THE HUSTLER Walter Tevis

"THE HUSTLER"

Written bySidney Carroll and Robert Rossen.

Based on novel byWalter Tevis

Shooting Script, 1961Copyright © 1961,Robert RossenTwentieth Century-Fox Film,Hollywood, CA

FADE IN:

1 1EXT. SMALL TOWN MAIN STREET - AFTERNOON

An old Packard coupé pulls up to a roadside gas pump. Twomen get out and stretch their legs. The older man, CharlieBurns, a balding, desiccated man in his mid-forties, shamblestoward the bar across the street. Eddie Felson remains behindto speak to the attendant.

ATTENDANTYes sir?

EDDIEI think I got a little grease inthis lining here.

ATTENDANTOh yeah. Well, it will take me aboutthirty minutes to check it. You wantme to fill her up too?

EDDIEYeah. You better check the oil too.

ATTENDANTYes sir.

Eddie leaves the car parked at the gas station and heads forthe bar.

DISSOLVE TO:

2 2INT. ARMSTEAD'S BAR - AFTERNOON

Armstead's is a typical small town pool hall. It has a bar,a short order counter, a skee-ball machine, and pool tablesfor small, friendly games. The few people in Armstead's thisday are not playing; they sit and read the papers. Charlieand Eddie are at the bar, drinking straight bourbon.

BARTENDERBoys just passing through?

EDDIEYep.

BARTENDERPittsburgh?

EDDIEMm hmm.

(CONTINUED)

2.

2 CONTINUED: 2

BARTENDERComin' in or goin' out?

EDDIEGoin' in. We got a sales convention.Gotta be there tomorrow.

BARTENDERWhat do you guys sell?

CHARLIEDruggist supplies. Buster here isgonna get an award.

(Eddie scoffs, as ifembarrassed)

No, he sold seventeen thousand bucks'worth of stuff last month. Fastestboy in the territory.

EDDIEYep. Fastest and the bestest... Hey,give us another round, will ya? Onefor him, one for yourself.

BARTENDERThanks. Sure is a hot day for driving.Late afternoon is better. You guyshave plenty of time. Make Pittsburghin two, maybe three hours.

EDDIE(to Charlie)

Hey, he's right!(eyes the unused pooltable)

Whaddya say, Charlie, huh? Play alittle pool? Wait out the heat?

CHARLIE(laughs)

It's gonna cost ya money. It alwaysdoes.

EDDIEOh, come on, stop stalling. Grabyourself a cue.

Charlie rises from his barstool.

CHARLIE(to the bartender)

Good thing he can afford it.

(CONTINUED)

3.

2 CONTINUED: (2) 2

Eddie is already at the table.

EDDIE(to the bartender)

Keep 'em coming, will ya, friend? J. T. S. Brown.

Charlie joins Eddie.

DISSOLVE TO:

3 3INT. ARMSTEAD'S BAR - TIME LAPSE

The game is in mid-progress. It's Eddie's shot. He downs hisbourbon, weaves a bit, bends over the table, and awkwardlypokes at the white cue ball with his stick, missing an easyshot. Several more townspeople have come in from the streetand are following the play. The bartender refills the glassesas soon as they are emptied.

CHARLIEYou miss again, you lose again.

OLD MAN(at the bar)

What's the kid in hock for so far?

BARTENDERAbout sixty, seventy bucks.

EDDIE(racking the balls,to Charlie)

Next game, ten bucks.

OLD MAN(to the bartender)

Nice lookin' boy. Clean-cut. Too badhe can't hold his liquor.

CUT TO:

4 4INT. ARMSTEAD'S BAR - TIME LAPSE

Two balls lay side by side on the table. Eddie peers at them,trying to figure his shot, blinking his eyes to focus better.Some of the onlookers seem skeptical. But Eddie pats thecorner pocket confidently, leans over, and raps out his shot.The ball banks in.

EDDIEI made it, boy! I finally made it!C'mon, pay up. Pay up, sucker.

(CONTINUED)

4.

4 CONTINUED: 4

He pounds his pal Charlie on the shoulder and collapses intoa nearby chair.

CHARLIEYou ought to take up crap shooting.Talk about luck!

EDDIELuck! Whaddya mean, luck?

CHARLIEYou know what I mean. You couldn'tmake that shot again in a millionyears.

EDDIEI couldn't, huh? Okay. Go ahead. Set'em up the way they were before.

CHARLIEWhy?

EDDIEGo ahead. Set 'em up the way theywere before. Bet ya twenty bucks.Make that shot just the way I madeit before.

CHARLIENobody can make that shot and youknow it. Not even a lucky lush.

Stung, Eddie lies across the table and sets them up himself.

EDDIEHow's that?

(to the bystanders)Hm? Is that the way they were before?

MANYeah, that's right.

EDDIE(to Charlie)

C'mon, put it up.

They toss their money on the table, and Eddie shoots, buthis shot is too hard and his ball leaps over the side of thetable. The bartender cannot contain his staccato laughter.

EDDIESet 'em up again... C'mon, set 'emup again.

(CONTINUED)

5.

4 CONTINUED: (2) 4

CHARLIE(putting up his cue)

You're drunk, boy. I'm not gonna betya any more.

EDDIEWhaddya mean?

CHARLIELet's get back on the road. You gottabe at that convention in the morning.

EDDIEUp the flagpole with the convention.C'mon, Charlie. You're into me now.I got my money on the table.

CHARLIEI don't want it.

BARTENDERI'll try you.

Eddie pauses, smiling.

EDDIEWell... well, now.

CHARLIEDon't be a chump. Don't bet any moremoney on that damn fool shot.


Well, now... I mean, you figure I'ma little drunk, and I'm loaded onthe hip, and you just want in, realfriendly, while the money's stillfloating, huh? Okay... Go ahead. Set'em up.

Sheepishly, the bartender replaces the balls in their originalpositions.

EDDIEAll right, you want some easy money,huh? Here's a hundred and fivedollars. That's one week's commission.Now you want to take the whole thing,and then you get a crack at youreasy money.

(CONTINUED)

6.

4 CONTINUED: (3) 4

BYSTANDERI'll take a piece of that action.

ANOTHERMe too.

EDDIE(viciously)

No. I want him.

BARTENDERI'll take it out of the till.

CHARLIE(to Eddie)

I'll meet you in the car, chump.

Eddie chalks up his cue, waiting impatiently for the bartenderto return with the money from the cash register. Then hedowns his drink and quickly strokes out his shot, the ballbanking crisply and directly into the corner pocket. Thereis a cocky leer on his face as he reaches for the dollarbills.

CUT TO:

5 5EXT. GAS STATION - AFTERNOON

The door of the Packard coupé slams shut. Eddie Felson holdsup his stuffed billfold for his pal, Charlie Burns, to see.He tosses it on the seat beside him and turns on the ignition.

QUICK FADE:

FADE IN:

MAIN TITLE SEQUENCE

6 6INT. AMES POOL HALL - MORNING

Henry, the elderly Negro janitor, draws up the Venetian blindsto let the early morning light flood into AMES POOL HALL.Henry is the janitor of Ames, the sexton of this immense,shabby cathedral of pool, in which the pews are pool tablescovered with oilcloth slipcovers and the great vault of aroom is lit by brass-and-globe chandeliers. Henry amblesthrough Ames righting overturned ashtrays and replacingyesterday's abandoned cue sticks. The cashier enters. Helooks at his watch, then checks his time against that of theclock on the wall.

CASHIERMorning, Henry.

(CONTINUED)

7.

6 CONTINUED: 6

Henry nods, then steps up on a stool to fix the minute handof the clock. It now stands at ten o'clock.

DISSOLVE TO:

7 7INT. AMES POOL HALL - DAY

It is twelve-thirty when Eddie Felson and Charlie Burns firstenter into Ames. Only one table is in use; the hall is empty. In Eddie's hand is his leather cue case. They stand beforethe swinging doors and look around.

CHARLIEIt's quiet.

EDDIEYeah, like a church. Church of theGood Hustler.

CHARLIELooks more like a morgue to me. Thosepool tables are the slabs they laythe stiffs on.

EDDIEI'll be alive when I get out, Charlie.

They saunter over to the cashier's cage. A sign on the brassbar reads:

"NO GAMBLING ALLOWED..."

EDDIEAny table?

CASHIERAny table.

Eddie's arrival is noted by Big John and Preacher, a gamblerand an addict, who hang out at Ames at all hours, waitingfor action.

EDDIE(to the cashier)

No bar?

CASHIER(with some annoyance)

No bar, no pinball machines, nobowling alleys. Just pool. Nothingelse. This is Ames, mister.

(CONTINUED)

8.

7 CONTINUED: 7

Eddie takes his cue ball from the cashier's cage and headsfor a table.

As he passes Charlie, he mimics the cashier wickedly:

EDDIEThis is Ames, mister.

The two go to a table. Eddie selects a house cue, then rollsit over the table top to test the roll. He seems pleased. Heruns his hand over the green felt as if he were caressingit. His last test is to sweep the cue ball into the cornerpocket.

EDDIENice clean pocket drop.

Eddie takes some balls out of the return box and throws themon the table.

EDDIE(chalks his cue)

How much am I gonna win tonight? Hm?

Charlie doesn't reply. But Big John and Preacher lean forwardin their chairs to listen in.

EDDIETen grand. I'm gonna win ten grandin one night.

(Charlie stares athim)

... Well, who's gonna beat me? C'mon,Charlie, who's gonna beat me?

CHARLIEOkay... Okay. Nobody can beat you.

EDDIETen grand! I mean, what otherpoolroom is there in the countrywhere a guy can walk out with tengrand in one night? Jeez, you know,I can remember hustling an old manfor a dime a game.

Big John, stubbly cigar between his fingers, drifts over totheir table.

CHARLIE(to Eddie, off BigJohn)

You got company.

(CONTINUED)

9.

7 CONTINUED: (2) 7

BIG JOHN(approaching Eddie)

You looking for action?

EDDIEMaybe. You want to play?

BIG JOHNNo. Hell, no! You Eddie Felson?

EDDIEWho's he?

BIG JOHNWhat's your game? What do you shoot?

EDDIEYou name it, we shoot it.

