"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"THE WILD ONE"

Screenplay by

John Paxton

and

Ben Maddow (uncredited)

Based on the novel

"The Cyclists' Raid"

by

Frank Rooney

SHOOTING DRAFT



FADE IN: EXT. HIGHWAY - DAY

MOVING SHOT CLOSE

On a motorcycle coming fast -- straight for the camera. The
rider -- wearing a black leather jacket -- is low over the
machine, part of it, his face hidden behind large goggles.

He roars in close, the cycle and the noise filling the screen
for an instant, then overtakes the camera. Now we see twenty-
five or thirty more cyclists following the first. They are
all identically dressed -- leather jackets and goggles --
giving them the look of an anonymous, faceless, and
frightening horde. They roar toward us, cutting recklessly
in and out of traffic on the busy highway, singly or in groups
of three or four. They overtake cars and each other, at great
speed, gathering finally into a speeding, roaring mass. Over
them, SUPERIMPOSED, appears the following title:

This is a story of shocking violence. It couldn't have
happened in most American towns, but the fact that it happened
in this one -- in this way -- is a stern warning that it
must not happen again.

AS THIS TITLE FADES:

MOVING SHOT LOW ANGLE VERY CLOSE (PROCESS)

A motorcycle racing down the highway at great speed. The
explosive roar of the motor segues into the opening music;
SUPERIMPOSED over this FAST MOVING SHOT, appears the MAIN
TITLE:

SERIES OF SHOTS UNDER CREDITS

The cyclists, as they continue racing down the highway. When
the road is clear of traffic for a moment, they move into
tight formation. Then, suddenly, they break into small groups
again to thread through traffic.

Just as suddenly, they re-group again -- a solid, roaring
mass.

AS CREDITS FADE:

EXT. ROAD APPROACH TO TOWN AND INTERSECTION - DAY

LONG SHOT

The troop of cyclists comes barrelling down the road, swerves
into the main street of a small town, the CAMERA PANNING as
they head straight for a crowded, busy intersection blocked
to regular traffic.

CLOSER SHOT TOWARD INTERSECTION

An official A.M.A. race similar to the annual Catalina event
is in progress. This intersection is the Control-Point and
Finish Line, indicated by a banner. There are additional
banners stretched across the street: "WELCOME AMERICAN
MOTORCYCLE ASSOCIATION," "4TH ANNUAL CYCLE MEET," "WELCOME
CYCLISTS -- SAFE WITH SAE OIL." A public address system is
garbling constantly somewhere in the b.g., mostly drowned
out by the noise of the machines. The timing officials and
an Announcer are on a parallel, giving them a view over the
heads of the crowd.

ANOTHER ANGLE INTERSECTION

The cyclists have headed directly into the middle of all
this. As they are forced to slow down by the crowd, several
white-uniformed officials and one or two cops step out
quickly, shouting at them, waving them off. The rider in the
lead hesitates momentarily, then veers off sharply into a
side-street, the CAMERA PANNING as the rest of the group
follows him.

EXT. SIDE STREET - DAY

FULL SHOT

The newly arrived group of cyclists roars up the street --
past motorcycles backed into the curb in orderly rows. Finding
an opening in front of a bar, the lead rider cuts in sharply,
the rest following.

ANOTHER ANGLE

As the cyclists park their machines quickly and start
dismounting we are on the backs of their leather jackets.
Each is lettered: "B.R.M.C.". Underneath these letters is
painted a skull with goggles. Crossed under the skull -- in
place of bones -- are piston rods. As a succession of these
identical insignias stop in the f.g.,

DISSOLVE TO:

EXT. INTERSECTION - DAY

PAST CROWD SHOOTING UP THE STREET

Some of the contestants come roaring down the straightaway,
gearing down for the turn at the intersection. The crowd is
pressing forward against the ropes. Eight or ten of the
cyclists wearing the B.R.M.C. jackets move into the shot in
the f.g., start shouldering their way to the front. They
have taken off their goggles and helmets -- which are hanging
around their necks or from their belts -- but we still do
not see their faces. Several people in the crowd react with
annoyance, but the boys crowd forward anyway.

REVERSE SHOT

From the front as the boys crowd up, some of them drinking
from beer bottles. We see now that they are all fairly young --
eighteen to twenty-two. Each has his name lettered on the
left breast of his jacket, big enough to be read in most
scenes. They look rough and arrogant, ignoring the spectators
they are displacing. Automatically, almost like a group of
royal retainers, the group splits in two -- making a place
for one of its members. This boy -- whose jacket says "JOHNNY" --
moves regally into the spot thus created for him -- and
automatically into a fairly CLOSE SHOT.

He is just past twenty, handsome, rugged; the chip on his
big shoulders is visible half a block away. Raising his bottle
of beer, he looks off, almost bored.

JOHNNY'S ANGLE

A cyclist comes into the turn too fast, spins off, unloads
into a bale of hay. Efficient A.M.A. officials in white suits,
wearing A.M.A. arm bands, step out quickly, keeping the crowd
back, running out to give oncoming riders the caution flag.
The rider and machine are untangled from the hay, the cycle
dragged aside. The rider gets to his feet, dazed, walks around
in circles. Spectators crowd around to stare. An official
darts into the street to wipe up some spilled oil with a
handful of hay.

(NOTE: Whatever dialogue we hear at this point is merely
jargon, throw-away stuff -- for effect rather than sense. It
is obscured and punctuated by the whine of the machines coming
into the turn, gearing down, and the series of explosions as
they come out of it and dig in.)

FEATURING JOHNNY

He looks toward all this with a kind of irritated
condescension, nods, turns back into the crowd, the others
following. A serious woman spectator gives them a look, moves
into the spot just occupied by Johnny, making notations of
some sort on a piece of paper. Meanwhile, something like the
following can be understood over the P.A. system:

ANNOUNCER
Rick Riley has developed trouble
back in the hills! We'll know in a
minute if it's serious. He is still
two minutes, twenty seconds ahead of
Art Wilson -- Two minutes thirty-two
ahead of Freddie Orr. It's still
anybody's race --

The crowd edges a little closer.

FINISH LINE

A racer tears around the turn and off. The Chief Referee
steps into the street with his set of flags, unfurling the
yellow and checkered.

CROWD AT FINISH LINE

Johnny and his group re-appear, shouldering their way non-
chalantly to the front again, through the densest part of
the crowd.

ANNOUNCER (O.S.)
(shouting over the
noise)
-- When the winner gets the checkered
flag -- don't cross the street yet --
please! That doesn't mean the race
is over! Some of these boys will
still have a lap to go --

As another racer grinds by, a girl beside Johnny leans out
across the rope, yelling in a kind of crazy ecstasy:

GIRL
Come on, Al!

She yells something else, but it is drowned out. Johnny gives
her a look, a tense superior sort of smirk.

CLOSER SHOT ON JOHNNY

He flicks his eyes as a series of racers pass -- each with
the characteristic zarumpphf! zarumphf! zarumphf! The CAMERA
MOVES IN CLOSER as the sounds hit him, each one increasing
his look of tense belligerence.

SHOT OF FINISH LINE

As the first rider in gets the checkered flag, swerves off,
and is enveloped by his retinue.

MEDIUM CLOSE SHOT JOHNNY

Tense, about to explode.

ANNOUNCER
(shouting over noise)
Art Wilson -- Art Wilson the first
man in -- Stay where you are -- don't
cross the street!

Johnny steps abruptly out of the shot, into the street.
Somebody yells.

REVERSE ANGLE

Johnny has started sauntering casually across the track, his
group trailing loosely after him. Several angry A.M.A.
officials are running toward them, shouting at them, waving
them back and then on across. The Announcer is screaming
something incoherent over the P.A. System. We hear a cycle
grinding down into the turn.

AN OFFICIAL

Swearing under his breath, he grabs up a flag and darts out
to slow down the oncoming machine.

SHOT FROM OFFICIAL'S PARALLEL

It's a near-miss. The oncoming cyclist manages just in time
to brake, swerve around Johnny's group. He almost crosses-
up, but recovers and makes the turn.

ANOTHER ANGLE

The last of Johnny's group to get across is a wiry little
toughie whose jacket says "MOUSE." He pulls himself quickly
up on a telephone pole and shouts, mockingly:

MOUSE
Please! Don't cross the street! Don't
get hurt! Blood makes the track
slippery!

One or two people nearby titter, not many.

GROUP SHOT

Johnny in the center of a little whirlpool, angry officials
and spectators crowding around.

OFFICIAL
(shouting; furious)
What's the matter with you chowder-
heads? You in such a big hurry to
die?

GRINGO
(one of Johnny's group)
About this man -- he says one of
them little bikes would hurt --

CRAZY
Straight man --

ANOTHER OFFICIAL
Don't words mean anything to you
squirrels? Or you just looking for
trouble?

During this, more cyclists have crowded up. Most of them --
in sharp contrast to Johnny's group -- are clean and smartly
uniformed. Others, who have actually been racing, are in
full leathers.

MEDIUM SHOT

A couple of the racers step forward. They are serious, tired.
The white patches around their eyes where their goggles
protected them from the dust give them a weird, intense look.

RACER
We're trying to finish a race out
there.

SECOND RACER
If you goons want to have a circus
why don't you go gulley-scramble
someplace. Pick yourself a spot
somewhere --

DINKY, a big, baby-fat boy, turns to one of the racers,
simpering.

DINKY
Oh, you got all dirty!

Crazy follows up, making a show of brushing off the racer.

CRAZY
Say, how much an outfit like this
cost? That real leather?
(to others)
Hey, look, speedball's got himself a
suit all real genuine leather!

The others crowd around, the racer pushing them away. One of
the officials starts to intervene; GRINGO grabs his arm.

GRINGO
Hey, Dr. Kildare! You want to see a
race, whyn't you let my boy Johnny
here race?

ANGLE FEATURING JOHNNY

He is just standing there. Another batch of B.R.M.C. boys
appear from nowhere, crowding up, taking in the situation.
Belligerent, ready, anxious for any kind of trouble, they
eye Johnny, wait.

OFFICIAL
Nobody's stopping anybody from racing --
and you know it --

He turns away, turns back impatiently.

OFFICIAL
(continuing)
All you screwballs know what you've
got to do to enter these events --
if you want to -- If you're really
interested in a good, clean, tough
sport -- instead of seeing how much
trouble you can cause --

The B.R.M.C. boys crowd around him in mock humility.

MOUSE
What we got to do?

OFFICIAL
First of all get yourself sober enough
to get into a decent club --

DINKY
We got a club already --

He turns around to show off the insignia on his back; this
brings him face to face with a couple of the regular
motorcyclists who have come up.

DINKY
(continuing)
Hey, you squares want to join our
club? You ride around the block and
don't fall off, you can join for
four bits --

ANGLE FEATURING THE OTHER CYCLISTS

Trying to ignore the baiting, they start to turn away.

CYCLIST SPECTATOR
(to official in passing)
They don't want to race. They just
want to screw things up. None of
these outlaw outfits wants to do
anything but foul things up for
everybody --

Another of Johnny's boys, RED, catches the regular cyclist
by the arm.

RED
Hey, what kind of outfits? Say that
again --

CYCLIST SPECTATOR
(not intimidated)
Outlaw outfits -- like yours --

RED
(grinning unexpectedly)
That's what I thought you said. Okay,
Square -- Right now. You want to
drag Johnny a hundred yards for beers?
Or you chicken?

The man gives him a look, ignoring him, turns away.

DINKY
Aw, the Square's chicken. They're
all chicken --
(turning to official)
You want to see something, you want
to see Johnny go. He really goes. He
really screws it on. Arraaaaah!

He makes the noise of screwing it on, banks away, his elbow
cocked on an imaginary turn. Another of the boys, DEXTRO,
approaches the official, continuing the needling.

DEXTRO
Hey, what do you get when you win
one of these scrambles? Five thousand
dollars? Hey, I'd like to win me
five thousand dollars!

Red cuffs him roughly.

RED
Aw, you dummy! You win, they give
you a beautiful gold statchoo! Solid
gold! Solid gold dipped!

DEXTRO
(straight man;
impressed)
Yeh? Hey, what about that!
(reacting)
What do you do with it?

RED
You show it to your mother! Then you
throw it away! It isn't good for
nothing!

A couple of the boys giggle.

ANOTHER ANGLE

As the officials, fed up, are about to turn away. Mouse
follows, fawning one of them, fingering the material of his
white suit.

MOUSE
Hey, wait a minute -- where can I
get me one of these suits? I want to
look like a street cleaner too --

The official flares, pulls his arm a way, gives Mouse a slight
push. Johnny comes suddenly to life, reaches the official in
one swift move.

JOHNNY
Who are you? What do you do here?
You a cop or something?

TWO SHOT

A beat. Then, as the official turns, disgusted, to step past
Johnny, he touches his shoulder. Johnny whirls with sudden
violence, grabs him.

JOHNNY
Don't push anybody.

At the same moment, he hunches his shoulder, starting a blow.
It never lands. A big arm is flung across Johnny's chest,
blocking it. Furious, he snaps his head.

WIDER ANGLE

The arm belongs to a big, business-like cop.

COP
Okay. Break it up --

Johnny stares at him with insolent bravado. One or two other
cops move up in the b.g., ready.

COP
(continuing)
We got enough entertainment here. Go
on -- make yourselves scarce --

MOUSE
We want to watch the thrilling race,
Daddy --

COP
(harder)
One more cute remark and I'll run
the bunch of you in, right now. Let's
go. Get out of here.

The boys smirk, but nobody says anything. Johnny breaks it
suddenly, nods off. The whole group swaggers off, knocking
its way through the crowd that falls back, a little
disappointed.

OFFICIALS AND COPS

The cops eye the departing group.

COP
(to official)
Where that bunch from?

OFFICIAL
(shrugging wearily)
I don't know. Everywhere. I don't
think they even know where they're
going... Termites... Nutty. Ten guys
like that give people the idea
everybody rides a sickle is crazy...
What are they trying to prove, anyway?

COP
Beats me.
(rather sadly)
They're usually looking for somebody
to push them around so they can get
sore and show how tough they are...
And they usually find it, someplace,
sooner or later...

He stands there a moment longer than the officials,
thoughtful. Then he moves off slowly toward his cycle.

DISSOLVE TO:

EXT. SIDEWALK AND SHOPS - AFTERNOON

LONG SHOT

The augmented B.R.M.C. group comes parading toward the camera,
stretched out along the sidewalk in a long straggling line,
Johnny himself somewhere in the rear. The boys in front force
other people on the sidewalk to give way, pause in the f.g.,
looking into a shop window.

DINKY
Hey, look at all the gold --

ANOTHER ANGLE PAST BOYS

to show an array of motorcycle trophies in the window of a
combination printing and stationery shop. There are cups and
trophies of various kinds, some of them quite large, with
figures of motorcycle racers, etc.

GRINGO
Let's get us some gold --

He heads abruptly into the shop. As the others crowd in after
him:

OTHERS
Let's get Johnny some gold -- Look
at that -- Well, la-de-stinkin-dah!

Johnny comes sauntering into the scene, glances after them
casually, drifts on a bit past the door with his group.

MEDIUM SHOT

A sexy-looking girl is approaching.

MOUSE
(to girl, loudly)
Hi, Red --

THE BOYS

MOUSE
(turning away as girl
passes the group)
-- in the papers the other day, that
the world is coming to an end,
sometime --

This is very funny. They all laugh except Johnny, who follows
the girl sullenly with his eyes, the boys jostling her as
she crowds through, embarrassed.

ANOTHER ANGLE ON STREET

Another group of boys including PIGEON, Dextro and Gringo,
merges into Johnny's contingent, the whole group flowing
along the sidewalk. Pigeon moves close to Johnny, hands him
one of the trophies we've seen in the shop window.

MEDIUM CLOSE SHOT

As he hands it to Johnny. It's about ten inches high, the
figure of a motorcyclist on a pedestal.

CRAZY
Hey, look at that --

OTHERS
Look at the gold -- Look what Johnny
won!

JOHNNY
How did you get this?

PIGEON
I bought it -- for a buck!

This is greeted with a loud hurrah.

WIDER ANGLE

Red looking at the trophy over Johnny's shoulder.

RED
(reading the
inscription; reacting)
Hey, what's the matter with you?
Second place! Johnny won second place!

He raises his arm as if to strike Pigeon.

PIGEON
(pulling back)
First place was two feet high --

Johnny slips it under his leather jacket, holds it against
his body with his arm. The CAMERA HOLDS AND PANS as the group
continues on, the boys in the lead turning into the side
street where they left their cycles.

EXT. SIDE STREET - AFTERNOON

MEDIUM SHOT

Johnny and his immediate group follow, rounding the corner.
Just beyond, lined up at the curb outside the cheap bar, are
their cycles -- big, beat-up Harleys and Indians. The
remaining members of the club are here, tinkering with their
machines, sleeping on them, fiddling with bed-rolls, etc. In
the b.g. two boys are entertaining themselves with a rough
slugging match.

CRAZY
Hey, Johnny, where we going to go?

DINKY
Let's get out of here, go someplace
have us a ball, really cut up a hog --

BOXER
Hey, Johnny -- these squares got
themselves a big dance here tonight.
We can really clobber that up --

Johnny gives him a patronizing look, continues toward his
cycle.

CLOSER SHOT ON SLUGGING MATCH

This is at the far end of the line of cycles belonging to
the B.R.M.C. Beyond are the cycles of an orthodox club. One
of the fighters stumbles off the curb, crashes against a
clean English machine, knocks it over, knocks over the owner --
who with his girl companion was polishing it. He gets up,
mad. Everybody else laughs.

OWNER
Hey, take it easy --

The two boys who were slugging, the other B.R.M.C. boys crowd
around. One of them pushes the boy who knocked the machine
over.

RED
What's the matter with you? You want
to scratch all up Junior's bicycle?

With mock concern, they gather around, helping right the
fallen machine.

GO-GO
Polish it up for Junior --

He pours beer on the fender, starts rubbing it with an oily
rag. The owner pushes him aside.

OWNER
Hey --

Somebody pushes back; very quickly it has all the makings of
a real brawl.

GIRL COMPANION
No, Jack -- Please!

JOHNNY

He straightens up from his machine, starts toward the
disturbance.

