Blue and Doyle.

                         BLUE
          You'll be hearing from Command
          Center in a minute )r two but you'll
          ignore the call -- you won't answer
          -- is that perfectly clear?

                         DOYLE
          Yes, sir.

                         (A PAUSE)
          They can call all they. want. to --
          I'm deaf..

                         (ANOTHER PAUSE)
          Yes, sir. I want to stay alive..

                         BLUE
          Keep still!

          INT. FIRST CAR

          as Green nears the storm door, Grey, who stands guard in
          front of it, glides to one side and opens the door for him.

                         GREEN
          Thanks, Mr. Grey.

                         GREY

                         (EXAGGERATED)
          Don't mention it, Mr. Green.

          INT. SECOND CAR

          Brown slides open the door for Green, then slides it shut
          again. They speak in low tones.

                         GREEN

                         (TO BUD)
          Give me your cab key.

                         BROWN
          (as Bud hesitates)
          You got three seconds to live,
          conductor -- one -- two --
          Bud whips the key from his pocket and hands it to Green,
          who unlocks the cab door they're standing next to and
          enters, closing the door after him.

                         BUD
          What's he going to do?

                         

                         

                         

                         

          16.

                         CONTINUED

                         BROWN
          You wouldn't want me to spoil the
          surprise.

          INT. SECOND CAR - CAB

          as Green seats himself before the panel and begins arming
          it. He fits the brake handle into place, then fishes. the
          reverse key out of his pocket -- it is five inches long,
          with a shiny surface, and a wrench-type handle that fits
          into a receptacle on the flat portion of the controller --
          and finally inserts the cutting key -- similar to the reverse
          key but with a slightly smaller head, and turns it.
          CLOSE SHOT - SUBWAY TRAIN COUPLIb1GS
          as they disengage.

          INT. FIRST CAR - MOTORMAN'S CAB

          Blue and Doyle, waiting, neither saying anything. Sud-

                         DENLY :

                         RADIO (CORRELL)
          Command Center calling Pelham One
          Two Three -- come in, please --
          Doyle's foot moves toward the mike pedal and Blue kicks
          him hard in the ankle.

                         DOYLE
          Owl I'm sorry -- Z couldn't help
          it -- it's automatic --

                         RADIO (CORRELL)
          Pelham One Two Three, do you read
          me? Come in, Pelham One Two Three --
          Doyle looks imploringly but Blue shakes his head. Finally:

                         RADIO (CORRELL)
          Pelham One Two Three1 Where the
          fuck are emu? l

          INT. GRAND CENTRAL SHUTTLE STATION

          Two men are walking at a rapid pace: CAZ DOLOWICZ, Super-
          vising Towerman, an overweight man in his fifties, and a
          PLUMBER, a short man dressed in overalls and a cap, carry-
          ing a long wooden box of wrenches; he struggles to keep up
          with Dolowicz. The time is SUPERIMPOSED:

                         

                         

                         

                         

          17.

                         CONTINUED

          "2:07."

                         PLUMBER
          What's the goddam hurry?

                         CAZ
          I told you -- one of my towermen
          dropped his wedding ring-down the
          john.

                         PLUMBER
          Yeah, but what're we runnin' for?

                         CAZ

                         (RUNNING)
          Who's runnin'?
          They pass the Nedick's stand and Caz pushes through a gate
          marked: "TO SUPER'S OFFICE".

                         PLUMBER
          How come that gate ain't locked?

                         CAZ
          Who's gonna steal a subway train?

          INT. TUNNEL RAMP

          as Caz and the Plumber hurry along. -

                         PLUMBER
          Christ, it stinks down herel Where
          the hell are we goin'?

                         CAZ
          To the.Tower.

                         PLUMBER
          Tower? Then what're we goin' down
          Hey, slow up, will ya?

                         CAZ
          That's it up ahead -- those windows.

                         PLUMBER
          What kinda tower?
          They've come to the door of the Tower Room. They turn,
          go up some steps and disappear inside.

                         G

                         

                         

                         

                         

          18.

          INT. TOWER ROOM

          A long, unadorned room with a row of desks with phones, and
          a door marked "TOILET". Several TOWERMEN (and MRS. JENKINS,
          a black Towerwoman) sit at the desks before the flashing
          phone consoles, talking to dispatchers, trainmasters and
          other Towers. The predominant feature of the room, however,
          i is the electronic Model Board, stretched high across one
          wall, recording in colored slashes of light the movements
          of every train that passes through the sector, all of it
          superimposed on a painted map showing the line's track
          routes and stations. One of the Towermen, MARINO, rushes
          over to Caz as he and the Plumber enter.

                         MARINO
          Jesus Christ, Caz•, you picked a
          helluva day to be late --

                         CAZ
          You wanted a plumber down here,
          didn't you? Whose goddam wedding
          ring was it?

                         MARINO

                         (POINTING)
          Who else? Mrs. Jenkins.

          MRS. JENKINS
          I'm sorry, Mr. Dolowicz -- it just
          slipped off.

                         CAZ
          What were you doin'r with your hand
          in the john, anyway?

          MRS. JENKINS
          (indignant).
          My hand-wasn't in the john, Mr.
          Dolowicz -- it was over the john.

                         CAZ
          What's the difference?
          (to the Plumber)
          Go fish it out, will ya?
          As the Plumber heads off, Caz turns to Marino.

                         CAZ
          The classification's been open to
          women for only a month and already
          we're in the goddam toilet!
          (glancing at the

                         BOARD)
          What the hell's that?

                         

                         

                         

                         

          19.

                         CONTINUED

                         MARINO
          That's what I've been tryin' -to
          tell you, Caz -- a southbound local.
          He's laying down between 28th and
          23rd.

                         CAZ
          What the hell for?

                         MARINO
          Dunno yet.

                         CAZ
          How long?

                         MARINO
          Couple-three minutes. Command
          Center's been trying to raise him
          but so far he don't answer the
          radio. Jesus, Caz -- why don't
          he answer the radio?

                         CAZ
          Take it easy, Marino -- there's
          lots o' reasons. Maybe he jumped
          a ball and hadda leave the cab to
          reset a tripper -- or a door got
          hung and he hadda go fix it. Any-
          thing more serious and he'd'a
          called in for a car knocker.

                         MARINO
          It's been too long, Caz --

                         CAZ
          Then maybe his radio's busted and
          the sonuvabitch is too lazy to climb
          down and use a telephone! I'm gonna
          write him up for.this, goddammit --
          I'm gonna have his assn

                         TOWERMAN
          Hey -- it's moving!
          Everyone wheels around to stare up at the Board.

                         CAZ
          For Jesus Christ sake! The dumb
          bastard's moving backwards!!

                         

                         

                         

                         

          20.

          INT. SUBWAY TUNNEL

          Slowly, the second to the tenth cars are moving away from
          the first car which continues to lie motionless on the track.
          The rear cars roll about a hundred feet.

          INT. SECOND CAR - CAB

          as Green, leaning out the window and looking behind him, now
          applies the brake handle and the train grinds to a halt.

          INT. TOWER ROOM

          Caz, Marino and the others are staring up at the Model Board.

                         MARINO
          He's stopped again!

          CAZ.
          Stopped is better than backwards.

          INT. SECOND CAR - CAB

          as Green removes the brake handle and the two keys, stuffs
          them back into his pockets and leaves the cab.

                         I

          INT. SECOND CAR

          Brown and Bud are waiting as Green steps out. Bud stares
          at him.

                         GREEN
          What's wrong with you?

                         BUD
           I didn't know these things'd
          c o o backwards !

                         BROWN

                         (IMPATIENTLY)
          Let's go, Mr. Green.
          He opens the storm door and holds it as Green goes through
          first.

          INT. TUNP'EL

          as Green comes out onto the threshold plate, crouches low
          to ease the impact, then jumps down onto the concrete
          roadbed. Bud is next and Green helps him down. Then
          Brown. They walk quickly through'the tunnel to the first
          car. Grey has opened the storm door for them and steps
          out onto the plate to help them up.

                         

                         

                         

                         

          21.

          INT. FIRST CAR - MOTORMAN'S CAB

          Blue and Doyle, the latter watching wide-eyed as the former
          opens his trombone case and removes a submachine gun. He
          checks it then sets it aside and removes the cord from
          Green's package.

                         RADIO (CORRELL)
          Come in, Pelham One Two Three
          for Chrissake come in -- I
          Blue opens the package, removing a second, identical
          automatic weapon. As he checks it out, a rapping sounds
          at the metal door and Blue opens it. Green squeezes in.

                         BLUE
          Any trouble, Mr.'Green?

                         GREEN
          Smooth as silk, Mr. Blue.

                         BLUE
          I unpacked your weapon. Get
          this thing moving -- we're run-
          ning almost two minutes behind.
          Picking up his submachine gun, and holding it vertically
          along his pants leg, Blue eases himself through the door
          and shuts it after him.

          RADIO (CO RRELL )

                         (WEARY)
          Pelham One Two Three -- can you
          hear me, Pelham Ond Two Three -- ?
          Green quickly replaces the brake handle and eases the
          controller to the left.

          INT. TUNNEL

          as the single subway car starts to move slowly forward.

          INT. TOWER ROOM


          CLOSE SHOT - MODEL BOARD
          as a set of red slashes begin to flicker.

                         REVERSE SHOT
          All eyes staring up at the Board (CAMERA).

                         MARINO
          She's moving again -- forward
          this time!

                         

                         

                         

                         

          22.

                         CONTINUED

                         CAZ
          I got eyes, haven't I?

                         M MARINO
          Well -- whatever it was, he's
          okay now, thank God.

          INT. FIRST CAR

          it is moving slowly. Blue stands by the cab, his gun still
          held hidden behind his leg. He looks down the length of
          the car.

          MED. SHOT - BROWN ,
          He undoes his flower box and removes another submachine gun.

          MED. SHOT - GREY
          He has opened his valise and has taken out still another
          submachine gun which he grins at, happily.

          MED. SHOT - BLUE
          He comes forward to the center of the car, now, making no
          attempt at inconspicuousness any more.

                         BLUE

                         (LOUDLY)
          Attention, please!
          Some faster than others, the Passengers in the car are
          either distracted from their reading or talking, or around
          from their limbo of subway dead-headedness. Registering
          different degrees of interest, surprise, confusion, or
          (in.some cases, upon seeing the guns) fright and even
          terror, they turn to face Blue.' There are some sixteen of

                         THEM:
          -- The black, modishly-dressed Pimp, in his 30's, seen
          earlier on the station platform.
          -- A . plump. MOTHER, forty-ish, high-strung, the parent of
          the t':o Boys seen earlier play:.ng motorman.
          -- A Puerto Rican DELIVERY BOY, 20,-with acne, wearing a
          lumberman's wool jacket, a small hat, and carrying a
          large manila envelope.
          -- A black SECRETARY, 25, attractive, with a natural, and
          well-dressed, who's been reading a book.

                         

                         

                         

                         

          CONTINUED 23.
          -- A HIPPIE type, 24, with shoulder-length blond Jesus
          Christ hair and a beard to match, wearing a Navajo-
          patterned woolen poncho, a headband, leather sandals
          and a zonked-out expression.
          -- A black MAID, 50's, overweight, tired, wearing a wig
          and an old fur-collared coat, end carrying two Blooming-
          dale's shopping bags.
          -- A HOOKER, 32, white, flashy, dark-haired, wearing a
          short skirt, no bra and an Anzac-type hat.
          A W.A.S.P. type, 40's, short-hair, wearing a brown tweed
          jacket and a narrow tie.
          -- A black SALESMAN, 35, with a, sample case and an order
          book, wearing glasses.
          -- A woman WINO, a derelict of indeterminate age, with
          rolled down stockings, layered in ratty coats and sweaters,
          wearing wool gloves with the fingers out, missing most of
          her teeth, her hair stringy, her eyes red-rimmed, her
          complexion sallow, carrying a pint bottle in a paper bag,
          passed out, dead to the world.
          -- An OLD MAN, 70's, tiny and alert, dressed in an expen-
          sive but old-fashioned cashmere overcoat.
          -- TWO CO-EDS, 18 and 19, scrubbed, pretty, serious
           (Hunter College, 68th St. Station), carrying briefcases.
          -- A black FAG, 25, his hair straightened and pompadoured,
          his eyebrows plucked and redrawn, his figure trim, his
          clothes calculated to attract other men, his mouth con-
          stantly pouting, carrying a shoulder bag and listening
          to a transistor radio.
          In all, SIXTEEN -- seven men, two boys, seven women; ten
          white, five black and one Puerto Rican.
          Center-car, Blue addresses them. He holds his submachine
          gun in the crook of his arm, the barrel resting on his
          right hand.

          .BLUE
          You will all remain- seated.
          Anyone who tries to rise will
          be shot.

                         PASSENGERS
          Oh my God
          What'd he say?
          What's going on?
          I don't believe it.
          (Etc.)

                         

                         

                         

                         

          24.

                         CONTINUED - 2

                         BLUE
          And. you will remain silent! There
          will be no further warning -- any-
          one who moves or speaks without
          permission is going to be killed.
          There is immediate silence as he-looks around.

                         BLUE
          This weapon fires 450 rounds of
          .45 calibre ammunition per minute.
          In other words, if all of you de-
          cided to rush me simultaneously,
          not a single one ,of you would get
          any closer than you are right now.
          Is that understood?
          This news is met in stony, awe-struck, terrified silence.
          Except for the Pimp who smiles, seemingly relaxed.

                         PIMP
          I should'a know'd you was the
          main man, man.

          INT. TUNNEL

          as the slowly moving car comes to a stop.

          INT. TOWER ROOM


          CLOSE SHOT - CAZ
          He is staring up at the Board.

                         CAZ
          He stopped again! The crazy,
          dumb-assed sonuvabitch stopped
          again!

                         WIDER ANGLE
          Including Marino, Mrs. Jenkins and the other Towermen.

                         MARINO
          What's he doing now? He's half-
          way between stations.

                         CAZ
          A pure mental case. I'm gonna
          nail his pecker to the goddam
          wall for this!

                         

                         

                         

                         

          25.

                         CONTINUED

                         MARINO
          (indicating Mrs.

                         JENKINS)
          Hey, Caz, take it easy, will you?

                         CAZ
          If I gotta watch my language just
          because they let a few broads in'
          I'm gonna quit! How the hell. can
          you run a goddam railroad without
          swearing?!

                         RADIO (CORRELL)
          Grand Central Tower -- this is the
          Desk Trainmaster -- who the fuck's
          in charge down there?
          Caz glances at Mrs. Jenkins, grins, and leans over a desk
          to flip on a mike.

                         CAZ
          It's me, Frank --CazDolowicz.
          We're watchingitonthe Board.

          I RADIO (CORRELL)
          What good's watching it, for Chris-
          sake? We got trains piling up
          behind it. Get some goddam super-
          vision down there!

                         CAZ
          On my way, Frank.

                         (AN AFTERTHOUGHT)
          Oh, and Frank -- please don't say
          "fuck" anymore on the radio -- we
          got some ladies down here now --
          and you know how it is with ladies,
          Frank--- the cunts don't like it.
          He flips off the key and walks out the door.

          INT. SUBC47AY -. FIRST CAR

          Blue maintains his position in min?-car. He turns now to
          the rear section.

                         BLUE
          Everybody in this half of the car
          -- that's from here on back --
          move up front, please. Everybody.
          (as they hesitate)
          Right now -- upi

                         I

                         

                         

                         

                         

          26.

                         CONTINUED
          As the. six or seven passengers in the rear section rise
          and move forward, the cab door opens and Doyle comes out,
          i followed by Green who is covering him with his gun.

                         BLUE
          Get going, Mr. Green.
          Green nods and goes to the front, uses a key to slide open
          the storm door, steps out and closes it again, then jumps
          down onto the tracks.

                         BLUE
          Motorman -- come here.

                         DOYLE
          Yes, sir?

                         BLUE
          I want you to walk uptrack and
          collect all the passengers in
          the nine cars we out loose, and
          lead them back to the 28th St.
          Station -- is that clear?

                         DOYLE I
          People hate getting off in the
          middle of a tunnel --

                         BLUE
          Just do as you're told:
          The Hooker raises her hand.

                         HOOKER
          Can I go with them, please? I've
          got this important appointment,
          you see, and --

                         BLUE
          No. No one else can leave.

                         MOTHER
          I'm sure you wouldn't mind if
          the children were to. go --

                         BLUE
          Nobody leaves!

                         OLD MAN
          (raising his hand)
          Excuse me, mister -- don't you
          think we should be let in on what's
          happening?

                         

                         

                         

                         

          27.

                         CONTINUED - 2

                         BLUE
          Yes. What's happening is that
          you're all being held by four
          dangerous men with machine guns.

                         OLD MAN

                         (SMILING)
          I suppose. if you ask a foolish

                         QUESTION
          The fluorescent lights suddenly go out and the emergency,
          incandescent bulbs immediately go on, thereby diminishing
          the brightness in the car by half. There's a general
          stirring among the Passengers as they look around them,
          their alarm peaking again.

                         BLUE
          Please be quiet -- nothing's
          going to happen if you do as
          you're told. Get going, Motorman.
          As Doyle leaves at one end of the train, Green reappears
          at the other.

                         BLUE
          All right, Mr. Green?

                         GREEN
          All power's out between 14th and
          33rd Streets on all four tracks,
          local and express, north- and
          southbound. r

                         BLUE
          I still see some tunnel lights.

                         GREEN
          Emergency. They're on A.C. like
          the signals.

                         BLUE
          (a pause).
          Stay here -- and leave the cab door
          open so you can hear the radio.
          Blue returns to the center of the car but CAMERA stays
          on Green as he opens the cab door.

                         RADIO (CORRELL)
          Coir�mand Center to Pelham one two
          Three -- did you cut the power down
          there? -- without calling Power

                         (MORE)

                         

                         

                         

                         

                         1

          28.

                         CONTINUED - 3
          RADIO (CORRELL) (Contd)
          Central to explain? All right,
          Pelham One Two Three -- cut this
          shit right now and answer me!
          You're fucking up tie whole god-
          dam New York Subway System!

          EXT. M.T.A. HEADQUARTERS - BROOKLYN - DAY

          The large, granite-f aced building in the Borough Hall
          complex. The following legend is SUPERIMPOSED:

                         "TRANSIT AUTHORITY

          370 JAY ST.

                         BROOKLYN"

          INT. T.A. HDQRS. -- SECOND FLOOR CORRIDOR - DAY

          Elevators and the Information Desk. CLIVE PRESCOTT, a
          black plainclothes lieutenant in the Transit Police, is
          pacing, waiting. The time is SUPERIMPOSED:

          "2:09."
          A uniformed TRANSIT COP sits behind the desk, watching him.
          Finally: an elevator door opens and a smart, efficient
          SECRETARY emerges, followed by FOUR JAPANESE in business
          suits.

                         SECRETARY
          Ah, Lieut. Prescott -- it was nice
          of you to leave your duties long
          enough to show our distinguished
          guests around the facilities. May
          I present Mr. Yashimura, Mr. Mat-
          sumoto, Mr. Tomashita, and Mr.

                         NAKABASHI
          The small-framed.Orientals bow in turn.

                         SECRETARY
          -- who are all Directors of the
          Tokyo Metropolitan Subway System.
          Gentlemen, this is Lieut. Clive
          Prescott of our own Transit Authority
          Police.

                         PRESCOTT
          A pleasure, gentlemen.

                         

                         

                         

                         

          29.

                         CONTINUED

                         SECRETARY
          When you're through the Chairman
          would like to say goodbye per-
          sonally so send them up to
          thirteen, will you?

                         PRESCOTT
          I sure will.
          She smiles at the Japanese and walks back to the elevators,
          pressing the UP button. Prescott looks at the four men
          for a moment, uncertainly, then goes after the Secretary
          and speaks to her in low tones.

                         PRESCOTT

                         THEY SP
          eak English, don't they?

                         SECRETARY
          We're not sure.

                         PRESCOTT
          You're not.

          SECRETARY .
          We've been proceeding on the
          assumption that they do.

                         PRESCOTT
          You have.
          The elevator door opens and-she steps in, smiling sweetly.

                         SECRETARY
          Sayonara.
          The door closes. Prescott shrugs, then turns and smiles
          at the visitors. They smile back. He takes a deep
          breath, then begins.

                         PRESCOTT
          The New York City Subway System
          is the largest'in the world, with
          237 miles of track and seven
          thousand cars that carry over a
          billion and a third passengers
          every year, making it also the
          busiest railroad in,the world.
          I can see that this last fact
          surprises you.
          The Japanese look anything but surprised. Prescott goes
          on, resolutely.

                         

                         

                         

                         

          30.

                         CONTINUED - 2

                         PRESCOTT
          Yes. Well- Grand Central is
          the busiest station passenger-wise
          -- train-wise, it's West 4th St.
          on the I.N.D. line. Now, if you'll
          step this way, gentlemen -
          They step no way at all. Prescott gestures broadly.

                         PRES COTT
          This way --
          He hurries ahead of them to open the door and hold it for
          them as they finally follow.

                         PRES COTT
          We are entering the headquarters
          of the Transit Police, occupying
          the entire second floor of this
          building. We call it the Nerve
          Center.

          INT. OPERATIONS - DAY


          CLOSE SHOT - STATUS BOARD
          A huge police map covering one wall, divided into pastel
          shadings of yellow, red, orange, blue and green, showing
          the various areas of the system. Colored lights -- red an&
          yellow -- are continually changing and flickering.

                         PRESCOTT'S VOICE
          The Status Board pinpoints the
          disposition of every Transit
          Authority policeman presently in
          the field. Things are usually
          jumping pretty good in here.
          CAMERA begins to ZOOM BACK, revealing the scene: a large
          room, cut. up by glass dividers into a maze of squares and
          rectangles manned by uniformed T.A. POLICEMEN, sitting at
          desks with telephone consoles. The place is absolutely
          dead -- some reading, some eating, some sleeping.

                         PRESCOTT'S VOICE
          We have one of our own T.A. cops
          on every station and every train
          in the entire system between the
          hours of eight P.M. and four A.M.
          Since we instituted this watch,
          we've out crime in the subways by
          about 60%.

                         

                         

                         

                         

          31.

                         CONTINUED
          CAP4ERA has finished its ZOOM and now PANS to include
          Prescott and his four Japanese.

                         PRESCOTT
          I'm sure you have your own share
          of crime on the Tokyo subway, right?
          They merely stare at Prescott and smile.

                         PRESCOTT
          Right.
          He.clears his throat, loosens his tie and looks around for
          help.