BIG JOHNLook, friend, I'm not trying tohustle. I don't never hustle peoplethat walk into poolrooms with leathersatchels. Don't try to hustle me.

EDDIEOkay, I'm Eddie Felson. I shootstraight pool. You got any straightpool shooters in this here poolroom?

BIG JOHNWhat kind of straight pool game youlike?

EDDIEThe expensive kind.

BIG JOHNCome up here to play straight poolwith Minnesota Fats?

EDDIEYeah, that's right.

BIG JOHNWant some free advice?

CHARLIE(interrupts, sourly)

How much'll it cost?

(CONTINUED)

10.

7 CONTINUED: (3) 7

BIG JOHN(turns to Charlie)

Who are you -- his manager, hisfriend, his stooge?

EDDIEHe's my partner.

BIG JOHN(to Charlie)

You well-heeled, partner?

CHARLIEWe got enough.

BIG JOHNGo home. Take your boy and go home.Fats don't need your money, there'sno way you can beat him. Nobody'sbeat him in fifteen years. He's thebest in the country.

EDDIEYou got that wrong, mister. I am.

BIG JOHNOkay, I told you what I wanted aboutMinnesota Fats. You just go aheadand play him, friend.

EDDIEJust tell me where I can find him,friend.

BIG JOHNComes right in this poolroom everynight, eight o'clock on the nose.Just stay where you are. He'll findyou.

As Big John walks off, Eddie smiles at Charlie.

DISSOLVE TO:

8 8INT. AMES POOL HALL - NIGHT

Eight sharp. A departing customer holds the door for anincoming one:

Minnesota Fats. Heads turn when he makes his punctualappearance.

(CONTINUED)

11.

8 CONTINUED: 8

Fats' clothes reflect his high station at Ames Pool Hall: agray felt bowler hat, and an expensive, tailored overcoat,with a carnation in its lapel and two silk handkerchiefspeeking up from its breast pocket.

He moves like a sultan through the room, past Big John, whoseeyes dip significantly, and over to the coat rack, whereHenry respectfully takes his coat and hat. The buzzard-likeeyes of the cashier direct his gaze toward Eddie's table.Fats withdraws a cigarette from his gold case, then casuallystrolls toward Eddie's table standing apart and quietlyobserving the sharp, precise movements of his prospectiveopponent. Even though Ames is filled with players, there islittle noise other than the clicking of pool balls.

MINNESOTA FATSYou shoot a good stick.

EDDIEThank you. Gee, you shoot straightpool, mister?

FATSNow and then. You know how it is.

EDDIE(grinning)

You're, uh, you're Minnesota Fats,aren't you? You know, uh, they sayMinnesota Fats is the best in thecountry out where I come from.

FATSIs that a fact?

EDDIEYes sir, boy, they, heh, they saythat old Fats just shoots the eyesright off them balls.

FATSWhere do you come from?

EDDIECalifornia. Oakland.

FATSCalifornia? Is your name Felson?Eddie Felson?

EDDIEThat's right.

(CONTINUED)

12.

8 CONTINUED: (2) 8

FATSI hear you've been looking for me.

EDDIEYeah. That's right, too.

FATSBig John! You think this boy is ahustler?

Fats and Eddie regard each other with amusement, sharing theprivate joke of pool hustlers.

FATSDo you like to gamble, Eddie? Gamblemoney on pool games?

EDDIEFats, let's you and I shoot a gameof straight pool.

FATSHundred dollars?

EDDIEWell, you shoot big-time pool, Fats.I mean, that's what everybody says,you shoot big-time pool. Let's makeit two hundred dollars a game.

FATSNow I know why they call you FastEddie. Eddie, you talk my kind oftalk...

(moving to the maintable)

Sausage! Rack 'em up!

At his command, Ames comes to life. Players drag their chairsacross the floor and position them around the main table.Eddie, hand to his mouth, realizes that the big moment hasarrived and beckons to Charlie for his leather cue case. Theuniformed maids withdraw the cover off the green felt top,and Sausage, the racker, begins to bang the balls into thewooden racking triangle.

Fats is in the washroom, scrubbing his hands and nails. Eddiestands and screws together his inlaid, ivory-pointed cue asFats dries his hands. He and Fats eye one another.

CHARLIEHow do you feel?

(CONTINUED)

13.

8 CONTINUED: (3) 8

EDDIEFast and loose, man.

CHARLIEIn the gut, I mean.

EDDIEI feel tight -- but good.

Henry helps Fats on with his coat. Sausage finishes racking.Fats carefully extends his palms so that Henry may sprinkleon some talcum powder. They are ready to start. Fats,immaculate in jacket and tie, tosses a wad of bills -- hisstake money -- onto the table. Charlie does the same, countingthe bills out one by one.

FATS(off the cash)

Willie, hang onto that.

Willie takes the money. Two balls are rolled to the end ofthe table, and Fats and Eddie, like two duelers, prepare toshoot for the break.

In the silence of the room, they bend over their cues andsoftly stroke out their shots. The balls roll down the table,bank off the far shoulder, and slowly return toward the twoplayers. Fats' ball hits the closer shoulder.

FATSYou break.

The balls are returned and Eddie makes his break shot, aglancing blow that leaves the pack of balls nearly intactand the white cue ball lying far away at the end of the table.Eddie looks up, with a smile.

EDDIEDidn't leave you much.

Fats walks around the table and peers at the balls.

FATS(after a pause)

You left enough... six in the corner.

Placing his cigarette on the wooden rim of the table, Fatsrams the cue ball into the pack, dropping the six ball intothe pocket. The table is now his. Eddie sits down unhappily.Fats plays quickly, moving from shot to shot with studiedauthority, his eyes and hands working fluidly together.

(CONTINUED)

14.

8 CONTINUED: (4) 8

FATSFifteen in the corner...

(shot goes in)Ace in the side.

The shot goes in. As Eddie watches, the prancing, elegantFats maneuvers around the table.

FATSEight.

(shot goes in)Ten...

(shot goes in)Eleven.

The shot goes in.

EDDIE(whispers, to Charlie)

Boy, he is great! Jeez, that old fatman. Look at the way he moves. Likea dancer.

FATSTwelve. Cross side.

We see Fats' bejeweled fingers curl around the cue stick,the stick then darting out to send a ball caroming off a farbank and into a side pocket.

EDDIE (O.S.)And them fingers, them chubby fingers.And that stroke. It's like he's, uh,like he's playing a violin orsomething.

FATSNine ball.

(shot goes in)Three ball.

Fats keeps sinking shots.

DISSOLVE TO:

9 9INT. THE GAME AT AMES - TIME LAPSE

It is eleven o'clock. Eddie is up. The crowd at Ames sitsstolidly in their seats, watching each player, each move.

EDDIEFour ball.

(CONTINUED)

15.

9 CONTINUED: 9

The shot goes in and he lines up another.

EDDIECross-corner.

The shot is a difficult one involving a combination of balls.As it rolls in, the crowd breaks into applause, and Fatsbangs the butt of his cue stick on the floor to show hisappreciation.

SAUSAGEGame.

DISSOLVE TO:


A high angle of the table. Fats plays defensively, playing asafety, leaving Eddie with little to shoot at.

FATSSafe.

So Eddie does the same.

EDDIESafe.

Fats peers at the pack of balls huddled together, then pointsto one that lies in the middle of the pack.

FATSSeven ball in the corner.

Big John looks around -- the shot seems impossible. Fatsslams the cue ball into the pack. The balls carom outward inall directions. Only the seven rolls slowly into the cornerpocket. Eddie slumps back in his seat as the crowd applauds.

DISSOLVE TO:


It is twelve o'clock, and Fats dominates the play. As hecalls out the litany of his shots, we see, superimposed overhis hands and his face and the sound of socking pool balls,the spectators, stupefied by the action; Charlie, swallowinghard; Eddie, looking on, waiting to play; and the billsendlessly unfolding out of Charlie's hands and floating ontothe table.

DISSOLVE TO:

16.


One-thirty and Fats is still shooting.

FATSAce in the corner.

The shot rolls in.

CHARLIE(darkly, to Eddie)

Quit. He's too good.

EDDIECharlie, I'm gonna take him.

FATS (O.S.)Your shot.

EDDIEYou miss?

(goes to the tableand chalks his cue)

Well, you don't leave much when youmiss, do you, fat man?

FATS(from his seat)

That's what the game's all about.

EDDIEMm hm... Two ball, side pocket.

The shot goes in. Fats pounds his stick on the floor. No oneelse makes a noise.

FATSVery good shot.

EDDIEYou know I gotta hunch, fat man. Igotta hunch it's me from here onin... One ball, corner pocket.

(shot goes in)I mean, that ever happen to you? When all of a sudden you feel likeyou can't miss? I dreamed about thisgame, fat man. I dreamed about thisgame every night on the road... fiveball...

(shot goes in)You know, this is my table, man. Iown it.

(CONTINUED)

17.

12 CONTINUED: 12

Fats allows a perfunctory bow of his head, a courtly gesture,to Eddie's manager. Charlie looks away, avoiding his eyes.

DISSOLVE TO:


It is two-thirty. Now it's Eddie's voice we hear calling outthe shots.

He circles the table, a proud, cocky smile on his face, andsuperimposed over his movements we see the spectators, hunchedup in their chairs, and Fats' face, glowering, hostile.

SAUSAGERack.

The applause grows louder as the balls keep spinning towardthe pockets.

DISSOLVE TO:


SAUSAGEGame!

Eddie beams with pride and excitement as he accepts theacclamation of the sharks at Ames. He slaps down the chalkand returns to his seat. It is almost four o'clock.

EDDIEPay the man again, Fats.

Fats draws himself slowly out of his chair and hands themoney to Charlie.

EDDIE(to Charlie)

Hey, how much are we ahead?

CHARLIEApproximately? One thousand bucks.

EDDIEFats, let's you and I shoot a gameof pool for a thousand dollars agame.

Fats hesitates for a moment, then reaches in his pocket forsome bills.

(CONTINUED)

18.

14 CONTINUED: 14

FATSPreach! Go down and get me some WhiteTavern whisky, a glass, and someice.

EDDIEPreacher! Go on down and get me somebourbon. J. T. S. Brown. No ice, noglass.

FATSPreach... get it at Johnny's.