ANOTHER ANGLE

Almost simultaneously, three or four cops wheel in sharply
on big Harleys, dismount. The big one in the lead is the
same cop we saw earlier. He steps into the middle of the
fight.

COP
Okay -- that does it ---

The brawl stops. The cop looks up and sees Johnny standing
there, gives him a sour look.

STINGER
Come on, Johnny, let's get out of
here, go some place. Every place you
look is cops --

Eyeing the cop, Johnny says nothing. Go-Go saunters up to
the cop, looks over his impressive, chromium-plated Harley.

GO-GO
Where do I put the nickel in? I want
to hear music. Show me where to put
the nickel in.

COP
(jerking his thumb)
We'll put you on your way, so you
don't get lost in any bars. If I
find any of you back here tonight,
I'll take your sickles away for a
month.

He remounts. The other three cops remount, wait.

COP
(continuing)
Let's go.

The other boys wait to see what Johnny is going to do. For
the moment he just stands there. The cop crosses his arms to
indicate he can wait all day. Then, suddenly, Johnny moves
to his cycle, gets on, still holding the trophy under his
coat, revs up his machine. The others in the group quickly
follow suit. The cop wheels back to give them room. The whole
line of cycles is now revved up, making a terrific din.

ANGLE FEATURING JOHNNY

He throws his cycle in gear, digs in, roars out from curb in
a reckless crazy burst of speed. The others follow.

DISSOLVE TO:

EXT. HIGHWAY - AFTERNOON (SERIES OF SHOTS)

THE GROUP

barrelling along at a crazy speed, passing cars, cutting in --
all wearing their helmets and goggles again.

JOHNNY (PROCESS)

As he rides, identifiable only by the gold trophy, which has
now been wired to his front fender.

MEDIUM FULL SHOT

The group comes roaring down the highway, Johnny in the lead.
The CAMERA PANS as he swerves off onto a side-road. The pack
swerves off behind him.

EXT. HIGHWAY APPROACH TO TOWN - (MATTE) - AFTERNOON

LONG SHOT

The road winds off through the hills toward a small town in
the distance. The troop tears by and is lost from sight
somewhere in the hills beyond, the sound dying out.

DISSOLVE TO:

EXT. TOWN - MAIN STREET

FULL SHOT

A mongrel dog ambles across in the f.g. In the b.g. one or
two people stroll through. In this brief pause we get a
feeling of quiet, peace, and dignity. Then we hear the cycles
again -- a faint hum at first, growing quickly louder, until
the troop of thirty riders pours into the street with a
deafening roar.

SERIES OF REACTION SHOTS

Various local citizens pause in whatever they are doing,
stop on the sidewalk, or step out of shops and stores, staring
blankly at this sudden, noisy phenomenon.

FULL SHOT STREET

SHOOTING PAST a large sign in the f.g. It reads: "BLEEKER'S -
BAR - CAFE." As the cycles bear down on the camera, it PANS
with them TOWARD a garage and filling station across the
street and beyond Bleeker's.

INT. BLEEKER'S CAFE

MEDIUM CLOSE SHOT WAITRESS

She is a pretty girl, but not too pretty, about eighteen.
She has paused just now, about to place two cups of coffee
on the counter. This is KATHIE.

WIDER ANGLE

including the two men about to receive the coffee. One is
HARRY; he is in his shirtsleeves, but beside him on the
counter is a cap with a police badge. The other is BEN, who
is in work clothes -- the garage man. Looking off through
the windows toward the swarm of cyclists descending on his
place, Ben is already getting up.

ANOTHER ANGLE

As another man moves into the shot, looking off over Kathie's
shoulder. This is BLEEKER, Harry's brother; they look
something alike, but Bleeker is a year or two older, more
affable, relaxed.

BLEEKER
(smiling)
Business before pleasure, Ben --

MEDIUM SHOT

Ben is already on the way out. Bleeker picks up several clean
glasses and starts off, toward a large archway through which
we see into the bar.

BLEEKER
Tell Jimmy we need some glasses in
the bar, Kathie.

The CAMERA HOLDS ON Kathie, who has nodded vaguely. She is
looking off toward the street.

EXT. BEN'S GARAGE AND FILLING STATION

CYCLISTS

Milling around, yakking, scuffling, revving their motors, as
Ben arrives and starts giving some of them gas.

GRINGO
Hey, let's get hot. Let's go someplace --

PIGEON
What time is it?

Nobody answers him. Nobody cares.

DINKY
(looking around)
What's this joint? What war's this
joint left over from?

ANGLE PAST JOHNNY

He is sitting his machine, nervously twisting the grips. In
the b.g. is Bleeker's, with its prominent sign advertising
beer.

MOUSE
(coming up)
Hey, Johnny, where we going?

STINGER
Let's get gassed --

DEXTRO
(looking off to
Bleeker's)
Hey, drag for beers! Who wants drag
for beers? Last guy in the door that
joint buys beers!

As Ben passes, Dextro grabs the rag he uses for cleaning
windshields out of his hip pocket.

ANOTHER ANGLE

Very quickly, fifteen or so riders respond to Dextro's
suggestion, swing around abreast. Johnny ignores the whole
thing.

DEXTRO
(shouting)
Last guy in the door buys!

The motors roar and pop. Dextro is about to drop the flag.
Red grabs his arm, shouts:

RED
Hold it!

A car comes down the street. Dextro is poised, waiting. The
few people on the street stand aside, watching with interest.

INT. BLEEKER'S CAFE

HARRY AND KATHIE

Harry has turned in his seat, reacting.

EXT. STREET

MEDIUM FULL SHOT TOWARD GARAGE

Dextro flashes the rag. The fifteen or so machines leap out
suddenly, coming straight for Bleeker's.

MEDIUM FULL SHOT

An old car appears suddenly from the other direction, heading
straight for the cyclists.

INT. CAFE

FLASH OF KATHIE

Reacting, frozen.

EXT. STREET

LONG SHOT

The driver of the old car loses control, skids around. In an
attempt to avoid a collision, the cyclists swerve away, piling
into each other, shooting off in all directions... There is
a crash as the car ends up against a light pole. One cyclist
comes bouncing up onto the sidewalk, still in the saddle,
just avoids crashing through the window.

TOWARD BLEEKER'S

Bleeker, Harry and the customers are already piling out into
the street.

TOWARD HARDWARE STORE

The window lettered "HANNEGAN & THOMAS". Thomas and Hannegan
themselves emerge from the store, joining the crowd hurrying
toward the scene of the accident.

MEDIUM FULL SHOT OF THE CHAOS

One front fender of the car is crumpled into the pole, but
it is still upright. Cyclists are trying to get out from
under machines or scrambling around trying to cut them off.
Others are just lying where they fell in the street, laughing
like mad. Those who were left at the garage come tearing up
on their cycles, everybody delighted.

MEDIUM SHOT MAN IN CAR (ART KLEINER)

He is smallish and fifty or so; badly-panicked, he is making
a frantic attempt to get out, but the door is jammed.

MEDIUM SHOT

Bleeker and others hurrying forward.

BLEEKER
It's Art Kleiner --
(shouting to cyclists)
Help that man out!

They take this up, like a gay chant.

CYCLISTS
Help the man out! Help the man out!

Several of them yank open the car door.

CYCLISTS
(continuing)
Help the man out!

They reach in, grab the frightened KLEINER, lift him bodily
out from behind the wheel, and put him down on his feet.

GENERAL CROWD SHOT

Everybody yakking at once.

DEXTRO
Hey, who won?

GRINGO
Hey, you see Red unload? You seen
him brodie?

MOUSE
Lucky he hit on his head -- went
right over the risers --

DINKY
(holding an exhaust
pipe aloft)
Who lost a funnel?

ANOTHER ANGLE

Bleeker and Harry have by now reached Kleiner, who is
apparently unhurt but still a little rattled.

BLEEKER
You okay, Art?

Art nods vaguely. Harry turns to the boys who lifted him
out.

HARRY
What you guys think this is --? What
are you trying to do?

RED
(with gestures)
Just dragging for beers -- zarum!
and this guy vreey! Karooey!

Art is prevented from answering by MR. WILSON, the local
druggist, who appears quickly from behind the car.

WILSON
There's a boy hurt here --

Bleeker and Harry turn, abandoning Art.

ANGLE DOWN

One of the cyclists, Crazy, is lying on the ground, his head
on his twisted cycle. He looks calm and comfortable. Ben
works Crazy's heavy boot off and rises just as the men step
in.

BEN
Ankle's broken --

GRINGO
(crowding in)
Hey, Crazy, you can't sleep in the
street --

GO-GO
(also crowding in,
seeing the twisted
bike)
Boy, look at that sickle -- you really
stacked up that sickle --

WILSON
(to Ben)
I'll call Dr. Zeigler. Get your pickup
and we'll take him over --

ANOTHER ANGLE

Ben and Wilson move off in opposite directions. Art grabs
Harry's arm and pulls him aside, toward his car.

ART
(excited)
Harry, you seen how it happened.
These motorcycles coming straight at
me -- I swung the wheel hard as I
could -- look at that --

Hannegan, Thomas, and a few other men move up.

HANNEGAN
What about this, Harry?

HARRY
(mildly)
It was an accident. I saw it. Art
got excited --

ART
(bristling)
Aren't you going to arrest them?

HARRY
No. I'm not going to arrest anybody.
Take it easy, Art --

Before Art has a chance to reply, Johnny crowds up to Harry,
giving with the real tough act, the big bluff.

JOHNNY
What's the beef?

Harry looks at Johnny, taken aback. Johnny goes on quickly,
not giving Harry an opening.

JOHNNY
(continuing)
Okay, you're the big copy here or
something --
(indicating Art)
Tell him look where he's going next
time. He don't know how to drive.
Turn one way or the other. Guys all
over the street trying miss him.
He's okay. Got a guy all busted up.

Harry just looks at him, unprepared for this attack. Art
starts to protest.

HARRY
(quietly)
Forget it, Art. Forget it.

Johnny turns away, just as abruptly, followed by his group.

JOHNNY AND GROUP

As they move away, the boys smirk, pleased, proud of Johnny's
act.

AD LIBS
Some cop, hey? You hear Johnny back
him down? Real screwball joint here --

Johnny smiles ever so slightly.

MEDIUM SHOT

Kathie emerges quickly from the crowd, her head down as if
affected by what she has seen. As she steps up onto the
sidewalk, heading for the cafe, JIMMY appears around the
corner of the building. Jimmy is at least sixty-five, no
taller than Kathie, pushed down rather than stooped; his
expression is vague and constantly abstracted, a little
foolish. He is wearing a cook's apron and is carrying a pair
of pruning shears. His voice is a little high, but
unexpectedly vigorous.

JIMMY
What's all that, Kathie? What's all
that?
(mildly)
Somebody killed?

Kathie pauses an instant, gentle and indulgent with the old
man.

KATHIE
Some boys on motorcycles ran into
Art Kleiner's car --

JIMMY
Art Kleiner? Art Kleiner's too old
to be driving an automobile. Where
was he going, anyway? Everybody always
going someplace. Crazy, excited.
Always taking a lot of vitamin pills --
drinking --

KATHIE
(remembering)
Oh. Uncle Frank wants some glasses
in the bar, Jimmy.

She starts on. Jimmy gives no evidence of having heard,
stubbornly continues his original thought:

JIMMY
Over-stimulated. Jumping around --
(in general)
Ought to arrest the lot of them.
Call the militia.

He turns firmly, disappears around the corner of the building.

LOW ANGLE JOHNNY AT CURB

Johnny is squatting down, fiddling with the trophy on his
front fender. Kathie's figure moves through the f.g. An
instant later, Johnny looks up sharply, following her toward
the door of the cafe with his eyes, intent, an aroused animal.

INT. CAFE

MEDIUM SHOT

Kathie steps behind the counter, busies herself automatically
with the coffee apparatus. A moment later the door opens and
Johnny comes in, standing there, dangling the trophy
carelessly at his side. Then he starts across -- a slow,
swaggering, self-conscious saunter.

ANOTHER ANGLE

As he sits, deliberately, near Kathie, places the trophy
down in front of him. Kathie hesitates, somehow disturbed by
him.

KATHIE
(finally)
Do you want something?

There is a beat -- as usual with Johnny -- before he answers.
He scowls. Talking is painful for him.

JOHNNY
Sure...
(what else could he
want?)
Beer.

KATHIE
Beer's just in the bar.

She nods toward the bar. A flash of violent anger crosses
Johnny's face, but he seems to control it with great effort,
turns his head to look toward the bar, then back. He rises,
starts for the bar, taking the trophy along. Kathie hesitates
a moment before following him.

INT. BAR

MEDIUM SHOT

The bar is empty and unattended, of course. Johnny steps up,
throws down some coins, places the trophy in front of him.
Kathie comes around behind the bar, bringing up a bottle of
beer, opening it for him, meeting his eyes for an instant,
then turning away to return to the cafe. Johnny picks up the
bottle and glass in one hand, the trophy in another, turns
to follow her, the CAMERA PANNING.

INT. CAFE

PAST COUNTER

As Kathie comes around behind the counter again. In the street
beyond, cyclists and others are grouped around Harry and
Bleeker, apparently arguing. Other cyclists have started
racing off senselessly in all directions, or burning circles.
Another small group is starting for the cafe. Johnny, having
followed Kathie back, sits again, re-establishing the trophy
in front of him, looks around.

JOHNNY
What do you sell here?

Kathie is disturbed, looks a little faint.

KATHIE
Coffee, milk, sandwiches... I got a
little sick for a minute --

JOHNNY
Why?

KATHIE
That boy -- his ankle -- I saw the
bone sticking out...

JOHNNY
Yeh?

He just looks at her, carefully, as if trying to understand
why this would upset her.

KATHIE AND JOHNNY

There is a pause; she looks away from him to the trophy.

JOHNNY
You live here all the time?

She nods, smiles a little wryly.

KATHIE
All my life.

He thinks about that, glances around, frowns, wondering what
to say next.

JOHNNY
(finally)
We were over at Harrison.

She nods.

KATHIE
A bunch of motorcycles went through
that way yesterday. They didn't stop.
(continuing; focusing
on trophy again)
Is that what they give you -- in
those races -- for killing yourself?

Johnny reacts sharply. His face works a moment, then:

JOHNNY
(abruptly)
You want it?

Kathie is startled.

KATHIE
What?

JOHNNY
You want it, I give it you.

She is pleased, but confused, picks it up and looks at it
more closely, puts it down again.

KATHIE
Well, no... you can't do that. You
won it... You have to get your name
engraved on it -- or whatever you
do...
(flustered)
It's important to you. You wouldn't
give something like that away, just
like that... unless you knew a girl
real well... and liked her...

He reaches for the trophy suddenly, puts it down beside his
beer.

ANOTHER ANGLE

Pigeon, Dextro, and Dinky have entered the cafe. They bust
up to Johnny.

PIGEON
Hey, Johnny, about this town -- they
got a doctor here --

DEXTRO
(running it all
together)
They going to do a cement job on
Crazy -- We going to sit around
scratch ourselves? Hey, let's get a
scramble going here! Blow those
squares -- have a scramble for
ourselves!

Johnny isn't listening.

PIGEON
We going to wait for Crazy -- or we
going to get with it?

Johnny takes his time, pours himself some beer, glances at
Kathie.

JOHNNY
We're going to wait for Crazy.

Pigeon looks shrewdly from Johnny to Kathie.

PIGEON
(to Kathie)
Hey, you know who this man is? He's
a big important motorsickle racer.
(pointing to trophy)
See that? Wins big important races
all the time. Wins five thousand
dollars sometimes. Where you get
that brew?

KATHIE
Beer's just in the bar --

She starts for the bar. Pigeon and Dextro follow her.

DINKY
(turning back to Johnny)
We really got them going. Everybody
out there kicking it around. The cop --
he don't know what to do. Another
guy -- he smells a buck.

He grins, goes on. Johnny glances toward the street.

EXT. STREET - AFTERNOON

MEDIUM SHOT

A number of cyclists and local characters combine to push
Art Kleiner's car back away from the light pole against which
it stopped. Harry, Bleeker, Hannegan, Thomas, cyclists and
others crowd up.

KLEINER
Harry, look at that fender. It's
rubbing on the tire --

Red grabs the fender, braces a foot against the wheel, and
pulls. The fender crunches up.

RED
(smoothing out old
fender with hand)
Okay. How's that? Now it's not rubbing
on the tire no more. Just as good as
the others --

ANOTHER ANGLE

Pigeon and Dextro come elbowing their way back into the group,
each drinking from a bottle of beer he has gotten in the
bar.

PIGEON
(to Gringo)
Hey, Johnny says we stick around for
Crazy, they fix him up --

GRINGO
What do we do here?

DEXTRO
Hey, I talked to Johnny -- we're
going to scramble.

GO-GO
(to Dextro)
Where's the brew?

Dextro indicates the bar in the b.g.; Go-Go and several others
troupe off in that direction. Bleeker follows them with his
eyes. Red, Pigeon, and Stinger glance at each other, step
toward him -- an act.

RED
Where do we eat?

BLEEKER
We can take care of you, all right.

PIGEON
You got some steaks? You got some
Kansas City steaks?

BLEEKER
We serve good meat.

STINGER
(to Hannegan)
Where's the motels?

HANNEGAN
There's the Valley Hotel, just off
the main street --

STINGER
Hey, they got a real hotel here.

KLEINER
(pressing Harry)
Aren't you going to do anything about
this?

BLEEKER
(before Harry can
answer)
What do you want Harry to do, Art?
Arrest all of these boys -- all thirty
or forty of them, or whatever there
is?

KLEINER
(hotly)
It's a matter of principle. You let
something like this go, anything
goes.

THOMAS
(siding with Art)
You want to make a complaint, Art?

KLEINER
I sure do --

HARRY
Art, that's silly. Your car's okay --
you're okay -- you're lucky the way
you drive --

Kleiner turns angrily, stomping toward his car.

MEDIUM SHOT

Kleiner gets into his car. The starter grinds, nothing
happens.

CYCLISTS
(yelling advice)
The fire went out! Turn on the jets!
Hit it with a hammer!