                         PRESCOTT
          Uh -- follow me, gentlemen,

                         PLEASE --
          He starts off through the room, the Japanese following.

                         PRESCOTT
          These are the assignment desks,
          one for each of the three lines --
          the I.R.T., the B.M.T. and the
          I.N.D. -- and.over here, the Oper-
          ations Lieutenant, Sol Garber.
          Prescott has stopped beside a desk. GARBER, 40, stocky,
          dour, with a dark stubble that requires shaving twice a
          day, is absorbed reading the Village Voice.

                         F

                         PRESCOTT
          Uh -- Sol -- I'd like you to meet
          some friends of the Chairman.
          Garber looks up over his paper for a moment.

                         GARBER

                         HI YAA

                         PRESCOTT
          Good friends of the Chairman.

                         GARBER
          Hi ya.

                         PRESCOTT
          They're -- uh -- directors of the
          Tokyo Subway.

                         

                         

                         

                         

          32.

          CONTINUED.- 2

                         GABBER

                         (F LATLY)
          You don't say.

                         PRESCOTT
          I do say. I -- uh -- told them
          things are usually jumping. like
          crazy in here.

                         GARBER
          Jumping. Right.

                         PRES COTT
          Tell them about some of the excit-
          ing things that have been happening
          lately, Sol --

                         GARBER
          Yeah, well -- we had a bomb scare
          in the Bronx yesterday -- but it
          turned out to be a cantaloupe.
          He and Prescott look at the Japanese. Nothing.

                         PRESCOTT
          How about another one, Sol?

                         GARBER
          Well -- uh -- Thursday there were
          three unrelated knife fights in a
          single half hour -- two dead and
          three wounded --

                         (PAUSE)
          -- one critical?
          The Japanese smile.

                         GARBER
          I'm busy, Clive, okay?
          He goes back to his newspaper as Prescott leads his four
          charges away.

                         PRESCOTT
          In the course of a normal week the
          T.A. Police have to deal with such
          crimes as robbery, assault, murder,
          drunkenness, injury, illness,
          vandalism, abusiveness, sexual
          molestation and exhibitionism.

                         (A PAUSE)
          You know, flashing?

                         

                         

                         

                         

          33.

                         CONTINUED - 3
          To illustrate, he waves a bottom corner of his jacket at
          the Japanese who nod appreciatively. Then he lifts a
          pistol from his shoulder holster, just far enough to show
          the handle.

                         PRESCOTT
          We carry firearms, of course --
          off duty as well as on

                         (RETURNS IT)
          -- and we're fully empowered to
          make arrests.

                         (A THOUGHT)
          in fact -- you're all four under
          arrest right now. You get me?. I'm
          tossing you all in the pokey and
          throwing away the key.
          He smiles and they smile back. He feels much better.

          P RES COTT

                         (GAYLY)
          All right, you creeps, let's go
          upstairs to the Command Center.
          They start off.

          EXT. PARK AVE. - 28TH ST. SUBWAY ENTRANCE -.DAY

          as a Taxi pulls up and Caz jumps out after paying the

          DRIVER.

                         DRIVER
          Hey! These are subway tokens:

                         CAZ

                         (CALLING BACK)
          Sounder than the U.S. Dollar!
          He disappears down the steps.

          28TH ST. PLATFORM - TRAVELLING
          A train is standing with its doors open, and lit within
          only by the emergency bulbs. Caz hurries south along the
          platform, heading for the first car, his ample stomach
          bouncing over his low-slung belt, CAMERA LEADING him until
          he comes to the front of the train and stops to talk to
          the MOTORMAN, a grizzled old-timer who needs a shave.

                         CAZ
          When did the power go?

                         

                         

                         

                         

          34.

                         CONTINUED

                         PMIOTORMAN
          Who wants to know?

                         CAZ
          The Supervisor of the Grand Central
          Tower wants to know!

                         MOTORMAN
          Oh -- sure -- it went a 'couple of
          minutes ago.
          He starts off.

                         MOTORMAN
          What happened down there -- a man
          under?

                         CAZ
          Who wants to know?

          INT. TUNNEL

          as Caz comes to the end of the platform, climbs down to
          the roadbed and starts through the darkened tunnel. He
          breaks into a trot, only to slow to a walk and then stop
          as he sees something approaching in the darkness: a
          large CROWD of people, being guided by Doyle who uses a
          flashlight. Caz scratches his head.

                         CAZ
          What now, for Chripsake?

          INT. SUBWAY - FIRST CAR

          as Blue surveys.the scene. The rear section is empty.
          The Sixteen remaining Passengers and Bud are sitting
          quietly. Brown and Grey stand mid-car, guarding from
          that side. Now Blue joins Green at the front end.

                         BLUE
          What time've you got, Mr. Green?

                         GREEN

                         (CHECKING)
          Two-ten.

                         BLUE
          Correct. Time to start. Any-
          thing you want to say first?

                         

                         

                         

                         

          35.

                         CONTINUED

                         GREEN

                         (A PAUSE)
          I'in going to die today,

                         BLUE

                         (ANOTHER PAUSE)
          Could be.
          He turns and enters the Motorman's cab.

                          RADIO (CORRELL)
           Pelham One Two Three -- do you
           read me now -- ?

          INT. T.A. BLDG. - THIRD FLOOR COMMAND CENTER - DAY


          CLOSE SHOT - FROM ABOVE
          SHOOTING DOT1N at the enormous, block-long, high-ceilinged
          area in which the three Divisional units (IRT, BAIT and IND)
          are scattered widely, using so little of the space that
          the arrangement looks provisional. Over this, one VOICE
          can be heard, Correll's, continuing from the previous scene.

                         CORRELL'S VOICE
          -- Come in, Pelham One Two Three
          -- if you can receive and not
          transmit please use a phone --
          CA14FRA now ZOOMS IN on Correll, the desk trainmaster,
          seated at a steel desk, talking over a two-way radio/
          telephone console.

                         R

                         CORRELL
          -- Come in, Pelham One Two Three --
          (punches a button)
          Power Central -- have you restored
          Lex 14-33 yet?

                         RADIO
          Not yet, Command Center. Still
          working.

                         CORRELL

                         (PUNCHING ANOTHER

                         BUTTON)
          Grand Central Tourer -- any movement
          on Pelham One Two Three?

          RADIO-(MRS. JENRINS)
          Still lying dead, Command Center.

                         I

                         

                         

                         

                         

          36.

                         CONTINUED

                         CORRELL

                         (PUNCHING ANOTHER

                         BUTTON)
          Maintenance -- how about a report,
          for Chrissake?

                         I

                         RADIO
          I On what, Command Center?

                         CORRELL
          How many trains we got laying down,
          you dumb bastard?
          CAMERA PANS to pick up Prescott as he leads his four
          Japanese through the room, moving and speaking rapidly.

                         PRES COTT
          Each train is identified by the
          name of its terminus and the time
          of its departure --thus, an
          express leaving Woodlawn at 6:30
          P.M. would be Woodlawn Six Three
          Oh, while on its return trip its
          new destination might be Flathush
          Eight Two Five. I hope you're
          memorizing all this junk -- I'm
          going to ask questions later.
          He has said this within earshot of a DISPATCHER who now
          reacts.

                         DISPATCHER
          Jesus, Prescott, have you lost
          your marbles or what?

                         PRESCOTT
          Don't worry -- they don't under-
          stand a word.
          (to the Japanese)
          Come on, you dummies -- get the
          lead out l

          MED.-SHOT - CORRELL
          Bent over his console, shouting into the boom mike curling
          out of it, as Prescott and the Japanese arrive..

                         CORRELL
          Pelham One Two Three -- come in,
          Pelham One Two Three -- Goddanmit,
          why don't you answer your fucking
          radio?!

                         

                         

                         

                         

          37.

                         CONTINUED

                         PRESCOTT
          There he is, gentlemen -- Train-
          master Frank Correll, the Lord
          Byron of the New York Subway
          System. Observe the way smoke
          and fire shoot out of his ears.

                         CORRELL
          Don't bug me, Prescott -- I've
          got trouble here. •

                         PRESCOTT
          What's the matter, Frank?

                         CORRELL
          Oh, nothing much -- a train's down,
          its radio's dead, the power.'s off
          and it's dumped its load. Other
          than that everything's ginger
          peachy.

                         PRESCOTT
          No idea what's wrong?

                         CORRELL
          I told you -- his goddam radio's

                         NOT --
          Pelham One Two Three to Command
          Center -- this is Pelham One Two
          Three -- do you read me -- ?

                         CORRELL
          There he is -- !
           (punching a button)
          .I read you, you sonuvabitch --
          where.the hell have you been?
          What are you trying,to do, screw
          up this entire railroad single-
          handedly? -- Come in, you bastard,
          and start explaining -- and you'd
          better make it good!
          Pelham One Two Three-to Command
          Center -- your train has been taken
          -- repeat, your train has been

                         TAKEN --
          Correll looks at Prescott in astonishment, then wheels to
          shout at the room.

                         

                         

                         

                         

          38.

                         CONTINUED - 2

                         CO RRELL
          Shut up in here!! I said shut
          it--- everybody!!

                         REACTION SHOTS
          as EVERYONE in the room turns to look at Correll.

          MED. SHOT - CORRELL
          Into the radio:

                         CORRELL
          Pelham One Two Three -- what the
          fuck do you mean the train's been
          taken?! Are you the Motorman?
          Negative.

                         CORRELL
          Then who the hell are you? No
          one's authorized to be in that cab
          except the goddam motorman!
          Identify yourself!
          Listen to me, Trainmaster -- your
          train has been hijacked by a group
          of heavily-armed men --

                         CORRELL
          It what?!
          -- We are holding sixteen passengers
          and the Conductor hostage in the
          first car and we will not hesitate
          to kill any or all of them if you
          do not do precisely as we say. Do
          I make myself clear, Trainmaster?

                         CORRELL
          You're out of your fucking mind!
          Be that as it may, are you ready to
          take down our list of demands?

                         CORRELL

                         (FLUSTERED)
          No -- wait a minute -- stand by --

                         (MORE)

                         

                         

                         

                         

          39.

                         CONTINUED

                         CORRELL (CONTD)

                         (DISCONNECTING; THEN

                         TO PRESCOTT)
          Why would anybody want to hijack
          a goddam subway train for?

                         PRESCOTT
          Hit your six button, will you,
          Frank? I want T.A. Police in
          on this.

                         CORRELL

                         (NOTICING)
          What the hell are all those Chinamen
          doing in here?.

                         PRESCOTT
          Holy Christ, I forgot!

                         (LOOKING AROUND)
          Somebody take these monkeys up to
          Thirteen, will you -- ?

                         FIRST JAPANESE
          It is all right, Lieut. Prescott
          -- I'm sure.we can find it by our-
          selves.

                         SECOND JAPANESE

                         (BOWING)
          Thank you for a most instructive
          visit, Lieutenant.

                         THIRD JAPANESE
          And. most exciting, too.
          They all bow low and file out. Prescott watches them in a
          near state of shock.

                         PRESCOTT
          - Since this is my last day on the
          job, I might as well make it a
          good one.
          He leans over Correll and, pushing a button, speaks into the
          mike.

                         PRESCOTT
          Prescott to Garber --

                         RADIO (GARBER)
          This is Garber --

                         J

                         

                         

                         

                         

          40.

                         CONTINUED - 2

                         PRESCOTT
          Sol -- plug everything you've
          got into the I.R.T. Trainmaster's
          circuit, will you? -- an all-unit
          stand-by, on the d-)uble. And
          call in the city cops -- put it
          on a 9-11 so their computer
          gets it.

                         RADIO (GARBER)
          What's up, Clive?

                         PRES COTT
          You won't believe it.

                         RADIO (GARBER)
          You know me -- I'll believe any-
          thing.

                         PRESCOTT
          A train's been hijacked.

                         RADIO (GARBER)

                         (A PAUSE)
          I don't believe it.

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB

          Blue waits at the radio, calmly doing one of the crossword
          puzzles in a book of them. There's a knock and he opens
          the door. Green sticks his head, in.

                         BLUE
          What do you want, Mr. Green?

                         GREEN
          How's it going?

                         BLUE
          All right.

                         GREEN
          Did you tell them?

                         BLUE
          Part of it.

                         GREEN
          What are they doing now?

                         BLUE
          Recovering. They sounded a
          little upsat.

                         

                         

                         

                         

          .41.

                         CONTINUED

                         GREEN

                         (SMILING)
          Yeah -- I guess they would.

                         BLUE
          Go back outside -- I don't want
          Mr. Brown and Mr. Grey left alone
          with the passengers any longer
          than we have to.

                         GREEN
          Don't you trust them?

                         BLUE
          I trust Mr. Brown -- Mr. Grey's
          another matter. He's a cocky
          little pain in the ass who could
          turn out to be real trouble if
          we don't watch him.

                         GREEN
          Where'd you find him, anyway?

                         BLUE
          He was recommended.

                         RADIO (CORRELL)
          Pelham One Two Three, this is
          Command Center -- come in, Pelham
          One Two Three --

                         BLUE
          Go on --
          (as Green goes;
          into the mike)
          This is Pelham One Two Three,
          Trainmaster -- are you ready to
          take down the list of our demands?

                         RADIO (CORRELL)
          I'm listening, you shitheel --
          what do you want?

                         BLUE
          Do you have a pencil?

                         RADIO (CORRELL)
          Go on, goddammitii

                         BLUE
          To begin with it is important that
          you understand three things: One --

                         

                         

                         

                         

          42.

          INT. COMMAND CENTER - DAY


          MED. SHOT - TRAINMASTER'S DESK
          Prescott and OTHERS grouped around Correll at his desk,
          everyone straining to hear.
          I -- Pelham One Two Three is
          completely in our control. Two
          -- we are armed with fully auto-
          matic weapons. Three -- we have
          no scruples whatsoever about killing.
          Do you read me so far?

                         CORRELL
          I read you, you goddam lunatic --
          you'll never get away with this,
          you know --
          Please inform-the Mayor that we
          demand one million dollars in cash
          for the release of the car and all
          of the hostages --

                         CORRELL
          That'll be the day --
          The time is now 2:13. The money
          must be in our hands no later
          than 3:13 -- one hour from now.
          If it is not, we will kill one
          hostage for every' minute you are
          late.

                         CORRELL
          Keep dreaming, maniac --
          Furthermore, if anyone attempts
          to interfere -- anyone --.in any
          way -- we will begin killing the
          hostages immediately. Confirm,

                         PLEASE --

                         CORRELL
          Look, I'm only the Trainmaster
          around here -- I don't know any-
          thing about contacting the goddam
          Mayor!

                         

                         

                         

                         

          43.

                         CONTINUED

                         (A PAUSE)
          All right -- patch me into the
          Transit Police.

                         CORRELL
          Hold on -- I've got one here now.
          He disconnects and turns to Prescott.

                         CORRELL
          He's all yours, the sonuvabitch
          (as Prescott reaches
          for the mike)
          Not here, for Ch'rissake -- Take
          it over there!
          He points to another, empty desk. Prescott goes to it and
          sits, then punches in a line on the console and speaks
          into the mike.

                         PRES COTT
          Pelham One Two Three -- can you
          hear me?

                         RADIO MUE)
          This is Pelham. Identify your-
          self, please.

                         PRES COTT
          Lieut. Prescott of. the Transit
          Police. Identify yourself.
          I'm the man who stole your train.

                         PRESCOTT
          There's no way you can get away
          with it -- you're underground,
          in a tunnel.
          Why do you concern yourself with
          that, Lieutenant? At precisely
          3:13 we will begin executing the
          passengers. Don't you think you'd
          better contact the Mayor without
          wasting any more time? The moment
          you've done it report back to me
          for further instructions. Sign-
          ing off.

                         

                         

                         

                         

          44.

                         CONTINUED - 2
          There is a click as the line goes dead. Prescott pushes
          another button.

                         PRESCOTT
          Sol -- did you get all that?

                         RADIO (GARBER)
          I only get your end but I could
          piece the rest of it together.
          Jesus, it's crazy!

                         PRESCOTT
          What about the city cops?

                         RADIO (GARBER)
          They've got two cars from the
          14th precinct on the way now.

                         PRESCOTT
          Two cars -- you sure they can spare
          that many? What about our own men?
          We got anyone at 28th St.?

          INT. OPERATIONS - DAY

          Garber at his desk as he swivels to regard the Status Board.

                         GARBER
          Just checking on that -- uh --
          yeah, he's around there somewhere.

                         RADIO (PRESCOTT)
          You'd better tell him to hold the
          fort -- it's liable to be a couple
          of hours before any city cops show
          up.

                         GARBER
          Will do, Clive.
          He disconnects, turns and shouts.

                         GARBER
          Sargent -- get me our guy at Lex 281

          INT. 28TH ST. PLATFORM

          Bedlam. The train still stands idly, empty now, its doors
          closed. There's a CROWD milling about, some pounding
          futilely at the doors of the train, others just standing
          around, waiting. ARTIS JAMES, a black T.A. cop is talking

                         

                         

                         

                         

          45.

                         CONT INUED
          to a small group of irate citizens. He carries a radio on
          a strap over his shoulder.

                         JAMES
          I'm sorry, lady, I don't know
          how long the delay will be--
          it's just a minor technical problem.

                         MAN
          Anybody hurt?

                         2ND MAN
          How many killed?

                         JAMES
          Look -- everybody just calm down
          (his radio BEEPS)
          Hold on --
          He turns away and lifts the radio to his face.

                         JAMES
          Patrolman James --

                         RADIO (GARBER)
          This is Lieut. Garber in Opera-
          tions. Where are you now?

                         JAMES
          Twenty-eighth southbound. Every-
          thing's shut down, Lieutenant --
          what's going on? "

                         RADIO (GARBER)
          Look, don't react to this -- but
          a train's been hijacked --

                         JAMES
          Holy shit.

                         RADIO (GARBER)
          Exactly. Try and maintain order
          on the platform and for God's
          sake don't say anything! Oh, and
          there's a Supervisor from Grand
          Central Tower around there some-
          where -- see if you can find him.

                         JAMES
          I saw him a couple of minutes ago,
          Lieutenant -- he was headed down-
          track on foot.

                         

                         

                         

                         

          46.

                         CONTINUED - 2

                          RADIO (GARBER)
          -Oh Jesus! You'd better go after him
          -- see if you can turn him back.

          INT. TUNNEL

          Caz is hot in conversation with Doyle as the long line of
          Passengers files by, on their way out of the tunnel.

                         CAZ
          I don't give a goddam what they
          were armed with -- your job is to.
          stay on that train until you get
          authorization to leave!

                         DOYLE
          They said they'd kill me, for God's
          sake!

                         CAZ
          You're like the captain of a ship --
          you're supposed to go down with it.

                         PASSENGER
          (as he passes)
          Bullshit.

                         CAZ
          Butt out!

                         (TO DOYLE)
          All right -- tell Command Center
          I'm on my way to investigate.

                         DOYLE
          You're going down there? Hey, I
          wouldn't, if I were you.

                         CAZ
          I know you wouldn't.
          He leaves Doyle and starts down the track. A few Passengers
          in the line call to him.

                         2ND PASSENGER
          You work for the :,ubway? Tell 'em
          I'm gonna sue this time -- I really
          mean it -- I'm gonna sue!

          M E D. SHOT - JAMES
          He is trotting, following Caz, passing the line of Passengers
          headed the other way.

                         

                         

                         

                         

          47.

                         CONTINUED

                         3RD PASSENGER

                         (TO 6TH)
          I'll tell you whose goddam fault it
          is -- it's the Mayor's goddam fault.

                         4TH' PASSENGER
          Why's it his fault?

                         3RD PASSENGER
          'Cuz he's the head o' the city,
          ain't he? That makes him respon-
          sible. They oughta impeach the bum!

          INT. TUNNEL - CAZ ,

          as he sees the first car ahead of him -- and as he gets
          closer, the silhouette of a man (Grey) through the rear
          storm door window.

          INT. FIRST CAR - GREY

          He stands guard at the rear storm door. Now he sees some-
          thing moving in the tunnel and slides open the door, calling.

                         GREY
           Stop right there, cowboy -- !

          REACTIONS SHOTS - GREEN AND BROWN
          as they look around, surprised.

          INT. TUNNEL - CAZ


                         CAZ

                         (SHOUTING BACK)
          Who the hell are you?
          The voices echo and distort in the tunnel.

                         GREY
          You'll find out if you take another
           step -- !

          MED. SHOT - JAMES
          He is scooting along, crouched, hearing the voices, advancing
          from pillar to pillar, using each for a brief instant of
          concealment.

                         CAZ' VOICE
          I'm warning you, mister -- that's
          city property you're fooling around
          with -- I

                         

                         

                         

                         

          48.

                         CONTINUED

                         GREY'S VOICE
          That's just too fucking bad!

          INT. TUNNEL - CAZ


                         CAZ
          Why didn't you ga grab a goddam
          airplane like everybody else?!

                         GREY
          We're afraid of flying. Now I'm.
          tellin' you, buster -- clear out
          or I Ill shoot your ass off!

                         CAZ
           Stand back -- I'm coming on board -- !
          He starts forward.

                          GREY €
           I warned you, stupid -- I

          MED. SHOT - GREY

          CAZ' POV (SLOW MOTION & SILENT)
          Dead silence as CAMERA ADVANCES toward Grey. Now the sub-
          machine gun he's pointing at Caz (CAMERA) begins spitting
          fire and spewing out the spent shells.

          CLOSE SHOT - CAZ (SLOW MOTION & SILENT)

                         P
          Only his face -- as his eyes and mouth open wide in shock and
          disbelief and sudden death.

          CLOSE SHOT - JAMES (SLOW MOTION & SILENT)
          His face peeking out from behind- a pillar, the flashes from
          Grey's gun reflected in his eyes and on the pillar.

          MED. SHOT - GREY (SLOW MOTION & SILENT)
          as he continues firing.

           FLASH CUTS - GREEN, BROWN, PASSE` SERS (SLOW MOTION & SILENT )
           Astonished; unfeeling; horror-struck.

          MED. CLOSE SHOT - CAZ (SLOW MOTION & SILENT)
          as his dead body hits the ground, bounces, and rolls over,
          face up, eyes still-open.

                         

                         

                         

                         

          49.

          INT. FIRST CAR - BLUE (TRAVELLING)

          The SOUND returns with a rush. Blue rushes out of the
          Motorman's cab and runs down the length of the car, CAMERA
          FOLLOWING as he goes past Green and Brown without speaking
          to them. He looks out the rear or for a moment, at the
          dead body.

                         GREY
          I warned the bastard but he kept
          on coming anyway.

                         BLUE
          Was he alone?