(to Eddie)You got a bet.

They stand up, remove their jackets, and prepare to playagain.

CUT TO:

15 15INT. JOHNNY'S BAR, THE BACK ROOM - NIGHT

As Preacher opens the door to the back room, clutching apaper bag filled with bottles to his chest, we see six menseated around a table, playing poker. Preacher approachesone of them and whispers something hurriedly in his ear. Theman is Bert Gordon. Except for his dark glasses, he mightpass for a conservative businessman out for an evening withthe boys, sipping milk instead of alcohol to soothe an ulcer.He nods to Preacher who then leaves. Bert appears thoughtfulfor a moment. He rises.

BERT GORDONCash me in.

Bert sips his milk.

CUT TO:

16 16INT. THE GAME AT AMES - EARLY MORNING

A floor full of cigarette butts surround Charlie's chair.Charlie crushes out another on the floor and immediatelyreaches for more.

FATS (O.S.)Two in the corner.

(shot goes in)Seven.

The shot gos in. Eddie drains the last drips from his bottleof bourbon, then looks jauntily at Bert, who now sits quietlyin a chair, watching them both.

(CONTINUED)

19.

16 CONTINUED: 16

FATSAce in the corner.

He misses. Eddie squirms out of his seat, eager to play,eager to go on winning. Bert sighs.

EDDIETwo ball, side pocket.

The shot goes in. Fats opens a fresh bottle of whisky.

DISSOLVE TO:


The game goes on. The hands of the clock on the wall spinaround toward eight in the morning. Ames is empty now, exceptfor the players and the employees. Only the voice of Sausageis heard, signaling the end of a game.

DISSOLVE TO:


As Fats bends over to shoot, Henry draws the Venetian blinds.

FATSWill you cut that sunshine out?

Bert holds a hand to his temple, unnerved by Fats'discomposure.

DISSOLVE TO:


There is a break in the action. Fats and Eddie eye each othercoldly, Fats with his glass in his hand, Eddie with hisbottle. Eddie takes a swig and returns to the game.

DISSOLVE TO:


Bert reaches forward to hand Charlie more money. Bert replacesthe billfold in his coat pocket.

DISSOLVE TO:


Eddie, weary now, his hands resting on the table, looks upat the cool, impassive face of Bert Gordon.

(CONTINUED)

20.

21 CONTINUED: 21

EDDIEHey, mister.

BERTThe name's Gordon. Bert Gordon.

EDDIEMister. You been sittin' in thatspot for hours. Would you mind moving?It bothers me.

Bert rises, moves his chair about six inches, and sits downagain.

EDDIEFive ball.

It sinks.

SAUSAGEThat's game.

Eddie goes over to the water cooler for a drink while Fatsdoles out his losings on the table.

EDDIE(to Charlie)

How much we got?

CHARLIEEleven thousand four hundred, cash.Here in my pocket.

EDDIEPreacher, go on down and get me somebreakfast, will ya? Egg sandwich anda cup of coffee. You want something,Charlie?

CHARLIENow wait a minute. You're comingwith me. You're gonna eat breakfastat the hotel. Pool game is over.

EDDIENo, it isn't, Charlie.

CHARLIEEddie...

EDDIEThe pool game is over when Fats saysit's over.

(CONTINUED)

21.

21 CONTINUED: (2) 21

CHARLIEYou wanted ten thousand? You got tenthousand.

EDDIEAh, get with it, will ya, Charlie?

CHARLIEGet with what?

EDDIEYou can't see it, can you, Charlie?I mean, you've never been able tosee it. I came after him. And I'mgonna get him. I'm goin' with himall the way. The pool game is notover until Minnesota Fats says it'sover. Is it over, Fats?

He stands before Fats and Bert Gordon, waiting for an answer.Fats and Bert exchange glances but nothing is said.

EDDIE(to Bert)

I'm gonna beat him, mister. I beathim all night and I'm gonna beat himall day.

Still no reply, no sign of giving in. Eddie starts to goback to his chair, suddenly turns, a weary, clowning smileon his face.

EDDIEI'm the best you ever seen, Fats.I'm the best there is. Now even ifyou beat me, I'm still the best.

Eddie walks over to the water cooler.

BERT(quietly, to Fats)

Stay with this kid. He's a loser.

EDDIE(turns to Charlie,off Bert)

What did he say?

Charlie doesn't know and shakes his head.

DISSOLVE TO:

22.

22 22INT. THE GAME AT AMES - TIME LAPSE - NIGHT

Eddie's face buried in his lap as Charlie massages his back.Behind him, in the washroom, is Fats, washing his face andhands.

CHARLIETwenty-five hours, Eddie. Twenty-five hours you been playin' straight.

EDDIEGive me a drink, will ya?

CHARLIEYou don't need a drink.

EDDIEWill you shut up... Just give me adrink.

Charlie gets Eddie a bottle. Bert and Henry watch Eddiecoldly.

CHARLIEEighteen thousand, Eddie. We're aheadeighteen thousand.

A drunken, exhausted Eddie nods, looks up at Bert, grinsmaliciously, and takes a drink. Charlie starts to put awayEddie's cue stick.

BERTI thought you said this game wasover when Minnesota Fats said itwas.

CHARLIENow, it's over now.

Fats emerges from the washroom, dries his hands, looks atEddie and then at Bert who nods. Henry helps Fats into thejacket with the carnation still in the lapel. Eddie grins atthis. So does Bert. Fats opens his palms for the sprinklingof the talcum powder. Fats rubs his hands together, thentakes out his cigarette case.

FATSFast Eddie, let's play some pool.

Bert smiles in appreciation.

CHARLIELet's go, Eddie.

(CONTINUED)

23.

22 CONTINUED: 22

Eddie grabs the leather case out of Charlie's hands. Eddierises and confronts Fats almost scornfully.

EDDIEYou look beautiful, Fats. Just likea baby... all pink, and powderedup.

Eddie looks down at his own dirty, disheveled shirt. He anda smiling Bert exchange glances. Eddie moves to put on hisjacket. Charlie confronts him.

CHARLIEWhat are you trying to do, Eddie?You beat him. You beat him bad. Youwanna kill yourself?

EDDIEWhat are ya, chicken, Charlie?

CHARLIEWell, maybe that's it. I'm chicken.

EDDIEGo on home. Just leave me the money.

CHARLIEGo to hell.

EDDIE(enraged)

Charlie, boy, you better give methat money. C'mon now, give it tome. It's mine.

CHARLIEOkay, here...

(slaps money intoEddie's hand)

Be a damn fool.

Eddie puts a bottle into the pocket of his jacket and returnsto the table to screw together his cue stick. The sight ofFats makes him laugh again.

EDDIEYou know, you really look beautiful,Fats.

Everyone stares at Eddie as he scratches his head, alonewith his private joke. Eddie abruptly tosses his cue caseaway.

(CONTINUED)

24.


EDDIE(casually)

I'll break.

A worried Charlie picks up the case and stands by mutely,watching Eddie disintegrate. Eddie leans over to shoot, thenturns away, laughing loudly to himself. Fats watches him,soberly, patiently.

DISSOLVE TO:


A high angle. Fats is shooting. No one is really watchingany more.

Eddie is asleep on a stool against a wall. Even Bert isdozing.

FATSNine ball... fifteen.

The shots go in.

SAUSAGEThat's one twenty-five.

CHARLIEEddie. Wake up, Eddie...

(Eddie awakens slowly)We lose again.

Eddie bangs his head against the wall. He knocks over abottle as he tries to get up off the stool. The noise startleshim. Charlie watches sadly. Eddie gropes through his pocketsand comes up with a few crumpled bills.

EDDIEIs this all we got left?

CHARLIEIf that's all you got, that's all wegot left.

Fats rises and tosses his cue on the table.

FATSWillie, give me the stake money.

Willie gives him the stake money. Fats confronts Eddie.

(CONTINUED)

25.

23 CONTINUED: 23

EDDIEFats, I got about two hundred dollarshere.

FATSGame's over, Eddie.

EDDIEFats, look, I got about two hundreddollars here. You can't run out onme.

FATSYou watch me.

Fats steps by Eddie and heads for the coat rack, slappingthe stake money into Bert's hand as he goes by. Bert returnsthe money to his billfold, wordlessly. The blinds are drawnand the light strikes Eddie in the eyes, but still he stumblesafter Fats, holding his money out before him, pleading.

EDDIEFats, c'mon. C'mon. Hey, Fats?

He bangs against the corner of the table and falls onto thefloor. Fats hears him go down and pauses, turning to seeCharlie rush to Eddie's side. After a moment, Fats continueson toward the door. Charlie slaps Eddie's cheeks.

CHARLIEEddie... Eddie... Eddie... Eddie...

Bert, Sausage, Willie, Preach step around the body on theirway out.

FADE OUT:

FADE IN:

24 24INT. HOTEL ROOM - NIGHT

Eddie is lying on his bed staring at the ceiling, the crashingof pool balls sounding in his head. He looks over at Charlie,asleep in the next bed. He rolls out of bed and goes to thewindow. We see a neon sign flashing across the street. Itreads AMES BILLIARDS. Then Eddie returns to his bed, leavesthe keys to the Packard and some money on the night tablenext to Charlie. He picks up his valise, his hanging bag,and his leather cue case.

EDDIE(softly)

I'm sorry, Charlie.

(CONTINUED)

26.

24 CONTINUED: 24

Eddie goes toward the door.

DISSOLVE TO:

25 25INT. BUS STATION - EARLY MORNING

As Eddie enters, carrying his bags, a few early morningtravelers --

some soldiers and a man in a Stetson hat -- pass him by. Hehas been up all night. He rubs his grimy face, then headsfor the door marked "Gentlemen."

CUT TO:

26 26INT. WASHROOM - EARLY MORNING

It is a typical bus station washroom at that time of themorning. The residue of a full day's traveling is in evidence:crumpled paper towels, cigarette butts, etc. Part of theresidue is a drunk who sits on the shoeshine seat, fastasleep. Eddie looks at him, shaking his head. A wizened oldattendant sits nearby. A sign on the wall reads IS THIS YOURLUCKY DAY? Eddie laughs to himself, puts his hanging bagand cue case on a chair, then turns to face his image in themirror.