The motor catches with a great popping and banging; the car
goes bucking and bolting off up the street, the CAMERA
PANNING. As crowd scatters, the cyclists cheering,

DISSOLVE TO:

EXT. STREET (MILDRED'S BEAUTY SALON) - DAY

MEDIUM CLOSE SHOT

A cyclist burning a tight circle in the middle of the street.
The CAMERA PULLS BACK on a small crowd of local people
watching the circus. In the b.g., Mildred and a customer,
BETTY, come out of the shop. Mildred looks up. The two girls
move into the f.g., stop, watching a moment. Mildred is
visibly excited. She nods to Betty and they move on, the
CAMERA PANNING to HOLD on two rather elderly men, who are
both puzzled and fascinated:

MAN
(raising his voice
over the racket)
What? What you say they're doing?

OTHER MAN
I don't know. Doesn't make any sense
to me. I can't even understand what
they're talking about --

EXT. BLEEKER'S - DAY

MEDIUM SHOT

Red, Dextro and Pigeon are sitting their machines at the
curb when Mildred and Betty come up, entering the bar. The
boys dismount immediately, waltz in behind them.

INT. BLEEKER'S BAR - DAY

PAST BLEEKER

as Mildred and Betty enter, quickly lost in the crowd.
Bleeker, in the f.g. is happily meeting the demand for beer,
opening bottles like mad. The boys are picking them up as
fast as he opens them, not waiting for glasses.

AD LIBS
Here you go -- One brew here, Pop --
Here you go -- Hey, gas me -- Knock
one --

BLEEKER
(simultaneously)
Coming up -- how many here -- enough
for everybody --

ANOTHER ANGLE

Including Harry, sitting at the end of the bar near Bleeker,
poking at some coins in front of him.

BLEEKER
Never rains but it pours -- nothing
like beer to settle the dust, eh?

Bleeker is raking in money, making change, opening beer, all
at once. Harry glances around uneasily at the growing
confusion.

INT. CAFE

KATHIE AND JOHNNY

It is quiet here, by comparison. Johnny is just sitting,
studying Kathie as she works. Then he gets up from the
counter, moves restlessly to another seat, regards Kathie
moodily.

JOHNNY
What do you do later?

She hesitates, half-smiles.

KATHIE
I work.

He scowls. We hear the noise of the cyclists and others
trouping into the bar, yakking it up.

JOHNNY
You have to goof off, some time.

KATHIE
What?

JOHNNY
Nobody works forever.

KATHIE
It feels like it sometimes.

JOHNNY
Tonight, I mean.

She shrugs.

KATHIE
I have to stay, as long as we're
busy.

She nods toward sound of growing activity in bar, smiles.

KATHIE
(continuing)
Sounds like we're going to be busy,
until you leave.

ANGLE TOWARD BAR

Johnny scowls again, uncertain how to proceed, shifts
restlessly. A few cyclists have started wandering in from
the bar with their beer.

KATHIE
Where are you going -- when you leave
here?

He raises his head sharply. She sees his completely blank
expression, does a slight take, smiles.

KATHIE
(continuing)
Don't you know?

Johnny's face works a moment.

JOHNNY
We just go.

KATHIE
(shrugs)
It's nothing to me. I was just making
conversation.

ANGLE FEATURING JOHNNY

Kathie starts to turn away. Anxious to hold her, Johnny wets
his lips. He is very tense.

JOHNNY
(abruptly)
Weekends we go out.

Kathie half-turns back.

KATHIE
What do you do?

JOHNNY
(impatiently)
We just go.

KATHIE
You mean you just ride around? Or
you go on a sort of a picnic, or
something?

He stares at her in blank frustration.

JOHNNY
You're real square, aren't you?

Another pause; he scowls, obviously trying to explain
something very difficult for him.

JOHNNY
(continuing)
It builds up. You understand?

She nods, understanding nothing.

JOHNNY
(continuing; with
increasing tension)
A bunch gets together... After all
week. You got to have a ball. Every
day the same thing. Crawling around
underneath. You shoot a Chevvy.
(continuing; the sound
of a lube gun)
Phhuuusp! Phhuuuusp! Okay. You shoot
a Study. Phuuuusp! Phuuuuuuusp!
Phhuuuuuuuuusp! Same thing. Grease.
It builds up. You got to sing. You
got to feel good. You got to really
go.

A pause; this Kathie understands. She nods, rather wistfully.

KATHIE
(quietly)
I'd like to go some place, sometime.

BLEEKER'S VOICE (O.S.)
Kathie, where's Jimmy?

She looks up, startled.

WIDER ANGLE INCLUDING BLEEKER

Who has come up, annoyed.

KATHIE
I guess he's our, back, working on
his roses --

BLEEKER
(very irritated)
The roses. Every time we get a little
business, the crazy old fool is doing
something to his roses. Go get him.
Tell him I'm swamped --

Kathie nods, starts toward a door in the rear.

JOHNNY

watching her go. He turns his head, aware that Go-Go is right
beside him, also interested in the departure. Go-Go smirks.

GO-GO
(making the gesture
of twisting the grips
on a cycle)
Araaaah! Araaaaah!

Johnny's expression doesn't change; he looks back at the
door through which Kathie has gone.

OMITTED

Sequence omitted from original script.

INT. BAR

MEDIUM SHOT

Jimmy emerges from the door at back of the barroom with a
tray of glasses, starts around behind the bar just as Bleeker
returns, glowers at him.

BLEEKER
(snapping)
Give me a hand here, Jimmy --

JIMMY
(unruffled)
Kathie said you wanted some glasses --

BLEEKER
That was an hour ago. Get a couple
more cases on ice -- never mind --
take over here --

He turns away.

RED
Hey, Jimmy, brew me here, Jimmy --

ANOTHER ANGLE

Very unhurried Jimmy opens a bottle of beer and serves it.

DEXTRO
Hey Jimmy, what do you hicks do for
kicks around here?

JIMMY
What? Speak up. Stop mumbling --

PIGEON
Anything ever happen here?

JIMMY
What? Yes. The roses grow. People
get married. Crazy as any place else.
The bugs get on them and cause
trouble, sometimes -- that is, if
you don't spray good --

The boys give each other looks. This is fun. Here's the
village idiot and he's fair game.

RED
No bugs on you, eh, Jimmy?

JIMMY
I mind my own business. Listen to
the radio. Music, that is. News is
no good. Excites people.

DEXTRO
How about TV, Jimmy? You like TV?

JIMMY
What?

PIGEON
Television. You heard about that new
thing, Television --

JIMMY
(placidly, as he works)
Oh, pictures. No, no pictures --

Looking off down the bar, Dextro reacts, nudges Red. As Red
looks:

JIMMY
(continuing)
Everything these days is pictures.
Pictures and a lot of noise. Nobody
even knows how to talk -- just grunt
at each other --

ANGLE DOWN BAR PAST RED AND OTHERS

Mildred is at the bar, in the middle of a group of cyclists,
laughing loudly at something one of them has said.

MILDRED
(raising her glass;
loudly)
Skol! Gesundheit!

GROUP JIMMY, RED AND OTHERS

Red looks back at Gringo, knowingly, lifts his glass
elaborately.

RED
Skol!

GRINGO
(business of twisting
grips)
Araaaaah! Araaaaaah!

Jimmy looks at him with distaste.

MEDIUM SHOT

Johnny has taken up a position against the wall near the
archway, following Kathie with his eyes. Two cyclists, Go-Go
and Boxer, come up to him, pulling Mildred and Betty. The
girls are having a fine time.

GO-GO
Hey, Johnny, get Mildred!

MILDRED
Hi, Johnny. Skol! Meet Betty --

BOXER
(to Mildred)
Hey, show Johnny!

He gives her a little push. Giggling, Mildred leans in very
close to him, shaking her head to make her earrings tinkle.

BETTY
See! Real bells, isn't that cute?

Johnny gives her a look, stares past her.

GO-GO
Mildred likes to dance. Hey, Mildred,
let's dance --

Johnny ignores them, his eyes on Kathie. Mildred grabs
Johnny's shoulder, indicating the legend on the back of the
jacket.

MILDRED
Somebody tell me what that means --
B.R.M.C. -- What does that mean?

BOXER
Black Rebels' Motorcycle Club.

MILDRED
Oh, that's cute. What are you
rebelling against?
(grabbing Johnny)
What are you rebelling against, Johnny

Johnny gives her a quick stony look.

JOHNNY
What have you got?

Kathie has come up during the above and paused -- her way
through the archway cafe blocked by this group. Mildred turns
now, laughing, sees her.

MILDRED
Hi, Kathie. Aren't they wonderful?
Did you hear what I said? I said
what does that mean -- B.R.M.C. --
and he said 'the Black Rebels'
Motorcycle Club.' And I said what
are you rebelling against, Johnny?
Johnny said, 'what have you got?'
What have you got! Isn't that cute?
Kathie nods, starting pushing through.

KATHIE
Excuse me...

TWO SHOT

As she comes past Johnny, he moves with her back toward the
cafe.

JOHNNY
You like to dance?

As she hesitates, thinking he means now:

JOHNNY
(continuing)
The squares got a dance tonight at
Harrison. We could go over to
Harrison.

She stops, looks at him uncertainly, interested but cautious.

KATHIE
I don't dance very well...

She continues on into the cafe. He frowns, follows her
doggedly.

INT. CAFE

MEDIUM SHOT

as Kathie comes around behind the counter again, Mouse and
BEBOP sit down.

MOUSE
(to Kathie)
Aren't you Miss --
(turning aside to
Bebop)
-- taken about that? Didn't you say...

Turning, he looks past Bebop, trails off. The joke dies.

ANOTHER ANGLE

Johnny is looking at him hard; his expression says, "Lay
off."

MOUSE
(mildly; back to Kathie)
Coffee. Two coffees.

Kathie glances at Johnny, nods, continues on to the coffee
urn. Johnny follows.

MEDIUM SHOT

Johnny sits opposite Kathie as she gets the coffee.

JOHNNY
You like to go?

Kathie shakes her head.

JOHNNY
(continuing)
Why not? what's the matter?

She turns, holding the coffee.

KATHIE
I can't... and it's crazy. You just
came from Harrison.

JOHNNY
(shrugs)
So I go back to Harrison. We go to
the dance --

She smiles, wavering, turns with the coffee, stops. Johnny
follows her look.

MEDIUM SHOT

Mouse and Bebop have gotten up from the counter and are
wandering away toward the bar.

JOHNNY AND KATHIE

She hesitates, uncertain what to do with the coffee now.
Johnny rises decisively.

ARCHWAY

Mouse and Bebop walking away. Johnny steps up behind, grabs
them, spins them around and starts cuffing them roughly.
They are thoroughly amazed, start swinging back, automatically
protecting themselves.

MOUSE
(protesting loudly)
Hey, Johnny, what's the matter with
you?

JOHNNY
(shouting)
You jerky or something! Drink the
coffee! You ordered coffee -- sit
down -- drink it!

They stare at him.

TOWARD BAR FEATURING HARRY

poised to leave his stool. Everyone has paused, turned to
see what this is about.

BACK TO GROUP

Johnny shoves the boys roughly toward the counter.

JOHNNY
Sit down.

They exchange looks, but obey, drift back toward the counter,
the CAMERA PANNING.

BEBOP
What's with him?

Mouse shrugs. Kathie places the coffee in front of them. She
smiles, glances toward Johnny.

THREE SHOT

Johnny has resumed his seat, staring at his beer. Harry drifts
into the shot, sits beside him. Kathie moves closer.

HARRY
(awkwardly, indicating
trophy)
Won yourself something there, did
you?... Nice souvenir to have --

ANGLE FEATURING JOHNNY

He gives Harry at most a quick glance, ignores him.

HARRY
Look, Johnny, out there... I think
you got me a little wrong...

He has put his police cap between them on the bar; Johnny
pushes it away from him. Harry reacts, but continues ineptly:

HARRY
I got a job to do around here, but
I'm not hard to get along with...
It's usually just a misunderstanding --
I mean anything that develops into
any kind of trouble...

Johnny tenses on "trouble," but refuses to look at Harry,
jams a cigarette into his mouth.

HARRY
(continuing)
It can be avoided most of the time --
if people sit down and talk it over...

With this he has struck a match -- extending it to Johnny in
his cupped hands. Johnny refuses it with an elaborate, don't
crowd-me sort of gesture, pushing Harry's hands away,
extracting the match and lighting his cigarette from it
himself.

ANOTHER ANGLE THREE SHOT

Kathie looks from Johnny to Harry, who takes the rebuff,
sits there a moment, rises abruptly.

KATHIE
(to say something)
You want me to have Jimmy make you a
steak sandwich, Dad?

Johnny reacts sharply on the word "Dad." As Harry shakes his
head, moves away, Johnny glances from him back to Kathie,
gives her a sardonic look. Then he rises abruptly with his
trophy, strides for the door.

CLOSE SHOT KATHIE

Uncertain, watching Johnny exit.

EXT. BLEEKER'S

FEATURING JOHNNY

He steps to his cycle, starts quickly re-wiring the trophy
to the fender. Several boys who have followed him out crowd
up.

BOXER
(nodding back; grinning)
Got yourself lined up?

JOHNNY
Her old man's that itchy cop --

DINKY
(impressed)
Yeh? How about that?

MEDIUM CLOSE SHOT JOHNNY

attaching the trophy.

JOHNNY
Come on, let's blow out of here --

RED'S VOICE (O.S.)
I'd like to get me a cop's daughter
sometime. Some deal --

Johnny's flicker of reaction is cut short by the sudden roar
of a motor, the sound exploding right on top of the scene.
He pulls back.

TOWARD CAFE DOOR

A cycle -- driven by Gringo, with Crazy on the jump seat,
one foot sticking out in a plaster cast -- jolts past the
group onto the sidewalk. A cyclist coming out just barely
has time to jump aside, holding the door, the cycle charging
past him. Johnny and his group swarm in after it, laughing.
There is, simultaneously, a concerted shout from inside.

OMITTED

Sequence omitted from original script.

INT. CAFE

FULL SHOT

The crowd scattering as Gringo crosses the cafe, rides through
the archway into the bar.

INT. BAR

MEDIUM SHOT

Mildred and the boy she was dancing with jumping aside. A
tremendous din as Gringo heads the cycle straight for the
bar.

CLOSE SHOT ON BLEEKER

Startled, a flash of outrage.

HARRY

Poised to leave his stool.

MEDIUM SHOT

Gringo bringing the cycle to a reckless but expert stop
flanking the bar, opposite Bleeker, cutting the motor.

GRINGO
(loud in the momentary
silence)
One beer --
(nodding back to
indicate Crazy)
One sidecar --

A cheer goes up -- everybody talking at once, crowding around
the cycle. Bleeker grins slowly, accepting the joke, starts
filling the order. Harry glances at him, resumes his seat. A
few intelligible phrases emerge from the bedlam as Johnny
and his group come in from the cafe:

AD LIBS
Hey, drive-in service -- Hi, Crazy,
how you been boy? Hey, Crazy had his
clutch overhauled --

TOWARD STREET DOOR

A flying wedge of cyclists, lead by Dextro, bursts through
the door. They have rope and other props for a race. Several
have improvised arm-bands with the word "Official" lettered
on them. Dextro is waving a rag on a stick and shouting
something. While he is climbing onto a stool in the b.g. the
others crowd around Gringo and Crazy in the f.g.

AD LIBS
(seeing plaster cast)
Hey, that's a wedgie, that's a real
wedgie -- Hey, Crazy, we're going to
scramble! You want in! Aarrraaaaaaah!
Put it down, Crazy, put it down on
the turn -- you won't feel a thing!

DEXTRO
Attention! Attention please!

DEXTRO

as he gets comparative quiet:

DEXTRO
Attention! The First Annual Hog
Scramble Time and Trial Race starts
in ten minutes --

CLOSE SHOT JOHNNY AT BAR

He scowls.

BACK TO DEXTRO

DEXTRO
You got five minutes to get gassed
up! You get gassed up, report to the
starting officials outside -- and
let them smell your breath! Nobody
isn't gassed up can race!

This is a big yak, everybody crowding around, milling toward
the bar, Dextro trying to continue.

EXT. MAIN STREET

MEDIUM FULL SHOT

This is the same angle from which we saw the B.R.M.C. boys
enter town. With a sudden roar, an entirely new group of
cyclists swing into the street in single file.

The rider in the lead comes abreast the camera, gearing down,
slowing. The CAMERA HOLDS, PANS with him -- long enough to
see that he is a fantastically-dressed character with a beard
and dark glasses, some sort of big feather flowing from his
hat. This is CHINO.

The others come on by. They are each, in some way,
outlandishly costumed. Some six or eight of the cyclists
have girls on the jump seats, clinging to their backs. At
this point, and from this angle, however, the girls -- in
jeans and jacket and various screwy outfits -- are barely
distinguishable from the boys.

EXT. STREET (BLEEKER'S)

MEDIUM SHOT

The group comes abreast Bleeker, almost past. Chino stops so
suddenly the riders behind pile up into him and around him.

CHINO
(looking toward parked
cycles)
Hey, looks like the Rebels! Johnny's
here!

He starts wheeling back toward Bleeker's.

INT. BLEEKER'S BAR

MEDIUM SHOT

The uproar continuing. Go-Go turns to Harry.

GO-GO
Hey, Chief -- what are you drinking,
Chief! Everybody gets gassed --

BOXER
(to Bleeker)
One gas for my friend the Chief!

ANOTHER ANGLE JOHNNY

He is still grim, apart from this.

JOHNNY
(to Gringo)
Let's get out of here --

GRINGO
We're going to scramble --

JOHNNY
Scramble someplace else --

Dextro jumps onto a stool again, looking at his watch.

DEXTRO
(shouting)
Time! Time! Everybody out! Report to
the starting officials everybody
wants to race!

There is a concerted rush for the door. Johnny stands there
leaning against the bar until the place is almost empty,
then follows.

HARRY AT BAR

He looks up at Bleeker, worried.

OMITTED

Sequence omitted from original script.

EXT. BLEEKER'S - AFTERNOON

MEDIUM SHOT JOHNNY

the last one out, pushes his way through the cyclists --
stops dead on the curb, staring off.

MEDIUM SHOT CHINO'S GROUP

It has arranged itself in a rough semi-circle, the boys
sitting their machines, enclosing the cycles of the Rebels'
parked at the curb.

MEDIUM CLOSE SHOT LOW ANGLE CHINO

In the center of the semi-circle. His arms are folded. He is
a very heavy men, almost fat, with big swollen hands. He is
smiling a peculiar smile. The dark glasses, the feather
sticking out of his hat -- make him look like a kind of
frightening clown.