                         GREY
          I didn't see anybody else.

                         (A PAUSE)
          I guess I got us on the scoreboard,
          huh?
          Without a word, Blue moves to Brown at mid-car.

                         BLUE
          Take over back there. I want Mr.
          Grey up closer to me so I dan keep
          an eye on him.

                         BROWN
          He' s a little trigger-happy.

                         BLUE
          Maybe it was necessary -- I didn't
          see it.

                         BROWN
          He loved every minute of it.

          INT. TUNNEL - JAMES

          as he-peers around the pillar he's hiding behind. Smoke
          from the gun still hangs in the air. He ducks back behind
          the pillar, unslings his radio and, holding it close to his
          mouth, whispers into it.

                         JAMES
          Patrolman James calling Operations

          RADIO (GARBER )-
          This is Garber --
          It comes in too loud and James frantically lowers the volume.

                         

                         

                         

                         

                         50

                         CONTINUED

                         RADIO (GARBER)
          -- what's going on? Did you find
          that Supervisor?

                         JAMES
          He's dead, Lieutenant.

                         RADIO (GARBER)
          Speak up, will you? I can't hear
          you.

                         JAMES
          I can't -- I'm only about 20 yards
          from the hijacked train. They just
          shot him.

                         RADIO (GARBER)
          Shot who ? .

                         JAMES
          The Supervisor -- with a motherfuckin'
          machine gun!

                         RADIO (GARBER)
          Is he dead?

                         JAMES
          Wouldn't you be?

                         RADIO (GARBER)
          But you're not sure.

                         JAMES
          What do you want me to do, Lieutenant
          -- go out there and feel his pulse?

          INT. OPERATIONS - DAY

          Garber at his console.

                          GARBER
           All right -- stay put and keep an
           eye on things.
          (punches a button)
          Clive -- they just drew first blood.
          That Tower Supervisor from Grand
          Central -- we don't know his name
          -- they just killed him.

          INT. COMMAND CENTER,- DAY

          Prescott at his console.

                         I

                         

                         

                         

                         

          51.

                          CONT IMED

                          PRESCOTT
           Oh, God --

                         4 (TURNING)
          Frank -- do you knew who went down
          to 28th Street from Grand Central?

                         CORRELL
          Yeah -- Caz Dolowitz. It7hy?

                         PRESCOTT
          Jesus -- I knew him --

                         CORRELL
          What do you mean knew him?

                         PRESCOTT
          They just shot him.

                         CORRELL

                         (UNBELIEVING)
          Caz? Fat Caz?
          (slams his fist down)
          Christ!!

                         RADIO (COSTELLO)
          Lieutenant. Prescott -- are you there,
          Clive -- ?

                         PRESCOTT
          (pushing a button)
          Who's this?

                         RADIO (COSTELLO)
          Costello.

                         PRESCOTT
          Yes, Captain.

          RADIO (CO STELLO )
          I'm putting you in charge at this
          end, Clive --I'm going down to
          28th Street. If I don't show up
          pretty quick the city cops Ill hog
          all the action. They've ordered
          up a major mobilization, calling
          in units from four of the five
          boroughs -- there's even one on
          board the train -- one of the
          hostages.

                         PRESCOTT
          You're kidding! A cop? How do you
          know?

                         

                         

                         

                         

          52.

                         CONTINUED - 2

                         RADIO (COSTELLO)
          There were two of 'em -- one got
          off at 33rd Street and called in
          later when the news got out. That
          means the other one's still on the
          damn thing.

                         PRESCOTT
          Plainclothes?

                         RADIO (COSTELLO)
          That's right.

                         PRESCOTT
          Man or woman?

          RADIO (COSTELLO.)

                         (A PAUSE)
          You know something? I never
          thought to ask.

          PRESCOTT.
          Male Chauvinist Pig -- sir.

                          RADIO (COSTELLO)
          Yeah. Keep in touch with 'em,
          Clive -- don't let communications
          break clown. Tell l em the wheels
          are grinding -- tell 'em the
          Commissioner's on his way up to
          see the Mayor -- tell 'em we need
          more time -- tell 'em -- oh, shit,
          I don't know what to tell 'em.
          Jesus, what a city!

                         PRESCOTT
          Captain -- I wouldn't mind getting
          over there myself.

                         RADIO (COSTELLO)
          Out of the question, Clive -- we
          need you here. Incidentally, the
          Chairman asked me to thank you.

                         PRESCOTT
          What for?

          RADIO.(COSTELLO)
          The way you treated those four Japs.
          They said they had a great time --
          the highlight of their whole trip.

                         

                         

                         

                         

          53.

                         CONTINUED - 3

                         PRESCOTT
          What do you know.

          EXT. GRACIE MANSION - DAY

          The Mayor 's splendid residence on the East River. The
          following TITLE is SUPERIMPOSED:

          "GRACIE MANS ION.

          THE MAYOR `S RESIDENCE."
          Then, the time is SUPERIMPOSED: "2:21".

          INT. MAYOR'S BEDROOM - DAY


          MICRO-CLOSE SHOT - THERMOMETER
          Being held between a NURSE's fingers, slowly turning so the
          mercury catches the light.

                         MAYOR'S VOICE
          What does it say?

                         NURSE'S VOICE
          103 -point -4 .

                         WIDER ANGLE
          Including the MAYOR, a short, swarthy, roly-poly man with
          a fringe of dark hair and modish aviator's glasses;. un-
          shaven, lying in bed, the covers. pulled up to his chin;
          suffering from the flu; a glass,of juice on his bedside
          table along with sprays and vials of pills; and the Nurse,
          an elderly, white-haired we nan who, in case of invasion,
          could hold off the Mongols single handedly.

                         MAYOR
          103-point-4?! It was-only 102-
          point-9 the last time!

                         NURSE
          Last time it was orally. Orally is
          generally a half a degree lower.

                         MAYOR
          Don't remind me. All I know is I've
          got a chill, my bones ache, my head
          is ready to come off and my nose is
          a disaster area I'm the Mayor of
          the goddam city of New York, the
          second most important elective
          office in the entire United States --

                         (MORE)

                         

                         

                         

                         

          54.

                         CONTINUED

                         MAYOR (CONTD)
          are you telling me that I have
          to lie here feeling lousy like every
          other zhlub in the country?

                         NURSE
          (unperturbed, as she goes)
          Don't forget to drink your juice
          at three. And take two of the
          blue pills.

                         MAYOR
          Orally? ,
          (but she's gone)
          Boy -- boy oh boy --
          He picks up the remote-control clicker and raises the sound
          of his TV set.

                         EMCEE'S VOICE
          Couple number two, Arthur and
          Eleanor -- you have twenty points
          -- answer the bonus question
          correctly and you'll move into
          first place --
          The phone rings and he clicks the sound off with one hand
          and lifts the receiver with the other.

                         MAYOR
          Yeah.

                         WARREN'S VOICE

                         (PHONE FILTER)
          Hello, Nate, it's Warren -- I'm
          coming upstairs.

                         MAYOR
          No!

          WARREN ' S VOICE
          Sorry, Nate, it can't be helped.

                         MAYOR
          Yes it can -- I'll already be dead
          when you get here.

          WARREN' S VOICE
          Hang on a little longer, will you,
          Nate? We've got a real bitch on
          our hands.

                         

                         

                         

                         

          55.

                         CONTINUED

                         MAYOR
          Don't tell me, I don't want to know.

          WARREN ' S VOICE
          I'm coming up.

                         MAYOR
          Can't you handle it, Warren?

                         WARREN'S VOICE
          Sure I can handle it -- like I
          handle every other rotten filthy
          job in this miserable city --
          but I won't:

                         MAYOR
          What do you mean you won't? You're
          the goddam Deputy Mayor -- of course

                         YOU WILL

                         WARREN'S VOICE
          This one you've got to handle your-
          self, Nate.

                         MAYOR
          What is it, another strike? That's
          all right -- I can take another

                         STRIKE --

                         WARREN'S VOICE
          A gang of men has hijacked a subway

                         TRAIN --

                         MAYOR
          What?!!

                         WARREN'S VOICE
          -- they want a million dollars for it.

                         MAYOR

                         (A PAUSE)
          Come on up.

                         (HANGS UP)
          Shit. Shit, piss, fuck.
          He clicks the TV back on.

                         EMCEE'S VOICE
          -- And that means couple number
          one, Tom and Rusty, are the winners
          of today's Newlywed Game!!

                         MAYOR
          I missed it.

                         

                         

                         

                         

          56.

                         CONTINUED - 3
          He clicks off the TV as WARREN LASALLE enters, a tall, lean,
          no-nonsense executive with long, blond hair, sideburns and
          a large blond mustache.

                         MAYOR
          I thought it over, Warren -- you
          know what we're gonna do?

                         WARREN
          No, tell me.

                         MAYOR
          Let 'em keep the goddam subway train.
          Hell, we've got plenty more just
          like it -- we'll never miss it.

                         WARREN
          How about the seventeen hostages
          -- will we miss them?

                         MAYOR
          Oh. Dammit, Warren, the city hasn't
          got a million dollars!

                         WARREN
          Then you'd better empty out one
          of your Swiss bank accounts because
          there's no other way out.

                         MAYOR
          Don't we even get` to think about
          it?

                         WARREN
          There's no time! In --
          (checking the time)
          -- exactly forty-nine minutes they're
          gonna start shooting those hostages.
          How would that look in the Daily
          News? -- "1NEW YORKERS DIE WHILE

          MAYOR THINKS!"

                         MAYOR
          I still want the full picture.
          Get the Police Commissioner, the
          Chairman of the Transit Authority,
          and that putz we've got for a

                         CONTROLLER --

                         WARREN
          They're on their way over now.

                         (MORE)

                         

                         

                         

                         

          57.

                         CONTINUED - 4

                          WARREN (CONTD)
          But it's no good running to them,
          Nate -- you're the Mayor -- which
          means You're gonna do it my way
          -- just like always.

                         I

                         MAYOR

                         (A PAUSE)
          Shit. Shit, piss, fuck.

           INT. T .A . COMMAND CENTER - DAY

           Prescott at his console, Correll in the b.g.

                         F PRESCOTT
           Command Center calling Pelham One
           Two Three -- come in, Pelham One
           Two Three --

                         (TURNING)
          Hey, Frank -- you're hogging all
          my circuits!

                         CORRELL
          What do you want me to do? I got
          motormen calling in from all along
          the line trying to find out what
          the hell's going on!

                         PRESCOTT
          Tell 'em to shut up and get off
          the air -- I need some more lines
          open !

                         CORRELL
          I never thought I'd see the day
          when talking to murderers got
          priority over running a railroad.

                         PRESCOTT
          Oh, get off it, Frank -- our priority
          is trying to save the lives of those
          passengers!

                         CORRELL
          Screw the goddam passengers! What
          do they expect for their lousy thirty-
          five cents -- to live forever? !

                         PRESCOTT
          Oh, you're beautiful.
          (into the mike)
          Do you read me, Pelham One Two Three -- ?

                         

                         

                         

                         

          58.

                         CONTINUED

                         CORRELL
          If I were handling it I'd go storming
          in there with guns and tear gas and
          I blast 'em outl

                         PRESCOTT
          Yeah, well, you're not handling it
          so why don't you start doing your
          own work and let the police do theirs.

                         CORRELL
          Like that lily-livered cop who's
          on the train? Why hastn't he started
          shooting yet?

                         PRESCOTT
          We don't.even know it is a he --
          (into the mike)
          Do you read me, Pelham One Two Three -- ?

                         CORRELL
          Goddam woman cops -- what the hell
          good are they? She probably can't
          find her gun in her goddam purse!
          This is Pelham One Two Three --
          do you have any news to report?

          INTERCUT - PRESCOTT & BLUE

                         PRESCOTT
          Nothing yet.

                         BLUE
          What were you' calling about?

                         PRESCOTT
          We need more time.

                         BLUE
          It's 2:24, Lieutenant -- you still
          have 49 minutes.

                         PRESCOTT
          Be reasonable, will you? We're
          trying to cooperate but you're not
          giving us enough time to work with.

                         BLUE
          49 minutes.

                         

                         

                         

                         

          59.

                         CONTINUED

                         PRESCOTT
          We're dealing with City Hall, for
          God's sake -- you know what a mass
          of red tape that is!

                         BLUE
          49 minutes.

                         PRESCOTT
          Look, I know how to tell time, too,
          but we aren't gonna get anywhere if
          all you do is repeat 49 minutes!

                         BLUE
           48 minutes.

          MED. SHOT - PRESCOTT
          Sobered and subdued.

                         PRE-SCOTT
          Yeah. All right, we'll get back
          as soon as we can.
          He disconnects and sits back in his chair, staring at the
          ceiling.

                         CORRELL
          Christ -- to hear you pleading with
          that chickenshit -- it makes me
          ashamed to be an American.

                         PRESCOTT
          Go away, Frank -- go play with
          your trains.

          INT. FIRST CAR

          as Blue steps out of the cab. Green is staring at the
          hostages, nervously.

                         BLUE
          Everything quiet out here, Mr. Green?

                         GREEN
          Yeah -- except I think we've got our-
          selves a cop.

                         BLUE
          what do you mean?

                         

                         

                         

                         

          60.

                         CONTINUED

                         GREEN
          One of the hostages -- fuzz if I
          ever saw it.

                         BLUE
          Which one?

                         GREEN

                         (POINTING)
          On the right --

          PANNING SHOT - HOSTAGES
          On the right side of the car, from face to face.

                         GREEN'S VOICE
          -- the fourth, fifth, sixth,
          seventh -- that's him, next to
          the freak --
          It's the W.A.S.P. type, who is staring off into space,
          I sitting next to the Hippie who seems hypnotized by his own
          wiggling toes.

                         GREEN'S VOICE
          You ever see anybody look more
          like a cop?

          MED. SHOT - BLUE & GREEN

                         BLUE
          I'd better frisk him. Cover me.
          He walks slowly down the aisle and stops. in front of the

          W.A.S .P .

                         BLUE
          On your feet.

          W.A.S.P.
          What?

                         BLUE
          You heard me -- stand up!
          Nervously, the man stands. Blue frisks him, quickly and
          expertly. When he fails to find a weapon, he takes the
          man's wallet.

                         BLUE
          Okay -- you can sit down.

                         I

                         

                         

                         

                         

          61.

                         CONTINUED
          As the man sits, Blue looks through the wallet.

                         BLUE
          School teacher.

          W.A.S.P.
          That's right.

                         BLUE
          You ever been told you look like a
          policeman,?

          W.A.S .P .
          All the time -- but I can't help

                         IT --
          Blue tosses the wallet back into the teacher's lap, then
          turns to face the other hostages.

                         BLUE
          Listen to me, everybody. I'm sure
          you've' all figured out what' happening
          by now -- you're hostages.

          VARIOUS REACTION SHOTS
          The Passengers -- some groaning -- some frightened -- the
           Puerto Rican crossing himself -- the Hippie smiling softly
          -- etc.
          MED. SHOT - BLUE r

                         BLUE
          That means when we get what we,want
          you'll be released unharmed. Until
          then, you will continue doing
          precisely as you're told. _

                         OLD MAN
          And if you don't get what you want?
          What'll happen. to us?

                         BLUE

                         (A PAUSE)
          We expect to get it..

          EXT. EAST RIVER DRIVE - DAY

          The Brooklyn Bridge and the myriad ramps leading onto the
          Drive. An official city limousine curves around a ramp and
          heads uptown, its siren wailing.
          The time is SUPERIMPOSED: "2:27".

                         

                         

                         

                         

          62.

          INT. LIMOUSINE - DAY

           The POLICE COMMISSIONER sits alone in the back seat. He's
           .on the phone. From the front seat, MUSIC can be heard
          coming from the radio.

                         F

                         COMMISSIONER
          f This is the Police Commissioner --
          get me theBorough Commander.
          (to the DRIVER)
          Turn off that goddam music, will
          you, George?

                         (INTO PHONE)
          Harry? I'm heading up to see the
          Mayor right now. What's it look
          like down there?

          EXT. PARK AVENUE - 28TH STREET SUBWAY STATION - DAY

          The BOROUGH COMMANDER sits on the front seat of a prowl car,
          his feet hanging out the open door, talking on the phone.
          Around him: SPECTATORS, COPS, activity, noise and confusion.

                         BOROUGH COMMANDER
          It's murder, Phil -- as usual,
          they're coming out of the woodwork.
          I wouldn't be surprised if we got
          a couple of thousand thrill-seekers
          -- they really smell blood on this
          one.

                         PHONE (COMMISSIONER)
          Your barriers up?

                         BOROUGH COMMANDER
          Hell yes -- and we're pushing the
          overflow into the side-streets.
          We aren't gonna win any new friends,

                         PHIL --

                         PHONE (COMMISSIONER)
          Do we ever? How about traffic?

                         BOROUGH COMMANDER
          I stuck a patrolman at every inter-
          section from 14th to 34th, and
          crosstown from 2nd to 5th.

                         PHONE (COMMISSIONER)
          Who's your Number Two?

          BOROUGH CO01N NDER
          Deputy Chief Inspector Daniels --

                         (MORE)

                         

                         

                         

                         

          63.

                         CONTINUED
           BOROUGH CO1.10MANDER. (C ontd )
           from Special Operations. He's a
           good man, Phil -- he handled that
           protest at Bryant Park last month.

                          PHONE (COMMISSIONER)
           How are you deployed?

                          BOROUGH COMMANDER
           I've got about fifty men inside the

                         TUNNEL --

          INT. SUBWAY TUNNEL - VARIOUS SHOTS

          as we see what the Borough Commander describes -- RIOT
          POLICE, armored and helmeted, scurrying into positions,
          resembling a commando raid.

          BOROUGH COMMANDER'S VOICE
          -- north and south of the train,
          well concealed -- all wearing vests
          and armed with machine and sub-
          machine guns, shot guns, riot guns,
          hand guns, tear gas grenades -- and
          a half-dozen snipers with night
          scopes. We could fight the goddam
          third world war down there.

                         PHONE (COMMISSIONER)
          Just make sure they stay out of sight
          -- if the hijackers see them we may
          have a massacre on our hands.

          BOROUGH COMMANDER'S VOICE
          We have a sniper's report that
          they're moving around inside the
          car pretty freely -- and the one
          in the motorman's cab is fully
          exposed and a damn easy shot.

          INT. COMMISSIONER'S CAR


                         COMMISSIONER
          No! Under no cirL:umstances! Do
          you understand me, Phil? Absolutely
          no! We're taking their threats
          seariously. What've you got above
          ground?
          EXT. 28th STREET - BOROUGH COMMANDER
          Again, if feasible, we can see what he describes.

                         

                         

                         

                         

          64.

                         CONTINUED

          BOROUGH COMMA DIDER
          Trucks, cars, emergency, medical
          and rescue units, searchlights,
          bullhorns -- the works, Phil.
          I've got two men stationed at
          every emergency exit as far south
          as Union Square.

                         PHONE (COMMISSIONER)
          Any direct communications with the
          hijackers?

                         BOROUGH COMMANDER
          Negative. It's awkward as hell.
          The T.A. Command Center in Brooklyn
          has the only direct contact.

          INTO COMMISSIONER'S CAR

                         COMMISSIONER
          Harry, tell me something, will you?
          They're in a tunnel -- surrounded
          on all sides, top and bottom -- how
          the hell do they expect to get away?

          71 PHONE (BOROUGH COMMANDER)
          Beats the shit out of me, Phil.

          EXT. GRACIE MANSION - DAY

          as the Commissioner's car swings into the circular drive
          leading to the side entrance and comes to a lurching stop,
          the siren trailing off, behind three other official black
          limousines. The Commissioner jumps out and trots up onto
          the verandah.

          INT. MAYOR'S BEDROOM - DAY


          CLOSE SHOT - THE MAYOR
          as he-sneezes into a Kleenex. As CAMERA PULLS BACK he
          dries off his upper lip, wads the tissue and throws it
          .onto the floor. JESSIE, his wife, with frosted hair and
          harlequin glasses, jumps up from a chair and retrieves it.

                         JESSIE
          Nate, for God's sake.
          She baskets it, then turns to Warren LaSalle.

                         JESSIE
          Warren -- tell him other Mayors have
          to use the house after we're gone.

                         

                         

                         

                         

          65.

                         CONTINUED
          There's a knock and Warren hurries to open the door. in
          walk three men: The Commissioner, the CONTROLLER and the
          CHAIRMAN of the Transit Authority.

                         WARREN
          Thanks for coming up on short
          notice, fellas -- you all know
          Jessie, don't you? The Police
          Commissioner -- the Controller --
          the Chairman of the Transit
          Authority -- ?

                         JESSIE
          Yes, it's nice to see you again.

                         COMMISSIONER
          Mrs. Mayor --

                         CONTROLLER
          Hi, Jess --

                         CHAIRMAN
          Good afternoon.--

                         JESSIE
          Coffee for everybody -- and some
          cake?

                         WARREN
          Uh -- better skip it, Jessie --
          we're running a little short of
          time. We all know what's going
          on underground, right? So the
          main issue is whether to pay the
          ransom or not. All the rest is
          secondary. Phil? What do you
          think?

                         COMMISSIONER
          Well -- we're fully mobilized --
          I can go down there any time you
          say with enough firepower to wipe
          out an army -- but I can't guarantee
          the safety of the 'hostages.

                         WARREN
          In other words, you're for paying
          the rarlsom.

                         COMMISSIONER
          We don't want another Attica on
          our hands, do we?

                         

                         

                         

                         

          66.

                         CONTINUED - 2

                         WARREN
          So your vote is -- ?

                         COMMISSIONER
          I abstain.

                         WARREN
          Shit. Barny?

                         CHAIRMAN
          The safety of the passengers is
          the only concern of the Transit
          Authority.

                         WARREN
          Your vote?

                         CHAIRMAN
          Pay the two dollars.

                         CONTROLLER
          Sure -- two dollars I'd pay!
          But it's a million, Barfly -- a
          one with six zeroes! Is it coming
          out of your pccket?

                         WARREN
          Come on, Sid -- save the poor-
          mouth for later. How do you vote?

                         CONTROLLER
          I'm not through discussing it yet.

                         WARREN
          Yes you are. Now vote.

                         CONTROLLER -
          My concern is with the taxpayers
          -- someone's oughta be. "Millions
          for defense but not one cent for
          tribute!"

                         WARREN
          So that's a no. All right, Nate --
          you've heard from the Three Wise
          Men -- what do you say?
          Everyone turns to the Mayor. He sneezes into a Kleenex
          and tosses it onto the floor.

                         MAYOR
          What're they gonna say, Warren?

                         

                         

                         

                         

          67 .