EDDIE(to the attendant)

Give me a towel, will ya?

The attendant, whose every move seems to require a tremendouseffort, shuffles over and grabs a towel as Eddie removes hisjacket.

DISSOLVE TO:

27 27INT. BUS STATION - EARLY MORNING

Near the row of coin lockers in the waiting room is a smalllunch counter and several tables. At one table, facing thelockers, is a young woman, Sarah: a book is open before her,and a cup of coffee, and an ashtray filled with cigarettebutts. She looks up for an instant as Eddie appears. He nowhas on a clean shirt and is clean and freshly shaven. Helocks his bags in a locker. Her eyes return to the printedpage. Moving toward the counter, Eddie notices Sarah. Hegoes to the lunch counter, still looking at her. He sniffssome wrapped sandwiches.

WAITRESSCan I get you something?

(CONTINUED)

27.

27 CONTINUED: 27

EDDIELater.

Eddie wanders over to a table next to Sarah's and sits down. She ignores him.

EDDIELong wait for a bus?

SARAH(looks up)

Yes.

She returns to her reading. Eddie keeps looking at her. Herhair is brown, cut short, practically straight. Her lips arepale and thin, and the bone structure of her face, althoughdelicate, is much in evidence.

There is a suggestion of tired wakefulness, of self-sufficiency, about her. And a frank, open regard which hasnothing in it to imply flirtation -- or the lack of it.

EDDIEHow long you been waiting?

SARAH(looking up)

What?

EDDIEHow long have you been waiting?

SARAHSince four.

Sarah goes back to reading. The waitress arrives to takeEddie's order.

EDDIE(to the waitress)

Just a cup of black coffee, please...(the waitress startsto go)

Hey, ma'am! Wait a minute!(to Sarah)

Would you, uh, like another cup?

SARAH(shrugs)

Fine, thanks.

Eddie holds up two fingers to the waitress, who departs.

(CONTINUED)

28.


EDDIEWhat time does the bus leave?

SARAHWhat bus?

EDDIEYours.

SARAHEight o'clock.

Eddie sighs.

SARAHThat wouldn't give us much time,would it?

EDDIE(amused)

Well, you're right. I guess itwouldn't.

The coffee comes.

EDDIE(making a toast)

Hello and goodbye...

Eddie leans back against the wall and shuts his eyes.

EDDIE(after a long pause)

Have a nice trip.

SARAHThanks. I will.

He slips off to sleep. The waitress brings a check.

SARAHGive it to me.

She looks at Eddie anxiously as she digs in her purse forthe coins.

She pays, collects her purse and book, and rises to leave.Eddie doesn't stir.

CUT TO:

29.

28 28INT. BUS STATION LUNCH COUNTER - MORNING

The public address system bleats over the noise of the crowdedluncheonette. The waitress leans over and slaps Eddie on theshoulder.

He wakes up with a cramped neck.

EDDIEHow much do I owe you?

WAITRESSIt was paid for... by the lady.

DISSOLVE TO:

29 29INT. BAR AND GRILL - NOON

The bar is nearly empty when Eddie comes in.


Give me some bourbon. J. T. S. Brown.

BARTENDERYou want a chaser?

EDDIENo.

As he looks around the bar he sees Sarah, alone at a backbooth, sipping a highball. She seems amused by theirencounter. So does he. He takes his drink and joins her atthe booth.

EDDIEHave a nice trip?

SARAHFair.

EDDIECan I sit down?

SARAHWhy not? We already know each other'ssecrets.

EDDIE(after he sits)

Thanks for the, uh, for the breakfast.

(CONTINUED)

30.

29 CONTINUED: 29

SARAHTwo ships that pass in the nightshould always buy each otherbreakfast.

EDDIECan I buy you another drink?

Sarah nods.

EDDIE(calls to the bartender)

Hey, another one for me and anotherone for the lady.

BARTENDERCheck!

EDDIEYou look different... More relaxed.

SARAHIt's the lights. And the scotch.

EDDIEHow come you didn't catch your bus?

SARAHI wasn't waiting for a bus.

EDDIEThen why go to the bus station?

SARAHSame reason you went: at that hourof the morning you haven't muchchoice. Besides, I only live threeblocks from there. Where do you live?

EDDIEAround.

SARAHI know where you live: in a locker,in a bus station. What's it likeliving in a locker?

EDDIECramped.

(she smiles)You always drink like this, so earlyin the morning?

(CONTINUED)

31.


SARAHDo you always ask so many questions?

EDDIENo, not always.

SARAHSometimes I wake up and I can't sleep,not without a drink. The bars don'topen until eight. Mack over therehas faith in me. When I'm broke, hetrusts me. Don't you trust me, Mack?

BARTENDERCheck!

SARAHWhen I'm not broke, I usually have abottle in my room, in which case Isleep very well indeed.

EDDIEYou talk kind of funny, but I likeit.

SARAHI used to be an actress.

EDDIEYeah? What do you do now?

SARAHI'm a college girl. Two days a week,Tuesdays and Thursdays, I go tocollege.

EDDIEYou don't look like a college girl.

SARAHI'm the emancipated type. Realemancipated.

EDDIENo, I didn't mean that -- whateverthat means. I mean, you just don'tlook young enough.

SARAHI'm not.

EDDIESo why go to college?

(CONTINUED)

32.


SARAHI've got nothing else to do onTuesdays and Thursdays.

EDDIEWhat do you do on the other days?

SARAHI drink.


Hey!

SARAHNo. No more. I'm getting sleepy.

(puts a scarf aroundher head)

Thank you very much, Mr... ?

EDDIEEddie. The name is Eddie.

SARAH(studies his face)

The name should be Eddie. What shouldmy name be?

EDDIEI don't know. Whatever you like itto be.

SARAHI like it to be what it is. It'sSarah. That's a biblical name. Youwant to know its meaning?

EDDIEI could always get us a bottle.

SARAH(a little alarmed)

No.

EDDIEFifth of scotch?

SARAHWhat do you want me to do, just stepout in the alley? Is that it?

EDDIENo. I'll take you home.

(CONTINUED)

33.


There is a long pause as she tries to read his face.

SARAHAll right.

Eddie finishes his drink, rises, crosses to the bar, paysthe bill, and returns to the booth. As they go out, Sarahstumbles, and he catches her by the arm.

SARAHIt's all right.

(smiling)I'm not drunk...

(serious)I'm lame.

Eddie pauses a moment to register this as she limps off,then follows.

DISSOLVE TO:

30 30EXT. CITY STREET - MIDDAY

Eddie goes into the liquor store. Sarah waits outside, stiffand uneasy.

Then he comes out with the scotch and they walk off down thestreet together. They walk slowly, with their eyes pointedstraight ahead. He tries to ignore her halting gait. Theypass under the awning of the neighborhood's elegant Parisienrestaurant.

DISSOLVE TO:

31 31INT. HALLWAY OF APARTMENT HOUSE - MIDDAY

As she searches through her purse for her keys, he reachesout and puts his hand on her shoulder. She closes her eyes,then draws back against the door, fearful, like a threatenedanimal.

SARAHWhy me?

He takes her head in his hands and kisses her. She respondsbut, as he holds her tighter, she starts to struggle.

SARAHPlease... please... please.

She pushes him away and shakes her head.

(CONTINUED)

34.

31 CONTINUED: 31

SARAHYou're too hungry.

They stand there for a long moment: she looks away; he looksdown at the floor. Then Eddie takes the bag of scotch andplaces it underneath her arm.

EDDIETake it. It's yours.

He leaves her there in the hall and walks off.

DISSOLVE TO:

32 32INT. FLOPHOUSE - AFTERNOON

A door opens. A hotel manager shows Eddie into a dingy, barelyfurnished room.

MANAGERYou can have this one for a buck anda half a night, or seven bucks bythe week.

EDDIEBy the night.

MANAGERIn advance.

He reaches in his pocket and pulls out some bills.

DISSOLVE TO:

33 33INT. BUS DEPOT - NIGHT

Eddie removes his bags from the locker. The sight of thelunch counter reminds him of Sarah. But the lunchroom isempty; only the janitor is there, mopping up. Eddie picks uphis bags and goes out.

DISSOLVE TO:

34 34EXT. LIQUOR STORE - NIGHT

Eddie, on his way back to the hotel, stops at the same liquorstore for a bottle.

DISSOLVE TO:

35.

35 35INT. HOTEL ROOM - NIGHT

He enters his room, puts down his bags and the liquor, andsits on his rusted brass bed. From his pocket he pulls outthe few crumpled bills he has left. He looks at the money,shakes his head disgustedly, and closes his eyes.

CUT TO:

36 36INT. BAR WITH POOL TABLE - NIGHT

It is a friendly, neighborhood bar for business people andcocktail drinkers. Eddie walks casually by the pool tableand over to the bar.

EDDIEBottle of beer.

He turns on his stool to watch the game.

EDDIEHey, uh, mister? Hey, okay if I graba cue?

PLAYERHey, you're Eddie Felson, aren'tyou?

EDDIEWho's he?

PLAYERNow, look, fella, I saw you playingat Ames the other night.

EDDIEHey, I'll tell you what -- I'll playyou jack-up pool -- just keep onehand in my pocket.

PLAYER(returning to hisgame)

Oh man, you're way out of our league.

Eddie goes back to his bottle of beer.

DISSOLVE TO:

37 37INT. ANOTHER BAR - NIGHT

Some bills drop on a ragged, beat-up pool table. Two men,dressed in work clothes, stand around looking disgruntled.

(CONTINUED)

36.

37 CONTINUED: 37

FIRST MANWhat are you stuck for?

SECOND MANThree. That's enough for me.

EDDIE(picks up the cash)

Thanks... Can I, uh, buy you fellasa drink?

MENOkay... Okay.

They go to the bar.

FIRST MANYou know, you shoot good. But youalso shoot lucky.

EDDIE(nodding his head)

Yeah. I shoot lucky.

DISSOLVE TO:

38 38INT. BUS DEPOT - EARLY MORNING

Eddie sits at a table, smoking, waiting. The paper bag withthe whisky is on the table. Sarah, dressed in a dark suit,limps toward him. He mashes out his cigarette in the ashtray.When he looks up, he sees Sarah standing nearby. She seemscold and suspicious as she limps toward the table. She pausesand looks at him. They stare at one another for a long moment.He gets up, puts his arm around her shoulder, and walks awaywith her. As they walk, she hesitantly puts an arm aroundhis waist.