In the f.g., unmistakably attached to Chino's front fender,
is Johnny's trophy.

JOHNNY

as he stares angrily.

THE TROPHY

attached to Chino's front fender.

CYCLISTS'S VOICE
Hey, look, Chino gleeped Johnny's
gold!

MEDIUM FULL SHOT

The babble in the b.g. has stopped abruptly. Johnny takes a
step forward, glaring at Chino, and for an instant the whole
scene is frozen. Chino just sits there, grinning.

MEDIUM SHOT KATHIE

She comes up, stops, then edges a little closer, curious,
apprehensive.

FULL GROUP SHOT

The cyclists of both groups look from Johnny to Chino to see
what is going to happen. Other cyclists move up in the b.g.
to increase the circle around them.

MEDIUM SHOT JOHNNY AND CHINO

confronting each other.

CHINO
(abruptly)
Hi-ya, sweetheart. What are you doing
here in this miserable gully, Johnny,
my love?

Johnny steps toward him in his slow, insolent way, stops,
looking off.

ANOTHER ANGLE

Johnny meets Kathie's eyes for a moment, seems to hesitate.
A beat, then he continues to Chino; Kathie follows him with
her eyes.

MEDIUM SHOT

Johnny moves to the front of Chino's machine, stops, looking
from the trophy to Chino, who unfolds his arms, props his
chin elaborately on one hand:

CHINO
(expansively)
Johnny, I love you. I been looking
in every ditch, Fresno to here, hoping
you were dead --
(with a wicked smile)
I looked for you in the race. I looked
all over. I didn't see you race. I
wanted to see my hot-shot boy scramble
and win some gold... Wouldn't they
let my boy scramble? Was my boy too
tough?

KATHIE

interested, puzzled.

BACK TO SCENE

Chino looks Johnny over carefully, solicitously.

CHINO
Johnny, you look pale. You been taking
care of yourself? You been staying
out too late?

JOHNNY
(hard; indicating
trophy)
That's mine. Take it off.

Without changing his expression, Chino leans forward a little,
gives the trophy a pat.

JOHNNY
Take it off.

Chino doesn't move. Johnny reaches out suddenly to grab the
trophy. Chino gives him a vicious cut on the forearm with
the side of his big hand. Johnny pulls back, furious, and
swings on him. It's a solid blow. It knocks Chino backwards,
half off his cycle. With no change in expression, Chino
scrambles the rest of the way off, onto his feet, with
surprising agility. He dives at Johnny, who is now trying to
unfasten the trophy, envelopes him in a bear-hug, pinning
down Johnny's arms. In a crazy rage, Johnny fights free,
lets fly at Chino again. The blow lands on Chino's shoulder,
sends him backwards. Chino -- still grinning, his dark glasses
at a cockeyed angle -- spreads wide his arms in an expansive
gesture of delight and admiration.

CHINO
Johnny -- that's better -- I've missed
you. Ever since the club split up, I
missed you --
(with a wicked leer
and a wide gesture
to indicate his flock)
Everybody missed you. All the beetles
missed you --

SEVERAL CUTS

to members of Chino's group, looking toward the protagonists
expectantly. We get a better look at the "beetles," the girls
in their tight jeans, kerchiefs, black leather jackets. One
of them, with a sad, sultry face, almost calls out; the word
"Johnny" forms, but is not quite said.

BACK TO SCENE

Chino moves slowly toward Johnny, cautious, grinning, his
arms spread wide as if to embrace him.

CHINO
Johnny, I love you. Let's have a
beer -- then I'll beat the living
Christmas out of you, Johnny --

As he steps forward, Johnny shoves him roughly back, starts
to work the trophy loose.

ANOTHER ANGLE

Recovering his balance, Chino suddenly assumes a ridiculous,
wheedling, mendicant-like pose, comes sidling up with his
hands clasped together.

CHINO
Johnny, don't take that away from
Chino. It's so beautiful. Chino needs
it. It makes Chino feel good. It
makes Chino feel like a big strong
man --

For some reason, this hits Johnny hard; he pauses.

CHINO
(continuing; having a
fine time)
Chino didn't win it, my boy. Chino
just gleeped it. Chino gleeped it
off a guy didn't win it either --

Johnny straightens up, furious, leaves the trophy dangling
by a wire.

CHINO
(continuing)
If you want one -- go gleep one some
place for yourself --

ANGLE SHOT FEATURING KATHIE

A suspended, thoughtful look on her face. Over her shoulder,
Dextro waves the starter's flag, shouts:

DEXTRO
Hey -- scramble for it! Put it up
for stakes!

MEDIUM SHOT

Chino whirls toward Dextro.

CHINO
Who said that?

There is a chorus of shouts:

AD LIBS
Scramble for it, if you want it!
Hey, Johnny, you and Chino scramble!
Put up the gold! Hey, Chino, you and
Johnny scramble for the gold!

Chino whirls back, grabs Johnny by the shoulders, delighted.

CHINO
Johnny, you got a scramble going!
You didn't tell Chino! Okay. I feel
hot!
(grabbing trophy,
snapping the last
wire)
I'll screw it on with you! Big man
takes the gold! You get to prove to
your girl here what a big brave jerk
you are! Okay?

JOHNNY
(a beat; a quick glance
toward Kathie; then
grimly)
Okay.

Everybody starts crowding around, talking at once. Chino
waves the trophy aloft, shouts over the noise.

CHINO
Big man takes the gold! Big man takes
the stakes --
(whirling, he comes
face to face with
Kathie, thrusts the
trophy on her)
The lovely young lady here will hold
the golden stakes! The timid maiden
of the hills clutches the gold to
her breast and fights back a tear as
her hero bleeds to death in the street --
Where do we start?

Dextro pushes importantly to the front of the group crowding
around Chino:

DEXTRO
(hammy; the big
official)
The officials are now laying out the
course, young man! You will all
proceed to your positions for the
massed start! Right this way! The
officials are now laying out the
course!

Chino and the others have already turned toward their cycles;
there is a general noisy milling about.

EXT. START OF RACE

ON CROWD

that has started to collect. An "Official", wearing one of
the improvised arm-bands, steps out to make like an announcer,
using a beer can for a "mike".

OFFICIAL
The daring contestants will follow
the white line on a thrilling, death-
defying ride through the scenic
countryside -- and return here for
the finish!

CLOSER SHOT PAST OFFICIAL

as two boys on a cycle start off to mark the course. One of
them, on the jump-seat, is riding backwards, a hundred pound
sack of flour in his arms.

OFFICIAL
Just follow the white line! Follow
the Flugel's Flour -- it's white as
snow!

The cycle bucks forward, the CAMERA PANNING TO FOLLOW it off
down the street -- the boy on the back spilling flour as
they go. The crowd laughs.

EXT. BLEEKER'S

JOHNNY

He is now moving grimly to his cycle, unsnapping his goggles
from his belt. Several of his group follow, talking it up.

CYCLISTS
Hey, Johnny, you can take him! You
can take Chino! Come on, Johnny,
let's go! The girl who almost called
out Johnny's name catches up with
him, impulsively catches his arm.

GIRL
(eagerly)
Hi, Johnny --

He stops dead, turns and stares at her with vacant intensity,
with absolutely no indication of recognition.

GIRL
(continuing)
Hi, Johnny...

Her hand goes to her name, BRITCHES, printed on her jacket,
in the manner of the Rebels.

GIRL
(continuing)
Britches... you remember...
Britches...
(uncertainly, as he
just stares)
You remember -- the last weekend we
went out scrambling before the club
split up... How you been, Johnny? I
didn't know what happened to you...
Well, it's been a year I didn't see
you... I thought about you...

She trails off, embarrassed. Johnny pulls his arm free, turns
abruptly away. The CAMERA HOLDS AN INSTANT on Britches as
she looks after him, confused and hurt.

MEDIUM CLOSE SHOT JOHNNY

He reaches his cycle, jumps on, snaps down his goggles -- a
look of maniacal intensity in his eyes -- kicks the starter.
The machine roars and pops.

WIDER ANGLE

He backs out to turn, and then guns off crazily; Kathie
reaches the curb too late and stands there, holding the
trophy.

EXT. MAIN STREET START OF RACE - LATE AFTERNOON

SERIES OF SHOTS

The crowd is growing. In the center, a jumble of motorcycles
and noise.

KATHIE

Hanging onto the trophy, pushed forward by the people crowding
up for a view of the start of the race.

KATHIE'S ANGLE OF STARTING LINE

This is a massed start, highly disorganized. Popping, revving
up, cycles jockeying for position in the ragged line
stretching across the street and up onto the curb... There
are perhaps fifteen members of Johnny's group -- all helmeted
and goggled -- and ten of Chino's -- identifiable by their
weird costumes.

ANOTHER ANGLE

Most of the cyclists who are not entering the race are
wandering around, wearing "Official" arm-bands, shouting,
arguing, fighting, adding to the confusion.

CLOSER SHOT ON JOHNNY

finds a spot in the line. Intense, twisting the grips, a
maniacal look behind his goggles.

CHINO

Several riders away, grinning, clowning, waving his feathered
hat at the crowd.

CRAZY

Moving into the line of starters, the leg in the cast jutting
out. There is a cheer for him.

GROUP OF LOCAL MEN

They crowd up, starting to bet.

FOX
Three to one on the feather-in-the
hat --

WEAVER
You got a bet -- that's my boy --
Johnny --

OTHERS
I'll take half of that -- Five on
the side -- Who holds the stakes?

MEDIUM FULL SHOT THE START

Dextro staggers out front, raises his starter's banner, whips
it in the air, and almost falls down. There is a deafening
concert of explosions. The cyclists take off -- more or less
simultaneously -- in one hell of a tangled mess, half of
them colliding with each other, some of them unloading
immediately.

KATHIE IN CROWD

Jumping back out of the way with the crowd as a cycle spins
toward her.

MEDIUM SHOT AT FIRST TURN

An "Official" with a napkin tied to a stick waves around the
four or five riders who have taken the lead. Chino skids
around into the f.g., glances back over his shoulder for an
instant, grinning. Then Johnny comes slithering around, hot
after him.

MILDRED

A little tipsy, giggling, being lifted onto the shoulders of
several cyclists.

CYCLISTS
Go, go, Johnny!

MILDRED
Go. Go, Johnny!

EXT. OUTSKIRTS OF TOWN

MOVING SHOT

The boys on the cycle marking the course with flour, well
ahead of the racers. They leave town, head for open country.

EXT. TOWN HALL

MEDIUM FULL SHOT

A small crowd has collected here -- where the course makes a
right angle around the Town Hall. This is a small, neat
building in the b.g., housing all the municipal functions,
including the police department and jail. The leaders,
including Chino and Johnny, tear past in the f.g.

OMITTED

Sequence omitted from original script.

ANOTHER ANGLE SHOT

A cyclist spins out on the turn. A couple of others pile
into him. One of them rights his cycle, but can't get it
started. Pigeon, Boxer and Dinky, who have crowded forward
to give advice, have to jump back as Crazy comes around the
turn, the CAMERA PANNING WITH him. He puts his foot with the
cast down on the ground and slides around the turn on it.

PIGEON
Come on, Crazy! Screw it on!

EXT. RESIDENTIAL STREET

MEDIUM SHOT

This is a street of pretty, white-framed houses, neat lawns
and flower beds. Chino in the lead, tears past in the f.g.,
then Johnny, trying to pass.

ANOTHER ANGLE AT TURN

Johnny cuts in, takes Chino on the turn. There is a shout of
"He got him!" The CAMERA HOLDS ON the turn as other cycles
follow them around. One of them hares off at a tangent, up
over the curb, right through a low picket fence.

ON CYCLIST

cutting a swath of devastation across the lawn, through flower
beds, miring for a moment in mud, recovering and plunging
through the picket fence again, back onto the course. A
furious, frantic woman, moves quickly into the f.g.

WOMAN
Can't somebody stop this?

Nobody pays any attention to her; they are all too interested
in the race.

EXT. OPEN COUNTRY

MOVING SHOT

The trail markers laying a difficult course through the hills.

DISSOLVE TO:

SHOTS OF RACE

As the contest continues through the hills.

JOHNNY AND CHINO (PROCESS)

Alternate CLOSE SHOTS, first one in the lead then the other.

RACE SHOTS

Continuing through the hills, INTERCUT WITH SHOTS of FLOUR
being spilled to mark the trail -- entering town again and
leading to Bleeker's.

DISSOLVE TO:

EXT. MAIN STREET (BLEEKER'S)

MEDIUM SHOT

A group of cyclists comes through with an improvised sign --
the word "FINISH" lettered on a sheet torn lengthwise, ropes
tied to each end to suspend it.

KATHIE

In the crowd, still clutching the trophy, the crowd pressing
forward.

EXT. RESIDENTIAL STREETS (NEWHALL)

JOHNNY AND CHINO

as they re-enter town. Johnny comes into a turn, takes it a
little wide and Chino, with an opening, takes the inside and
cuts him off. Johnny swerves to miss him, goes out of control,
spins off.

MEDIUM SHOT

Several of Johnny's group have rushed over to help him, all
talking at once, all giving advice, helping right the cycle.

CYCLISTS
Come on, Johnny -- You can still get
him -- Go get him, Johnny --

Furious, Johnny is already scrambling back onto the machine.
He kicks it twice before it starts -- then takes off like a
rocket, the CAMERA PANNING. Chino is out of sight.

SERIES OF SHOTS RESIDENTIAL STREETS

with Chino holding his lead -- Johnny a very poor second,
tearing recklessly around the turns some two hundred yards
behind. Members of Johnny's group look at each other. "What
happened?" In the final shot, Chino enters the straightaway
into the finish line. Johnny isn't in sight yet.

EXT. MAIN STREET (RANCH)

MEDIUM FULL SHOT

Chino coasting into the stretch, heading for the "Finish"
banner now stretched across the street.

CLOSER SHOT ON CHINO (PROCESS)

He glances back, slows down, and starts clowning. He stands
up, tipping his feathered hat to the crowd on either side --
wobbles, loses control. He goes one way, the bike the other.
The crowd parts, the machine bounding off, riderless.

CLOSE SHOT JOHNNY

Flat out.

MEDIUM SHOT CHINO

Picking himself up from the middle of the street -- still
some yards from the finish. He starts after his cycles, stops
suddenly, hearing a sound, looking back.

CHINO'S ANGLE

Here comes Johnny. Everybody is yelling.

MEDIUM SHOT CHINO

He hesitates just an instant, calculates, decides to abandon
the bike, takes off under his own power and starts hot-footing
it ponderously for the finish line.

FROM FINISH LINE

Chino scrambling for the finish -- Johnny bearing down on
him. Chino makes it, just a few seconds before Johnny flashes
past. Everybody starts shouting, closing in.

MEDIUM SHOT

Cyclists and townspeople crowding around Chino, who clasps
his hands over his head, fighter fashion, then starts looking
around.

CHINO
(very winded, but
delighted)
Where's my gold? Where did that
gorgeous little stake-holder go?

He starts pushing his way through the crowd, the CAMERA
PANNING. There are cries of "Here! Here!" He turns.

MEDIUM SHOT KATHIE

Frightened, as Chino comes swooping down on her, arms
outstretched.

CHINO
Come to Chino! Come to Chino, baby,
you beautiful thing!

All in one motion he lifts the trophy from Kathie's arm and
kisses her on the forehead.

MEDIUM SHOT JOHNNY

having overshot the finish and circled, he stops now, his
group crowding around to congratulate him.

JOHNNY
(abruptly)
Come on, let's blow this joint --
Wait'll I get back my gold --

He heads his cycle into the crowd.

MEDIUM SHOT

as Johnny stops his machine, jumps off, rips off his goggles.
Furious, he reaches for the trophy. Chino defends it, pushes
Johnny away.

CHINO
Now, Johnny, Chino won it -- Chino
won the race --

GRINGO
You won the flat-footed race -- you
didn't win any sickle race --

LOVER BOY
He crossed the finish first -- who
says you got to cross the finish on
a sickle?

During this, Johnny has come for Chino again, Chino has pushed
him back once more. Now -- with sudden violence -- Johnny
throws himself at Chino, knocking Chino backward and into
the crowd near Kathie.

ANOTHER SHOT

Chino shakes himself, a weird smile on his face, thrusts the
trophy on Kathie again, and lunges.

MEDIUM SHOT

Gringo, Lover Boy, and several others crowd forward, talking
it up.

GRINGO
Right this way! Everybody right this
way! We are not awarding the prizes!

SERIES OF FIGHT SHOTS JOHNNY AND CHINO

They both attack and retreat alternately, putting as much
speed and weight behind their blows as possible -- so that
it is a sort of ambulatory fight, rather than a stationary
slugging match. Chino has more weight and is more durable
perhaps, scrambling to the attack and then scrambling away --
like a stubborn, flat-footed bear. Johnny has more skill and
more real savagery. He steps in quickly, delivers cutting
blows, steps back. Chino reels after him, trying to tackle
him, the silly pleased smile rarely leaving his face.

This is INTERCUT WITH VARIOUS REACTION SHOTS of:

a. KATHIE, frightened, horribly fascinated, swept along with
the crowd.

b. CYCLISTS of both groups, watching in objective, stoical
silence.

c. TOWNSPEOPLE, children, and various characters already
established.

MEDIUM CLOSE SHOT ON JIMMY

in the crowd.

SIMMONDS
(to Jimmy; excited)
What happened? What are they fighting
about?

JIMMY
Don't know. Don't know themselves
probably. -- World situation --

Simmonds is pushed aside; Jimmy finishes the speech to nobody
in particular. Nobody is listening.

JIMMY
(continuing)
Mad at everybody. Confusion. Fight
and make a lot of noise... Terrible
waste... Corruption ...

GROUP SHOT

A number of the local men have collected around Hannegan in
the doorway of the hardware store.

WILSON
(concerned)
This is getting rough --

Harry walks into the SHOT; Thomas ignores him.

THOMAS
(hotly)
Let's stop this. I've seen hoodlums
like this before. If you don't get
tough with them the minute they get
out of line you're sunk --

ANOTHER ANGLE

as Den returns with Harry, who looks harassed.