                         CONTINUED

                         WARREN
          They who?

                         MAYOR
          Everybody -- the press, the man on
          the street --

                         JESSIE
          He means the voters.

                         WARREN
          Just what you'd expect -- the Times
          will support you on purely humani-
          tarian grounds -- the News'11 knock
          you for coddling criminals -- and
          the Post will take both sides at
          the same time. As for public
          opinion -- you'll carry Manhattan,
          lose Queens and Staten Island, and
          split down the middle in Brooklyn
           and the Bronx. The rich'11 support
           you -- likewise the blacks -- the
           Puerto Ricans won't give a shit.
           So how about it, Nate? -- quit
          I. stalling.

                         MAYOR
          Stop trying to bully everybody,
          Warren -- this is supposed to be
          a democracy!

                         WARREN
          Wise up,. for Chrissake! We're trying
          to run a city, not a goddam democracy!

                         I
          Nate! Stop farting around! We've
          got to pay !

                         MAYOR

                         (A PAUSE)
          What do you say, Jess?

                         JESSIE
          I know a million dollars is a lot
          of money -- but just think what
          you'll, get in return.

                         MAYOR
          What?

                         JESSIE
          Seventeen sure votes.

                         

                         

                         

                         

          68.

                         CONTINUED - 4

                         MAYOR

                         (SMILING)
          Go ahead, Warren -- arrange for the
          pay-off.

                         WARREN
          Halleluja!
          (as everyone rises)
          You heard it, fellas. Phil --
          pass the word to the bad guys
          that we're coughing up.

                         COMMISSIONER

                         (GOING)
          Will do.

                         WARREN
          Sid -- what bank do we do the most
          business with?

                         CONTROLLER
          City National Trust -- I'll give
          'em a call.

                         WARREN
          I'll call -- you're liable to spend
          an hour trying to knock down the
          interest rate. Come on -- everyone
          downstairs -- let's move it!
          The Mayor and Jessie are left alone. She picks up the
          crumpled Kleenex.

                         MAYOR
          I thought I handled it all right.

                         JESSIE
          A regular Fiorello LaGuardia.

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB


          CLOSE SHOT - CROSSWORD PUZZLE
          as Blue's hand is busy filling in a word. A knock is heard
          and CAMERA PULLS BACK as Blue opens the door. Green enters.

                         GREEN
          Nothing yet?
          (as Blue shakes his head)
          They're sure taking their time.

                         BLUE
          Don't worry -- they're going to pay.
          They have no choice.

                         

                         

                         

                         

          69.

                         CONTINUED

                         GREEN
          The hostages. Yeah. At first I
          thought to myself, "Five of 'em are
          spades -- who's gonna pay anything
          for spades?" But they don't know
          who we've got, do they?

                         BLUE
          It wouldn't matter if all seventeen
          were dope pushers -- they have to pay,
          so relax.

                         GREEN
          I know they have to -- but what if
          they don't?

                         BLUE
          Then a lot of people are going to
          die.

                         GREEN
          Including us.

                         BLUE
          Either you live or you die.

                         GREEN
          Living's better.

                         BLUE
          It depends. It's Y not better than
          trying to sell mutual funds, for
          example.

                         GREEN
          Did you do that?

                         BLUE
          I tried.

                         GREEN
          I thought you were in the army.

                         BLUE
          I was. That's where I developed
          my expensive tastes.

                         GREEN
          In the army? Sure' -- on three-fifty
          a month.

                         

                         

                         

                         

          70.

                         CONTINUED - 2

                         BLUE
          The Biafrans paid me twenty-five
          hundred for leading a battalion.

                         GREEN
          A month? Holy Christ l Why'd
          you ever get out of that?

                         BLUE
          The market dried up.

                         GREEN
          At least you weren't fired. But
          shit, I didn't mind -- who wants
          to drive a goddam subway train for
          the rest of.his life?

                         BLUE
          What'd they nail you for?

                         GREEN
          Nothing! They framed me -- the
          goddam Beakies had to find a fall-
          guy and they --

                         BLUE
          Beakies?

                         GREEN
          Transit inspectors -- undercover
          men. They got wind of a gang passing
          dope -- you know, transporting it
          from downtown to uptown, giving it
          to a motorman, and then someone
          picking it up in Harlem. The
          Beakies tried to pin it on me,
          but they never had any evidence..

                         BLUE
          You were innocent?

                         GREEN
          Hell yes, I was innocentl Do you
          think I'd do anything like that?

                         BLUE
          Yes.

          INT. GRACIE MANSION - LASALLE' S OFFICE - DAY

          Warren sits on the edge of his desk, on the phone.

                         

                         

                         

                         

          71.

                         CONTINUED

                         WARREN
          City National Trust? -- the Chairman
          of the Board, please? --

                         (WAITS)
          This is Warren LaSalle in the
          mayor's office -- may I speak to
          the Chairman, please?

                         PHONE (SECRETARY)
          The Chairman is on an overseas call
          at the moment --

                         WARREN
          I don't care if he's talking to the
          moon -- get your ass inside that
          of fice and put him on the line!
          He lights a cigarette while he waits.

                         PHONE (CHAIRMAN)
          Good afternoon, Mr. LaSalle -- what
          is it I can do for you?

                         WARREN
          A subway train's been hijacked.
          Unless we can deliver a million
          dollars within --
          (checks his watch)
          -- twenty-eight minutes, seventeen
          people will be assassinated.

          INT. BANK CHAIRMAN'S OFFICE - DAY

          The BANK CHAIRMAN is a silver-haired man in his sixties,
          sitting behind a large desk; on the phone.

                         BANK CHAIRMAN 
          A subway train -- how very original.
          A million, you say?

          INTERCUT - WARREN & BANK CHAIRMAN

                         WARREN
          Yes, sir -- is there any problem
          about that much cash being available?

                         BANK CHAIRMAN
          None whatsoever. We're members of
          the Federal Reserve.

                         WARREN
          Swell. Then will you arrange for us
          to be given that amount right away?

                         

                         

                         

                         

          72.

                         CONTINUED

                         BANK CHAIRMAN
          Given? I'm not sure I urde-rstand
          what you mean by "given," Mr.
          LaSalle.

                         WARREN

                         (VOICE RISING)
          Lent, of course -- I didn't expect
          it as a gift --

                         BANK CHAIRMAN
          Lent to whom, Mr. LaSalle?

                         WARREN
          To us, goddammit -- the sovereign city
          of New York --

                         BANK CHAIRMAN
          Yes, well, there are certain techni-
          calities involved in such a trans-
          action, Mr. LaSalle -- terms,
          duration, signatures --

                         WARREN
          There isn't time for all that -- I

                         BANK CHAIRMAN

                         (CHUCKLING;
          But "all that," as you put it,
          happens to be what we do for a
          living, Mr. LaSalle --

                         WARREN
          Listen to me, you stupid goddam
          piece of shit! if you don't come
          through in five seconds flat I will
          er ssona Illy find a violation in every
          in c h ofplumbing and wiring in every
          branch you've got in this whole
          fucking city!
          The Chairman looks as though he's been struck between the
          eyes. After a pause, he speaks z.iietly:

                         BANK CHAIRMAN
          Do you know something, Mr. LaSalle?
          In my entire sixty-seven years no
          one's ever spoken to me like that.

          EXT. EAST RIVER DRIVE - UN BUILDING - DAY

          as the Police Commissioner's limousine is now heading downtown

                         1

                         

                         

                         

                         

          73.

                         CONTINUED
          on the F.D.R. Drive, passing the Sutton Place apartment
          houses and approaching the United Nations, siren screaming.

          INT. COMMISSIONER'S LIMOUSINE - DRY

          He is in back, on the phone.

                         COMMISSIONER
          Harry -- ? I'm on my way down.
          We just got the green light.

          EXT. PARK AVENUE & 28TH STREET - DAY

           The Borough Commander, on the phone.

                          BOROUGH COMMANDER
           Green light -- you mean we can
           rush 'em? Jesus, Phil, that's great
           news -- the men are raring to go -- !

                          PHONE (COMMISSIONER)
           Not you asshole! -- we're paying
          the ransom money! Pass the word
          along to the hijackers.

                         BOROUGH COMMANDER

                         (DISGRUNTLED)
          Roger.
          (clicks a phone button)
          Borough Commander-to 28th Street
          Platform -- Daniels -- do you
          read me -- ?
          114T. 28th STREET SUBWAY PLATFORM
           FEATURING the motorman's cab of the stalled train. DANIELS,
           a beefy cop wearing riot gear and helmet, now hears the
           voice coming over his walky--talky.

           RADIO (BOROUGH COMMANDER)
           -- come in D .C .I . Daniels -- this
          is the Borough Commander -- I

          DANIELS.

                         (INTO WALKY-TALKY)
          This is Daniels --

          RADIO (BOROUGH COMMANDER)
          Pass the word along: the Mayor's
          agreed to pay. Let the hijackers
          know right away, will you?

                         

                         

                         

                         

          74.

                         C1 CONTINUED

                         DANIEL S
          Roger.
          He sets the hand radio aside and activates the subway
          transmitter.

                         DANIELS
          Command Center, this is 28th Street
          -- do you read me, Command Center -- ?

          INT. COMMAND CENTER - DAY

          Prescott at his desk and console. He pushes a button.

                         PRESCOTT
          This is Command Center --

                         RADIO (DANIELS)
          This is Daniels -- the Mayor's
          agreed to pay -- inform the hijackers
          right away.

                         PRESCOTT
          Will do.
          (punching another button)
          Command Center calling Pelham One
          Two Three -- come in, Pelham One
          Two Three --
          This is Pelham --rgo ahead, Prescott --

                         PRESCOTT
          We agree to pay the ransom --
          repeat, we agree to pay.

          INT. SUBWAY FIRST CAR-- MOTORMAN'S CAB


          CLOSE SHOT - BLUE
          as he greets this news calmly.

                         RADIO (PRESCOTT)
          Do you read me, Pelham -- ?

                         BLUE
          I read you. Please take down the
          next set of instructions. As before,
          they're to be obeyed to the letter.
          First -- the money is to be paid in
          the following denominations: five
          hundred thousand dollars in fifties,
          five hundred thousand dollars in
          hundreds.

                         

                         

                         

                         

          75.

          INTERCUT - PRESCOTT & BLUE

                         PRESCOTT

                         (WRITING)
          Five hundred thousand in fifties,
          five hundred thousand in hundreds --

                         BLUE
          Making a total of ten thousand
          fifty dollar bills and Alive thousand
          hundred dollar bills -- which will
          then be put up in stacks of two
          hundred bills each, bound with a
          thick rubber band lengthwise and
          another widthwise.

                         PRESCOTT
          (writing).
          Ten thousand fifties, five thousand
          hundreds, in packs of two hundred,
          bound fore and aft with rubber

                         BANDS --

                         BLUE
          Point two: all of the bills will
          be old bills, their serial numbers
          to erandom.

                         PRESCOTT

                         (WRITING)
          Old bills and no serial number
          .sequences --

                         BLUE
          That's all for now. When the
          delivery arrives we will contact
          you with further instructions.

                         PRESCOTT
          About your getaway?

                         BLUE
          I'm signing off now.

                         PRESCOTT
          It might interest you to know I've
          figured out how you're going to do

                         IT --

                          BLUE

                          (A PAUSE)
          Yes -- it would interest me.

                         

                         

                         

                         

          76.

                         CONTINUED

                         PRESCOTT
          You're going to make every man,
          woman and child in New York City
          close their eyes and count to a
          hundred.

                         BLUE
          It's two-forty-seven, Prescott
          you have twenty-six minutes.

                         PRESCOTT
          What? Don't be stupid -- we've
          agreed to pay the money. Now
          turn off the clock.

                         BLUE
          Twenty-six minutes, Prescott.

          MED. SHOT - PRESCOTT

                         PRESCOTT
          Look -- your instructions are
          complicated! The money has to be
          counted, stacked, tied, transported
          all the way uptown -- it just isn't
          physically possible!
          You'd be surprised what's physically
          possible. The clock's running,
          Prescott.

                         PRESCOTT

                         (A PAUSE)
          All right. At least let us pick
          up that man you shot. We want to
          send a. stretcher for him.
          Negative.

                         PRESCOTT
          But he may still be alive
          He's dead.

                         PRESCOTT
          But you can't be sure --
          Very well -- we'll put another half

                         (MORE )

                         

                         

                         

                         

          77.

                         CONTINUED
          dozen rounds into him so everyone
          can be sure. Over and out.
          Prescott turns and sees that the others, at nearby desks,
          have been watching and listening. He stares back at them
          for a moment., then checks his watch.

          PRE SCO TT
          Twenty-five minutes -- after that
          we can start scratching them off
          -- one per minute.

          INT. SUBWAY - FIRST CAR - PASSENGERS - BLUE'S POV

          SHOOTING down the length of the car. Most of the Passengers
          excepting the Wino Lady and the Hippie. Both are enjoying
          their own reveries.

                         BLUE'S VOICE
          Your attention please --
          At the far end, Brown guards the rear door. At mid-car,
          Grey stands with his legs astride.

                         ANOTHER ANGLE
          Including Blue and, behind him, at the front storm door,
          Green.

                         BLUE
          The city has agreed to pay for
          your release.
          No one quite knows how to greet this news -- except the Pimp
          who slowly, mockingly, claps his hands together.

                         PIMP

                         (DRAWLING)
          Far out, man --
          Blue starts forward, walking slowly, looking at passengers
          on both sides of the aisle as he goes.

                         MOTHER
          As soon as the money gets here --
          will you let us go?

                         BLUE
          No -- but soon afterwards.

                         

                         

                         

                         

          78.

                         CONTINUED

                         OLD MAN
          Do you mind telling us now how much
          you're getting?

                         BLUE
          What difference does it make?

                         OLD MAN
          A person likes to know his worth.

                         BLUE
          A million dollars.

                         OLD MAN
          Each?

                         BLUE
          Altogether.

                         OLD MAN

                         (DISAPPOINTED)
          That's not so terrific..
          Blue, still walking toward mid-car, stops at the Hippie's
          estended legs and taps the soles of his sandals with the
          muzzle of his submachine gun.

                         BLUE
          Pull in your feet -- someone's
          liable to get hurt.
          The. Hippie looks up at him, smiles, and slides his feet
          back. Blue continues until he comes to Grey. He speaks
          quietly to him.

                         BLUE
          Stop fooling around with that
          girl, Mr. Grey.

                         GREY
          What's the big deal? She's a
          twenty buck a trick hooker.

                         BLUE
          I said leave her alone.

                         GREY
          Don't worry -- I could do this
          job and hump that broad at the
          same time -- without missing a
          stroke.

                         

                         

                         

                         

          79.

                         CONTINUED - 2

                         BLUE

                         (A PAUSE)

                         I
          I once ordered a man shot for
          talking to me that way.

                         GREY
          That's the difference between us,
          Mr. Blue -- I've always done my
          own killing.

                         BLUE
          Maybe we'll get a chance to work
          that out.

          EXT. LIBERTY STREET - FEDERAL RESERVE BANK - DAY

          Number 33, the large, stone fortress occupying the entire
          block, its ground floor windows barred. The following

                         IS SUPERIMPOSED:
          "FEDERAL RESERVE BANK of N.Y."

                         AND THEN:

                         "2: 51"

          INT. FEDERAL RESERVE - PRESIDENT'S OFFICE - DAY

          The PRESIDENT stands in the middle of his large green rug,
          putting golfbaLls at a gadget that automatically catapaults
          them back. As he finishes lining up a long one, and is just
          about to stroke, the office intercom buzzes. A little
          annoyed, he crosses to his desk.

                         PRESIDENT
          Yes -- ?

                          INTERCOM (SECRETARY)
          The Chairman of the City National
          Trust on five-seven -- he said it's
          important.
          The President pushes a button putting the call on the speaker-
          phone ar_d he returns to his golf.

                         PRESIDENT
          Hello, Ben -- what can I do for you?

          SPEAKERPHONE (B .CHAIR . )
          I need a million, Henry.

                         PRESIDENT
          A million what?

                         

                         

                         

                         

          80.

                         CONTINUED

          SPEAKERPHONE (B .CHAIR . )
          Dollars, of course.

                         PRESIDENT
          (stops golfing, surprised)
          A million ones?

          SPEAKERPHONE (B .CHAIR . )
          No, not in ones -- in fifties and
          hundreds.

                         PRESIDENT

                         (PUTTING AGAIN)
          I got you now, Ben -- a million
          fifties and hundreds. That's more
          like it. When can you pick it up?

          SPEAKERPHONE (B .CHAIR . )
          I don't think you're following me,
          Henry --.a million dollars, that's
          all -- in fifties and hundreds.

                         PRESIDENT

                         (STOPPING AGAIN)
          One million? My secretary said
          it was important. What are you
          calling me about petty cash for?

           SPEAKERPHONE (B.CHAIR.)
          It's ransom money -- a subway
          train's been hijacked -- they've
          threatened to kill all the passengers.

                         PRESIDENT
          (going to his desk)
          Why the hell didn't you say so?
          Tell me how you want it and have
          a truck at the Maiden Lane loading
          platform in ten minutes.

          EXT. PARK AVENUE. & 28TH STREET - DAY


          T .V . INTERVIEWS
          A seriea of head-on television interviews with various
          individuals in the large crowd gathered at the scene. They
          all speak directly to CAMERA with the VOICE of a well-known
          Six O'Clock News PERSONALITY O .S .

                         ROGER'S VOICE
          This is Roger Grimsby for Eye-
          witness News, here at the inter-
          section of 28th Street and Park
          Avenue South, the scene of this
          incredible subway hijack --

                         

                         

                         

                         

          81.

          1. TACTICAL POLICE
          A group of the blue-helmeted COPS manning the lines and
          pushing back part of the crowd .

                         ROGER'S VOICE
          You're looking now at members
          of the T .P .F . -- the Tactical Police
           Force -- as they attempt to deal with
           this enormous crowd which is con-
           tinuing to grow every minute.
          Officer -- officer -- this is
          Eyewitness News --
          An OFFICER turns to CAMERA.

           ROGER' S VOICE
          Officer, how would you estimate the
          size of this very large crowd?

                         OFFICER
          Very large.

                         ROGER'S VOICE
          Would you describe it as unruly?

                         OFFICER
          Compared to some I've seen, Roger,
          I'd have to say it was ruly.
          Definitely ruly.

          2. A WOMAN
          Middle-aged, overweight,.dyed blond hair.

                         ROGER'S VOICE
          Excuse me, madam -- do you have
          any comment on the drama that's
          unfolding beneath our feet at this
          very moment?

                         WOMAN
          What particular part of the drama
          do you want me to comment on?

                         ROGER'S VOICE
          Some people feel that our subways
          have becomes jungles.. Any comment
          on that?

                         WOMAN
          In my opinion, Roger, our subways
          have become jungles.

                         

                         

                         

                         

          82.

          3. TEEN-AGE GIRL
          Wearing glasses and braces.

          ROGER ' S VOICE
          Would you feel more secure if,
          instead of eight hours a day, the
          trains and platforms were manned
          by the Transit Police twenty-four
          hours a day?

                         TEEN-AGE GIRL

                         (THINKS)
          Twenty-four hours minimum.

          4. BLACK DELIVERY BOY

                         DELIVERY BOY
          Dogs --,all they gotta do is loose

                         I
          a pack of Doberman Pinchers an'
          sic 'em onto that train --

          5. FASHION MODEL

                         MODEL
          Yeah -- I definitely heard it on
          the radio -- they're asking a
          million dollars for each passenger.
          That makes sixty-five million dollars
          in all --

          6. CONSTRUCTION WORKER

                         WORKERR
          You know how they're gonna get
          away? The sewers -- they got a
          map of the sewers -- just like
          that French guy, the Count of Monte

                         CARLO -

          7. HOUSEWIFE

                         HOUSEWIFE
          I met you before, Roger -- remember
          two years ago? -- at that three-
          alarm fire in Crown Heights -- ?

          8. HOTDOG VENDOR
          Under his yellow and red umbrella, doing a land-office
          business.

                         ROGER'S VOICE
          Excuse me, sir -- from the looks
          of things, you could use another
          pair of hands. I s this your regular
          corner?

                         

                         

                         

                         

          83.

                         CONTINUED

                         VENDOR

                         (ACCENT)
          For seventeen years.

          ROGER' S VOICE
          What do you think of all this?

                         VENDOR
          Terrific -- really terrific! What's
          going on, a parade?

          INT. FEDERAL RESERVE - THIRD FLOOR - DAY (SILENT)

          The President comes out of an elevator, is let through an
          iron gate by a GUARD who unlocks it, locks it again, then
          turns to unlock a second gate, allowing the President to
          pass into a corridor.

          MED. SHOT - TX. MONITORS (SILENT)
          A bank showing various areas of the building on closed
          circuit. CAMERA ZOOMS IN on one monitor: the.Presid ent is
          seen walking down the corridor.

          INT. THIRD FLOOR CORRIDOR (SILENT)

          The President passes a few wooden trucks on wheels being
          pushed by armed GUARDS. Farther, on his left, cages marked
          "PAYING/RECEIVING"; on the right, "SORTING/COUNTING." He
          turns right.

          INT. TUNNEL - PATROLMAN JAMES

          Still stuck behind the pillar, standing rigidly so as not
          to be seen from the other side. Now he lifts his radio and
          speaks softly into it.

                         JAMES
          Patrolman James calling operations
          -- come in, operations --

                         RADIO (GARBER)
          This is Garber -- what's going on?

                         JAMES
          That's what I want to know, Lieutenant
          -- standing here like a statue --
          it's drivin' me bananas!

                         RADIO (GARBER)
          Just sit tight, James -- it won't
          be much longer.

                         

                         

                         

                         

          84.

                         CONTINUED

                         JAIIES
          I just want to know one thing,
          Lieutenant -- there's a whole mess
          of feet runnin' around out there
          in the dark -- I can hear 'em. I
          figure it's a couple of dozen
          snipers and sharpshooters -- am
          I right?

                         RADIO (GARBER)
          I wouldn't- be surprised.

                         JAMES
          Yeah, well, would you make sure
          they know about' me standin' here
          between them and the hijackers?

          INT. FEDERAL RESERVE - SORTING/COUNTING - DAY (SILENT)

           Several COMITERS, mostly men, are breaking open the seals
           on dirty grey canvas money bags, and spilling out the
          contents -- currency tied into packets -- and start counting
          the packets.

          INT. GRACIE MANSION - MAYOR'S BEDROOM - DAY

           His Honor is getting a shot in the rear-end from a DOCTOR
          as Warren enters without knocking.