CUT TO:

39 39INT. SARAH'S APARTMENT - MORNING

A hand reaches up to open the wooden shutters. As they open,we see Eddie, in his underclothes, on the bed. Sarah, in arobe, walks up and joins him in bed as they both peer outthe window.

SARAHWhy did you do that?

EDDIEI wanted to see what kind of a dayit is.

(CONTINUED)

37.

39 CONTINUED: 39

SARAHA day like any other. People come,people go.

EDDIEGive me a drag.

She hands him her cigarette. He starts to put on hiswristwatch.

SARAHWhat time is it?

EDDIEEleven o'clock... I'll be back later.

SARAHWhy?

EDDIECome here.

He kisses her on the cheek.

SARAHOh, you need a shave. You mustn't golooking like that. There's a razorand shaving cream in the bathroom.Compliments of the house.

EDDIEWhat did you say that for, Sarah?

SARAHHow did you know my name was Sarah?

EDDIEYou told me.

SARAHI lied. When I'm drunk I lie.

EDDIEOkay. So what's your name today?

SARAHSarah.

(pause)Eddie, look. I've got troubles, andI think maybe you've got troubles.Maybe it'd be better if we just leaveeach other alone.

(CONTINUED)

38.


He kisses her again, this time on the lips.

EDDIEI got my things over at the hotel.I'll bring them over later...

(shifts position,pulls her close)

Come here.

SARAH(in his arms)

I'm not sure... I don't know.

EDDIEWell, what do you want to know? Andwhy?

He reaches out and closes the shutters.

CUT TO:

40 40EXT. CITY STREET - DAY

Sarah emerges from a neighborhood grocery store loaded downwith a Cheese Doodles carton full of food. A woman runs outof the store to give her a parcel she left behind.

SARAH(warmly)

Thank you.

WOMANPrego.

She carries the carton across the street to her apartmenthouse, quietly saying hello to a couple of neighbors alongthe way.

CUT TO:

41 41INT. SARAH'S APARTMENT - DAY

Sarah's apartment is a typical city studio apartment: onecluttered room for sleeping and eating, and a smallkitchenette. As Sarah knocks, Eddie is perched on the windowsill. He goes to open the door. Sarah enters.

EDDIEWhere you been all day?

SARAHAt school. It's Thursday.

(CONTINUED)

39.

41 CONTINUED: 41

EDDIEOh, I forgot.

He pulls her schoolbooks out of the carton and takes herpurse.

SARAHYou were asleep when I left. I didn'twant to wake you. Did you go out?

EDDIEYeah, I went out for a couple ofhours.

She unloads liquor and canned goods from the carton, thengoes to join Eddie by the window. Sarah takes a cigarettelighter out of her purse and hands it to Eddie.

SARAH(off the lighter)

Present...

He takes it.

SARAHYou know, I've been living here foralmost three years. Now in threedays it seems as if I know everybody.When I pass people on the street Iwant to stop and say, "Listen, I gota fella."

EDDIE(strokes her hand)

Thanks.

SARAHEddie, where do you go when you goout?

EDDIEMuseums... art galleries... concerts.

She smiles, then she gets up and returns to the kitchenette.

EDDIEWell, I believe you when you say yougo to school.

SARAHYou want to go with me?

(CONTINUED)

40.


EDDIEWhat, are you kidding? See that book?

(holds up a book)I've been trying to get through thatbook ever since I first got here. Ihaven't finished the first chapter.

(off her bookcase)Did you read all them books?

SARAHMm hmm.

EDDIEYou got it all in your head?

SARAHWhen I'm sober. They get a littlemixed up when I'm drunk. Most of thetime they're mixed up.

EDDIE(angrily)

Oh, stop talking about yourself likeyou're a lush or something. I don'tlike it.

(genuinely concerned)Maybe you ought to go to a clinic,get some treatments.

SARAHI'm getting treatments right here.

He comes up behind her and puts his arms around her.

EDDIEI'm hungry.

SARAHTake your choice. I've got enough sowe won't have to go out of the housetill Tuesday.

EDDIEWhat did all this stuff cost you?

SARAHWhen you've got money, you'll pay.

EDDIENo, c'mon, I wanna know. I wannakeep score.

(CONTINUED)

41.


SARAHThe bills are right here. You didn'tsay what you wanted.

EDDIE(off the canned goods)

Don't you ever cook anything?

SARAHEggs. How do you like them?

EDDIERaw.

She cuts her hand opening a can.

SARAHOh, cut my finger.

EDDIEI've got something in my bag.

SARAHOh, it's not bad.

As he rummages through the closet for his bag he pulls outhis leather cue case.

SARAHEddie, what's in that case?

EDDIEHaven't you opened it?

SARAHNo, why should I? It's yours.

EDDIEIt's a machine gun. This guy told mewhen I came to the big city I'd haveto have a machine gun, so I boughtone.

(bandages her finger)Where do you get the money? To payfor all this? I mean the liquor, andthe groceries, and the rent?

SARAHFrom a rich old man who used to bemy lover.

They kiss. Someone knocks on the door. Sarah goes to openit. We stay on Eddie, who examines the lighter in his hand.

(CONTINUED)

42.


CHARLIE (O.S.)Hello, Eddie.

He enters the room, awkwardly, toying with the rim of hishat.

EDDIEHello, Charlie...

(turns)C'mon in...

(off Sarah)That's my girl.

CHARLIE(to Sarah)

Hello, Eddie's girl...(to Eddie)

I looked all over for you.

EDDIEOh yeah? How'd you find me?

CHARLIEI asked around.

There is a long silence.

SARAH(to Eddie)

Do you want me to go?

EDDIENo, stick around.

(to Charlie)Can I get you something? Drink?Coffee?

CHARLIEOh, I don't want to be no bother tonobody.

EDDIEOh, don't play it small, Charlie. Itdon't look good on you.

CHARLIEHow do you want me to play it? I'mbroke.

EDDIESo am I... Sit down.

(to Sarah)Would you get us a couple of drinks?

(CONTINUED)

43.


She starts to make the drinks. Charlie sits.

CHARLIEYou walked out on me like that. Nogoodbye, no nothing. Like a thief inthe dark. We were partners. We weremore than partners.

(to Sarah)He was like a... like--

EDDIEA son.

CHARLIEYeah, yeah, like a son.

(to Sarah who bringsdrinks)

I've known this boy since he wassixteen. The first time I saw him,back in Oakland, I said, "This is atalented boy. This is a smart boy."

EDDIETalk to me, Charlie.

CHARLIEI want you to come back on the roadwith me.

EDDIEAah! I've got no stomach for thatany more. I've had that kind oflife.

CHARLIEWhat kind of life have you got here?Scufflin' around the small rooms,picking up eight, ten bucks a day?

EDDIEI'll connect. I'll get you your moneyback.

CHARLIEAre you figuring on going back toAmes to play Minnesota Fats again?Is that what's on your mind?

EDDIENever been out of it. I'm gonna beatthat fat man... with that curly hair,and those diamond rings, and thatcarnation.

(CONTINUED)

44.


CHARLIE(to Sarah)

This boy's crazy. They wiped thefloor with him. They beat his brainsout and he wants to go back.

(to Eddie)What for? To take another beating?

EDDIEI told you you'd get your money back.

CHARLIE(to Sarah)

He thinks I care about the money.(to Eddie)

I care about you. Do you care aboutme, Eddie? We're together a longtime, night and day. So how do yousay goodbye?

(rises)You gimme the car and a hundred bucks.You think I care about the dough,the car? I care about you.

(to Sarah)This boy is the greatest pool hustleryou ever saw. A real high-class conman. He can charm anybody intoanything. Did he ever tell you howwell we were doing on the road? Wehad everything: we ate good, we sleptlate, we had money to burn. Whisky,dames...

(apologetic, to Sarah)Excuse me...

(to Eddie, off Sarah)I'll tell you what -- take her along.

Eddie leans up against the wall, listening. Sarah watchesthem both, curious, confused.

CHARLIEI'll tell you what else: you don'twant to start right away, we won'tstart right away. We'll get in thecar and drive down to Miami, get allthis crud out of your system, have afew laughs, lie in the sun for acouple of weeks.

Suddenly Eddie becomes tense.

EDDIEWith what?

(CONTINUED)

45.


CHARLIEDon't worry about it. I'll raise themoney.

EDDIEOh yeah? Where?

CHARLIEWhat's the difference where? I'llraise it.

(to Sarah)Is it all right if I have anotherdrink?

Sarah turns to fix the drink. Eddie signals her to stay whereshe is.

He moves forward, confronting Charlie.

EDDIEDid you hold out on me, Charlie?...How much?

Charlie doesn't answer, so Eddie snatches hold of his jacketand shoves him back into a chair.

EDDIEHOW MUCH?!

CHARLIEMy twenty-five per cent. Approximatelyfifteen hundred bucks.

EDDIEOh, you crumb. With that fifteenhundred I coulda beat him. That'sall I needed, Charlie.

CHARLIEAw, Eddie.

EDDIEC'mon, c'mon, just give me the money.

CHARLIEWhat for? To play Fats again?

EDDIEYeah, to play Fats again.

(CONTINUED)

46.


CHARLIEYou wanna come back on the road withme, okay, the money's yours. But ifyou wanna give it to Minnesota Fats...nothing doing. What do you say?

EDDIE(viciously)

You still don't see it, do you,Charlie? You are nothing but a small-time Charlie. You'd love to keep mehustling for you, huh? Wouldn't ya?I mean, a couple more years with me,scuffling around them little townsand those back alleys. You mightmake yourself enough to get a littlepoolroom back in Oakland. Six tablesand a handbook on the side. Is thatwhen you say goodbye to me, Charlie?

CHARLIEIs that what you think?

EDDIEYeah, that's what I think.

CHARLIEAll right. That's what I want.Poolroom with a little handbook onthe side. Getting old.

EDDIELay down and die by yourself. Don'ttake me with you.

Eddie walks off. A pause.

CHARLIEJust like that?