HANNEGAN
(quickly; to Harry)
We're getting a lot of complaints.
This is getting out of hand --

THOMAS
You a cop or aren't you? If you can't
boot these jerks out, there's plenty
of us can -- even if we have to bust
some heads --

HANNEGAN
Wait a minute, Charlie, wait a minute
now --

THOMAS
(disgusted)
You're wasting your time talking.
I'm going to see if everything's all
right at home --

He turns away.

MEDIUM SHOT JOHNNY AND CHINO

Johnny has knocked Chino backwards and is standing back
waiting for him to get up. Chino sitting on the ground, trying
to get his breath. Johnny just standing there, breathing
hard, waiting. Lover Boy steps in, hands him a bottle of
beer. He takes a swig, grins up at Johnny foolishly, his
mouth bleeding.

CHINO
Johnny, I love you --

MEDIUM SHOT

Thomas' car is hemmed in by spectators and cyclists sitting
on their machines to watch the fight. Thomas appears, starts --
around the front of his car, through the cyclists.

THOMAS
Make some room here, boys, I'm going
out --

They just stare at him rudely.

ANOTHER ANGLE

Thomas comes around, gets in on the driver's side, starts
the motor, honks, waves the cyclists aside. Inching forward,
cramping his wheels, he manages to pull away from the curb.
The cyclists refuse to give, just sit there as he barely
scrapes by.

MEDIUM SHOT

Pulling out some ten or fifteen feet, Thomas is completely
blocked by cyclists on their machines who have encircled the
fighters.

CLOSE SHOT THOMAS

Irritated, he honks without effect.

MEDIUM SHOT

Thomas blowing his horn. Red steps over to him.

RED
Pipe down. Where you think you're
going?

THOMAS
I'm going out --

RED
Aw, come on, get back -- you're
blocking the street --

CHINO AND JOHNNY

Both more or less in the same position; Johnny standing,
waiting; Chino sitting in the middle of the street, swigging
the beer.

CHINO
Johnny, I'll tell you --

He starts to rise, but sits again promptly as Johnny makes a
move toward him. He grins, starts propelling himself slowly
toward Johnny on his ass.

CHINO
(continuing)
-- I'll tell you what we'll do --

Thomas's horn has started blowing insistently. Chino reacts,
breaks off, annoyed by this interruption.

CHINO
(continuing; bellowing
off)
Shut up!

He grins back at Johnny, inches forward, reacts again as the
honking continues, louder.

CHINO
(continuing)
Shut up! I'm negotiating with my
boy, Johnny, here!

HANNEGAN AND GROUP

They have reacted to the honking.

HARRY
I'll get hold of this boy, Johnny,
and have a talk with him --

Harry reacts to a sudden burst of honking, shouting, starts
off. The crowd around him surges forward.

CHINO AND JOHNNY

They react too. Chino gets to his feet. Johnny turns with
him toward the center of the disturbance.

MEDIUM SHOT FRONT OF THOMAS' CAR

Tremendous confusion, shoving, and angry shouting. Whatever
happened -- there is now a cyclist (MEATBALL, Chino's group)
on the ground in front of the car, his cycle knocked over
and partly under one of the front wheels. Cyclists are diving
in helping Meatball up, pushing Thomas' car back to free the
crushed cycle, yelling; another group has descended angrily
on Thomas himself, shouting at him, trying to open the door
and pull him out -- Thomas yelling back, trying to defend
himself.

KATHIE

trying to protect herself in the crush.

HARRY

moving forward quickly.

SHOT FEATURING CHINO

diving into the center of the brawl, not asking any questions.
He thrusts aside the boys trying to get at Thomas, grabs him
himself, hauls him from the car -- gives him a couple of
solid cuffs that send him reeling aside.

CHINO
(exhilarated; to Red)
What'd he do?

RED
Tried run Meatball over --

Chino reacts quickly, leaves Thomas in other hands, turns to
the car.

CHINO
(bellowing over the
noise)
Up and over!

Other cyclists join him, putting their weight against the
car, taking up the cry.

CYCLISTS
(CHINO'S GROUP)
Up and over! Up and over! Hep! Ho!
Heave!

OPPOSITE SIDE OF THOMAS' CAR

as it comes up on two wheels, teeters an instant, then topples
over onto its side -- the crowd scrambling back out of the
way, a woman dragging a child back by the hand, just in time.

MEDIUM SHOT

Harry diving into the middle of the group of boys man-handling
Thomas, shouting at them, pushing them aside.

HARRY
(shouting)
All right! All right!

Flailing about him, he manages to break it up. Cyclists and
local men start pressing in from all sides -- everybody
yelling at everybody else.

GRINGO
Hey, Harry, hey Chief -- you seen
him try to run Meatball over --?

Thomas, dishevelled, apoplectic, gets into it, too.

THOMAS
(whirling angrily on
Gringo)
Nobody ran anybody over! He ran his
motorcycle into the front of my car --

CHINO
(getting into it)
And then that sickle just crawled
right in under your front wheel --
all by its little self --

Thomas whirls on him, his face close to Chino's distorted
with rage.

THOMAS
Harry, I want this man arrested!

CHINO
Hey, is that your face? Or you wearing
a mask?

Thomas sputters. Chino does a phony, delayed take, turns on
Harry in meek alarm.

CHINO
(continuing)
He wants me arrested, Harry! You
hear what he said?

THOMAS
(to Hannegan, who has
come up)
He hit me!

CHINO
(spreading wide his
arms)
Well, hit me back -- you coward!

ANGLE TO INCLUDE KATHIE

crowded in between several men, including Art Kleiner, who
shouts angrily at Harry:

KLEINER
I seen it! Arrest them both! Arrest
them both, Harry!

Kathie glances off, from Harry toward Johnny.

JOHNNY

just standing there, near Chino, watching the whole procedure
with contempt.

GROUP SHOT FEATURING HARRY

He is getting a little rattled by people shouting at him
from all directions. Thomas turns on him.

THOMAS
Harry --

HARRY
(with sudden decision)
I'm going to take the both of you
and lock you up -- so we can talk
without everybody yelling --

Thomas' mouth drops.

HARRY
(continuing)
Whether I hold anybody depends on
how bad this boy here is hurt --

He turns aside. Thomas is left there, unable immediately to
believe this.

MEDIUM SHOT

Meatball is limping around in circles, holding onto Lover
Boy's shoulder.

HARRY
(coming up)
You hurt, son?

He just gives Harry a vicious look; the other cyclist answers
for him:

LOVER BOY
He don't feel a thing --

Harry turns back, the CAMERA PANNING. Hannegan takes his
arm, pulling him aside.

HANNEGAN
Harry, look, you sure you know what
you're doing?

HARRY
I know what I'm doing --

HANNEGAN
(quickly; low)
Charlie could be part to blame, but
let's just try and get these guys
out of town --

Harry wavers, rattled, suddenly pulls his arm away.

GROUP SHOT

Harry steps grimly up to Chino.

HARRY
Okay, let's go --

Chino turns and embraces him, his long-lost brother.

CHINO
Harry!

HARRY
(fighting off Chino's
embrace)
Come on --

He starts herding Chino off, the CAMERA FOLLOWING. Chino
hangs back, struggling, hamming it up.

CHINO
Harry, no! I don't want to leave my
friend Frog-Face here! You said you
were going to arrest him, too!

Harry pushes him on. Johnny steps out in front of them,
belligerently blocking the way.

CHINO
(to Johnny)
Johnny, look at me! In the hands of
the law! Isn't it terrr--rrrible!

JOHNNY
What'd he do?

Harry tries to ignore him, pushing on, but Johnny blocks him
with his body.

JOHNNY
(continuing; evenly;
menacing)
What'd he do that guy didn't do?

He nods off.

GROUP SHOT FEATURING THOMAS

He is flushed, angry. Harry turns abruptly to Johnny.

HARRY
Johnny, come here --

He puts his arm around Johnny to lead him aside; Johnny
brushes him off angrily.

HARRY
(continuing)
I want to talk to you, Johnny. Come
here.

As Harry moves out of the hubbub with Johnny and Chino, Johnny
posing indifferently.

HARRY
(continuing)
Johnny, I've given you a couple of
chances... Now, I don't know what
you're after --

CHINO
Let me tell you about Johnny, Daddy --

HARRY
Shut up.

Chino shuts up momentarily, but continues mugging and
posturing.

HARRY
(continuing)
I'm in a spot -- You can make it
easier for me -- You move on. You
take your boys -- and this other
bunch --

CHINO
Can I go, too?

HARRY
And he goes, too.

Johnny is rigid, cynical.

GRINGO
Hey, Johnny, don't fall for that
corn --

Harry gives Gringo an angry look, waits. A beat.

JOHNNY
I made a deal with a cop once.

He touches his finger to his nose. Several of the cyclists
give a choked laugh.

CHINO
Let me tell you about Johnny, Daddy --

Harry doesn't stop him this time.

CHINO
(continuing)
He's okay, you just don't get on his
back. He don't like anybody on his
back. We had the same club once. The
beetles got on his back all the time.
He didn't like that...

Harry is still looking steadily at Johnny, waiting for the
answer.

HARRY
You don't want to do what I say,
then...

He shrugs.

CHINO
(clasping his hands
together)
Johnny, I'm going to the can! Save
me!

A beat.

HARRY
Yes or no.

JOHNNY
I don't make deals with cops no more.
I learned better.

CHINO
See?

MEDIUM SHOT

Harry waits an instant more, turns grimly to Chino.

HARRY
Come on.

CHINO
(calling back as Harry
starts off with him)
Johnny! Write my mother and tell her
I'm in the can! Write my mother to
send me a case of beer! Oh, the shame
of it all!

His voice trails off.

JOHNNY

He jams a cigarette into his mouth. The other cyclists start
crowding around.

GRINGO
Hey, Johnny, we going to let that
phony cop get away with that?

Mouse extends a light for Johnny, who reacts as he reacted
with Harry -- with the same sweeping don't-crowd-me-gesture,
pushing Mouse's hands away and taking the match.

DEXTRO
Hey, let's give this joint the needle --

RED
What are we going to do, Johnny?

GRINGO
Hey, let's wait till dark -- then
spring Chino!

Johnny reacts to this, looks at him. Then, abruptly:

JOHNNY
Hey, where's my gold? Where'd that
beetle go Chino gave my gold to?

DEXTRO
Was standing right there --

As Johnny whirls, pushing off through the crowd in search of
Kathie, the CAMERA PANNING.

OMITTED

Sequence omitted from original script.

INT. BLEEKER'S CAFE

MEDIUM SHOT

The cafe, emptied for the race, is still empty as Johnny
comes in, looking around. He strides toward the counter,
stops, looking off.

MEDIUM CLOSE SHOT THE TROPHY

It is on the shelf behind the counter with the dishes and
cup

WIDER ANGLE

Johnny takes a stride toward the counter, as if to vault it,
stops as Kathie appears from behind the shelves. Without
looking at him, she walks to the shelves, takes down the
trophy, and puts it in front of him. She turns away -- then
turns back, as a sort of an after thought. Her manner toward
him is entirely changed; she is tense, and a little sardonic.

KATHIE
(indicating trophy)
You're faster than I thought. That's
for the race tomorrow...

He glowers, stands there as if he were going to say something,
doesn't.

ANOTHER ANGLE

Kathie busies herself with the coffee cups a moment. A few
cyclists enter from the street, glance at Johnny, move slowly,
restlessly off toward the bar.

KATHIE
(tautly)
All right -- you've got your little
toy back. What do you want now? Have
you got any idea?

He glances up, surly.

KATHIE
(continuing)
Why don't you go someplace else and
cause trouble?

He sits, stubbornly. We hear people returning to bar on the
other side of the partition.

JOHNNY
(with feeling; in
general and to himself)
What a phony joint...
(mockingly sing-song)
Give me a break, I give you a break...
Phony cop --

Kathie nods.

KATHIE
He's the town joke. And I'm stuck
with him...

ANOTHER ANGLE

Johnny stares at her; this confuses him. She goes on, almost
softly, but with repressed bitterness.

KATHIE
He's got about as much business being
a cop as...
(indicating trophy)
...as you have with that. He's a
fake -- like you --

Furious, he reaches out and grabs her wrist. She flinches.
It hurts, but she looks at him steadily.

KATHIE
(continuing)
Go on, break it. I don't need it.
You want to break something.

JOHNNY
You're too good for me, you're a
cop's daughter or something.

KATHIE
(almost softly)
Go away, Johnny. Go away.

JOHNNY
(a funny smile)
You're afraid of me...

She nods slowly.

KATHIE
I'm afraid of everything...

He lets her wrist go suddenly.

JOHNNY
I don't let anybody get away with
anything like that. I know Chino a
long time. He puts Chino in the can,
whyn't he put that Frog-Face ran
into Meatball in the can?

KATHIE
(simply)
He's afraid of making a mistake. He
needs the job, even if he doesn't
like it.

She starts to turn away. He grabs her wrist again.

JOHNNY
Listen --

Then whatever he was going to say fades into confusion; he
loses his resolve, lets her go just as suddenly, grabs up
the trophy and strides for the bar.

INT. BAR - LATE AFTERNOON

JOHNNY

as he pushes his way angrily to the bar, which has started
to fill up again, bangs down his trophy.

JOHNNY
Hey, beer --

DISSOLVE TO:

INT. BAR - EVENING

JOHNNY

At the other end of the bar now, glaring at his beer. The
CAMERA PULLS BACK QUICKLY. A light has been turned on. The
bar is about half full, but oddly quiet -- the atmosphere
heavy and ominous. Johnny turns abruptly from the bar, starts
cut.

AT BOOTH - BRITCHES

rises from where she is sitting with a cyclist, but Johnny
brushes rudely past her and out. She sits again, slowly.

DISSOLVE TO:

EXT. MAIN STREET - NIGHT

FULL SHOT

It is dark now. Nothing, really, is happening. The street is
waiting. From somewhere a boy shouts, "Hey, Dextro!" Then
quiet again. Perhaps someone laughs.

GROUP OF CYCLISTS

They are shadows, sitting their machines quietly at the curb.
Two local girls come by on the sidewalk. They hesitate
slightly, hurry on past, uneasy. The boys just look.

DRUGSTORE ENTRANCE

Wilson, the druggist, coming out with a customer, locking
up. A cycle starts somewhere up the street, roars off. Both
men jump.

CUSTOMER
What are they hanging around for?
What are they doing?

Wilson looks off, disturbed, doesn't answer.

CUSTOMER
Gives me the willies...

STREET HARRY'S POV FROM JAIL DOOR

The sound of the cycle dies away. Harry turns back into the
room, closing the door.

INT. JAIL - NIGHT

HARRY

He glances toward the cell, sits at his desk. He fingers his
bunch of keys for a moment, toys with the phone.

EXT. STREET - NIGHT

FULL SHOT

Quiet. Two children move into the f.g. on bicycles. Then
very suddenly -- glass shattering. The children jump, whirl
at the sound.

STORE FRONT - THE BROKEN GLASS

As if this were a signal of some sort, a concert of noises
erupts on all sides: cycles starting up. exploding, roaring
off; yelling, men running and calling.

INT. TELEPHONE OFFICE - NIGHT

TELEPHONE OPERATOR

The operator, DOROTHY, a middle-aged, nervous woman, has
reacted to this -- half rising to look through a window
beyond. We hear the gathering uproar.

DOROTHY
(into receiver)
I'll see if I can get through, Harry --

PAST DOROTHY

to open door in b.g. Lover Boy appears there suddenly.

LOVER BOY
Hey, look, in here!

Five or six others appear, crowd in.

FEATURING DOROTHY

Closing a key, plugging in, she looks up, struck dumb with
terror. The cyclists are just crowding curiously around.

AD LIBS
Hey, how does this work? Hey, can I
get my mother on this? You're too
dumb to have a mother! Let me, I saw
somebody once -- Get your big hands
off it!

The cyclists have started pushing and scuffling among
themselves. Dorothy watches, absolutely petrified, comes to
suddenly, rises, yelps into the receiver:

DOROTHY
Help! This is Dorothy!

With that, she grabs her hat, forgetting her purse, bolts
for the door.

MEATBALL
(into receiver)
Help! This is Dorothy's brother!

CYCLIST
(CHINO'S GROUP)
Goodbye, Dorothy.

She stops, turns back in panic.

CYCLIST
(handing her the purse)
Take the day off, Dorothy!

She snatches the purse, tears wildly for the door, the CAMERA
PANNING WITH her. o.s. the cyclists laugh, call after her:
"Goodbye, Dorothy," "You're through for the day," etc.

INT. HARRY'S OFFICE - NIGHT

HARRY AT PHONE

reacting to some kind of jabbering.

HARRY
What? I want the Sheriff's office at
Elsberg -- who is this? Get off the
line! . . . Hello!

The phone apparently goes dead. He drops the receiver, rises,
glances once more toward the cell. Then -- in a kind of panic --
he hurries out.

EXT. STREET - NIGHT

GROUP OF CYCLISTS

Their machines backed into the curb, motors running, poised.

CLOSER SHOT JOHNNY AND GRINGO

in the center of this group. Johnny tensely twisting the
grips.

GRINGO
Hey, Johnny, come on, let's spring
Chino -- one phony cop --

JOHNNY
(cutting him off)
Come on!

He gives it the gun. The others roar out after him.

DISSOLVE TO:

EXT. THOMAS' HOUSE (RANCH) - NIGHT

TOWARD HOUSE

Some eight machines are ridden up onto the sidewalk -- motors
idling, headlights playing across the porch and steps. Thomas
appears there, angry, raises his hand to shield his eyes.

THOMAS
(shouting over the
motors)
What do you think you're doing here!
Get off my lawn!

He starts down the steps.

MEDIUM SHOT THOMAS

As he advances into the lights, blinded, we see two figures
approach him from opposite sides. The rest is confused and
obscured -- the headlights swinging away, leaving the center
of the action dark, the accelerating motors drowning out
anything that is said. Then suddenly, the whole group is
gone off up the street, just enveloping Thomas.

TOWARD OPEN DOOR

A woman's figure appears there.

WOMAN
Charlie! What is it? What was --

Silence. She turns and hurries back into the house.

DISSOLVE TO:

INT. JAIL

MEDIUM SHOT

A group of Johnny's boys enter from the corridor with Thomas,
push toward cell. Johnny follows them in -- he has Harry's
keys.