                          WARREN
           Pull your pants up, Nate -- we're
           going downtown. "

                         DOCTOR
          It's totally out of the question,
          Mr. LaSalle.

                         WARREN
          Nobody asked you!

                         MAYOR
          Warren, for Chrissake, I'm sick as a
          goat. What's the point?

                         WARREN
          The point, you dumb cluck, is that
          the Mayor of the City of New York,
          trailing by twenty-two points in all
          the polls, cares enough about seven-
          teen citizens in jeopardy to make a
          personal appearance in their behalf!

                         

                         

                         

                         

          85.

                         CONTINUED

                         MAYOR
          You know what'll happen -- what
          always happens -- I'll get booed.
          The Doctor starts taking the Mayor's pulse.

                         DOCTOR
          This is a very sick man.

                         WARREN
          (slapping his hand)
          Let go of that! You're off the
          case! Look, Nate, all you have to
          do is say a few words to the hi-
          jackers over a bullhorn -- make a
          dignified plea for mercy

                         MAYOR
          Do you think it will help?

                         WARREN
          Of course it'll help!

                         MAYOR

                         (HOPEFULLY)
          The hostages?

                         WARREN
          No, You.

                         MAYOR
          Warren -- suppose the hijackers
          start shooting at me --

                         WARREN
          Will you stop? They've got no
          reason to shoot at you.

                         MAYOR

                         (SMILING)
          You mean they're from. out-of -town?

          INT. FEDERAL RESERVE - COUNTING/SORTING - DAY (SILENT)

          The SORTERS, mostly women, occupy a large office of. the bull-
          pen variety. Each is sorting bills by denomination from a
          batch in her hand, separating them almost faster than the
          eye can see into the slots of a counting machine, deviating
          only to throw old, overused bills away into a basket.

                         

                         

                         

                         

          86.

          INT. COMMAND CENTER - DAY


          CLOSE SHOT - WALL CLOCK
          It reads: 2:58. CAMERA PANS to Correll, in his shirtsleeves
          and sweating now, jumping around, checking teletype messages
          and bits of scratch paper, talking over several phones at
          once.

                         CORRELL
          -- Shut up and listen to me! All
          Lexington Avenue trains departing
          from Dyer Avenue and 180th Street
          in the Bronx. are diverted to the
          West Side tracks at 149th Street
          and the Grand Concourse -- !
          CAMERA PANS to Prescott, who is sitting at his desk, watching
          Correll and shaking his head.

                         RADIO (GARBER)

                         CLIVE --

                         PRESCOTT
          (punching a button)
          Yeah, who's this?

                         RADIO (GARBER)
          It's Sol -- what're we waiting for,
          Clive?

                         PRESCOTT
          I'll be goddamned if I know. Jesus!
          How long does it take to get that
          money together? r

                         RADIO (GARBER)
          We'll never make it. The passengers
          are dead ducks.

                         PRESCOTT
          There's still fifteen minutes.
          I'm signing off,. Sol.
          (pushing another button)
          Command Center calling 28th Street
          -- can you read me, Daniels -- ?

                         RADIO (DANIELS)
          This is Daniels -- came in, Command

                         CENTER --

                         PRESCOTT
          Has the money left yet?

                         RADIO (DANIELS)
          Not yet.

                         

                         

                         

                         

          87.

                         CONTINUED

                         PRESCOTT
          Well for God's sake, give then a
          goose, will you? We're running out
          of time!
          (pushing, another button)
          Command Center calling Pelham One
          Two Three -- come in, Pelham --
          This is Pelham One To Three --

                         PRESCOTT
          This is Prescott. Listen -- we're
          moving too slowly at this end. We
          need some more time.
          Sorry -- no more time.
           Prescott's face hardens, his jaw. muscles tense.

                          CORRELL
           -- Here's the flex south of 14th
          Street -- I want the expresses run
          off into Brooklyn --

                         PRESCOTT

                         (COVERING MIKE)
          Hold it down, will you, Frank -- ?

          CORREL?J
          -- and all locals"sent around the
          loop at South Ferry and shot up
          the West Side from Bowling Green --

                         PRESCOTT
          I said knock it off! I'm trying
          to buy some more time!
          A silence in the room as everyone turns to watch Prescott as
          he speaks into the mike.

                         PRESCOTT
          All we want is another fifteen
          minutes, all right? A lousy
          fifteen minutes !
          Negative.

                         PRESCOTT
          Ten minutes, then -- what difference
          can ten minutes make?

                         

                         

                         

                         

          88.

                         CONTINUED - 2
          Negative.

                         PRESCOTT

                         (QUIETLY)
          You son of a bitch.

          INT. FEDERAL RESERVE - COUNTING - DAY (SILENT)

          A single CLERK is now assembling the ransom money. He
          selects ten bundles of fifties and five bundles of hundreds
          -- each bundle containing ten packets of one hundred bills
          -- and, after cutting the strings holding the bundles
          together, proceeds to pair the packets into two hundred
          bill thicknesses (one inch) and fasten on the two rubber
          bands.

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB

          Blue, as Green enters the cab.

                         GREEN
          I heard you on the radio -- anything
          wrong, Mr. Blue?

                         BLUE
          They've requested more time.

                         GREEN
          How much more?

                         BLUE
          Ten minutes.

                         GREEN
          I guess it won't hurt anything.

                         BLUE
          I 'didn't -give it to them.

                         GREEN

                         (A PAUSE)
          Suppose they can't make it?

                         BLUE
          Then we do what we said we'd do.
          There's no other way.

                         GREEN
          Maybe an hour wasn't enough time

                         

                         

                         

                         

          89.

                         CONTINUED

                         BLUE
          An hour's plenty! You know how the
          system works -- you give them two
          hours and they take two -- three
          and they take three. An hour's
          plenty!

                         GREEN
          And what if it isn't?

                         (NO ANSWER)
          Do you think we'll actually have
          to do it?

                         BLUE
          I don't know. They're running
          pretty late.

          INT. FEDERAL RESERVE - COUNTING - DAY (SILENT)


          CLOSE SHOT - MILLION DOLLARS
          It is now neatly piled together -- the fifteen thousand
          bills make a block approximately twenty inches high and
          twelve inches deep. CAMERA PULLS BACK as the clerk stuffs
          the money into a canvas bag, then pushes it through a
          raised window.

          INT. ADJOINING ROOM - TRAVELLING (SILENT)

          TWO GUARDS take the bag, leave the room, CARA FOLLOWING,
          and hurry down a corridor to the right. Another GUARD opens
          a gate leading to the security elevators.

                         R

          EXT. FEDERAL RESERVE - MAIDEN LANE SIDE - DAY

          A police panel truck, its motor running, parked at the side-
          walk in front of the loading bays. In front of the truck,
          eight police MOTORCYCLISTS, astride their bikes, the engines
          also running, and occasionally racing them with a flick of
          the accelerator. The time is SUPERIMPOSED:

          "3:03".

          INT. POLICE TRUCK - DAY

          It is manned by two patrolmen of the Special Operations
          Divison -- WENTWORTH, the driver, a young, red-headed man
          with a boyish face, and RICCI, slightly older, on the
          moody side.

                         RICCI
          it sure is taking them a helluva
          long time --

                         

                         

                         

                         

          90.

                         CONTINUED

          WEN T WORTH
          It's a lot of money, Albert. Do
          you realize how many times you've
          got to wet your thumb when you're
          counting out a million?

                         RICCI
          That's right -- kid around. But
          you know damn well that if we don't
          get it up there on time they're
          gonna blame us for it -- you know
           they're gonna blame us for it.

                          WENTWORTH
          Look out there, -Albert -- eight
          cycles -- just for us -- and I
          hear there's gonna be a cop at
          every single intersection all the
          way uptown.

                         RICCI
          Yeah, and while we're tying up
          the entire New York Police Force,
          the whole East Side's gonna be
          ripped off.

                         WENT WORTH
          Albert, this might be the biggest
          day of my life and you're determined
          to spoil it, aren't you?
          RADIO r (BOROUGH COMMANDER)
          This is the Borough Commander --
          come in, Car Fourteen-David --

                         RICCI
          (grabbing the mike)
          This is Fourteen-David ---

          RADIO (BORC.UGH COMMANDER)
          Jesus Christi Aren't you guys
          moving yet? What the hell's going
          on down there -- do you know what
          the goddam time is?

                         RICCI
          (rolling his eyes

                         AT WENTWORTH)
          Yes, sir -- we're still waiting for
          the money to come out, sir --

                         

                         

                         

                         

          91.

          EXT. PARK AVENUE & 28TH STREET - BOROUGH COMMANDER - DAY

          Be' s on the radio.

                         BOROUGH COMMANDER
          Yeah? Well if it's not there
          in thirty seconds you have my
          permission to go in after it!
          A LIEUTENANT interrupts him.

                         LIEUTENANT
          Sir -- we just got word that
          the Mayor's on his way down.

                         BOROUGH COMMANDER
          Terrific. Tell him we'll hold
          the crowd 'til he gets here.
          (into the mike)
          I'm warning you two guys -- if I
          don't see your faces before the
          deadline, I don't'want to see
          them at all! Ever!!
          He slams down the mike.

          INT. POLICE TRUCK


                         RICCI
          What'd I tell you? It's all
          gonna be our fault.

          EXT. LOADING BAY - DAY

          as the two Guards run out of the Federal Reserve, each
          holding one end of the money sack, each with his gun
          drawn, and head for the Police Truck. The time is

                         SUPERIMPOSED:

          "S:05°.
          They throw it into the front seat on Ricci's side and slam
          the door. The motorcycles are already starting to move,
          shoving off, their sirens wailing and the truck starts
          after them.

          EXT. MAI,)EN LANE & NASSAU STREET - DAY

          A COP on the corner waves the procession -- motorcycles and
          truck -- right on Nassau, one of the narrowest streets in
          the city -- cars are parked half up on the sidewalk -- and
          they head uphill toward John Street.

                         

                         

                         

                         

          92.

                         OVERHEAD SHOT
          From the roof of one of the office buildings, as the police
          truck continues along Nassau, past john, Fulton, Ann, and
          on toward Beekman, the eight motorcycles leading it.

                         M

          .EXT. PARR: ROW - DAY

          CAMERA PANNING with the truck as it follows the cycles out
          of Nassau, a swing to the right at Spruce, and then enter-
          ing Park Row (with City Hall on their left) heading up the
          wrong way, against the traffic, COPS at every intersection.

          INT. POLICE TRUCK


          WENTWORTH ' S POV (UNDERCRANKED )
          SHOOTING through the windshield from the Driver's point-
          of-view -- the eight cycles clearing the way, the oncoming
          traffic pulling over (and the expressions on the drivers'
          faces) as the truck careens through.

          INT. POLICE TRUCK - [WENTWORTH & RICCI

          Wentworth is grinning, really enjoying himself. Ricci,
          holding the sack of money on his lap, is scowling.

                         WENT WORTH
          Beautiful -- really beautiful!
          I've always wanted to do this --
          we're scaring the shit out of
          everybody.

                         RICCI R
          Including me.

                         WENTWCRTH
          What's wrong with you, Albert?
          This is something you can tell
          your kids about some day.

                         RICCI

                         (CHECKING WATCH)
          Eight minutes. We're never gonna
          make it.

          EXT. 14UNICIPAL BUILDING - DAY

          as, tires screeching, the truck swings over to the right
          side of the street. Traffic coming off the Brooklyn Bridge
          is being held up at the ramp. The time is SUPERIMPOSED:

                         "3:06"
          CAMERA PANS with the truck as it passes Chambers Street
          and heads up Centre.

                         

                         

                         

                         

          93.

          EXT. CENTRE STREET - DAY

          as the cycles, sirens screaming, followed by the truck,
          race past the Federal Court Building, the City Courthouse
          and the Criminal Courts Building.

          INT. COMMAND CENTER - DAY


          MED. SHOT - PRESCOTT
          He's on the radio.

                          PRESCOTT
           Where are they now, Daniels -- ?

                          RADIO (DANIELS)
          Centre Street, just north of
          Chambers.

                         PRESCOTT
          What've we got -- ?

                         (CHECKS CLOCK)
          -- seven minutes. Christ, it's
          just not enough.

                         RADIO (DANIELS)
          Even if they make it up here to
          28th Street in time -- we've still
          gotta carry it down track on foot.

                         PRESCOTT
          No way.
          (punches a button)
          Pelham One Two Three -- this is

                         PRESCOTT --
          This is Pelham One Two Three --

                         PRESCOTT
          The money's en route -- making
          pretty good time, too -- but it
          won't get to you by 3:13.
          I'm sorry to hear that.

                         PRESCOTT
          Listen -- suppose we get it to
          the station entrance by then --
          will you change the deadline from
          delivery to you to arrival at 28th
          Street? Will you do that at
          least -- ?

                          (NO ANSWER)
           Pelham One Tuv Three -- do you read -- ?

                         

                         

                         

                         

          94.

                         CONTINUED
          I'm here, Prescott.

                         (ANOTHER PAUSE)
          All right. I agree. But no more
          concessions, is that clear?

                         PRESCOTT
          Clear, clear.
          (punches a button)
          Daniels -- they bought it. If
           we get it to the station entrance
          by 3:13 we'll be okay.

                          RADIO (DANIELS)
          Good job, Prescott.

                         PRESCOTT
          Except for one thing --

          RADIO (DAN IEL S )
          What's that?

                         PRESCOTT
          We still won't make it.

          71, EXT. CANAL STREET - DAY

          as a COP at the corner waves the cycles and truck left on
          Canal, the traffic ahead on Centre being too heavy. The
          time is SUPERIMPOSED:

          "3:09".

          INT. POLICE TRUCK - DAY

          Wentworth and Ricci, the latter on the radio.

                         RICCI
          -- proceeding west on Canal Street
          on our way to Lafayette. Traffic
          heavy. Over.

                         RADIO
          Keep it coming --• you've got five
          minutes.

                         RICCI
          We'll make it.
          (hangs up mike)
          We'll never make it.

                         

                         

                         

                         

          95.

                         CONTINUED
          tl?ENTTIORTH
          Five minutes? No sweat, Albert
          -- you want to stop for a beer?

                         RICCI
          Jesusl Look out -- I

          EXT. CANAL & LAFAYETTE - DAY

          as the cyclists turn right onto Lafayette, against the on-
          coming traffic (Lafayette is one-way downtown at this
          point) the two lead bikes sideswipe each other and, going
          out of"control, topple over, sending their drivers sprawling.
          The truck slams on its brakes,.screeching to a stop just
          short of the pile-up.

          EXT. PARK AVENUE & 28TH STREET - DAY

          A SERGEANT manning the radio at the Command Post shouts to
          the Borough Commander who is off to one side, issuing orders
          to a small squad of policemen.

                         SERGEANT
          Sir -- there's been an accident --

                         BOROUGH COMMANDER
          Jesus Christ, I don't believe it!
          He starts for the radio in one of the vehicles. The time

                         IS SUPERIMPOSED:

          "3:10 'F.
          He grabs the mike.

                         BOROUGH COMMANDER
          This is the Borough Commander --
          what the hell happened?

                         RADIO (RICCI)
          Two cycles went down -- both riders
          got banged up-pretty bad. They'll
          need an ambulance.

                         BOROUGH COMMANDER
          Never mind! Drop off two more
          bikes to look after them and keep
          going -- do you hear me? Keep

                         

                         

                         

                         

          96.

          EXT. LAFAYETTE STREET - DAY

          as the truck, led by only four cyclists now, continues
          speeding north. The time is SUPERIMPOSED:

          "3:11".

          INT. POLICE TRUCK


                         RICCI

                         (ON RADIO)
          Fourteen-David heading north on
          Lafayette, approaching Vannrnare.

                         RADIO
          Get the lead out, for Chrissakel

                         RICCI
          (hanging up mike)
          Why don't they face it -- it
          just can't be done!

                         WNETWORTH
          You know something, Albert --
          you're absolutely right. Next
          corner we're turning right,
          crossing the bridge to Brooklyn
          and you and me, we got ourselves
          a fast million bucks, free and
          clear.

                         RICCI
          Are ou crazy? !
          (3.0o cs at him)
          You're kidding around again.

                         WENTWORTH
          But I had you going there for a
          minute, didn'.t I, 'Albert? _

          INT. SUBWAY TUNNEL - FIRST CAR

          as it sits in the darkness. The time is SUPERIMPOSED:

          "3:11.34--"
          as now the seconds are shown, running -- '135-36-37-38--"
          and will continue to do so throughout the following scenes.

          INT. MOTORMAN'S CAB

          as the SUPERIMPOSED time continues running -- "3:3.1.39-40-
          41-42--" and Blue regards his watch. Then he opens the cab
          door.

                         

                         

                         

                         

                         97

                         CONTINUED

                         BLUE
          Mr. Green --

                         GREEN
          (appearing at. door)
          What?

                         BLUE
          Coming up on one minute.

                         GREEN

                         (A PAUSE)
          Have you decided which one it's
          gonna be?

                         BLUE

                         (SHRUGGING)
          Does it make any difference?

                         GREEN
          I guess not.

                         (A PAUSE)
          Who's gonna do it?

                         BLUE
          Mr. Brown.

                         GREEN
          Does he know?

                         BLUE
          He won't mind.

                         GREEN
          Neither would Mr. Grey.

                         BLUE
          Mr.. Brown's better. With hint
          it's just a job -- not kicks.
          He looks at his watch as the.SUPERIMPOSED time continues to
          run: "3:12.07-08-09--to

                         BLUE
          Fifty seconds -- then we erase one.

          EXT. LAFAYETTE & HOUSTON - DAY

          as the four motorcycles and the truck, sirens all going,
          whip through the intersection against the light, a COP
          holding traffic. The SUPERIMPOSED time continues running:

          "3:12.10-11-12-13--"

                         

                         

                         

                         

          98.

          INT. POLICE TRUCK


                         RICCI

                         (ON RADIO)
          Fourteen-David crossing Houston,
          heading for Cooper square --

                         RADIO
          You've still.got twenty-eight
          blocks -- floor the sonovabitch! !
          Wentworth is bent over the wheel, all determination now.

                         WENTWORTH
          Tell him I'm doing over sixty now!

                         RICCI
           Holy Christ: -- the street's blocked!

                         I WENTWORTH
          Hold on -- I'm going through -- !

                         WENTWORTH'S POV
          SHOOTING THROUGH the windshield (as the SUPERIMPOSED time
          continues to run: "3:12.26-27-28-29--") The tail-lights
          of the cycles are twinkling red'as they begin braking --
          a tractor-trailer is stretched across the street, lining
          up its rear-end with the narrow opening of a loading
          bay, in preparation for backing into it. Now the truck
          starts backing, and while there is still some space open
          (on the sidewalk) it is closing fast. The cycles screech
          to a stop but it is clear that the truck doesn't intend to
          as it bumps up onto the sidewalk, and starts for the
          opening. But it is now too narrow. The screeching brakes
          of the truck are heard as it starts to skid around, the
          panorama flashing by sickeningly and, perhaps, a crash
          and, perhaps, the scene flopping over as the truck,
          perhaps, rolls over onto one side.

          EXT. LAFAYETTE STREET - DAY

          The Police Truck lying on its side, its wheels still
          spinning, the siren still running eerily. And the SUPER-
          IMPOSED time still running: "3:12.38-39-40-41--"

          INT. COMMAND CENTER - DAY


          CLOSE SHOT - PRESCOTT
          On the radio -- the time still SUPERIMPOSED and running:

          "2:12.42-43-44-45--"

                         PRESCOTT
          Daniels -- for God's sake answer me!
          Where's that goddam money -- ?!

                         

                         

                         

                         

          99.

                         CONTINUED

                         RADIO (DANIELS)
          Hello, Prescott -- the truck's
          been wrecked -- somewhere on
          Lafayette Street. Their radio's
          gone dead --

                         PRESCOTT
          what the hell are you talking
          about?! It can't be wrecked --
          we're out of time, goddammit!

                         RADIO (DANIELS)
          What do you want me to do?! We
          couldn't make it, that's all!

                         PRESCOTT
          What do you mean, that's all?!
          They're just about to shoot some
          poor sonuvabitch -- 1!

                         RADIO (DANIELS)
          What do they expect us to do?
          If they know we're wrecked how can
          they ask us to --

                         PRESCOTT
          They don't know anything, for
          Chrissake! How can they know
          anything down where they --
          Holy shit, that's it!!
          He punches a button on the console as the SUPERIMPOSED
          numbers now reflect the time down to the tenth of a second:

          "3:12.55(0-1-2-3-4-5-6-7-8-9)-56(0-1-2-3-4-5-6-7-8-9)-57,
          (0-1-2---) --fl

                         PRE-SCOTT
          (shouting into radio)
          Pelham One Two. Three -- ! The money's
          arrived -- repeat, the money's
          arrived!!

                         (SHORT PAUSE)
          You made it just in time, Prescott.
          The SUPERIMPOSED 'time freezes: 113:59.58.6." Prescott exhales
          sharply and sits back in his chair, exhausted. The SUPER-
          IMPOSED numbers disappear.
          You still there, Prescott?

                         

                         

                         

                         

          100.

                         CONTINUED - 2

                         PRESCOTT
          Yeah. I'm still here. Tell me
          something -- if we were a couple
          of seconds late -- you'd have
          knocked off an innocent person?
          Affirmative. Now if you're ready,
          I'll give you instructions for
          the delivery of the money. Again,
          I'll have to insist you follow
          them to the letter.

                         PRESCOTT
          Go ahead.
          Two unarmed policemen will walk
          down the track -- one with the
          money, the other with a light which
          he'll flash continuously from side
          to side in a sweeping motion.
          When they reach the car the rear
          door will open and the one with
          the money will throw it in onto
          the floor. Then they will both
          turn and walk back to the 28th
          Street Station. Acknowledge.

                         PRESCOTT
          I've got it. Is that all?
          For now. But keep it in mind
          that the same ground rules apply
          -- any wrong move by anyone and
          we'll kill a hostage.

                         PRESCOTT
          I could've. guessed that part.
          You have ten minutes to deliver the
          money. If it isn't here by then --

                         PRESCOTT
          Yeah, I know -- -it's getting mono-
          tonous. I don't suppose you'll give
          us longer than ten minutes --
          Ten's more than enough, Prescott

                         (MORE)

                         

                         

                         

                         

          1 01.

                         CONTINUED - 3
          unless you weren't telling the
          truth about the money having

                         ARRIVED --

          PRESCO'.�T

                         (QUICKLY)
          It's all right, ten minutes is fine.
          No further discussions then.
          When we have the money in hand
          I'll call you with the final set
          of instructions.