EDDIEYeah. Just like that.

A tear rolls down Sarah's cheek as she hears this. She standsnear the door, with her back to both of them. Charlie getsup and moves toward the door.

CHARLIEThanks for the drink, Eddie's girl.

Sarah, her cheek wet, says nothing. Charlie puts on his hatand leaves.

(CONTINUED)

47.


Eddie empties his glass and slaps it on the shelf next toSarah.

EDDIEGive me another drink.

She pours it out, saying nothing.

EDDIEBoy! Everybody, everybody wants apiece of me!

Sarah hands Eddie his drink without looking him in the eye.

EDDIEAren't you gonna have one?

She pours herself a very stiff drink as Eddie moves aboutrestlessly.

EDDIEWhat did he have to come back herefor anyway?

Sarah drinks her drink.

EDDIEC'mere.

She keeps drinking.

EDDIECome here!

Still drinking, she turns to him. They embrace and kiss oneanother without putting down their glasses.

FADE OUT:

FADE IN:

42 42INT. SARAH'S APARTMENT - NIGHT

The room is a mess and Sarah is drunk. She sits on her kneeson the floor, pecking at the keys of her typewriter with onefinger. Her bottle and her glass are beside her. A bare-chested Eddie is in the kitchen behind her, tossing emptycans and bottles from the sink into a garbage bag. Hecarelessly wipes the sink, then throws down the dishrag andgoes to the closet, pulling out his leather case.

SARAHYou going out?

(CONTINUED)

48.

42 CONTINUED: 42

EDDIEYeah. For a little while.

Reaching for the bottle, Sarah abruptly lurches forward overher typewriter, and knocks the bottle over.

SARAH(atop the typewriter)

Ohhhhh...

Eddie quickly moves to help her.

EDDIEHey!

He helps her up.

EDDIEOkay?

She doesn't answer. Eddie stares at Sarah as she sways limplyon her knees, unmindful of her open robe. Eddie picks up thebottle and sets it before her. Taking her ashtray, Eddierises, runs his hand through her hair for a moment, and thencarries off the ashtray and empties it in the garbage bag.

DISSOLVE TO:

43 43INT. SARAH'S APARTMENT - TIME LAPSE

Sarah, still hopelessly drunk, is sprawled out on her bed,futilely attempting to dial a telephone. Eddie, in a cleanshirt and pants, watches her. He sets the bottle down nearthe typewriter and notices the sheet of paper stuck in thetypewriter's carriage. He bends down to read it.

EDDIEWhat are you writing?

SARAH(looks up from thephone)

Oh, it's a story. A story I'm makingup.

She falls back on the bed. Eddie pulls the paper out of thecarriage and reads it.

SARAHGive it to me.

EDDIEWhat's this supposed to mean?

(CONTINUED)

49.

43 CONTINUED: 43

SARAHGive it back to me.

EDDIEWhat's this supposed to mean: "Wehave a contract of depravity. All wehave to do is pull the blinds down."

She doesn't answer. He thinks for a moment, then angrilycrumples the paper in his hands and throws it at her.

EDDIEWrite yourself another story.

Eddie walks off.

SARAH(with a sardonic laugh)

Well, what else have we got? Wenever talk about anything. We stayhere in this room, and we drink, andwe make love.

(sits up in bed)We're strangers. What happens whenthe liquor and the money run out,Eddie?

Eddie gives her a look, then lowers his eyes.

SARAHYou told Charlie to lay down anddie. Will you say that to me too?

(rises and stumblesover to him)

What happens, Eddie?

EDDIEYou'll find yourself another richold lover.

SARAHThat's right! And I'm sure you'llhelp me.

Eddie turns and slaps her on the cheek.

SARAHYou waiting for me to cry?

(stares at him coldly)You bum... You poolroom bum.

(CONTINUED)

50.


He reaches for his jacket.

CUT TO:

44 44INT. JOHNNY'S BAR - NIGHT

As Eddie pushes through the glass doors to the front room ofJohnny's bar. He looks around at the unused pool tables,then goes to the bar.

EDDIEGive me a bottle of beer.

BARTENDERRight.

A man in a business suit comes out of the back room and joinshim at the bar.

BARTENDERHow did you make out?

MANI made a couple of bucks.

EDDIEPoker game?

MANYeah.

EDDIEIs it open?

The man looks to the bartender for his answer.


Huh?

BARTENDERIt's open...

(to the man)What'll you have?

MANGimme a beer.

Eddie takes his beer to the back room.

CUT TO:

51.

45 45INT. JOHNNY'S BACK ROOM - NIGHT

The poker game is in progress. Four men are playing. One ofthem is Bert Gordon. His glass of milk is beside him on thetable. He takes note of Eddie's presence with a quick dartof his eyes.

EDDIEOkay?

BERTSit down.

He takes a seat next to Bert.

EDDIEWhat's the limit?

PLAYERHalf and a dollar.

EDDIEGimme ten bucks.

PLAYERTen dollars.

He takes the chips, then throws out another bill.

EDDIEMake it twenty.

BERT(to Eddie)

Cut.

EDDIEDeal.

As the cards are dealt Eddie steals a glance at the man hehas come to see.

DISSOLVE TO:

46 46INT. JOHNNY'S FRONT ROOM - TIME LAPSE

The game is over. Bert is already in the front room. He sitsat a table with a drink, and watches Eddie pass him by onthe way to the bar.

EDDIEBourbon. J. T. S. Brown.

(CONTINUED)

52.

46 CONTINUED: 46

BERT(to the bartender)

Two.

Eddie looks at Bert.

BERT(pleasantly, to Eddie)

I'm buyin'.

EDDIEThought you only drank milk.

BERTOnly when I work.

EDDIEYeah? Why?

BERTI like it. It's good for you. Besides,you start drinking whisky gamblingand it gives you an excuse for losing.That's something you don't need --anexcuse for losing. How did you makeout in the poker game?

EDDIEI lost twenty bucks.

BERTPoker's not your game.

EDDIEWhat is?

BERTPool.

EDDIEYou being cute?

BERTI don't think there's a pool playeralive shoots better pool than I sawyou shoot the other night at Ames.You got talent.

EDDIESo I got talent. So what beat me?

BERTCharacter.

(CONTINUED)

53.


EDDIE(laughs)

Yeah. Sure, sure.

BERTYou're damned right I'm sure.Everybody's got talent. I got talent.You think you can play big-moneystraight pool, or poker, for fortystraight hours on nothing but talent?You think they call Minnesota Fatsthe best in the country just 'causehe's got talent? Nah. MinnesotaFats's got more character in onefinger than you got in your wholeskinny body.

EDDIEI got drunk.

BERTHe drank as much whisky as you did.

EDDIEMaybe he knows how to drink.

BERTYou bet he knows how.

(sips his drink)You think that's a talent too, huh?Knowin' how to drink whisky? Youthink Minnesota Fats was born knowin'how to drink?

EDDIEOkay, okay... What do I do now, liedown on the floor and, uh, bow fromthe ankles? What do I do, go home?

BERTThat's your problem.

EDDIESo I stay. Stay until I hustle upenough to play Fats again. Maybe bythat time I'll develop myself somecharacter.

Amused, Bert gets up and joins Eddie at the bar.

(CONTINUED)

54.


BERTMaybe by that time you'll die of oldage. How much do you think you'll,uh, need?

EDDIEA thousand.

BERTNo, three thousand at least. He'llstart you off at five hundred a game --he'll beat the pants off you. That'sthe way he plays when he comes upagainst a man who knows the way thegame is. He'll beat you flat four orfive games -- maybe more, dependingon how, uh... steady your nervesare. But he might -- he just mightbe a little scared of you, and thatcould change things. But I wouldn'tcount on it.

EDDIEHow do you know? Huh? When nobodyknows that much?

BERTSee that big car parked out by thefireplug on the way in? Well, that'smine. I like that car. But I get anew one every year because I make itmy business to know what guys likeyou and Minnesota Fats are gonna do.I made enough off of you the othernight to pay for it twice over.

EDDIEIn that case, you owe me anotherdrink.

Bert laughs and signals the bartender for another round.

BERTEddie, is it all right if I getpersonal?

EDDIEWhaddya been so far?

BERTEddie, you're a born loser.

(CONTINUED)

55.


EDDIEWhat's that supposed to mean?

BERTFirst time in ten years I ever sawMinnesota Fats hooked, really hooked.But you let him off.

EDDIEI told you. I got drunk.

BERTSure, you got drunk. That's the bestexcuse in the world for losing. Notrouble losing when you got a goodexcuse. And winning! That can beheavy on your back too. Like a monkey.You drop that load too when you gotan excuse. All you gotta do is learnto feel sorry for yourself. It's oneof the best indoor sports: feelingsorry for yourself -- a sport enjoyedby all, especially the born losers.

EDDIE(slaps down his glassand rises)

Thanks for the drink.

BERTWait a minute. Maybe I can help you.

EDDIETo do what?

BERTGet the three thousand. Play MinnesotaFats again.

EDDIEWhy?

BERTTen reasons. Maybe fifteen. And alsothere's something in it for me.

EDDIEOh yeah, I figured that. How much?

BERTSeventy-five per cent.

(CONTINUED)

56.


EDDIEFor who?

BERTFor me.

EDDIEThat's a -- that's a pretty big slice.Who do you think you are, GeneralMotors?

BERTHow much you think you're worth thesedays? I'm puttin' up the money, I'mputtin' up the time. For that I getseventy-five per cent return on mymoney -- if you win.

EDDIEYou think I can lose?

BERTI never saw you do anything else.

EDDIEYou saw me beat Minnesota Fats foreighteen thousand dollars.

BERTLook, you wanna hustle pool, don'tyou? This game isn't like football.Nobody pays you for yardage. Whenyou hustle you keep score real simple.The end of the game you count upyour money. That's how you find outwho's best. That's the only way.

EDDIEWhy back me then? Why not backyourself? Go find yourself a bigfat poker game and get rich You knowall the angles.

BERTI'm already rich. But I like action.That's one thing I think you're goodfor is action. Besides, like I say...you got talent.

(CONTINUED)

57.


EDDIE(pleased)

Yeah, you already told me that. Youcut that slice down to bite-size andmaybe we can talk.