AD LIBS
Hey, here it is! Hey, look at Chino!
Chino passed out!

FROM CELL

PAST CHINO, asleep on a bench in the f.g., in a ridiculous
position, almost falling off.

GRINGO
(looking in)
Hey -- Chino! Wake up! Unlock the
door!

Johnny gets the door opened. Thomas is pushed in - the
cyclists crowding along.

RED
Hey, Chino! You're sprung!

ANOTHER ANGLE CELL

The cyclists start to shake Chino, bellowing in his ear:

AD LIBS
Chino, wake up! The fire went out!
Chino!

Chino wakes up suddenly, the peaceful expression on his face
replaced by a look of absolute fear. He rises, starts flailing
with his arms, knocking his rescuers in all directions. Then
he staggers back and collapses on the bench again.

MEDIUM SHOT

They try to haul him up again. Johnny yells at them, angrily:

JOHNNY
Come on! Let him alone! Let him sleep!

They drop Chino reluctantly, step back outside with Johnny,
who starts locking the door.

THOMAS
(stepping to bars)
Look here, you --

JOHNNY
Have yourself a time. Don't write on
the walls.

He throws the keys out of the scene, follows the others
already crowding out the door.

THOMAS

He stands there a moment, glances across at the sleeping
Chino, sits heavily on the opposite bench.

EXT. JAIL (TOWN HALL) - NIGHT

GROUP OF CYCLISTS

as they come out.

DEXTRO
Hey, Johnny, what we going do now?

Johnny ignores him.

AD LIBS
Hey, where the beetles? Let's go
find the beetles --

Johnny slips unobtrusively aside. The CAMERA HOLDS ON the
group, milling around indecisively.

AD LIBS
Hey, this is better than the ball we
had at that place... What was the
name of that joint?

o.s. Johnny's cycle starts, roars off.

AD LIBS
I need gas... This is a ball! Hey,
let's get us some quail! Hey, where'd
Johnny go?

EXT. BLEEKER'S - NIGHT

MEDIUM SHOT

When Johnny rides up, an uproar is issuing from the bar. He
ignores it, starts for the cafe door. Britches steps up to
him.

BRITCHES
Hi, Johnny, where you been, Johnny?

TWO SHOT JOHNNY AND BRITCHES

He turns, stares at her. She is carrying a bottle of beer
and is a little drunk, her eyes very brilliant.

JOHNNY
What do you want?

BRITCHES
Talk to me, Johnny. Sing me a song --

He gives her a look, starts through the door. She hangs on,
following.

INT. CAFE - NIGHT

MEDIUM SHOT

The uproar from the bar is coming over as Kathie appears
from the short hall leading to the kitchen. She stops, looks
off toward the street door.

JOHNNY AND BRITCHES

She has stopped him again, just inside the door.

BRITCHES
Buy me a beer --

JOHNNY
You got a beer --

IN HALL

as Kathie steps back quickly out of sight. Jimmy is at the
phone on the wall in the b.g.

JIMMY
(into phone)
Hello! Hello!

He drops the phone just as Bleeker comes into the shot, angry
and rattled.

JIMMY
Phone's dead. Better send somebody
for the militia --

BLEEKER
(to Kathie)
Go see if you can find Harry. Tell
him I need him right away.

He turns back. Jimmy urges Kathie through the door to the
kitchen.

JIMMY
You go home and stay there --

MEDIUM SHOT

as Bleeker hurries back toward the disturbance in the bar.
Britches is still holding Johnny, near the center of the
cafe.

BRITCHES AND JOHNNY

He flinches angrily, pulls away.

BRITCHES
I want to know how you been... I'm
singing tonight, Johnny. I'm really
singing. I'm on the Christmas tree.

He jerks his arm away, takes the bottle of beer out of her
hand and drinks it himself.

BRITCHES
You got a date?

JOHNNY
(grim)
Yeh, I got a date --

BRITCHES
(intensely; trying to
hold him)
Johnny, remember the night -- the
first time I went out scrambling
with the Rebels? Remember?
(as he says nothing)
That was the first time I saw you. I
haven't seen you since then. We really
got hung on the Christmas tree, didn't
we, Johnny?

He glowers at the beer bottle, stubbornly refuses to say
anything. Britches continues with a sort of desperate,
transparent self-mockery:

BRITCHES
(continuing)
Boy, was I green! Was I really green,
Johnny? I thought I was really living
it up! I had me a guy and we were
really going to go!

She laughs, but she is actually beginning to cry a little.

BRITCHES
(continuing)
Was I green! We had a lot of yaks,
anyway, didn't we? We really got
ourselves hung on the Christmas tree!

She breaks suddenly, revealing herself.

BRITCHES
(continuing)
Well, say it, can't you? Won't you
say something to me, Johnny? I won't
get on your back. I wouldn't do that.
But we had a lot of yaks, didn't we?

Johnny just looks at her in impotent anger.

JOHNNY
What do you want me to do -- send
you some flowers?

He takes the last swallow from the bottle -- hands her the
empty, starts for the bar. She stands there -- really crying
now, silently.

OMITTED

Sequence omitted from original script.

ANOTHER ANGLE

Jimmy appears behind the counter.

JOHNNY
Hey, where's that girl? Where's that
Kathie?

JIMMY
Counter's closed. Bar's closed.
Everything's closed.

Johnny glares at him, starts through the archway.

INT. BAR - NIGHT

TRUCKING SHOT

as Johnny enters. He just wades through, looking around.
Bleeker, completely helpless, reaches his side.

BLEEKER
Can you stop this?

JOHNNY
Where's Kathie? I want to see her.

BLEEKER
I don't know... Look. I've treated
you boys right... If you can stop
this, Johnny -- I'll do whatever --

JOHNNY
I don't stop anything.

He continues on, looking around; Bleeker stays with him,
pleading.

BLEEKER
They're wrecking my place. This is
going to cost --

JOHNNY
You're doing all right.

Satisfied that Kathie is not here, Johnny continues quickly
on and out the door off the bar. Bleeker is left standing
there.

EXT. STREET BEAUTY SHOP - NIGHT

MEDIUM SHOT

Kathie comes hurrying along. A cyclist who has been standing
in the doorway of the beauty shop steps out into the light.

CYCLIST
Quail!

Kathie stops, her way blocked, starts back. But it's too
late. Several more boys have stepped out.

CYCLISTS
(chorus)
Quail!

ANOTHER ANGLE

as they swoop down on her, surround her, before she has gotten
ten yards.

AD LIBS
Hey, you know how to dance? Hey,
it's Johnny's girl! So it's Johnny's
girl -- she knows how to dance --

She looks around wildly, but there is no escape. They start
taking her back toward the beauty shop. Radio music and
hilarity is coming over from inside Mildred's.

INT. MILDRED'S BEAUTY SALON - NIGHT

MEDIUM SHOT

A small radio on a makeup table -- the volume as high as it
will go. Empty beer bottles everywhere.

WIDER ANGLE

Mildred dances two or three drunken steps with a cyclist,
laughs hysterically as she is passed on to another partner,
and then another. A cyclist simpers up to her -- wearing a
hair-dryer on his head.

CYCLIST
Hey, Mildred! Look at me!

CYCLIST
Hey, Buck Rogers!

MILDRED
No, don't! That's expensive! You'll
break it!

She pulls away from the boy she is dancing with, tries to
grab the dryer off the guy's head, but he grabs her in an
embrace and starts dancing around with her. Other cyclists,
delighted with this new game, grab other dryers and various
equipment.

CLOSE SHOT MILDRED

Frantic and frightened now, she struggles to get free, but
the cyclist hangs on to her.

MILDRED
You're hurting me!

ANOTHER ANGLE

as the other group enters with Kathie.

CYCLISTS
Hey, Quail! New talent!

Several boys descend on her, fighting for her, a couple fall
down.

KATHIE

Terrified, as she is grabbed by a boy who starts staggering
around the little room with her, holding her roughly. Another
boy grabs her away. The CAMERA FOLLOWS as she is passed,
grabbed or pushed from one boy to another.

INT. JAIL - NIGHT

CLOSE SHOT

The cell door being unlocked. CAMERA PULLS BACK. A dozen
men, including those we have seen before and several others,
start gathering around Thomas as he comes out.

HANNEGAN
You all right, Charlie?

Grim, angry, Thomas gives him a curt look.

THOMAS
Let's get to work on these boys --
(to Sawyer)
You bring me one?

Sawyer nods, hands him a gun; we see now that several of the
men have guns. Hannegan steps in, protesting:

HANNEGAN
Now wait a minute, Charlie --

THOMAS
What for? You want to wait till
somebody is killed before we take
action?

SIMMONDS
(to Hannegan)
I don't go all the way with Charlie,
either, Bill. But we've got to do
what we can to protect ourselves --
you've got to admit that --

HANNEGAN
I admit that -- all I say is two
wrongs never made anything right. If
you start using guns on these boys --

THOMAS
Well, I've got a gun and I'm going
to use it -- one end or the other.
Anybody wants to talk some more can
stay here and have an ice cream social
with Tom -- anybody don't can come
with me --

He starts out. There is a moment's hesitation, then about
half the group follows him out the door. The other half hangs
back with Hannegan.

THOMAS
You find him, bring him to the back
of the store -- we'll meet back there --

The men nod.

HANNEGAN'S GROUP

They watch the others go, then:

HANNEGAN
(grim)
Well, we'll do what we can... Let's
try and get hold of this boy Johnny,
before Charlie and the others do --

They exit.

CHINO IN CELL

Forgotten in all this, he opens one eye, rises cautiously,
tries the cell door. It isn't locked.

INT. MILDRED'S BEAUTY SALON - NIGHT

MILDRED

crying hysterically and fighting off a boy trying to make
her dance. Cyclists staggering around wearing hair-dryers,
roaring at each other with laughter. Kathie in the b.g. being
passed from boy to boy.

MEDIUM SHOT

Mildred fights free, flings open a side door and careens out
into an alley.

CYCLISTS
Hey, she got away! Hey, catch Mildred!
Don't let her get away!

They pile out the door after her, running into each other
and into the door jamb, falling down, getting up.

ANOTHER ANGLE

The boy dancing with Kathie lets her go suddenly -- literally
dropping her -- to follow the others out the door. She sags.

KATHIE

huddled trembling on the floor, on one knee. The radio
blaring. She raises her head. She's alone. She rises quickly,
hurries past the partition to the front of the shop.

FRONT ROOM OF SHOP

Kathie stops in the darkened f.g., hearing cycles start up
outside.

AD LIBS (O.S.)
Come on, get her! Tallyho, the fox!

At a sound behind her, she glances back over her shoulder.

KATHIE'S ANGLE TO REAR OF SHOP

past the partition, a glimpse of Mildred -- being led back
in by two cyclists.

CLOSE SHOT KATHIE

horrified, trapped.

PAST KATHIE TO STREET

Hearing the last cycle leave, Kathie slips quickly out the
door.

EXT. STREET - NIGHT

KATHIE

hurrying along the sidewalk. Suddenly there are shouts behind
her.

AD LIBS
Hey, there she goes! Hey, this way!
It's the other one -- get her!

Terrified, uncertain which way to go, Kathie breaks into a
run, cutting diagonally across the street.

MEDIUM FULL SHOT STREET

A cyclist brings his machine to a sudden stop directly in
Kathie's path. She stops, starts the opposite way, the CAMERA
PANNING. Another cycle stops, blocking her escape in this
direction. She whirls, finding herself completely surrounded
as several more cycles are brought up in quick succession,
forming a ring around her.

FEATURING KATHIE

as the cyclists start closing the ring. She is terrified.
Suddenly there is the sound of still another cycle descending
on her. She whirls.

MEDIUM SHOT JOHNNY

He rides into the shot, stops, looking around the circle at
the other cyclists, murderously.

CLOSE SHOT KATHIE

just staring at him numbly.

GROUP SHOT FEATURING JOHNNY

Poised, he looks from the cyclists to Kathie.

CYCLIST
(weakly)
Hiya, Johnny.

His eyes still on Kathie, Johnny nods -- indicating the
jumpseat behind him. Kathie hesitates just an instant, then
stumbles forward and clambers on behind him. He guns the
motor. She grabs him around the shoulders to keep from
falling. The other cyclists scatter back out of the way, the
CAMERA PANNING to FOLLOW Johnny's cycle off up the street.

EXT. STREET AND PARK - NIGHT

MEDIUM SHOT

Johnny, with Kathie on the back, rides through.

DISSOLVE TO:

EXT. HIGHWAY - NIGHT

JOHNNY'S CYCLE

It roars past on the open highway, Kathie on the back.

JOHNNY AND KATHIE (PROCESS)

He is wide-open, staring straight ahead with a glazed
intensity. Kathie, torn and whipped by the wind, is holding
on -- there's nothing else she can do.

MEDIUM SHOT (PROCESS)

Without warning, Johnny gears down, skids around off the
pavement.

KATHIE (PROCESS)

Startled, confused, by this. Unable to call out as the cycle
bounces back onto the pavement. She just hangs on, closes
her eyes.

HIGHWAY THE CAMERA HOLDS

Johnny roaring away toward town again.

DISSOLVE TO:

EXT. PARK AND STREET - NIGHT

MEDIUM SHOT

Johnny rides through with Kathie (as in #315A but opposite
direction and slower).

MEDIUM SHOT

A secluded spot, large trees, shrubbery. For a moment the
scene is empty and quiet, except for motorcycles in the
distance. Then Johnny, with Kathie on behind, comes through
the bushes, stops. He cuts the motor.

MEDIUM CLOSE SHOT ON KATHIE

For a moment she sits there, still clinging to Johnny's
shoulders, her hair torn by the wind. Then she looks up
vacantly, lets her hands slip down, almost caressing the
leather jacket, gets off.

ANOTHER ANGLE

Kathie drifts off to one side. She leans for a moment against
a tree, then melts down into the shadow at the base. Not
until then does Johnny dismount, slowly, kicks down the foot.
Something about the cycle annoys him. He gives it intense
concentration, stares at it, pokes at it.

AT TREE

Kathie is just a figure slumped down in the shadow. Johnny
comes over slowly, stands there, his face a mask.

JOHNNY
(abruptly)
Get up --

She doesn't move. He reaches down angrily and pulls her up.

CLOSE TWO SHOT

She leans back against the tree for support, looks at him
emptily, without fear. As he makes a move to grab her:

KATHIE
(quietly)
Do you have to be back at work
someplace Monday morning?

He stops, a look of surprise and confusion on his face for
an instant. Then:

JOHNNY
(intensely)
Listen -- nobody's too good for me --
anybody thinks they're too good for
me makes sure I knock them over
sometime -- I can cut you up, show
you how good you are -- tomorrow I'm
someplace I don't know anything --

KATHIE
(simply)
Do you want to?

ANGLE ON JOHNNY

His face contorts with fury. He looks trapped. His eyes leave
her; she reaches out, with a sort of instinctive gesture of
tenderness, touches his shoulder.

KATHIE
Johnny...

He flinches sharply, jerks away. Kathie looks down.

KATHIE
That's crazy, isn't it? You're afraid
of me... I don't know why, but I'm
not afraid of you now... You're afraid
of me...

He grabs her with sudden, compulsive violence, forcing her
against him roughly, awkwardly, kisses her. There is no
resistance. Nothing.

ANOTHER ANGLE

He releases her just as suddenly, with the same violence.
She leans back against the tree again.

KATHIE
I'm sorry... I'm sorry I can't fight
back... I'm too tired... That would
be better, wouldn't it? Then you
could hit me.

He stands there in an impotent rage as she continues.

KATHIE
Do you hate me because my father's a
cop? Or do you hate everybody?
(pause; he doesn't
answer)
Sometimes I hate everybody, too, I
guess... I hate this whole place. I
hate my father... I even hate
myself...

She leans away from the tree and moves slowly past him, close,
continues on a few steps. He stands there rigidly, his back
to her. She sinks down to the ground.

KATHIE
(out of nowhere)
I've never ridden on a motorcycle
before... It's fast... It scared me.
But I forgot everything. It felt
good... Is that what you do?

He whirls to face her, menacing, shouting:

JOHNNY
Stop asking me. I don't like them to
ask me all the time! I don't like
them getting on my back! I feel like
it, I go! Okay? I feel like it, I
stick around, you got ten fathers
all phony cops -- they're going to
work me over or something -- stick
their big fat hands in my face! I
been worked over! Nothing! They don't
scare me!

A pause. Kathie sinks slowly to the ground.

LOW ANGLE PAST KATHIE

resting her chin on her knee; Johnny still stands in the
b.g. his head and shoulders out of the frame.

KATHIE
He just doesn't know how to be a
cop... He wanted to raise dogs once.
I don't know what he was going to do
with them. Just raise them. He didn't
like to hunt. He shot a rabbit once.
It didn't die right away. He got
sick...

A slight pause. Johnny lowers himself slowly to the ground
where he is, some four feet away, in deep shadow.

KATHIE
You know what I used to think about?

No reply, of course.

KATHIE
(continues)
I used to think about it a lot after
my mother died... That somebody would
come here, stop at Uncle Frank's for
a cup of coffee and he would like me
right away. He'd take me with him...

She lifts her head, listens for a moment to the sound of
motorcycles somewhere beyond the park.

KATHIE
Johnny, you were going to give it to
me... Will you give me that statue
now?

There is a pause; then Johnny's voice, strange from the dark:

JOHNNY
Why?

KATHIE
(a vague shrug)
I'd like to look at it sometime...
to remember...

JOHNNY
What?

KATHIE
This. It's crazy... but I saw a movie
once. I forget, anyway a couple of
people. They sat at a place -- like
on a hill. There was a town burning.
And it was all over.

Another pause.

JOHNNY
Where did you want this guy to take
you? This guy had a cup of coffee?

Kathie is thrown for an instant, then retrieves the thread,
smiles wryly.

KATHIE
Oh, Wherever he was going...
(she sits up; a tremor
runs through her
body)
I'm shaky... I wish I was going
someplace... I wish you were going
someplace. We could go together...

Another tremor runs through her body. She raises her hands
to her face. Then suddenly, she cracks, everything catching
up with her at once. She rises slightly, throws herself at
Johnny, grabbing him around the shoulders, sobbing
hysterically.

KATHIE
Johnny! Johnny!