                         PRESCOTT
           You don't really think you're
           gonna get out of there, do you?

                         I
          The clock's running, Prescott
          I've got three-fourteen -- you've
          got until three-twenty-four.
          Over.

                         PRE-SCOTT
          Over. Over, you bastard.

          EXT. PARK AVENUE & 28TH STREET - DAY

          as two motorcycles, sirens blasting, push their way through
          the crowd and stop at the Borough Commander's command post.
          One driver alights and goes to help the other remove the
          canvas sack of money off the back of the second bike. They
          carry it together to the Borough Commander.

                         BOROUGH COMMANDER
          Well, it's about fucking time!

                         (TURNING)
          You two --
           He has addressed two uniformed men -- a Transit Cop
          (MISKOWSXY) and .a Tactical Policeman (O'KEEFE) -- standing

                         I
          together drinking coffee out of containers. They hurry
          over and salute.

                         BOROUGH COMMMIDER
          Which one has the flashlight?

                         MISKOWSKY
          I do, sir --
          He shows it hanging from his belt.

                         

                         

                         

                         

          102.

                         CONTINUED

           BOROUGH COMMP-11"DER
          All right -- then you

                         (O'KEEFE)
          carry the money. Now move it --
          you've only got about eight and
          a half minutes.
          (as they salute)
          Never mind the goddam salutes
          just get going!
          They take the sack from. the cyclists, hike it up onto
          O'Keefe's shoulder and hurry off, running down the steps
          into the subway.
          Now a chorus of booing is heaxd.

          BOROUGH C0124ANDER
          Christ, it's the goddam Mayor!

                         SERGEANT

                         (CRANING)
          I don't see him --

                          BOROUGH COMMANDER
           No, but I can sure hear him --

                         WIDER ANGLE
          The Mayor, wrapped in a blanket, is smiling and nodding
          as he passes through the crowd, led by a wedge of COPS,
          flanked on one side by the Commissioner, and on the other
          by Warren LaSalle. The BoroughrCommander waits for him,
          shaking his head in disgust.

                         BOROUGH COMMANDER
          And to think that I voted for the
          ba stard .
          The Mayorand entourage join him.

                         WARREN
          Hello, Commander -- His Honor wants
          to go down into the tunnel with a
          bullhorn and make a personal appeal
          to the hijackers.

                         BOROUGH COMMANDER
          I'm afraid not.

                         WARREN
          I wasn't asking for your permission
          -- all you have to do is clear the
          way.

                         

                         

                         

                         

          103.

                         CONTINUED
          The Commander looks at the Commissioner who stares right
          back, blankly. Then he turns to the Mayor.

                         BOROUGH COMMANDER
          I appreciate your wanting to
          help, sir, but you've come at
          a very bad time.

                         WARREN
          Mr. Commissioner, will you order
          your man to comply?

                         MAYOR
          Cool it, Warren'-- the Commander
          knows the situation here and we
          don't.

                         WARREN
          Nate -- I'm warning you --

                         MAYOR
          I feel shitty, Warren -- I'm going
          back to bed.
          The Mayor turns and starts back through the crowd, Warren
          chasing after him.

                         WARREN
           Nate -- ! For God's sake, Nate -- !
          INT. SUBWAY TUNNEL r
          All that can be seen in the darkness is a flashlight, its
          beam swinging back and forth, coming toward CAMERA. The
          time is SUPERIMPOSED:

          "3:18".

          ANOTHER ANGLE (TRAVELLING)
          Miskowsky and O'Keefe walking along the roadbed, between the
          rails, Miskowsky swinging the flash, O'Keefe.carrying the
          sack on his shoulder, both looking around nervously, CAMERA
          MOVING with them. Finally:

                         MISKOWSKY
          My name's Miskowsky. What's yours?

                         O'KEEFE
          O'Keefe .

                         

                         

                         

                         

          104.

                         CONTINUED

                         MISKOWSKY
          Pleased t' meet ya. Tactical Force?

                         O'KEEFE
          That's right.

                         MISKOWSKY
          You get the feelin' we're not alone
          down here?

                         O'KEEFE
          What do you mean?

                         MISKOWSKY
          I thought I saw'someone -- a couple
          of times in fact --

                         0 ' KEEFE
          Sharpshooters -- we got a couple
          dozen of 'em spread all over the
          place. There's one --

          MED. SHOT - SHARPSHOOTER

          MISKOWSKY'S POV (TRAVELLING)
          A FIGURE in the shadows, standing behind a pillar, seen
          only in silhouette as CAMERA PASSES him -- his helmet, his
          high-powered rifle, etc. -- looking very menacing.

          MED. SHOT - MISKOWSKY & O'KEEFE (TRAVELLING)

                          MIS KOWSKY
          You realize we got four submachine
          guns ahead of us and all those
          jokers behind us? I feel like I'm
          walkin' into the fuckin' O.K. Corral.

          O ' KEEFE
          Look -- there it is -- I can see
          it. There's somebody standin' in
          the rear door.

          LONG SHOT - FIRST CAR - O ' KEEFE ' S POV
          The lone car, lit from within -- and the silhouette of Brown
          at the rear storm door.

          MED. CLOSE SHOT - JAMES
          Standing behind his pillar. Now he turns his peaked cap
          around and, turning his face to the pillar, slowly moves
          his head to one side.

                         

                         

                         

                         

          105.

          MED. SHOT - FIRST CAR - JAMES' POV
          SHOOTING from behind the pillar. As the CAMERA slowly
          CRABS, the subway car comes into view -- and we see Brown
          standing at the rear door, much more clearly than before..

          MED. CLOSE SHOT - JAMES
          as he. peeks around the pillar. Now, slowly, he brings his
          right hand up and, pointing his index finger.like a gun,
          "fires."

                         JAME S
          P'choo, p'choo, p'choo --
          He blows imaginary smoke from the end of his finger, pleased
          with himself.

                         JAMES
          Shiiiiiit.

                         ANOTHER ANGLE
          From the other side of the pillar as James ducks back behind
          it, turns his back to it and looks around for another way
          of amusing himself. He notices his real gun in a holster
          at his belt and unbuttons the strap, freeing it. Then he
          assumes the stance of a gunfighter, hand poised over it,
          knees slightly bent. Then, moving suddenly, he slaps his
          holster, wheels, fires without aiming -- and there's a
          reverberating BANG, the shattering of glass and the figure
          in the subway car reels back. James looks at his hand in
          amazement -- there's no gun in it. Then, at the same-time,
          Brown has recovered his balance and begins firing his
          submachine gun, the bullets ricocheting off the metal
          pillars.

          MED. SHOT - MISKOWSKY & O'KEEFE
          as they drop onto the roadbed, bullets whining all around
          them.

                         MISKOWSKY
          For Chrissake, they're shooting
          at us!,
          O'Keefe pushes the sack of money in front of them and they
          press flat behind it.

          INT. FIRST CAR

          Blue is hurrying from the Conductor's cab to the rear of the
          car, passing between the two rows of stunned passengers
          who watch in silence. The storm door window has been smashed

                         

                         

                         

                         

          106.

                         CONTINUED
          and there is glass all over the floor nearby. Brown is
          just in the process of sitting heavily in the single
          isolated seat near the door, a dark red patch blossoming
          on his sleeve, just below the right shoulder, his sub-
          machine gun resting in his lap. He begins examining his
          wound with his left hand. Grey s--ands at the rear door,
          pressed flat against the wall, peering out.

                         BLUE
          Return to your position, Mr. Grey.

                         GREY
          Maybe they're not through --

                         BLUE
          You heard me, Mr. Grey! I don't
          think there'll be any more.

                         I
          Reluctantly, Grey goes back to mid-car.

                         BROWN
          It's not too bad -- I think it
          went right through.

                         I
          Blue spots something, bends and picks up a lump of metal
          which he tosses to Brown who watches it in his bloodied left
          hand, glances at it, then throws it away.

                         BLUE
          How does it feel?

          BROWN.
          Okay -- I never feel pain too much.

                         BLUE
          How many shots were there?

                         BROWN
          Just one -- the rest was me. I
          didn't see anything -- I guess I
          just got mad -- no sense to it --

                          BLUE

                         (THINKING)
          Somebody got nervc..us -- or bored
          -- they've been out there a long
          time. We can't let it pass.

           BROWN.
          I'm not mad any more -- forget it.

                         

                         

                         

                         

          107.

                         CONTINUED - 2

                         BLUE
          We can't afford to.
          (looking around,
          at the Passengers)
          I'll go pick one cut.

          INT. TUNNEL - JAMES

          His back to the pillar,'he has his radio up to his face,
          whispering into it.

                         JAMES
          -- I don't know who did it,
          Lieutenant -- it came from
          behind me somewhere -- in the
          dark. It hadda be one of them
          snipers they got down here --

                         RADIO (GARBER)
          Acting on whose orders?

                         JAMES
          I don't know -- maybe nobody's.

                         RADIO (GARBER)
          You mean somebody just took it
          into his head to fire? On his
          own? How could he do such a thing?

                         JAMES

                         (THINKING)
          Easy -- real easy.

                         RADIO (GARBER)
          Can you see what's going on inside
          the train?

                         JAMES
          Not too good.

                         RADIO (GARBER)
          What do you think -they'll do?

                         JAMES
          I don't know -- but I'd sure hate
          to be in there finding out.

          INT. FIRST CAR - PASSENGERS - BLUE'S POV

          CAMERA PANNING the Passengers sitting on one side of the car,
          the Passengers staring back at CAMERA (Blue), then we cross
          the aisle and PAN BACK up the other side.

                         

                         

                         

                         

          100 .

          CLOSE SHOT - BLUE

                         BLUE

                         (CALMLY)
          You. Stand up, please.

          REACTION SHOTS - PASSENGERS
          as they turn to look at whomever Blue has indicated.

          CLOSE SHOT - BUD
          The conductor as he looks up and touches his. chest with a
          finger.

                         BUD
          You mean me -- ?

                         WIDER ANGLE

                         BLUE
          That's right, conductor. Would
          you come along with me, please?

                         BUD
          Why? -- what are you going to do?

                         BLUE
          There's something you can help us
          with.
          Bud still hesitates.

                         BLUE
          Don't worry, conductor -- come

                         ALONG --
          He leads Bud by the arm back to the rear of the car, every
          Passen gar's eye on the conductor as he passes, his free
          hand moving from overhead strap to strap.

                         BLUE
          All you have to do is walk uptrack
          about a hundred feet and wait for
          the men delivering the money.
          They have reached the rear where Bud manages to avoid looking
          at Brown while Blue slides open the door.

                         BLUE
          I'll help you down onto the track.

                         BUD
          Why do I have to go -- ?

                         

                         

                         

                         

          109.

                         CONTINUED

                         BLUE

                         (LEVEL GAZE)
          I told you -- there's nothing to
          worry about.

                         (FIRMLY)
          Now please go.
          Bud looks at him, then accepts Blue's offer of help as he
          starts to swing down onto the roadbed.

          INT. TUNNEL - MISKOWSKY & O ' REEFE

          Still face down behind the canvas sack. Now O'Keefe raises
          his head.

                         0 'KEEFE
          Look -- somebody's being helped
          down onto the track --

                         MISKOWSKY

                         (PEEKING)
           Christ, he's coming this way --
           he's headed straight for us -- !

          LONG SHOT - FIRST CAR - MISKOWSKY'S POV
          as the conductor heads for CAMERA. He hesitates, turns back
          to the subway car behind him, then continues walking.
          Suddenly Brown looms in the doorway, his submachine gun
          poised, and now fires a short burst, the muzzle flashing.

                         V

          MED. SHOT - BUD
          as he staggers, reaches upward, then crumples as he passes
          CAMERA, falling forward, CAMERA following him down. One
          of his outstretched hands comes to res: near a pillar and
          a black shoe. CAMERA then PANS UP to James' terrified face.

          INT. COMMAND CENTER - DAY

          Prescott on the radio.

                         PRESCOTT
          What the hell are you talking about,
          Sol? How do you know they shot a
          hostage?

                         RADIO (GARBER)
          Because one of our own cops is right
          there! The body almost landed on
          him, for Chris sake !

                         

                         

                         

                         

          110.

                         CONTINUED

                         PRESCOTT
          But why?! We're still under the
          delivery deadline --

                         RADIO (GARBER)
          Somebody threw a shot at them --
          now they're showing us they're men
          of their word.

                         PRESCOTT
          Who the hell fired at them?

                         RADIO (GARBER)
          Nobody knows. My bet is we never will.

                         PRE-SCOTT
          How far did the money get?

                         RADIO (GARBER)
          Our guys says about fifteen yards
          back of him. It stopped when the
          shooting started. What do we do
          now, Clive?

                         PRESCOTT
          I better find out. Christ, what a
          fucking mess!
          (punching another button)
          Pelham One Two Three -- come in,
          Pelham, this is Prescott --
          This is Pelham -- go ahead, Prescott --

                         PRESCOTT
          Did you have to do it, you bastard?

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB


                         BLUE
          One of my people was shot -- I
          warned you what the penalty would be.

                         RADIO (PRESCOTT)
          I'm going to get you, you know -- me
          personally.

                         BLUE
          In the meantime, where's the money?

                         (CHECKING WATCH)
          You only have three minutes left.

                         

                         

                         

                         

          INT. TUNNEL - MISKOV7SKY & O'KEEFE

          Still lying behind the sack of money.

                         O'KEEFE
          What do we do now?

                         MISKOWSKY
          Pray that a million bucks is
          bullet-proof.

                         JAIES' VOICE
          Hey, you guys --

                         MISKOWSKY
          (draws his gun)
          Jesus, who's thgt -- ?

                         JAMES' VOICE
          Transit cop -- I'm up ahead. I
          got orders for you. Resume your
          delivery.

                         NISKOWSKY
          I don't suppose we could have it
          in writing --

          JA•IES' VOICE
          Get going -- the orders are
          make it snappy.
          Miskowsky and O'Keefe regard one another, then get slowly
          to their feet and brush themselves off.

                         MISKOT`JSKY
          I'll never get this crap off.
          One of these days they oughta
          clean up this subway.
          He switches on his flashlight.

          INT. FIRST CAR

          Brown at the rear door, watching the track. Now he turns
          and calls. -

                         BROWN
          Mr. Blue -- there's the light.
          Blue returns to the rear and stands watching with Brown.

          INT. TUNNEL - MISKOWSKY & O'KEEFE

          as they proceed, Miskowsky sweeping the light from side to
          side, and O'Keefe carrying the sack. Now Miskowsky's light

                         

                         

                         

                         

          112.

                         CONTINUED
          picks out Bud's dead body on the track -- and then Caz
          Dolowitz.

                         MISKOWSKY
          It looks like Vietnam down here.
          They continue toward the first car.

          INT. FIRST CAR

          Blue now opens the rear door as the flashlight's beam sweeps
          across the back end of the car. Now Miskowsky and O'Keefe
          appear -- only their faces peering into the car. O'Keefe
          tosses the sack off his shoulder onto the car's floor and it
          lands with a thud. Miskowsky and O'I :eefe look up at Blue
          and Brown who merely stare back. No one speaks. Then the
          two policemen turn and go. Blue now busies himself with
          opening the neck of the sack, then lifting the other end so
          that the 75 bricks of money spill out onto the floor in a
          heap.

          REACTION SHOTS -
          In rapid succession: Blue, Brown, Grey and Green, their eyes
          glued on the money -- and then Various Passengers: the Pimp,
          the Hooker, the Old Dian, the Drama Critic, the Hippie, the
          Puerto Rican, the Fag.

          MED. SHOT - REAR OF CAR

                         BLUE
          Mr. Grey --
          He gestures for Grey to join them which he does, his eyes on
          the money all the time.

                         GREY
          Well -- will you look at that,

                         NOW --

                         BLUE
          Get your things off -- both of
          you -- and start loading up.
          Blue watches while both Grey and :Brown remove their
          raincoats, jackets and finally their shirts. Brown has a
          blood-stained kerchief tied around his right upper arm.
          Both wear what can only be called money vests: canvas,
          sleeveless, fitting over the head like a Mae West, with ties
          on the sides, and containing pockets, 20 in all, front and
          back.

                         

                         

                         

                         

          113.

                         CONTINUED

                         BLUE
          Jr. Grey, you do Mr. Brown, then
          he'll do you -- nineteen packets
          each.
          Blue continues to observe for a mc-,ment as Grey starts
          inserting packets of pills, one to a pocket, into Brown's
          vest, as Brown stands stiffly, his hands at his sides.
          Then Blue walks to the front end of the car, joining Green.

                         GREEN
          All that money -- I can't believe

                         IT --

                         BLUE
          When they're finished it'll be
          your turn. Mr. Grey will load
          you up. But don't go down there
          until Nr. Brown has come here to
          take your place. I'll load up
          as soon as I talk-to Prescott.

                         GREEN
          I just wish it was all over
          already.

                         BLUE
          Pretty soon now.
          He goes into the motorman's cab and shuts the door.

          INT. COMMAND CENTER - DAY

          Prescott at his desk, waiting. Then:
          This is Pelham One Two Three --
          do you read me, Prescott -- ?

                         PRESCOTT
          (punching a,button)
          This is Prescott --

          INTERCUT - BLUE & PRESCOTT

                         BLUE
          I'm going to give you five specific
          instructions. Each one i.s.to be
          followed precisely -- is that
          clear?

                         PRESCOTT
          So far.

                         

                         

                         

                         

          114.

                         CONTINUED

                         BLUE
          One: at the end of this conversation
          you will restore power to the entire
          sector.

                         PRESCOTT

                         (WRITING)
          Restore power --

                         BLUE
          Twos you will clear the local track
          all the way from 28th Street to
          South Ferry. By clear I mean
          switches properly set and all
          signals green. I emphasize green,
          Prescott -- if eve so much as see
          a red light, let alone get tripped
          by one, we will shoot a hostage.

                         PRESCOTT

                         (WRITING)
          Local track cleared to South Ferry
          and all signals green --

                         BLUE
          Three.: all southbound trains
          behind us, local and express, are
          to remain lying dead. Likewise
          all northbound between South Ferry
          and here.

                         PRESCOTT

                         (WRITING)
          Got it --

                         BLUE
          Four: you will con-",act me as soon
          as the track is clear and all
          signals are green.

                         PRESCOTT

                         (WRITING)
          Go ahead --

                         BLUE
          Five: you will remove all police
          personnel from the tunnel. If we
          see a single cop between here and
          South Ferry we will shoot a hostage.
          In fact, any deviation from these
          instructions and we will shoot a
          hostage.

                         

                         

                         

                         

          115.

          PIED. SHOT - PRESCOTT

          PRE, SCOTT
          Are you aware that you're insane?
          (after a pause)
          Let me know when all five points
          have been complied with. Over
          and out.
          Prescott sits back for a moment, thinking. Then he punches
          a button.

                         PRESCOTT
          Sol -- you there -- ?

                          RADIO (GARBER)
           I'm here, Clive, what's up?

                          PRESCOTT
           Hold on while I cut in the city

                         COPS --
           (punches a button)
          Daniels -- ? This is Prescott --

                          RADIO (DANIELS)
           Come in, Prescott, this is Daniels --

                         PRESCOTT
          Daniels, I've got Lieutenant Garber
          of the Transit Police on the line
          with us. I have the latest instructions
          from the hijackera•. They want power
          restored, the tracks cleared, all
          signals green as far as South Ferry,
          and no cops anywhere. Okay, so we
          go along -- we have to -- but then
          what? What do you think they've
          got in mind?

                         (A SILENCE)
          Don't all talk at once.

                         I

          INTERCUT •- PRESCOTT, GARBER & DANIELS

                         GARBER
          Beats hell out of me, Clive. I
          wouldn't've picked a tunnel to
          make my getaway from in the first
          place.

                         PRESCOTT
          But they did pick it'-- and since
          everything they've done so far has

                         (MORE)

                         

                         

                         

                         

          116.

                         CONTINUED

                         PRESCOTT (CONTD)
          been organized down to tha
          smallest detail, it stands to
          reason they've got the rest
          worked out, too.

          GARBER.
          Power restored and the track cleared
          -- so they're gonna move their
          car, obviously. But why South
          Ferry?

                         DANIELS
          If I remember right it comes
          after Bowling Green -- what
          comes after South Ferry?

                         GARBER
          Bowling Green again -- the track
          loops around and heads back uptown.

                         PRESCOTT
          All they'll do is bottle themselves
          up. That's no good.

                         DANIELS
          So that means they want South
          Ferry. Why?

                         PRESCOTT
          Do you think it's the water, Sol?
          Maybe they've got a boat waiting
          in the harbor -- dr a seaplane --

                         GARBER
          Who knows? We'd.better play it
          a step at a time. Clive, you see
          about restoring power and clearing
          .the track. Daniels and I'll start
          pulling our units out of the tunnel.
          We can follow them just as well
          up above, on the street.

                         DANIELS
          How'1l we know where they are?

                         PRESCOTT
          Grand Central Tower has 'em on
          their model board -- we can see
          every move they make. If they
          stop anywhere before South Ferry
          we'll know about it.

                         

                         

                         

                         

          117.

                         CONTINUED - 2

                         DANIELS
          We'd better put some men on all
          of the emergency exits just in
          case. I'll check back in when
          I've found a squad car I can use.

                         GARBER
          Wait a minute! I think I just
          figured out how they're gonna
          get away!

                         PRESCOTT
          I'm listening --

                         GARBER
          They're gonna fly the train
          to Cuba!

          MED. SHOT - PRESCOTT

                         PRE-SCOTT

                         (SMILING)
          You're a sick man, Sol.
          He disconnects, then rises and crosses to Frank Correll
          who's still frantically leafing through teletype dispatches
          and shouting into a phone.

                         CORRELL
          What do you want me to do, for
          Chrissake? -- the goddam power's
          still off ! You' llr have to move
          them by bus -- what do you mean
          you don't have any buses?! -- go
          hiiack some!
          He slams the receiver down, then notices Prescott looking
          down 'at him.

                         CORRELL
          What's going on, Prescott -- do
          I get my trains back now or
          don't I?

                         PRESCO'I T
          You don't -- not yet.

                         CORRELL
          Jesus! Do you realize that in
          less than an hour the goddam
          rush hour starts?

                         

                         

                         

                         

          118.

                         CONTINUED

                         PRESCOTT
          Will you shut up and listen?
          I've got a new set of instructions.

                         CORRELL

                         (TURNING AWAY;
          I don't give a rat's ass for your
          fucking instructions! I'm not doing
          anything to help the killers of
          Caz Dolowitz!
          Prescott reaches into his pocket, removes his service
          revolver and, grabbing Correll by the chin, pushes his head
          back and places the muzzle of the gun into his eye.