BERTNo, we don't talk. I don't make badbets. Seventy-five, twenty-five.That's it.

EDDIEKiss off.

He starts to go.

BERTHey, wait.

(beat)What are you gonna do about the money?

EDDIEThere are places. I'll scuffle around.

BERTWord's out on you, Eddie. You walkin the wrong kind of place and they'lleat you alive.

EDDIENow, when did you adopt me?

BERT(with a friendly grin)

I don't know when it was.

Eddie exits.

CUT TO:

47 47EXT. WATERFRONT - NIGHT

Sound of ship's horn. Eddie walks past the piers andwarehouses toward a small waterfront bar called Arthur'sPool Hall.

CUT TO:

48 48INT. ARTHUR'S POOL HALL - NIGHT

The atmosphere at Arthur's is stifling, oppressive. A fewlonely drinkers, dock workers, sit stooped over their beerbottles at the bar.

(CONTINUED)

58.

48 CONTINUED: 48

In the back is a pool table. As Eddie enters, we see twoburly men, cue sticks in hand, watching as a pale, skinnyyoung man lines up his shot.

EDDIE(to young man)

Hi.

YOUNG MANHi.

They exchange glances, sizing each other up. Then the youngman puts in his shot.

PLAYER(throwing money onthe table)

You lucky punk. I quit ya.

YOUNG MAN(to Eddie)

You want in, friend?

EDDIEHow much you playin' for?

YOUNG MANA dollar on the five, two on thenine.

EDDIEYeah, I'll play you a couple. Justfor kicks.

YOUNG MANOkay, friend.

Eddie goes over to the rack and takes a cue.

DISSOLVE TO:

49 49INT. ARTHUR'S POOL HALL - TIME LAPSE

One of the other players is putting away his cue.

PLAYERThat's it for me.

ANOTHER PLAYERWell, I guess that does it for metoo.

(CONTINUED)

59.

49 CONTINUED: 49

YOUNG MAN(brashly, to Eddie)

You quittin' too?

EDDIEYou're a pretty good player.

YOUNG MANHow much are you ahead?

EDDIECouple of bucks.

YOUNG MANI guess it's just you and me, huh?

EDDIEYeah, I guess it is, boy. Just youand me.

YOUNG MANYou wanna raise the bet? Two on thefive, five on the nine?

EDDIEYou know what, kid? I think maybeyou're a hustler.

YOUNG MANTry me.

EDDIEShoot.

YOUNG MANOkay.

The young man makes his break shot, slamming the nine intothe pocket.

He looks up at Eddie, grinning snidely. The other two men,the losers, stand around, mutely following the play.

YOUNG MANYou sure you don't want to quit,friend?

EDDIE(suddenly irked)

Let's cut out the small stuff, huh?Hundred dollar freeze-out. Ten games,ten bucks a game, winner take all.And then we'll see who quits.

(CONTINUED)

60.


YOUNG MANOkay, friend. You're on.

EDDIE(pulls out a coin)

Call it.

YOUNG MANHeads.

Eddie tosses the coin on the table.

YOUNG MANYou win.

Eddie collects his coin while the young man racks up theballs.

Preparing to break, Eddie chalks his cue.

YOUNG MANYou better not miss, friend.

EDDIE(savagely)

I don't rattle, kid. But just forthat I'm gonna beat you flat.

He rams the cue ball into the pack. The nine drops in.Everyone is stunned, particularly the young man.

EDDIEThat's one.

DISSOLVE TO:

50 50INT. THE GAME AT ARTHUR'S - TIME LAPSE

Eddie has lost control of himself. He is shooting as he didat Ames, rapping in his shots with perfect control. He iscompletely oblivious to the glowering faces of the group ofmen who have gathered around the table to watch.

EDDIEThat's five.

Eddie makes a tough shot. The men exchange uneasy glances.

EDDIEThat's six.

(CONTINUED)

61.

50 CONTINUED: 50

More tough shots: tricky combinations, etc.

CUT TO:

51 51INT. THE GAME AT ARTHUR'S - TIME LAPSE

Eddie finishes up with yet another combination shot.

EDDIEThat's ten. You punk, you two-bitpunk. C'mon, pay up. A hundred bucks.

The young man digs nervously into his jacket for the money.All eyes are on Eddie. The young man sets down his cue.

EDDIEYou quittin', friend?

YOUNG MANYeah, I'm quittin'.

Sensing what is about to happen, the young man pays up. Hedrops the cash on the table and leaves quickly. Then one ofthe other men steps forward, a thick-fleshed, obscene-lookingman named Turk. His mouth twists into a mock smile. As Eddielooks about him at the circle of silent men, each one glaringat him, his fury gives way to fear.

TURKWhy, you're a pool shark, boy. Areal pool shark.

EDDIEWell, so's he.

TURKBut you're better than he was. Muchbetter.

(points to bills onthe table)

There's your money, boy.

Eddie wipes his mouth with his sleeve and nervously backsaway.

TURKThere's your money, boy.

Eddie tries to back off but there is nowhere to go, so hemakes a casual movement toward the table.

EDDIEOkay.

(CONTINUED)

62.

51 CONTINUED: 51

Suddenly, the men grab Eddie and pin his arms. One man grabshim around the throat.

TURK(sardonically, to themen)

Wait a minute! Let's give this boyhis money.

(to Eddie)We always pay what we lose, boy.

Turk takes the bills from the table and stuffs them intoEddie's breast pocket.

TURK(to Eddie)

We got no use for pool sharks aroundhere.

They drag Eddie into the men's room and shove him up againstthe ground-glass partition. We see his cheek pressed againstthe glass, and the foggy silhouettes of the others behindhim. Eddie, his mouth open, screams horribly. There is apause. He screams again. They let go of his arms and he slumpsto the floor. The bartender turns and goes back to the barin the front room. The ship's horn is heard again.

CUT TO:


Sarah sits alone in the darkened room, dressed in her robeand slip, lost in a drunken half-sleep. There is a knock atthe door.

SARAHWho is it?

EDDIEMe. It's Eddie.

She goes to the door and opens it. Her eyes are puffy, herface is covered with perspiration. She opens the door, thenlooks up to see him leaning against the wall, his arms tuckedinto his chest, with one hand covering the other.

SARAHWhat happened?

EDDIEI got beat up. They...

(beat)They broke my thumbs.

(CONTINUED)

63.

52 CONTINUED: 52

Sarah is stunned and moves to him.

SARAHOh, God!

She takes him in her arms. He starts to cry.

EDDIEOh, they broke my thumbs. Broke mythumbs.

She holds him.

DISSOLVE TO:


Sarah watches as Eddie, both hands now encased in plastercasts, tries to sleep. He tries to move his arms, as if tryingto defend himself.

Sarah rises, joins him, and strokes his head.

SARAHIt's all right. I'm here.

DISSOLVE TO:

54 54INT. SARAH'S APARTMENT - MORNING

They are seated at the breakfast table. Sarah pours him somecoffee and he tries to bring the cup to his lips, but hecannot manage it.

Disgusted, he drops the cup on the floor and gets up fromthe table.

Sarah bends down and patiently wipes up the spilled coffee.

DISSOLVE TO:


The apartment is now clean and neat. And Sarah is sober. Sheis at her table, typing, while Eddie stands at the window,trying to reach over his shoulder to scratch his back. Hecomes over to the table and, with his mouth, picks a cigaretteout of the pack. He looks quickly at her, without askingdirectly for the match. She lights it and, as she does, heglances at the sheet in the typewriter.

(CONTINUED)

64.

55 CONTINUED: 55

SARAHYou can read it, if you want to.

(Eddie shrugs)You want to go out for a while? To amovie?

EDDIE(pacing restlessly)

You wanna drink?

SARAHNo. You?

EDDIE(suddenly opening thedoor)

What's it so hot in here for?

He starts to unbutton his shirt and Sarah immediately getsup to help.

But he holds her off.

EDDIEPlease!

She watches him struggle with the button for a while thenspread his arms in a gesture of helplessness. As she unbuttonshis shirt for him, he takes her face in his hands and kissesher.

DISSOLVE TO:

56 56EXT. SARAH'S APARTMENT HOUSE - MORNING

Sarah and Eddie emerges from the doorway. It is a warm,beautiful day, and Sarah has a basket with her. Eddie seemshappy to be out with her, almost as if he has forgotten thecasts on his hands.

DISSOLVE TO:

57 57EXT. RIVERSIDE PARK - DAY

They stop at a spot that overlooks the river and spread outa blanket.

CUT TO:

58 58EXT. PARK - DAY

Eddie leans back on the grass and looks at Sarah. They bothseem easy and relaxed in the sunshine together.

(CONTINUED)

65.

58 CONTINUED: 58

EDDIESarah, do you think I'm a loser?

SARAHA loser?

EDDIEYeah. I met this guy -- Gordon, BertGordon. He said I was. Born loser.

SARAHWould he know?

EDDIEHe knows. A lot.

SARAHWhy did he tell you?

EDDIEI don't know. I'm not sure. He saidthere are people who want to lose,who are always looking for an excuseto lose.

SARAHWhat does he do, this Bert Gordon?

EDDIEHe's a gambler.

SARAHIs he a winner?

EDDIEWell, he owns things.

SARAHIs that what makes a winner?

EDDIEWell, what else does?

SARAHDoes it bother you? What he said?

EDDIEYeah.

(after a pause)Yeah. It bothers me a lot.

(MORE)

(CONTINUED)

66.


EDDIE (CONT'D)(pause)

'Cause, you see, twice, Sarah --once at Ames with Minnesota Fats andthen again at Arthur's...

(sits up)... in that cheap, crummy poolroom...Now, why'd I do it, Sarah? Why'd Ido it? I coulda beat that guy, Icoulda beat him cold. He never wouldaknown. But I just had to show 'em, Ijust had to show those creeps andthose punks what the game is likewhen it's great, when it's reallygreat. You know, like anything canbe great -- anything can be great...I don't care, bricklaying can begreat. If a guy knows. If he knowswhat he's doing and why, and if hecan make it come off. I mean, whenI'm goin' -- when I'm really goin' --I feel like...