Startled, angry, Johnny fights her off.

KATHIE
(hanging on)
Johnny!

JOHNNY
(furious)
Cut it out!

He tears her violently away, pushes her off, and rises, all
in the same motion. She falls at his feet in a heap, sobbing.

TWO SHOT JOHNNY AND KATHIE

He stands over her, shouting at her in a crazy mixture of
fury and self-torment -- very close to breaking.

JOHNNY
What's the matter with you? I didn't
do anything to you. I didn't touch
you! Listen -- What am I supposed to
do? What do you want? Cut it out!

She gets suddenly to her feet and plunges off through the
bushes still sobbing.

CLOSE SHOT ON JOHNNY

frozen there for a moment. Then he whirls back to his cycle,
jumps on, starts the motor, goes crashing through the bushes.

STREET AND PARK - NIGHT

MEDIUM SHOT

Kathie comes running out of the park, stumbling and crying,
heading diagonally across the street. Johnny rounds the corner
in the b.g., after her.

ANOTHER ANGLE

Kathie running and stumbling down the street. Johnny overtakes
her, skids to a stop, cutting her off.

CORNER OF BUILDING

Art Kleiner, a short length of pipe in his hand, pulls up
suddenly as he rounds the corner, looking off. Another man
looks over his shoulder.

KLEINER'S ANGLE

Kathie tries to dodge around Johnny. He grabs one arm, almost
loses his balance on the machine.

JOHNNY
Kathie -- listen -- what's the matter
with you? I --

She swings on him with crazy fury, strikes him solidly across
the face.

ART KLEINER AND MAN

They react, duck quickly back around the corner.

TWO SHOT KATHIE AND JOHNNY

She is staring up at Johnny -- appalled by what she has done.
She almost speaks, but can't -- whirling suddenly and racing
off. He just sits, his head slightly bowed.

EXT. STREET - NIGHT

KATHIE

hurrying along, close to the buildings, pulls up short at
the sound of glass breaking.

KATHIE'S ANGLE

Chino and several other cyclists are careening toward her.

KATHIE

She is about to cut diagonally across the street when she is
stopped again by the sound of a cycle.

ANOTHER ANGLE

It's Johnny. Overtaking Kathie -- not seeing her in the
shadows, he cuts in at the curb just ahead of her, jumps
off.

CHINO AND GROUP

Chino is very drunk. He has a stick in one hand, a beer bottle
in the other. He is wearing -- over his other clothes -- a
full dress suit. Johnny hurries to him -- grabs him.

JOHNNY
Hey, Chino -- how'd you get out of
the can?

Chino just leers at him.

CHINO
Johnny, I love you! Let's you and me
have a beer -- then I'll knock the
living Christmas out of you --

He swings ineffectually, almost falls. Johnny holds him.

JOHNNY
Listen, Chino -- come on -- let's
get everybody. Let's blow out of
here.
(almost pleading)
Come on, Chino.

Chino stares at him a moment, glazed, then raises his stick,
shouts:

CHINO
Storm the Bastille!

He almost falls. Johnny lets him go, just stands there as
the group careens on. He looks lost.

KATHIE

pressed back against the wall until Chino and the others are
past. At the same moment she starts for Johnny we hear his
motor start -- the machine roaring. She stops -- the cry
dying in her throat -- then hurries after him.

MEDIUM SHOT

Johnny goes perhaps a hundred yards, stops near an
intersection.

MEDIUM CLOSE SHOT JOHNNY

He looks off down the side street. Someone shouts down there.
We hear someone running. On all sides, the vague, muffled
sounds of rioting. He looks confused, uncertain which way to
turn. Suddenly -- so quickly that it is upon him before he
realizes it -- a sedan comes to a stop, boxing him in at the
curb. Thomas and several other men swarm out.

THOMAS
This is the one! Get him!

Taken by surprise, Johnny can neither start the cycle nor
dismount fast enough to defend himself.

KATHIE

She has stopped, some fifty yards down the street, reacting
to this.

LONG SHOT KATHIE'S ANGLE

Johnny is quickly overwhelmed and dragged into the car, his
cycle left where it fell over at the curb.

KATHIE

frozen for a moment -- the sound of the car starting up and
skidding around. She whirls and dashes off around the corner.

EXT. STREET (TOWN HALL) - NIGHT

MEDIUM SHOT

As Kathie reappears, pulls up. A group of men, either locals
or cyclists, is moving toward her. She veers aside, runs
toward the jail.

INT. JAIL - NIGHT

MEDIUM SHOT TOWARD DOOR

The room is dark, illuminated only by whatever light enters
through the windows. We hear Kathie at the door. It opens
and she comes in quickly. She bolts the door, stands there
getting her breath, looks around.

MEDIUM SHOT

The room is empty. Kathie moves into the shot, slumps. Then
she looks up to Harry's locker against the wall in shadow.
She considers, decides, crosses quickly, starts searching in
the locker.

CLOSE SHOT AT LOCKER

Kathie's hand comes out with a gun she has found on the top
shelf. Harry's hand reaches in and closes on her wrist. She
jumps, turns.

WIDER ANGLE INCLUDING HARRY

One hand clamped on Kathie's wrist -- in the other an almost
empty glass. He is not drunk. He just looks at her -- his
expression and his whole manner completely vacant. Kathie
stares at him.

KATHIE
They've got Johnny, I --

Harry puts the glass down on the desk, slips the gun from
her fingers, turns with it and sits.

ANOTHER ANGLE

Kathie follows, looking down at him.

KATHIE
Have you just been sitting here?
Aren't you going to do anything?

HARRY
There isn't anything to do, Kathie...

KATHIE
(desperately)
I've got to help him. They took him --
in a car -- Mister Thomas and some
mem -- He wasn't doing anything --
he was trying to stop it -- he was
going to leave --

HARRY
(vaguely)
How is it at Frank's?

KATHIE
A fight started. I don't know -- I
left to look for you. Uncle Frank --

HARRY
(an odd smile)
Well, business before pleasure...

He sips his drink. Kathie leans down, trying hard to penetrate
his detachment.

KATHIE
Dad -- listen -- they've gone crazy.
Everybody -- They got Johnny. You've
got to help him. They're going to --
I don't know -- beat him up or
something --

He looks at her quickly, then away. Some of this is getting
to him. He would like to ignore it.

HARRY
I tried to talk to him...

He rises abruptly, turns his back, replacing the gun in the
locker.

CLOSE TWO SHOT KATHIE AND HARRY

Kathie presses him.

KATHIE
Don't you even care? Whatever he's
done -- it's still wrong --

When Harry turns back to face her, he has a pint bottle of
whiskey in his hand. More important -- his poise has cracked.
He is suddenly tense, fighting himself, and his voice rises
slightly.

HARRY
It's all wrong! Everybody's wrong! I
saw it coming! What could I do? In a
way, they brought it on themselves!
Charlie Thomas? He's a bully! He was
a bully in the second grade... What
am I supposed to do -- shoot somebody?

ANOTHER ANGLE KATHIE AND HARRY

There is a pause. Kathie looks at her father bitterly, turns
her back.

KATHIE
I don't know...

He looks at her back, uncomfortable, glances at the locker
where the gun is, at the glass on the desk waiting for the
whiskey. He makes his decision. As he quickly pours himself
a drink:

KATHIE
I don't know. Just nothing, I guess...
You're worse than any of them...

Harry's face works; he stares at the drink in his hand.

DISSOLVE TO:

INT. STOCKROOM HARDWARE STORE - NIGHT

MEDIUM SHOT

FEATURING Ben, the garage man. He is installed comfortably
on a nail bin, looking off as he sips from a half-pint bottle
of whisky. On the wall behind him are farm tools and various
other items of hardware; rope, pipe, lanterns, etc., hanging
overhead, suspended from the low rafters, casting a pattern
of shadows. A blow is struck o.s.

BEN
(getting off the bin)
Hold on there, save a piece of that
for me --

The CAMERA PANS WITH him as he crowds up to take his turn.
Johnny himself is party masked by Thomas, who has just hit
him.

ANGLE FEATURING JOHNNY

He has taken the blow with cynical arrogance.

JOHNNY
Come on, what's the matter with you
farmers? My old man was sick all the
time, he clopped me harder than that --

Ben starts to swing on Johnny. Hannegan grabs his arm.

HANNEGAN
Ben, Charlie -- let me talk to him --

Thomas pushes Hannegan angrily aside.

THOMAS
Bill, I warned you --

The two groups are poised for an instant. In that instant a
shot explodes, loud in the low-ceilinged room. The men jump,
whirling toward the rear of the stock room -- a lantern
crashing down from above, not far from Johnny's feet.

PAST JOHNNY TO REAR DOOR

Johnny has half-risen in the chair. The men who were grouped
around him have jumped back. Harry has burst through the
alley door, brandishing his gun.

HARRY
Everybody get back -- away from that
boy --

JOHNNY

He is staring at Harry, incredulously -- poised to leave the
chair.

ANOTHER ANGLE

Hannegan moves toward Harry. Misunderstanding, Harry pushes
him aside. Thomas plants himself between Harry and Johnny.

THOMAS
This has got nothing to do with you,
Harry -- we've got a little job that
has to be done --

HARRY
Come on, son --

JOHNNY

Poised, he looks past Harry, reacts.

JOHNNY'S ANGLE

Past Harry to Kathie standing in the alley door. Ben moves
in, insolent.

BEN
(to Harry)
We're doing something should have
been done a long time ago -- pounding
a little respect for law and authority
into this guy's thick skull --

HANNEGAN
You won't do it that way --

MEDIUM SHOT

Harry looks at Hannegan, surprised.

THOMAS
You got a better way -- either of
you -- you had a long time to try
it. This way, we make good and sure
he don't try to pull anything like
this right away soon --

Harry gives him a glassy look, starts crowding past, gesturing
with the gun.

HARRY
Come on, fellow --

ANOTHER ANGLE

It looks like an impasse. Sawyer moves to Harry.

SAWYER
(patronizing)
All right, Harry... Let's take it
easy. We're all old friends here,
Harry... Let's keep calm -- talk
this over --

Harry turns his body slightly, about to reply; at the same
moment, Kathie screams:

KATHIE'S VOICE
Dad!

Before Harry can turn, one of the men who has gotten around
behind, jumps him, grabbing his arm to get at the gun. It
fires into the ceiling. Thomas tackles him low. Rushed from
all directions he goes down.

ANOTHER ANGLE FIGHT

The chair Johnny was sitting on is empty in the f. g. Stepping
back out of the scramble for an instant, Thomas reacts.

THOMAS
(shouting furiously)
The boy got away -- get him!

Several men look up, leave Harry to the others, starting
after Johnny. Hannegan throws himself in their path.

KATHIE

Pressed against the wall as Johnny comes by. She instinctively
reaches out to him. He sees her, hesitates just a fraction
of a second -- plunges on and out into the alley.

EXT. ALLEY - NIGHT

MEDIUM SHOT

Five or six men come out, stumbling up the dark alley after
Johnny.

JOHNNY

Momentarily confused, tired, he stops, uncertain which way
to go. Then he dives aside.

OMITTED

Sequence omitted from original script.

FULL SHOT

Having lost the trail, the men are milling around, muttering,
calling to each other:

VOICE
Hey, Ben -- you see which way he
went?

EXT. STREET - NIGHT

FULL SHOT

Johnny runs through and off into the darkness, just a figure.

EXT. STREET AND PARK

LOW ANGLE

Johnny's cycle lying on its side where he abandoned it, in
the f.g. Johnny comes into the b.g., stops, looking around,
very tired.

MEDIUM CLOSE SHOT JOHNNY

He leans back against a tree. Very suddenly, he breaks
completely -- just goes to pieces, trembling convulsively,
tears streaming down his face.

MEDIUM SHOT

There is a beat before Johnny pushes himself away from the
tree with his shoulders, with great effort, crosses to the
cycle. He opens one saddlebag, takes out his Trophy, puts it
back. Then he rights the machine, kicks the starter. The
second time it catches. He rides off, the CAMERA PANNING and
HOLDING as he disappears around a corner.

OMITTED

Sequence omitted from original script.

EXT. MAIN STREET - NIGHT

AT CORNER

The two children on bicycles race around the corner, colliding
with Jimmy. He stares at them, recovers, then:

JIMMY
You children seen Kathie Bleeker?

They shake their heads. Jimmy starts on, stops, realizing
something is wrong here.

JIMMY
(sternly)
What are you doing out, anyway? Why
aren't you in bed?... I'll take you
home --

As he moves toward the children, they quickly retreat.

OMITTED

Sequence omitted from original script.

EXT. INTERSECTION - NIGHT

FULL SHOT HIGH ANGLE

Johnny rides into the center of the intersection, pauses. He
turns one way, stops. A group of men are approaching quickly
He reverses, starts the other way. Two figures appear suddenly
in front of him. He stops again, looks back. The men jump
back into the shadows.

TWO MEN AGAINST BUILDING

The men are Art Kleiner and Bleeker.

KLEINER
That's him -- that's the one I saw
after Kathie ---

Bleeker steps grimly forward, raising some sort of a weapon.

MEDIUM CLOSE SHOT JOHNNY

He looks back. We hear the group of men running, closer. He
has to go forward past Bleeker and Kleiner. He throws the
cycle in gear.

OMITTED

Sequence omitted from original script.

GROUP OF MEN

One of them emerges from the pack, stops, throwing a tire-
iron like a boomerang.

MEDIUM LONG SHOT LOW ANGLE

Johnny is about opposite Bleeker and Kleiner when it happen
It is impossible to see whether the tire-iron hits Johnny or
the cycle. But we see the result: the cycle goes out of
control, veering crazily for an instant -- then Johnny goes
off; the machine bucks, jumps forward, careens toward camera
under its own power.

THE RIDERLESS CYCLE

It wobbles, continues on, straight for the camera.

SIDEWALK AROUND CORNER

The three children with Jimmy in pursuit -- following them
around the corner. They ride into the path of Johnny's
machine. We hear the sound of the impact, the screams of the
children.

MEDIUM SHOT JOHNNY

thrown clear, onto the sidewalk, where he lies motionless.
o.s., we hear people yelling, running in from various
directions.

SEVERAL QUICK CUTS

Townspeople and cyclists running toward the scene.

CLOSE SHOT TIRE-IRON

lying in street. CAMERA PULLS BACK. Kleiner starts to pick
it up.

BLEEKER
(pulling him back)
No, Art... Stay out of this --

AT CORNER

The small crowd that has already collected masks the scene.
Several people come pushing out, carrying the children,
hysterical but unhurt.

LOW ANGLE PAST JOHNNY

TOWARD scene of accident. He stirs, gets slowly to his feet
He starts forward as if to retrieve his cycle.

MEDIUM SHOT CROWD

People pressing up to look down.

MAN'S VOICE
Old Jimmy from Bleeker's --

JOHNNY

He stops suddenly in a CLOSE SHOT, staring off, stunned and
dazed. His mouth works.

REVERSE FROM CROWD TO JOHNNY

who is still standing there, weaving slightly.

MAN
I just come out of Wilson's -- I saw
one of these guys let go a cycle and
head it straight for the kids --

He breaks off, pointing toward Johnny in the b.g.

MAN
There he is! That's him!

Three or four of the men start for Johnny.

MEDIUM CLOSE SHOT JOHNNY

He takes just one step back, stands there. As the men grab
him:

JOHNNY
(bewildered, dazed)
What happened?

Simultaneously, o.s., we hear the whine of sirens.

EXT. MAIN STREET - NIGHT

FULL SHOT

Several squad cars turn into the street, their sirens whining,
the CAMERA PANNING with them.

CLOSE PAN SHOT

following lead car, the Sheriff's insignia on the door.

MEDIUM SHOT

As the last car passes, Harry and Kathie step off the curb,
follow the cars up the street.

EXT. SIDE STREET - NIGHT

MEDIUM SHOT

A group of deputies has dived in, pulling off the men who
went for Johnny. Two deputies grab Johnny's arms. In a sudden
crazy kind of panic, he fights free, whirls and stumbles
back toward the spot where he was thrown.

ANOTHER ANGLE

The deputies are right after him, surrounding him. He thrusts
them away, searching in the street. Then suddenly he stops,
picks up something from the gutter.

MEDIUM SHOT

It's the trophy. He stares at it. Several men grab him
quickly. He makes no effort to resist. They start off with
him, through the crowd.

EXT. MAIN STREET - NIGHT

FEATURING SINGER, THE SHERIFF

standing by his car. He is a big, businesslike man, extremely
competent. He turns now as he sees Harry come up.

SINGER
How did this get started, anyway?

Harry just wets his lips. Before he can answer, Thomas barges
up, grabs Singer's arm.

THOMAS
(hotly)
Sheriff, we had this boy, we had the
whole thing stopped --
(indicating Harry)
-- when he stuck his nose in and --

HANNEGAN
(stepping in)
There's a little more to it than
that --

Singer pushes them both back.

SINGER
All right. All right. We'll find out
what happened.

ANOTHER ANGLE

as Singer turns to address a couple of his deputies.

SINGER
Round up everybody on a sickle --
all the witnesses you can --

They nod, start off into the crowd. Another deputy steps
quickly to his side.

DEPUTY
(matter-of-fact)
Old man's dead. Dishwasher in a place
up the street --

Johnny, being brought through the scene by the deputies,
pulls up short.

MEDIUM CLOSE SHOT JOHNNY

holding back for an instant as the man try to pull him on.
There is a look of blank fear on his face.

THOMAS' VOICE
That makes it a manslaughter charge,
doesn't it, Sheriff?

SINGER'S VOICE
We'll see, we'll see. Let's get this
off the street, Harry, and sort it
out --

The deputies have already pulled Johnny on.

KATHIE

following Johnny a moment with her eyes; then she glances at
her father.

MEDIUM SHOT

Harry and Singer follow the men with Johnny. The CAMERA PAN
and HOLDS, FRAMING the Town Hall in the b.g. as the whole
group flows in that direction.

DISSOLVE TO:

EXT. STREET AND TOWN HALL - EARLY MORNING

FULL SHOT

From the scene of the accident, across the crowd to Town
Hall. In the pale, half-light of very early morning, people
are standing around in silent little groups.

In contrast to everything that has gone before, there is an
absolute, expectant hush.