                         PRESCOTT
          If you don't do what I tell you,
          Frank, you'll be having dinner
          tonight with Caz Dolowitz.

          INT. SUBPAY TUNNEL - FIRST CAR

          It stands, as before. in the semi-darkness. Then, suddenly,
          the lights in the tunnel and inside the car flash on -- the
          power has been restored. The time is SUPERIMPOSED:

          °3:28.

          INT. FIRST CAR

          All lights are on and the Passengers react to the sudden
          brightness. Brown, fully dressed again but looking even
          bulkier with the addition of the money, stands at the front
          end of the car now. Grey.is at mid-car, also dressed again.
          Blue and Green are at the rear end, the latter having just
          finished filling the former's money vest and now helps him
          on with his jacket and raincoat. Blue moves to the center
          of the car.

                         BLUE
          Your attention, please -- in a
          moment we're going to start moving
          again. You will all remain seated
          and quiet. We expect to release you
          unharmed in a short while, but until
          then you must continue doing exactly
          as you're told. Come along, Mr.
          Green.
          He heads for the motorman's cab, Green right behind him.
          The Pimp looks at Grey for a moment.

                         

                         

                         

                         

          119.

                         CONTINUED

                         PIMP
          Hey, dude.-- long as you goin'
          downtown anyway, you mind droppin'
          me off at Fulton Street?

                         GREY
          Smart-assed nigger --

                         PIMP
          You pretty, smart too, baby -- long
          as you holdin' that piece.

                         FAG
          Will you please?!

          INT. MOTORMAN'S CAB

          Blue stands to one side as Green sets up at the controls
          and checks the track ahead.

          GREEN .
          Green all the way down.

                         BLUE
          Go ahead then.

                         GREEN
          This is gonna hand 'em a jolt,
          you know -- moving before they
          expect it.

                         BLUE
          Go ahead, Mr. Green.
          Green edges the controller forward and the car responds.

          INT. TUNNEL

          As the car starts to move.

          INT. GRAND CENTRAL TOWER


          CLOSE SHOT - MODEL BOARD
          as the red slashes representing Pelham One Two Three are
          moving.

                         WIDER ANGLE
          Featuring Marino who is staring up at the Board.

                         MARINO
          Holy Christ, she's moving!

                         (MORE)

                         

                         

                         

                         

          120.

                         CONTINUED

                         MARINO (CONTD)

                         (TURNING)
          What the hell's goin' on? They
          said they'd wait until we'd cleared
          the track all the way down!
          Jenkins -- get the Command Center.

          MRS. JENKINS

                         (INTO MIKE)
          Grand Central Tower calling Command

                         CENTER --

          INT. COMMAND CENTER - PRESCOTT - DAY


                         PRESCOTT
          Come in, Grand Central Tower

          RADIO (MRS. JENKINS)
          She's moving.

                         PRESCOTT
          Who's moving?

          RADIO (MRS. JENKINS)
          Pelham One Two Three

                         PRESCOTT
          Mat?! Since when?

          RADIO (MRS. JENKINS)
          She just started.

                         R

                         PRESCOTT
          Hold on --
          (Punches a button)
          Sol -- she's moving!

          RADIO (GERBER)-
          Who's moving?

                         PRESCOTT
          Who the hell do you think?! Pelham!
          What's she doing now, Grand Central?

          RADIO (MRS. JENKINS)
          Still moving -- pretty slow, but
          no sign of stopping.

                         RADIO (GERBER)
          It's too goddam soon! We're not
          set up yet!

                         

                         

                         

                         

          121.

                         CONTINUED

                         PRESCOTT
          Which is probably why they did
          it. You heard from Daniels yet?

          I RADIO (GARBER)
          Yeah. He's in a squad car on Park
          Avenue South. Try him on seven-

                         FIVE --

                         PRESCOTT
          (punching another button)
          Daniels -- ? It's Prescott --

                          RADIO (DANIELS)
          I read you, Prescott -- what's up?

                         PRESCOTT
          She's moving.

                         RADIO (DANIELS)
          Who's moving?

                         PRESCOTT
          What's the matter with everybody?!.
          How many hijacked trains we got
          around here?i

                         RADIO (DANIELS)
          You mean Pelham? But they're not
          supposed to do that yet -- how
          far have they gone?

                         PRESCOTT
          Grand Central -- ?
          RADIO (NiRS. JENKINS)
          They're coming up on the 23rd
          Street Station.

                         RADIO (DANIELS)
          Oh shit, I'd better clear the cops
          off that platform. Signing off.

                         PRE-SCOTT
          All right, everybody -- listen to
          me! They jumped the gun on us but
          we're gonna.stick right with 'em.
          That means every single person in
          every department's gonna shake his
          ass, do you get that?

          RADIO (MRS. JEN INS )
          Don't worry, Lieutenant -- it's shakin',

                         

                         

                         

                         

          122.

          INT. SUBWAY. TUNNEL

          as Pelham One Two Three rolls.slowly along.

          INT. FIRST CAR - MOTORMAN'S CAB

          Blue and Green.

                         GREEN
          We're coming in to 23rd Street.

                         BLUE
          Keep it steady.

                         GREEN
          I'm still in switching -- can I
          push it up a notch?

                         BLUE
          No -- steady as she goes.

                         GREEN'S POV
          SHOOTING through the windshield. Ahead, the 23rd Street
          Platform is drawing nearer -- and there is a CROWD waiting,
          many leaning over to look uptrack at the approaching train.

                         GREEN'S VOICE
          Jesus -- look at 'em hanging
          over the edge. When I was a
          motorman I had nightmares
          about them falling off in
          front of me.

                         E

          INT. 28TH STREET PLATFORM

          as the lone car passes slowly through. The long-stranded
          would-be RIDERS start to shout, whistle and bang on the
          windows and side of the. slowly passing car.

          INT. FIRST. CAR

          The. terrified Passengers and the uncertain Brown and Grey
          as the car runs the gauntlet of the irate crowd outside;
          they all shy from the poundi ng fists.

          INT. GRAND CENTRAL TOWER - MODEL BOARD

          The red lights moving past 23rd Street. CAMERA WHIP PANS
          to Mrs. Jenkins on t ::e radio.

          MRS. JENIINS
          Pelham One Two Three passing
          23rd Street Station --

                         

                         

                         

                         

          123.

          EXT. PARK AVENUE SOUTH & 23RD STREET - DAY

          A police squad car inches along, crossing 23rd Street,
          heading downtos'm.

          INT. SQUAD CAR - DAY

          Daniels and a uniformed police DRIVER.

                         DANIELS

                         (INTO MIKE)
          Speed?

          RADIO (MRS. JENKINS)
          Continuing slow, at around five
          miles per hour -- what they call
          the switching position.

                         DANIELS
          Prescott -- ?

                         RADIO (PRESCOTT)
          Go ahead, Daniels.--

                         DANIELS
          I just had a terrible thought:
          what if they're not on the train?
          What if they set the throttle and
          jumped off? While we're chasing
          the train they're sneaking out an
          emergency exit somewhere behind us.

                         RADIO (PRESCOTT)
          Ingenious -- except for one
          thing: it's impossible.

                         DANIELS
          Why?

          RADIO. (PRESCOTT)
          A.little gizmo called the-dead
          man's feature. It was built into
          the controller handle in case a
          motorman should ever drop dead.
          It has to have a man's hand
          pressing down on it at all times
          in order to work. Otherwise the
          train stops cold.

                         DANIELS
          Yeah?

                         RADIO (PRESCOTT)
          Nice try, though. But in case

                         (MORE)

                         

                         

                         

                         

          124.

                         CONTINUED
          RADIO (PRESCOTi) (Contd )
          you're- still worried, I was just
          about to call them. I'll let you
          know if I get their answering
          service.

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB


          CLOSE SHOT - CONTROLLER HANDLE
          Green's hand pressed down on it.

                         RADIO (PRESCOTT)
          Command Center calling Pelham
          One Two Three --
          CAMERA PULLS BACK to include Green and Blue.

                         BLUE

                         (INTO MIKE)
          This is Pelham.

                         RADIO (PRESCOTT)
          What's going on? The track
          isn't clear to South Ferry yet
          -- how come you're moving?

                         BLUE
          Slight change of plan. We decided
          to put some distance between us
          and all those cops you had hidden
          in the tunnel back there.

                         RADIO "(PRESCOTT)
          If you keep moving you're gonna
          start running into red signals.
          I don't want you to blame us
          for it.

                         BLUE
          We'll be stopping soon. Just
          get back when you've cleared
          the rest of the track.
          Signing off. '

                         GREEN
          Do you think he's figured anything
          out? All those questions --

                         BLUE
          Perfectly natural under the
          circumstances. They're thinking
          just the way we want them to.

                         

                         

                         

                         

          125.

          INT. 18TH STREET PLATFORM

          Closed down for some years, the station platform is no more
          brightly lit than the rest of the tunnel, giving it an
          eerie look. The first car of Pelham One Two Three rolls
          slowly through.

          INT. MOTORMAN'S CAB


                         BLUE
          Look sharp now -- it's coming

                         UP --
          Blue and Green are straining their eyes against the
          darkened tunnel ahead.

                         BLUE
          Do you see it?

                         GREEN
          It's that white light about a
          hundred feet ahead.

                         BLUE
          All right -- this is close enough.
          Green starts to apply the brake.

          INT. GRAND CENTRAL TOWER - MODEL BOARD

          The red lights representing Pelham One Two Three stop.
          CAMERA PULLS BACK to include Marino, Mrs. Jenkins and
          some of the Towermen, all watching the board.

                         MARINO
          She's shut down again. Pass it
          along.

          MRS. . JENKINS

                         (INTO MIKE)
          Grand Central'Tower calling
          Command Center -- come in,
          Command Center --

          INT. COMMAND CENTER - PRESCOTT - DAY

          at his console. He punches a button and speaks into the
          mike.

                         PRESCOTT
          This is Command Center --

          RF DIO (MRS. JENKINS)
          She's stopped again, Lieutenant
          -- just below the 18th Street Station.

                         

                         

                         

                         

          126.

                         CONTINUED

                         PRESCOTT
          Gotcha, thanks.
          (pushing a button)
          Daniels? Come in, Daniels
          this is Prescott --

          RADIO (DA1NIELS )
          This is Daniels.

                         PRESCOTT
          They've stopped again. Where
          are you?

                         RADIO (DANIELS)
          Just crossing 17th Street.

                         PRESCOTT
          Pull over -- you're right above
          them.

          RADIO (DANIEL S )
          And then what?

                         PRESCOTT
          It's up to them. I'll get back
          to you.
          (punches a button)
          Pelham One Two Three -- this is

                         PRESCOTT --

                         (NO ANSWER)
          Pelham One Two Three -- do you
          read me -- ?

                         11

          INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB

          Blue is hanging the mike back on its hook before lending
          Green a hand with the bulky valpac that originally came
          onto the train with Blue.

          RADIO.(PRESCOTT)
          Come in, Pelham.One Two Three
          this is Prescott calling -- can
          you hear me, Pelham One Two
          Three -- ?

                         BLUE
          Ignore him -- he'll get tired and
          quit after a while. Let's get
          this stuff unpacked -- there
          isn't much time.
          They are unbuckling the straps and unfolding the canvas
          bag, then attacking the zipp`rs.

                         

                         

                         

                         

          127.

                         CONTINUED

                         RADIO (PRESCOTT)
          Come in, Pelham One Two Three --
          INT. COIiTiAND CENTER - PRE- SCOTT - DAY

                         PRESCOTT

                         (INTO MIKE)
          Goddarani.t, Pelham One Two Three,
          what the hell's wrong with you -- ?!
          Still no answer. He sits back and thinks for a moment.
          Then he turns to Correll.

          PRES CO TT
          Frank -- how long before you're
          clear all the way to South Ferry?

                         CORRELL
          You mean before this railroad is
          so totally fucked up that it'll
          take a goddam computer,to put it
          back together?

                         PRES COTT
          Right, Frank, that's what I meant.

                         CORRELL
          Five or six minutes. I've got a
          snag at Brooklyn Bridge.

                         PRESCOTT
          (pushing a button)

                         SOL ---

                         RADIO (GARBER)
          Yeah, Clive --•-

                         PRES COTT
          Something's going on down there --
          I haven't the faintest idea what
          but I'm gonna go'over and join
          Daniels at 17th Street. Come on
          up here and take over on the
          radio -- but don't tell 'em the
          track's clear until I check in
          with you. I don't want them
          starting up again before I
          get there.
          INT. SUBWAY - FIRST CAR - IHiOTORF,IAN' S CAB

          CLOSE SHOT -- GLZ11CK
          as it is pulled from the valpac -- a cast-iron, shoe-like

                         

                         

                         

                         

          128.

                         CONTINUED
          form with a molded, hollowed-out area on one side. It is
          clearly heavy enough to require both of Green's hands to
          heft it. CAitIE A PULLS BACK to reveal him, grunting,
          setting it over the controller handle which it fits
          perfectly. Blue stands by, watching.

                         GREEN
          Perfect fit.
          Blue now hands him a length of pipe, some six inches in
          length. Green takes it, fits one end into a socket on top
          of the gimmick, facing toward the windshield, and screws
          it in. Then Blue hands him his submachine gun. Green
          looks at him for reassurance.

                         BLUE
          Go ahead.
          Green attacks the windshield with tine stock of the gun,
          opening a great splintered hole.

          INT. SUBWAY CAR

          as the Passengers react to the sounds of breaking.glass
          coming from within the i iotorman's cab.

          INT. 14OTMMM'S CAB

          The front window is almost completely out -- only a few
          pieces of glass cling to the frame.

                         BLUE
          Get it all -- it's got to look
          right.
          Green uses the gun's barrel to scrape around the edges,
          clearing away the last traces of glass. Blue now hands
          Green another length of pipe -- this one about three feet
          long. Green fits one end over the protruding end of the
          attached short pipe -- not screwing it, merely fitting it.
          The other end extends straight out the glassless windshield.

                         BLUE
          Try.it once -- make sure it
          comes away clean.
          Green yanks at the long pipe and it separates from the
          shorter one.

                         GREEN
          Perfect.
          He reattaches it.

                         

                         

                         

                         

          129.

                         CONTINUED

                         BLUE
          Okay. Now j um_ down --- Ill hand
          the other oiece through.
          Green leaves the cab.

          FRONT STORM DOOR
          Brown standing guard as Green comes out of the cab. The
          two men exchange glances but no words as Green opens the
          storm door, stepping out.

          INT. TUNNEL

          As Green jumps onto the roadbed and comes around in front
          of the car, his shoes crunching the broken glass. %Lbove,
          from the cab, Blue hands Green down still a third pipe,
          this one the same length (three feet) as the second. Green
          now screws one end of the third to the protruding end of
          the second, but at such an angle that the construction now
          .turns sharply left, extending toward the tunnel wall,
          beyond the side line of the train.

                         BLUE
          Make sure its tight.

                         GREEN
          I did.

                         BLUE
          Come on back in.
          Green returns to the storm door c There Brown extends his
          left hand and pulls Green back up into the car.

          INT. MZOTORIIAN' S C,` B

          Blue is inspecting. the placement of the gimmick over the
          controller as Green enters.

                         GREEN
          It's all set to go. I only wish
          we were.

                         BLUE
          Don't worry -- ten minutes from
          now we'll be free and clear.

          EXT. PARK AVENUE SOUTH & 16TH STREET - DAY

          Union Square Park. A police squad car sits at the curb.
          The time is SUPERIiIPOSED:

          :'3,41,:'

                         

                         

                         

                         

          130.

          INT. SQUAD CAR - DAY

          Daniels on the radio.
          RADIO (BOROUGH CO:f LANDER )
          This is the Borough Commander,
          Daniels •--- what the hell's going
          on?

                         DANIELS
          Not very much at the moment, sir
          --- they're sitting down there and
          we're sitting up here.

          RADIO (BOROUGH COF..-ANDER)
          That's swell. What are you trying
          to do, starve them out?

                         DANIELS
          No, sir -•- but it's their move.
          ¶7e're just waiting for them to
          make it.

          RADIO (BOROUGH C011-2NDER)
          All right --- keep me posted.
          As Daniels hangs up the mike the rear door opens and
          Prescott sticks his head inside.

                         PRE-SCOTT
          Daniels?

                         D-MIELS
          Who the hell are you?

                         R

                         PRESCOTT
          Prescott.

                         DANIELS
          Prescott? I thought -- I don't
          know what I thought. Get- in.
          Prescott climbs into the back and closes the door.

                         PRESCOTT
          Anything happening?

                         DANIELS
          No. They're still down there.
          If the street collapsed we'd
          probably land right on top of
          them.

                         

                         

                         

                         
          i31.

                         CONTINUED

                         PRESCCTT
          (grabbing the mike)
          Prescott to Command Center
          Garber?

                         RADIO (GARBER)
          Yeah, Clive -- the tracks been
          clear for a couple of minutes.
          Can I call the hijackers?

                         PRESCOTT
          Let 'em know. And let us know
          when they start moving.
          (hangs up mike)

                         DANIELS
          What do we do -- wait or get
          started? If they ever get up
          to speed we're.gonna have trouble
          staying with them.

                         PRESCOTT

                         (THINKING)
          Let's go -- for once we'll be a
          step ahead of them.

          EXT. SQUAD CAR

          as it pulls away from the curb.

          INT. SUBWAY FIRST CAR - MOTORMAN'S CAB

          Blue and Green.

                         RADIO (GABBER)
          Command Center to Pelham One Two
          Three -- come in, Pelham --

                         GREEN
          That's not Prescott --

                         BLUE

                         (INTO MIKE)
          This is Pelham -- what happened
          to Prescott?

                         RADIO (GARBER)
          Even stars have to pee. Just
          letting you know the track's
          clear -- all the way to South
          Ferry.

                         

                         

                         

                         

          132.

                         CONTINUED

                         BLUE
          Thanks, Command Center. Give
          Prescott our regards.

                         RADIO (GARBER)
          You can do it youraelf -- at
          the arraignment.

                         BLUE
          Over and out.
          He gives the mike a strong tug and-snaps the wire.

                         BLUE
          I want this train moving in
          thirty seconds. Tell Mr. Brown
          and Mr. Grey they.rcan cut the
          emergency brake cords.
          Green leaves the cab. Blue examines the gimmick one
          last time, then follows Green out.

          INT. SUBWAY CAR


          CLOSE SHOT - EMERGENCY BRAKE CORD
          as the rope with the red wooden handle, which dangles
          some six inches from a hole in the ceiling of the car,
          is cut by a pair of clippers inserted into the hole.
          CAMERA PULLS BACK to include Brown, standing on a seat
          behind the Motorman's cab.

                         WIDER ANGLE
          Including Grey who is cutting the brake cord at the other
          end of the car. Now, submachine gun in hand, Brown opens
          the front storm door, crouches and drops out of sight.
          Then Grey starts for the rear door, hesitates, returns
          to the Hooker and bends to whisper something in her ear.

                         HOOKER
          You and what army?
          Snickering, he returns to the rear door, opens it and
          disappears. At the front of.the car, Green backs out of
          the door, closing it after him, and is helped down to the
          roadbed by Brown from below. Only Blue is left. He holds
          his submachine gun easily cradled in one arm as he moves
          through the car.

                         BLUE
          You will remain in your seats.
          Don't try to get up.

                         

                         

                         

                         

          133.

                         CONTINUED

                         MAID
          You mean ever?

                         BLUE
          I mean remain seated.
          He has reached the rear, walking backwards, and now gropes
          behind him for the door handle.

                         OLD MAN
          Aren't you going to tell us
          what a great bunch of hostages
          we've been?
          Blue doesn't answer as he opens the door and backs out onto
          the metal landing. Then he closes the door and drops down
          to the track. The Passengers, left alone, look at one
          another uncertainly.

          INT. TUNNEL

          The four hijackers are deployed along the side of the car
          -- Green in front with Brown, Blue in back with Grey.

                         BLUE
          All right, Mr. Green --
          Green, a hand on the protruding pipe connected to the
          controller handle inside the Motorman's cab, now grabs it
          with both hands and pushes inward, toward the train.

                         W

          INT. MOTOR11AN' S CAB


          CLOSE SHOT - CONTROLLER HANDLE
          as it is moved clockwise, through switching, into the
          series position.

          INT. TUNNEL

          The train starts to move. As it does, Green tugs sharply
          back on the pipe and the two longer sections, angled
          together, disengage and come loose in his hand. He starts
          to lose his balance but Brawn grabs him and pulls him back
          to the tunnel wall. The train it picking up speed rapidly
          as it slides by them.

          INT. FIRST CAR

          as it accelerates. The Passengers continue looking around,
          not sure what's happening. Suddenly, without warning, the
          Hippie jumps to his feet and, running in a crouch toward
          the rear of the car, draws a revolver.

                         T

                         

                         

                         

                         

          134.

                         CONTINUED

                         MOTHER
          They said to remain seated -- I

                         HIPPIE
          I'm a police officer -- !
          He slides open the rear door of the now-rapidly-moving car
          and dives out, leaving the Passengers even more confused.

          INT. TUNNEL - HIPPIE

          as the car rattles away and he lands hard, rolling over
          (perhaps hitting a pillar), dropping his gun and sustaining
          arm and head lacerations. He lies, face upwards, semi-
          conscious, fairly bloody.

          MED. SHOT - BLUE, GREEN, BROWN & GREY
          as they group.

                         BLUE
          Let's move along, gentlemen --
          there's no time to waste. You
          all remember the drill. What's
          wrong, Mr. Brown?

                         1

                         BROWN

                         (LOOKING DOWNTRACK)
          I thought I saw something fall out
          the back of the train.

                         BLUE
          What did it look like?

                         BROWN
          I don't know -- a shadow -- could've
          been a person -- I'm not a hundred
          percent sure I saw it.

                         GREY
          (hefting his gun)
          Want me to go check?

                         ' BLUE
          (peering aid thinking)
          Forget it -- there's no time.

          INT. GRAND CENTRAL TOWER - MODEL BOARD

          The red blips are moving.

                         I

                         

                         

                         

                         

          135.

                         CONTINUED
          Mrs. JENKINS' VOICE
          Grand Central Toner to Cozna.nd
          Center -- Pelham One Two Three
          in motion --

          INT. SQUAD CAR - DAY

          Prescott still in the back seat, Daniels up front with the
          Driver.

                         RADIO (JENKINS )
          -- passing 14th St. station and
          running. Speed approaching 35
          miles per hour.

                         DANIELS
          We're right on top of her.

                         PRESCOTT
          It doesn't make any sense -- they
          know we're monitoring their position
          -- that we've got to be following

                         THIN --

                         DANIELS
          So?

                         PRESCOTT
          So it's dumb.

          DANIELS.
          Whoever said crooks were smart?

                         PRESCOTT
          But these have been -- up to now,
          that is. They haven't made a single
          mistake. I tell you we're over-

                         LOOKING SOMETHINGS

          INT. TUNNEL - EMERGENCY EXIT

          Blue, Green, Brown and Grey have moved to the door leading
          to the exit chamber (under a grating in the street above),
          beneath the bare white bulb.

                         BLUE
          All right, we do it exactly as
          we did in the drill -- by the
          numbers.

                         I

                         

                         

                         

                         

          136.

                         CONTINUED

                         GREY
          Drills, numbers -- it's all chicken-
          shit. Why don't we just do it?

                         BLUE
          Shut up and do what you're told.

                         SUBMACHINE GUNS
          They set them down on the roadbed.

                         BLUE
          Hats, glasses, wigs and mustaches --
          They remove their disguises anal we see their faces for
          the first time.

          INT. SUBWAY CAR

          as it bumps and rattles along. The Passengers have
          remained seated.

                         MOTHER
          Can you imagine? That beatnik
          being a policeman?

                         OLD MAN
          Hippie -- they don't call them
          beatniks any more.

                         CO-ED
          They don't call them hippies any
          more, either.

                         MOTHER
          How can they let policemen dress
          like that?

          OLD NAN I
          That's his job -- he's in cognito.

          W.A.S.P.
          He's also dead, most likely. We
          were moving pretty fast by the
          time he jumped o,;t.

                         SALESMAN
          They're trained to do that.

                         PIMP
          Jump headfirst off a subway? Shiiit.

                         I

                         

                         

                         

                         

                         137

                         CONTINUED

                         MOTHER
          Where do you think they're taking
          us now?

                         OLD LIAD
          Don't worry -- they'll let us go
          pretty soon.
          The Hooker has been looking around with growing anxiety
          and now, she stands up.

                         HOOXER
          You dumb bastards -- can't anybody
          count?! They all four got off.--
          there's nobody driving the fucking
          train!
          There's a moment's silence as everyone digests this news.
          Then the Mother screams.

          111T. ASTOR PLACE PLATFORM
          as the lone car hurtles through the station.

          INT. TUNNEL - HIPPIE

          He raises himself on one elbow and shakes his head. He
          wipes some blood off his face and looks at his fingers.

                         BLUE'S VOICE
          Remove your coats -- turn inside-
          out -- and put back on.
          He looks off.

          EMERGENCY EXIT - HIPPIE'S POV
          as Blue, Green, Brown and Grey take off their coats and
          begin turning them inside out -- illuminated by the over-
          head bulb.

          CLOSE SHOT - HIPPIE
          He blink, still in a foa. He lcoks at his empty hand for. a
          moment, trying to remember what should still be in it but
          isn't. Then he begins groping around on the ground, and
          whispering to himself, barely audibly.

                         HIPPIE
          Gun -- gotta find my gun --

                         

                         

                         

                         

                         138

          NED. SHOT - BLUE, GREEN, BROWN & GREY
          as they are putting their coats on again. Grey's is now a
          light beige poplin; Brown's a mediumn grey with fur collar;
          Green's a tan herringbone ;weed; Blue's a salt and pepper
          Donegal.

                         BLUE

                         HATS --
          They remove new hats from their coat pockets -- Grey's a
          powder blue low-crowned golfing hat; Brown's a grey with
          short upturned brim; Green's a grey Russian astrakhan;
          Blue's a brown cap with short visor.

                         BLUE
          Remove gloves --

                         I

          EXT. ASTOR PLACE - DAY

          as the squad car goes through, siren screaming.

          INT. SQUAD CAR - DAY


          RADIO (JEN_'CINS )
          Pelham One Two Three reported
          halfway, between Astor Place and
          Bleeker, speed increasing --

                         DANIELS
          Christ, they're gaining on us!

                         PRESCOTT
          it has something Co do with that
          short move they surprised us with
          -- from 28th to 17th St. --

                         DANIELS
          What does?

                         PRESCOTT
          Their scheme -- it's tied up some-
          how with that move -- it has to
          bet But why'd they do it?

                         DANIELS
          I give up.

                         PRESCOTT
          To get away from the cops in the
          tunnel, that's what they said --
          all right, why not? Suppose they
          were doing something they didn't
          want anybody to see?

                         

                         

                         

                         

                         139

                         CONTINUED

                         DANIELS
          Like what?

          CLOSE SHOT - PRESCOTT

                         PRESCOTT
          (softly and evenly)
          Like getting off the train.
          Daniels --- turn around, we're
          going back.

                         WIDER ANGLE
          Including Daniels.

                         DANIELS
          Like hell we are.

                         PRESCOTT
          They're not on the train -- I'm
          sure of it!

                         DANIELS
          Look, Presoctt -- I'm the one who
          suggested that in the first place
          -- but you shot me down -- something
          about a 'dead man's feature" --

                         PRESCOTT
          They figured out how to beat it --
          that's their aanl,, -- that's what
          they started with!
          Daniels considers for an instant, then turns to the Driver.

                         DANIELS
          Turn it around -and burn rubber!

          EXT. SQUAD CAR

          as it pulls a U-turn in the middle of the block (Broadway),
          tires squealing, barely avoiding a bus. The time is

                         SUPERIMPOSED:

          "3:48."

                         INTO TUNNEL
          Blue, Green, Brown and Grey.

                         BLUE
          Check handguns in coat pocket --

                         

                         

                         

                         

                         140

                         CONTINUED
          They each remove a snub-nosed pistol, check it, then
          return it.

                         BLUE
          Remove magazines from submachine
          guns.
          All of them pick up their submachine guns but only three
          remove the magazines and then place the guns back dcwn again.
          Grey merely watches the other three,. continuing to hold his
          gun under his arm, a slight smile on his face.

                         BLUE
          Did you hear me, Mr. Grey? Disarm
          your gun and put it down so we can
          I get out of here.

                         GREY
          I'm not leaving it -- it goes out
          with me.

                         BLUE
          Put it down, Mr. Grey --

                         GREY
          What if something's gone wrong?
          What if they're waiting for us up
          there? I want more'n just a dinky
          pea-shooter!

                         BLUE
          Nothing's gone wrong. The plan
          depends on our walking away un-
          noticed. You can't do that carry-
          ing a submachine gun.

                         GREY
          I won't just carry it -- I'll hold
          it under my coat --

                         GREEN
          This is crazy! Do what he says so
          we can get going!

                         BLUE
          You're leaving your gun here, Mr.

                         GREY --

                         GREY

                         (SMILES INSOLENTLY)
          In a pig's ass, Mr. Blue --

                         

                         

                         

                         

                         141

                         CONTINUED - 2
          Without any warning, Blue, whose Wright hand has been in
          his pocket, fires his pistol through his coat, catching
          f Grey full in the chest. He staggers back, bumps against
          the tunnel wall and collapses, landing on his side. Blue
          bends, pries the submachine gun 'Loose from Grey's death
          grip, removes the magazine, pockets it, and tosses the gun
          away. Green has watched all this in near panic.

                         GREEN
          Oh my God --
          Brown watches with a detachment bordering on disinterest.

                         BROWN
          I What about his money vest?

                         BLUE
          Mr. Green will put it on over
          his own.

                         GREEN
          Me? Why me?

                         BLUE
          You're the thinnest one -- it'll
          show less. Hurry up and undress.
          Mr. Brown -- help me with Mr. Grey.
          They start to work on the dead body as Green starts
          undressing.

          TNT. GRAND CENTRAL TOWER - MODEL BOARD
          The red lights progressing. CA14ERA PULLS BACK.

          MRS. JENKINS
          She's passing Canal St.,.doing
          around fifty miles per.

                         MARINO
          That's a,pretty good clip -- I
          hope they know what they're doing.

          MRS . JENKINS
          Only four more stations to South
          Ferry.

          INT. CANAL ST. PLATFORM

          as the single car roars through the station, the darkened
          front window divulges nothing.

                         I

                         

                         

                         

                         

                         142

          INT. FIRST CAR

          Some of the Passengers have gone to the front of the car.
          The W.A.S.P. is trying to open the door to the Motorman's
          cab, but there's no outside handle so all he can do is pound
          impotently against it. The Mother remains in her seat
          holding her two boys pressed against her. Now the Old Man
          starts pushing his way up front.

                         OLD MAN
          My friends -- please -- the situa-
          tion isn't as lousy as it looks --

                         FAG
          Just a little lousy's good enough
          for me.

          W.A.S.P.
          I never knew these things went
          so fast.

                         MOTHER
          We're going to be killedl

                         OLD MAN
          No -- no we won't! I admit that
          right now we're on a run-away train,
          but it's only temporary --
          The car careens into a curve and sways wildly as the metal
          wheels scrape and screech. There's a good deal of scream-
          ing and shouting from the Passengers as several fall down.
          The Old Man starts to topple but the Pimp steadies him.

                         OLD ILXN
          Thank you, brother.

          W.A.S.P.
          Ahelluva lot you know --

                         OLD MAN
          But I do know -- I've been riding
          the subways for over sixty years
          -- I'm an expert!

                         HOOKER
          Why don't we cut all this crap and
          beat down that goddam door, for

                         CHRISSAKEL

          OLD.MAN
          It isn't necessary! They got
          something called stoppers or
          trippers or stickers or something

                         (MORE)

                         I

                         

                         

                         

                         

                         143

                         CONTINUED
          OLD MAN (Contd)
          like that -- so whenever a train
          goes through a red light these
          things automatically stop it.

                         PIMP
          (looking cut the

                         FRONT WINDOW)
          There's jest one thing, baby --

                         OLD MAN

                         (TURNING)
          What's that?

                         I PIMP
          They all green.

          THE TUNNEL (UNDERCRANKED)
          SHOOTING straight ahead from the-front of the train.
          Nothing but green lights ahead as the train races along.

          INT. TUNNEL - HIPPIE

          Propped up now against a pillar, straining to look at
          something, off.

          HIJACKERS - HIPPIE'S POV
          Blue and Brown are tying the second money vest on Green,
          then help him on with his shirt 4nd coat.

          MED. SHOT - HIPPIE
          He returns his attention to the business of locating his
          gun. He scrapes the heel of an extended leg (to his extreme
          discomfort) along the ground hoping to discover it -- and
          does. Seeing it, he now goes through the painful exercise
          of reaching for it -- finally managing this, too. Now,
          lifting one knee as a gun mount, he holds the revolver in
          both hands and starts to take aim.

          HIJACKERS - HIPPIE'S POV
          with the gun in the foreground, its sight being shifted as
          the three men are preparing to leave through the emergency
          exit. Now the Hippie's vision (FOCUS) blurs for a moment,
          and when it clears, Green has already disappeared through
          the door and Brown is right behind him. The gunsight centers
          on Brown's broad back -- and the gun fires. Brown convulses
          and topples backwards.

                         

                         

                         

                         

                         144

          EXT. BROADWAY - DAY

          The Squad Car, racing uptown now.

          INT. SQUAD CAR


                         DANIELS
          You'd better be right about this,

                         PRESCOTT --

          P RES COTT
          Even if I am, we're probably gonna
          be too late.

          INT. TUNNEL

          Blue stands behind a pillar, his gun in hand, peering into
          the darkness, trying to locate the marksman. Green is in
          the well of the emergency exit, beside the metal ladder
          that leads up through a grate and out onto the street.
          Between them, before the open doorway to the well, Brown's
          body lies face up on the ground. Green now gestures for
          Blue to come across the open area separating then.

                         GREEN
          Come on -- i

                         BLUE
          I'd never make it -- I

                         (POINTING DOWNTRACK)
          It came from down there someplace
          -- I've got to. get him. Go on

                         UP -- 1
          Green hesitates, looks up the ladder, looks back at Blue.

                         GREEN
          I -- I'll wait for you -- 1
          Blue looks at him fora moment, then checks his pistol and,
          slowly, steps out from behind the pillar. A shot rings out
          immediately and the ricochet off the pillar zings loudly.
          Blue calmly fires twice at the muzzle flash.

          MED. SHOT - HIPPIE
          Both shots have connected, one hitting his arm and sending
          the pistol flying away, the other into his upper chest,
          below the right shoulder. He topples over, sprawling
          across one rail, onto the roadbed.

          ICED, SHOT - BLUE
          He has stepped back behind his pillar again to listen.
          Silence.

                         

                         

                         

                         

                         145

                         CONTINUED

                          GREEN
          Did you hit, him -- ?!

                         BLUE
          Quiet!
          He listens again, then leaves his pillar, and hurries
          downtrack to the next where he again waits and listens,

          MED. SHOT - HIPPIE
          Inadvertently, he groans.

          MED. SHOT - BLUE
          He has heard. Now he steps out from behind the pillar and
          starts forward to the next, a-little more secure.

          INT. WALL ST. PLATFORM

          as the single car flashes through the station.

          THE TUNNEL (UNDERCRANKED)
          As before, SHOOTING straight ahead from the front of the
          train. Still nothing but green lights.

          INT. FIRST CAR

          Most of the passengers are now packed at the front of
          the car, staring out at the track-ahead.

          W.A.S.P.
          Where are the goddam red lights?!

                         SALESMAN
          There aren't any!

                         MOTHER
          We're not stopping -- we're going
          to be killed!
          i OLD MAN
          There's gonna be a red light --
          there has to be!

                         HOOKER
          And what if there isn't -- ?!

                         OLD MAN

                         (LESS SURE)
          There has to be --

                         

                         

                         

                         

          '34.6

          INT. TUNNEL - BLUE

          Now he can see the Hippie lying across the track ahead.
          He slowly starts toward him, calm, his pistol at his side.

                         BLUE
          Mr. Green -- ! It's all right!
          Go on up -- I'll be right with
          you -- !

          MED. SHOT - GREEN
          as he climbs up the ladder and starts pushing up the
          grating above his head.'

          MED. SHOT - HIPPIE
          Barely conscioous, unable to move, he watches Blue approach.

          MED. SHOT - BLUE
          as he continues walking, unhurried, toward the Hippie.
          Finally he arrives, stops, looks down at the injured man.

                         BLUE
          You were on the train. Are you
          a cop?
          Almost imperceptibly, the Hippie nods -- just once.

                         BLUE
          Then the Mayor will come to your
          funeral. X
          He lifts his gun to aim and fire and the Hippie manages to
          turn his head away. Then there's a shot -- and Blue
          crumples to the ground, dead.

                         ANOTHER ANGLE

                         I
          as Prescott comes up and stands looking down at Blue's body.
          Then he turns his attention to the Hippie, bending beside
          him. All he can see is the long blond hair.

                         PRESCOTT
          I'll have an ambr lance here in
          no time at all, Miss -- every-
          thing's going to be all right.

          INT. SOUTH FERRY PLATFORM


          CLOSE SHOT - SIGN
          Identifying the stop -- "SOUTH FERRY". CAMERA Ti7HIP PANS
          to the track as the lone car of Pelham One Two Three roars
          in and, speed undiminished, roars out.

                         

                         

                         

                         

          147.

          INT. FIRST CAR

          The old man is sitting now, his head in his hands. The
          W.A.S.P., the Hooker, the Pimp and one or two others, are
          still jammed up against the window. '

                         HOOKEP
          My God -- look -- 1 !

          THE TUNNEL - HOOKER' S POV (UNDERCRANKED)
          A sharp curve ahead.

           W.A.S.P.'S VOICE
           We're going too fast to make it -- I
          The train rushes into the curve and then, as the wheels 1
          start to screech, a red signal comes into view -- and
          CAMERA ZOOMS IN on it.

          HOOKER'S VOICE I
          Look -- I It's red!!

          INSERT - SUBWAY CAR WHEELS
          If possible, showing the trippers working on the car to
          stop it.

          INT. FIRST CAR


                         I
          With a hissing sound, and as everyone is thrown forward,
          the car decelerates quickly and finally stops -- and there
          is complete silence.

          VARIOUS REACTION SHOTS -- PASSENGERS
          -- The Puerto Rican crossing himself.
          -- The Mother hugging her two sons to her, weeping.
          -- The Pimp, sitting, his head back, staring at the ceiling.
          -- The W.A.S.P. lightin_g.a,cigarette with trembling. hand.
          -- Etc.

          MED. SHOT - OLD MAN & HOOKER
          He slowly looks up, then around, finally at the Hooker and
          he smiles.

                         OLD MAN
          I told you it would stop, didn't I?

                         HOOKED
          You win, pop.

                         

                         

                         

                         

          148.

          CLOSE SHOT - WINO LADY
          She opens her rheumy eyes for the first time.

                         WINO LADY
           Forty-secon' stree' aw'ready -- ?

          EXT. PARK AVE. SO. & 16TH ST. - DUSK

          TRAVELLING with Prescott as he walks and surveys the scene:
          Several squad cars standing at the curb, their red lights
          flashing and revolving; and now an ambulance, siren wailing,
          pulling up. A couple of COPS help the ATTENDANTS with their
          wheeled stretcher and hurry off with it. Prescott heads for
          one of the squad cars and the time is SUPERIMPOSED:

                         "4:06 I IT
          He arrives at the car and leans in to talk to Daniels.

                         PRESCOTT
          What about the train?

                         DANIELS
          Stopped itself just past South
          Ferry. Everybody's okay.

          P RES COTT
          That's a break. So what's the
          score?

                         DANIELS
          On our side -- two' dead and a long-
          haired cop on the critical list.
          Their side?

                         PRESCOTT
          Three dead.

                         DANIELS
          And don't forget. him
          He indicates the back seat with his thumb. CAMERA PANS
          to pick up Green, sitting sadly, staring at nothing in
          particular.

          INT. COMMAND CENTER - CORRELL - NIGHT

          At his desk, operating furiously on the phone, the radio,
          with dispatches, his sweat-soaked shirt clinging to him.

                         CORRELL
          -- Maintenance -- you got those
          trippers reset yet? -- well, it's

                         (MORE)

                         

                         

                         

                         

          149.

                         CONTINUED

                         CORRELL (CONTD)
          about fucking time! -- Nevins St.
          Tower -- the South Ferry loop's
          open again, repeat, South Ferry
          loop open -- Opera ons, this is
          my last warning -- if all your
          cops aren't out of the tunnel at
          16th St. in thirty seconds I'm
          gonna run 'em down -- what? --
          well, why the hell didn't you say
          so?! -- to all Motormen, to all
          Motormen -- resume normal routes
          and schedules, effective immedi-
          ately!
          He shuts off all his lines and sits back, looking around.
          His RELIEF MAN is standing by.

                         CORRELL
          Okay, Augie -- I'm givin' you
          back your railroad -- full ser-
          vice restored -- try and keep it
          that way, will you?
          711 .He rises wearily, takes his coat off the back of his chair,
          and <<;atches as the Relief Man slips into the seat.

                         RELIEF MAN
          Great job, Frank -- great job.
          Correll nods and starts out. Y

          TRAINM.ASTER
          It's gonna be pretty dull around
          here tomorrow, Frank -- what're
          you gonna do for an encore?

                         CORRELL
          Bring charges against that nigger
          cop.
          He waves and starts off, across the large room. The others
          watch him go.

                         TRAINMASTER
          With that mouth he eats?
          The time is SUPERIMPOSED:

                         €A

          :21. "

                         

                         

                         

                         

          150.

          INT. HOSPITAL ROOM - NIGHT


          HIPPIE'S POV - BLURRED
          Then coming into FOCUS -- a group of men (the Mayor, the
          Commissioner, Warren LaSalle and a DOCTOR) are standing
          looking down at the Hippie (CAMERA) lying in bed.

                         DOCTOR
          I believe he's awake now --

                         ANOTHER ANGLE
          including the Hippie in bed and a NEWS CAMERMAN standing
          by. The Mayor is wrapped. in a heavy overcoat, a woolen
          muffler and a fur hat with ear-muffs.

                         MAYOR
          Congratulations, Patrolman --

                         UH --

                         COMMISSIONER
          Berry -- Robert G.

                         MAYOR
          -- Patrolman Berry -- all right if
          I call you Bob? You performed an
          act of extraordinary valor, Bob --
          the people of the city of New York
          are in your debt.

                         (HE SNEEZES)

                         WARREN
          Shake his hand, Nate --
          The Mayor reaches out to shake hands, but the Hippie is too
          weak to lift his -- so the Mayor picks it up from atop the
          covers and pumps it. A flashbulb pops from the Photo-
          grapher's camera. Then the Mayor sneezes again.

                         COMMISSIONER
          Splendid work, Berry -- the De-
          partment's very proud of you.
          I've already put you in for pro-
          motion.

                         HIPPIE

                         (WEAKLY)
          Thank you, sir -- I only did what
          any other man on the force would've --

                         MAYOR
          So long now, Bob -- hurry up and
          get well, will you, fella? And
          congratulations again.

                         

                         

                         

                         

          151.

                         CONTINUED

                         HIPPIE
          Thank you, sir -- I only did what
          any other man on the force
          But they're already moving toward the door.

                         MAYOR
          He looks better than I do --
          probably feels better, too.
          The Hippie's eyes slowly close as he goes back to sleep.
          The time is SUPERIMPOSED:

          "9:03."

          EXT. TRANSIT AUTHORITY BLDG. - J AY ST. - NIGHT

          as Prescott comes down the front steps, alone, wearing a
          raincoat against the night's chill. He starts off down the
          street.

          EXT. FULTON ST. - NIGHT

          Most of the stores closed, their iron grills drawn, as Pres-
          cott walks along. He stops at a corner newsstand that's just
          being boarded up by an OLD WOMAN. He spots the Daily News
          headline -- "I.R.T. TRAIN HIJACKED!" -- and buys one.

                         OLD WOMAN
          Know what's gonna go next? The
          Empire State Building.

                         PRESCOTT

                         (SMILING)
          I wouldn't be surprised.
          He starts off down the street again, having folded back the
          front page and. now reading the third page. Suddenly he
          crumples the paper into a ,ball between his two hands, fakes
          dribbling it along the sidewalk, makes a good move, fakes
          one man, spins away from another and, hooking a high arching
          shot at a wire mesh trash basket, watches it hit the rim and
          bounce away, onto the pavement.

          PRES CO"'T

                         (SOFTLY)
          Shit.
          He keeps on walking as the time is SUPERIMPOSED:

          "10:14."

          FADE OUT.

                         THE END



Taking of Pelham One Two Three, The



Writers :   Peter Stone  John Godey
Genres :   Crime  Drama  Thriller


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