THE FACES OF THE CROWD

Some of these are faces we have seen and known earlier. The
expressions are weary, grim. These are the faces of people
who have been through a shocking, sobering experience.

THE CYCLISTS

They are miserable looking lot now -- slumped on the ground,
sprawled in various attitudes near the Town Hall steps. Their
air of braggadocio has slumped completely. Under the eyes of
the several deputies standing over them with riot guns, they
look much younger, very un-dangerous.

INT. TOWN HALL - COUNCIL ROOM - EARLY MORNING

MEDIUM CLOSE SHOT JOHNNY

in a chair, staring bleakly at nothing. He looks up, down
again.

ANOTHER ANGLE

to include Singer. The big man is standing, looking down at
him with weary distaste. In the b.g., against the wall, sits
anonymous deputy with a notebook, just part of the room.

SINGER
(abruptly; hard)
Well, you've done it. Real good job.
Got yourself some real big trouble.
Shows what you can do if you work at
it long enough --

Johnny attempts a cynical smirk that doesn't quite come off;
the fear shows through.

SINGER
(continuing
sarcastically)
All right, you're a big important
fellow now. Everybody's listening.
What do you want to say?

No answer.

SINGER
(continuing)
You know what you're going to get
for manslaughter -- forgetting the
count on the girl?

Johnny flares suddenly, in desperate imitation of his previous
arrogance.

JOHNNY
Somebody jumpy's yelling they got
hurt, where is she? What's the beef?

A door opens o.s. Singer snaps his head.

PAST JOHNNY AND SINGER

Harry has stepped through the door in the b.g., closed it
behind him. He stands there, drooping wearily in the shadows.

HARRY
(very flat)
I got hold of my daughter, Stu...
She's out here. She went home, and
came back again...

Singer turns toward him. The deputy with the notebook rises
and follows him like a shadow.

JOHNNY

watching Singer go, his expression wavering from cynical
contempt to fear. Another deputy appears from nowhere and
stands near him.

INT. ADJOINING ROOM

MEDIUM SHOT

Kathie is standing forlornly in the middle of this smaller
room. Harry has re-entered and moved to her side.

ANOTHER ANGLE

As Singer and his deputy follow Harry in, there is a sudden
commotion at another door in the b.g. Bleeker appears, trying
to bluster his way past a deputy there.

BLEEKER
This girl's my niece! I have a right
to be with her! There's no telling
where her father --

He sees Harry and stops. Singer nods to the deputy barring
his entrance.

SINGER
All right. But sit down and be quiet.
I want to wind this up and get to
bed.

Bleeker slips under the deputy's arm and sinks into a chair
near the door, avoiding Harry's eyes.

MEDIUM SHOT

Singer indicates a chair for Kathie. As she sits
apprehensively, not sure what is going to be expected of
her, the Sheriff pulls up a chair for himself, takes a big
breath.

SINGER
(gently)
All right, can you tell me about
this now?

Kathie hesitates, appeals to Harry with her eyes.

HARRY
Just what you told me, Kathie...

SINGER
(seeing Kathie's
confusion)
It's all right if you want to wait,
but the sooner I get the facts the
better... Where did he take you?

KATHIE
I don't know. We just rode, real
fast...

SINGER
(nodding)
It doesn't matter... Then he attacked
you, or tried to...

Kathie shakes her head. Not immediately understanding, Singer
stares at her.

KATHIE
We just talked.

ANGLE SHOT FEATURING BLEEKER

He is on his feet.

BLEEKER
Kathie -- don't be foolish. Don't
try to protect this boy. He deserves
everything he gets...

SINGER
(sharply)
Sit down!

As Singer turns back to Kathie, she is suddenly on her feet,
too, breaking under the strain.

KATHIE
I'm not trying to protect anybody! I
don't even know what you're talking
about! You're all crazy! Leave him
alone!

BLEEKER
Kathie!

HARRY
Sit down, Frank, and shut up!

Startled, Bleeker sits.

ANOTHER ANGLE SHOT

A pause. A little confused, Singer turns to Kathie again.
She has started to cry.

SINGER
All right... Take your time. How did
you happen to go for a ride with
him?

KATHIE
(after a moment)
I was looking for Dad... A lot of
them on motorcycles were after me...

ANGLE SHOT FEATURING KATHIE

She looks up, not crying now, remembering her terror.

KATHIE
Johnny stopped them. I just got on
with him. It was all I could do...

ANOTHER ANGLE SHOT SINGER

He glances thoughtfully from Kathie to Harry, who is just
standing there at her shoulder, studying his hands.

KATHIE

as she continues.

KATHIE
I was afraid at first. Then I wasn't.
We just rode... I don't remember. I
know why he likes to go fast...
(bringing herself
back)
He brought me back. We stopped in
the park awhile... and talked, that's
all.

Bleeker has risen again, despite himself, moved into the
scene. Singer doesn't stop him this time.

BLEEKER
Kathie, Art saw you struggling with
him -- crying -- trying to get away
from him -- weren't you?

She shakes her head.

KATHIE
(softly)
No... I was just trying to get away,
not from him...

Bleeker looks at her a moment, as if trying to understand,
moves back out of the scene.

ANOTHER ANGLE

Singer looks thoughtfully from Kathie to Harry and back again.

SINGER
(quietly)
You in love with him, Kathie?

KATHIE
(simply; no hesitation)
No... I never could be... He's wrong --
about everything... I'm sorry for
him.

SINGER
Why?
(as she doesn't answer)
You liked the old man, Jimmy?...
Johnny killed him -- with a sickle,
instead of a gun, that's all.

KATHIE
(erupting)
They beat him! I saw them beat him!
And he wasn't doing anything! Not
then! He was trying to stop the
others! He was trying to do what I
wanted him to do!

SINGER
That's fine. But Jimmy's still dead.
And Johnny's going to jail for that,
for a long time.

ANOTHER ANGLE PAST KATHIE

She looks down, covers her face with her hands. In the b.g.,
the chair Bleeker was sitting in is empty.

EXT. TOWN HALL - EARLY MORNING

MEDIUM SHOT

Bleeker comes pushing his way up the steps with a very
frightened Art Kleiner in tow.

BLEEKER
(to deputies; with
authority)
The Sheriff wants to see this man...

The deputies let him through.

INT. COUNCIL ROOM

MEDIUM SHOT

Johnny's trophy is in the f.g. on the desk, scattered with
papers. In the b.g. Johnny himself is still sitting more or
less in the same attitude of miserable dejection. The deputy
moves around. The floor boards squeak. The voices from the
other room are suddenly louder, more excited, doors are being
hurriedly opened and closed.

THE DEPUTY

He looks up, listens. Johnny doesn't move.

INT. ADJOINING ROOM

GROUP
Singer, Harry, Kathie, Bleeker, Art
Kleiner, and several deputies.
Everybody is trying to talk at once.

SINGER
(shouting over them)
All right! All right!
(as they stop; to
Kleiner)
You saw this man, whoever he was,
come out of the alley, and throw
something?

Kleiner nods, frightened.

SINGER
What was the boy doing?

As Kleiner looks vague.

SINGER
Okay, nothing... You don't know who
this man was?

KLEINER
No, sir.

SINGER
What were you doing there?

KLEINER
(with an uneasy look
at Bleeker)
We were after him.

BLEEKER
(a quick, guilty look
at Kathie)
We had the wrong idea about... what
had happened.

A pause, Singer frowns.

SINGER
Kathie...

He puts his arm around her shoulder, starts leading her out.
She goes, puzzled.

INT. CORRIDOR - TOWN HALL

MEDIUM SHOT

as Singer brings Kathie out into the semi-dark corridor. In
the b.g., vaguely, we are aware of a group of local citizens,
held back by one of Singer's men. Slowly, his arm still around
Kathie, Singer starts walking with her. Up the corridor,
then back again, pausing now and then, their footsteps hollow
on the marble floor.

SINGER
(quietly serious)
Kathie... I want your advice... This
has been a pretty mixed up business
here... You know a little, I guess,
about what it means to be a
policeman...
(he pauses thoughtfully)
Well, I think you were a little closer
to this boy tonight than anybody
else... Maybe a lot closer than
anybody has ever gotten to him. You're
a decent girl... what do you think?

She raises her eyes, looks at Singer. He goes on:

SINGER
I mean, what happens to him now. He
pulled a lot of rough stuff here --
anyway his gang did. And I can hold
him. I will, too, if I decide he's
too far gone -- just to see he doesn't
pull it again, someplace else... But
I've got a feeling he never met a
girl like you before... and he may
have learned something. If he has,
there's a chance of saving him, if
he's treated right... What do you
think?

Kathie looks up again, hesitates before answering -- moved
and troubled.

EXT. TOWN HALL

THE CYCLISTS

A sudden, nervous restlessness sweeps through the group.
Several of them rise from the ground. Alert, the deputies
straighten up, ready.

INT. COUNCIL ROOM

MEDIUM CLOSE SHOT JOHNNY

Lost in his own miserable reverie, he is unaware that Singer
has entered and doesn't react until the Sheriff is standing
over him. Then he pulls back, half raises his arm as if to
ward off a blow.

TWO SHOT

Singer just stands there a moment looking at him. Then he
turns back to the desk and picks up a driver's license from
beside the trophy.

SINGER
Johnny Donato...
(after a pause)
You ever had any friends, Johnny?

Johnny reacts cautiously; what gives here?

SINGER
Well, you picked up a few around
here tonight. Strange as it may sound.
Not many, but a couple. They've got
you off the hook a little.

ANOTHER ANGLE

Johnny blinks. His face works. He picks a spot on the floor
and stares at that. In the b.g. is the door to the adjoining
room. Singer has left it open. And now Kathie appears there.
Harry and Bleeker move up behind her. If Johnny hears them,
he doesn't turn his head.

SINGER
Now, look, get this straight. I'm
not soft. And I may be making a big
mistake. Whatever your boys think of
you, you're no hero to me. But you
didn't kill anybody. You didn't
actually hurt anybody. I'm going to
take a big chance and put you on
your way.

MEDIUM CLOSE SHOT JOHNNY

His careful expression collapses and is replaced by a mixture
of fear and confusion. His eyes stray ever so slightly toward
Kathie, standing just inside the door.

ANOTHER ANGLE

Singer addresses one of the deputies.

SINGER
Get that other bunch of goons loaded
up --

The deputy nods, exits, as Singer steps to Johnny, hands him
his driver's license.

SINGER
There'll be some straightening out
to do. You'll get a summons for an
inquest.
(very hard)
And you'd better show up for it, or
else.

Johnny stares at the license.

SINGER
(nodding to the trophy)
Is that yours?

Johnny starts guiltily, glances at the trophy, then toward
Kathie. He hesitates an instant, then quickly picks up the
trophy and puts it carelessly under his arm.

SINGER
(to deputies)
Put him on the road.

Johnny starts out between two deputies.

SINGER
(nodding to Kathie
and others)
Haven't you got something to say to
these people?

MEDIUM SHOT

Johnny stops, meets Kathie's eyes for a moment, then has to
look away, just stands there stubbornly.

SINGER
(angrily)
Oh, tough boy. What's the matter
with you? You been beat over the
head so much you don't know when
somebody gives you a break? Nobody
ever taught you any way to say thank
you?

Johnny looks as if he would like to say something, but nothing
comes out. Singer waves him off, and he continues on out
with the deputies, past Kathie, Harry and Bleeker.

ANOTHER ANGLE

Singer turns wearily, scoops up his papers from the desk and
follows.

EXT. TOWN HALL - EARLY MORNING

MEDIUM SHOT

Several deputies come out, herding a bunch of cyclists down
the steps. Most of them are from Chino's group, the extremists
who have participated in the early scenes, caused actual
damage, etc... There is a slight murmur from the crowd as
they are hurried toward the Sheriff's cars.

ANOTHER ANGLE

As the rest of the cyclists, mostly Johnny's group, look up,
react. Sensing the end, some of them rise. One of them glances
back toward the steps of the Town Hall.

MEDIUM SHOT

Johnny appears with the two deputies, who turn him loose at
the head of the steps. He comes on down. Gringo steps out to
meet him.

GRINGO
Hey, Johnny, you sprung?

Johnny looks at him as if he had never seen him before,
glances off.

JOHNNY'S ANGLE

The other cyclists being herded into cars, their cycles being
loaded onto a truck.

BACK TO JOHNNY

As he looks around vaguely.

JOHNNY
(emptily; to nobody)
Where's Chino? What happened to Chino?

DEXTRO
(very flat)
They said he was dragging, real
stinko. Real Brodie. They found some
doctor was trying to stick his brains
back in...

Johnny blinks, looking around.

JOHNNY
Where's my sickle?

ANOTHER ANGLE

Singer appears on the steps, addressing the cyclists who are
left.

SINGER
(hard; forceful)
Okay, the rest of you crumbs, let's
get going. I want you out of here --
right away. And don't get the idea
you're getting away with anything,
because you aren't. I don't think
you're funny, or cute, or anything
like that. I think you're stupid.
I'd lock the whole bunch of you up,
except I don't want to get the jail
dirty. Any of you stick your nose in
this county again without a good
reason -- and the right reason --
I'll take your sickles away from you
for a year.

MEDIUM CLOSE SHOT JOHNNY

reacting, standing there in a sort of a daze, glances at the
trophy under his arm. One of the others nudges him and he
moves with the group toward the cycles.

TOWARD STEPS

Kathie, Harry, Bleeker and Kleiner start down the steps.
Kathie looks up at the sound of the cycles starting,
exploding. Harry takes her hand.

ANGLE FEATURING JOHNNY

The deputies standing by with riot guns supervising the
departure.

Johnny looks back once, guns his machine -- and looks off,
the others roaring out behind him. The CAMERA PANS TO FRAME
the troop until it disappears and the noise of the motors
dies away.

MEDIUM SHOT BLEEKER, KATHIE, HARRY

They stand there a moment. It is suddenly quiet.

BLEEKER
(strangely embarrassed)
I'll go ahead and put on some
coffee...

He starts off.

HARRY AND KATHIE

With a sudden, impulsive movement, she goes into her father's
arms. He holds her tight. She is shaking.

QUICK DISSOLVE TO:

INT. BLEEKER'S CAFE - EARLY MORNING

MEDIUM SHOT

Bleeker is behind the counter, staring abstractedly at the
water burbling in the silex. The door opens o.s.

ANOTHER ANGLE

Kathie and Harry come in slowly, moving toward the counter.
The place is a wreck.

BLEEKER
What a mess ---
(a flash of irritation)
Where's Jimmy --

He catches himself, frowns. The others sit at the counter,
silently, waiting for the coffee. Harry takes a deep, audible
breath. Kathie takes his hand. Bleeker puts four cups on the
counter. From the street there is sudden popping and
exploding. The whole group tenses, turns to look.

THROUGH WINDOW

It's Art Kleiner's car passing. It goes by.

GROUP AT COUNTER

They turn back, relax. Bleeker starts pouring coffee. Harry
takes his and cups it in his hands. Reaching for the sugar,
Kathie looks up and sees that Bleeker is staring past her
toward the door.

KATHIE'S ANGLE

Johnny is standing framed in the door.

KATHIE

She catches her breath.

JOHNNY

Slowly, with a suggestion of the insolent swagger of his
first entrance, he comes on in, swinging the trophy limply
at his side. He stops, midway, unwilling to meet their eyes.

SHOT AT COUNTER

They exchange looks. Harry starts to get up. Kathie stops
him.

MEDIUM SHOT

Johnny saunters over, still avoiding their eyes, takes a
seat around the corner by himself, places the trophy carefully
beside him.

JOHNNY
(not looking up)
Got any coffee?

Bleeker nods, turns, fills the cup, puts it before Johnny.
Johnny pushes forward a coin.

BLEEKER
That's all right.

PAST KATHIE AND HARRY TO JOHNNY

who leaves the coin there, takes two scalding swallows of
coffee.

HARRY AND KATHIE

Moved, Kathie lowers her eyes, then looks up again quickly,
instinctively alarmed at the sound of a car outside.

ANGLE PAST GROUP TO STREET

It's one of the Sheriff's cars. Someone is starting to get
out. With a quick look at Johnny, Harry rises and starts for
the door.

JOHNNY

staring rigidly into the coffee cup.

EXT. BLEEKER'S CAFE - EARLY MORNING

MEDIUM SHOT

Two deputies, followed by Thomas and Wilson, have gotten
out. Harry arrives just in time to intercept them.

DEPUTY
That boy in there?

THOMAS
(angry)
We saw him turn back --

HARRY
Give him a couple of minutes. He's
got something he wants to say before
he leaves --

WILSON
A couple of minutes is all that boy
needs to start a whole new riot --

HARRY
(appealing to the
deputies)
Give him a couple of minutes -- he'll
be right out.

INT. BLEEKER'S CAFE - EARLY MORNING

ANGLE FEATURING JOHNNY

He is still just sitting there, obviously struggling with
something. Bleeker moves to him, stands there awkwardly.

BLEEKER
How you fixed? You got any change in
your pocket. If...

He stalls. Johnny sits there a moment longer, downs one more
swig of coffee and rises, all in the same motion, picking up -
his trophy. He takes about three steps with it, stops, turns
back. Never meeting Kathie's eyes, he returns and places it
carefully on the counter where he was sitting. Then turns
and stalks out. Bleeker looks from the trophy to Kathie. She
is looking into space. The door slams.

EXT. BLEEKER'S CAFE - EARLY MORNING

MEDIUM SHOT

Johnny stops, looks from Harry to the deputies to the other
men, then back to Harry. He steps toward Harry, jamming a
cigarette into his mouth.

JOHNNY
Got a match?

Harry nods, fumbles out a box of matches, strikes one.

FEATURING HARRY AND JOHNNY

Johnny reaches out, takes Harry's cupped hands, brings them
close, lights his cigarette, brushes past the other men to
the cycle, kicks the starter, and roars off up the street.

EXT. STREET - EARLY MORNING ON JOHNNY

A dog dashes out into the street ahead of the cycle. Johnny
swerves, brakes hard to avoid hitting it, stalls.

CLOSE SHOT ON JOHNNY

He swears under his breath, kicks the starter viciously; he
kicks it again and it catches -- the machine leaping forward
again. The CAMERA PANS, FRAMING him as he rides off up the
street, disappears into the darkness beyond.

As the sound of the cycle dies away,

FADE OUT:

THE END

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