(beat)... like a jockey must feel. He'ssittin' on his horse, he's got allthat speed and that power underneathhim, he's comin' into the stretch,the pressure's on him -- and he knows --just feels -- when to let it go, andhow much. 'Cause he's got everythingworkin' for him -- timing, touch.It's a great feeling, boy, it's areal great feeling when you're right,and you know you're right. It's likeall of a sudden I got oil in my arm.Pool cue's part of me. You know,it's a -- pool cue's got nerves init. It's a piece of wood -- it's gotnerves in it. You feel the roll ofthose balls. You don't have to look.You just know. Ya make shots thatnobody's ever made before. And youplay that game the way nobody's everplayed it before.

SARAHYou're not a loser, Eddie. You're awinner. Some men never get to feelthat way about anything. I love you,Eddie.

Eddie lowers his eyes and leans back.

(CONTINUED)

67.


EDDIEYou know, someday, Sarah, you'regonna settle down. You're gonna marrya college professor, and you're gonnawrite a great book. Maybe about me,huh? Fast Eddie Felson, hustler.

SARAH(after a pause)

I love you.

EDDIEYou need the words?

SARAHYes, I need them very much. And ifyou ever say them I'll never let youtake them back.

Eddie just stares at her.

DISSOLVE TO:

59 59INT. SARAH'S APARTMENT - DAY

Eddie is about to knock on the door to Sarah's apartment. Hestops for a moment to look at his hands. The casts are off.He knocks on the door with his wrist, as he would if he stillhad them on. When she opens the door he holds them up boyishlybefore her face.

EDDIEYou glad?

SARAHYes, I'm glad.

She kisses his hands.

CUT TO:

60 60INT. JOHNNY'S PLACE - DAY

Eddie flexes his fingers, then tries out a shot on one ofJohnny's pool tables. He uses the simpler, open hand bridgeto support his cue. Bert Gordon enters, and watches him play.

BERTHello, Eddie.

EDDIEHi. How's business?

(CONTINUED)

68.

60 CONTINUED: 60

BERTAhh, slow... Why the open hand bridge?Something wrong with your hand?

EDDIE(continues to shoot)

Yeah. Had a little accident. A placecalled Arthur's.

BERTOh. You seem to do all right thatway.

EDDIEI'd say my game is about twenty percent off. Maybe more.

BERTWhat happened? Somebody step on yourhands?

EDDIEYeah. Big creep. Broke my thumbs.

BERTMan named Turk Baker?

EDDIEYou know everybody, don't you?

BERTEverybody who can hurt me, everybodywho can help me. It pays.

EDDIEMaybe you oughta give me lessons.

BERTSign up.

EDDIEWhere do I sign?

BERTThe first match I got in mind foryou is in Louisville, Kentucky.

EDDIEYou name the place, boss. I'll bethere.

BERTWhat happened to you anyway?

(CONTINUED)

69.


EDDIELike I told ya. My thumbs.

BERTNo, I don't mean the thumbs. Youalready told me about the thumbs.

EDDIEI been thinking.

BERTThinking about what?

EDDIEMaybe I'm not such a high-class pieceof property right now. And a twenty-five per cent slice of something bigis better than a hundred per centslice of nothin'.

BERT(to the bartender)

Hey, get us a couple of drinks here,will ya? J. T. S. Brown.

Bert smiles at Eddie.

DISSOLVE TO:

61 61INT. RESTAURANT - NIGHT

It is a quiet, elegant restaurant, one with soft piano musicand subdued lighting. Eddie and Sarah had walked past it thefirst day they met. Eddie and Sarah enter. She has on newdress and Eddie, looking a little ill at ease, has on a suitand tie.

HEADWAITERGood evening, sir.

EDDIEGood evening.

(digs into pocket andhands him a bill)

Give use a nice, quiet table.

HEADWAITERYes, sir. Right this way.

The headwaiter seats them at a table. Eddie and Sarah exchangesmiles.

A waiter approaches.

(CONTINUED)

70.

61 CONTINUED: 61

WAITERWould you like a drink before dinner,sir?

EDDIE(to Sarah)

Hey?

SARAHSherry.

(to the waiter)Very old, very dry.

EDDIE(to the waiter)

Two.(the waiter leaves)

Sherry?... Nice joint. You look verypretty.

SARAHI feel pretty.

Suddenly she breaks into laughter.

EDDIEWell, what's so funny?

SARAHYour tie. I never saw you wear onebefore.

EDDIE(touches the knotself-consciously)

First time for everything.

The waiter returns with the bottle of sherry and holds itout to Eddie for his approval. There is a long pause as Eddielooks from the bottle to the waiter. Finally, Eddie realizeshe must respond.

EDDIEOh. Yeah. That's great.

The waiter pours out the sherry as Eddie and Sarah stare ateach other over their glasses. Then Eddie looks away. Sarahproposes a toast.

SARAHTo you, Eddie.

(CONTINUED)

71.


They touch glasses.

DISSOLVE TO:

62 62INT. RESTAURANT - TIME LAPSE

The waiter brings the check.

WAITERThank you, sir.

Eddie nods and drinks down the last of his brandy as thewaiter leaves.

Sarah sees that Eddie seems somber, preoccupied.

SARAHWhat is it, Eddie?

EDDIENothin'.

(looks at the check)Want another drink?

SARAHWhat do you want to tell me?

EDDIEWell, I, uh, I'll be leaving townfor a little while.

SARAH(stunned)

For how long?

EDDIEOh, I don't know.

SARAHA week? A year?

EDDIEMore like a week. Look, I'll be back.

SARAHSure. Let's go home.

She picks up her purse and gloves and leaves.

CUT TO:

72.

63 63EXT. RESTAURANT - NIGHT

It is raining heavily. Sarah emerges from the building andleans wearily against the awning. Eddie, having hurriedlypaid the bill, follows after her. He catches up with Sarah,taking her by the arm, and stepping out into the street tohail a cab.

EDDIETaxi.

She angrily breaks away from him and walks out into the rain.

SARAHNo, I want to walk.

EDDIE(running after her)

Come here. Come on, now.

Eddie grabs Sarah and starts to pull her back under theawning.

DISSOLVE TO:


The door opens and the two of them enter, thoroughly drenched.

EDDIEYou better get some dry things on.

She walks to a chair, limping noticeably.

EDDIEDon't you want to know where I'mgoing?

SARAHNo.

(collapses into achair)

Yes, I want to know what for. But Idon't want to ask.

EDDIE(sits)

I'm going to Kentucky. To Louisville.With a friend. Try to make some money.I need it, the money. I'll be leavingearly in the morning.

(CONTINUED)

73.

64 CONTINUED: 64

SARAHLeave now.

EDDIEOh, grow up.

SARAHWhy should I?

EDDIESarah, I'm going to Kentucky to playpool, with a guy by the name ofFindley. Now, I need the action andI need the money. I told you I'd beback.

SARAHIf you were going to come back youwouldn't have taken me out tonight.You wouldn't have bought this dress.You're hustling me, Eddie. You'venever stopped hustling me.

EDDIENow, I never hustled you. Even whenI thought I was. You know it.

SARAHWhat do you want me to do? Just sithere and wait? Faithful little Sarah.Pull the shades down and sit. Whenyou feel like coming back, you'llcome back. And you'll love me. Andthen you'll go away again. Is thatyour idea of love?

EDDIEI got no idea of love. And neitherhave you. I mean, neither one of uswould know what it was if we saw itcoming down the street.

SARAHI'd know it, Eddie. I'd know. ForGod's sakes, what are you trying todo to me? I love you.

EDDIEWell, what's your idea of love?Chains?

(CONTINUED)

74.


SARAHNo.

(long pause)I made you up, didn't I, Eddie? Youweren't real. I made you up, likeeverything else. There was no carcrash, Eddie. When I was five, I hadpolio. I was never an actress. Therich old man is my father. He walkedout on us when I was seven. He sendsme a check every month. That's howhe buys his way out of my life. Themen I've known... after they left,I'd say they weren't real, I madethem up. But you, Eddie. I wantedyou to be real.

He reaches across and pulls her to him, burying his face inher head.

SARAHI'm so scared, Eddie... I'm scared.

CUT TO:

65 65EXT. STREET - MORNING

Bert Gordon leans on the hood of a cab. His face drops whenhe sees Eddie and Sarah walking toward him. Eddie cares twosuitcases and his leather cue case. He sets the suitcases onthe curb and the cab driver moves to take them. Courteously,Bert opens the door of the taxi for Eddie and Sarah.

EDDIESarah Packard... Bert Gordon.

BERTMiss Packard. How do you do?

Sarah eyes Bert distrustfully and starts to get in the cab.

DISSOLVE TO:

66 66INT. TRAIN COMPARTMENT - DAY

Eddie, Sarah, and Bert squeeze through the door of the traincompartment.

BERT(to a redcap, offluggage)

That brown one's mine. It goes indrawing room A, huh? Thanks.

(CONTINUED)

75.

66 CONTINUED: 66

The redcap exits, carrying the luggage.

EDDIE(to redcap, offcompartment door)

I got it, I got it.

Eddie shuts the door. Bert and Sarah sit across from eachother.

BERTYou sure you going to be comfortableenough there, Miss... ah... ?

SARAH(loudly)

Packard. Sarah Packard.

BERTIt always takes me a little while toget a name fixed in my mind. Are yousure you don't want anything?

SARAHNo, I'm fine.

BERTYou, uh, you ever been to Louisvilleduring Derby week, Miss, ah, Packard?

SARAHI've never been to Louisville.

BERTLots of action. Lots of money.

(to Eddie, seatedbeside him)

Lots of class. You'll see some ofthe best-dressed and most beautifulwomen in the world at the races.Knock your eye out.

DISSOLVE TO:

67 67INT. TRAIN DINING ROOM - MORNING

The Kentucky-bound train rolls down the track. Bert and Eddiefinish their breakfast coffee in the dining room. Sarah isin the washroom.

(CONTINUED)

76.

67 CONTINUED: 67

BERTJames Findley is a very rich man.Grandfather left him twenty per centof a tobacco company.

EDDIEWhat? And he -- he hustles pool?

BERT(chuckles)

He's a gentleman. Gentleman gambler.He gets his kicks playing withhustlers. He's got an old Southernmansion with a pool table in thebasement, drinks eight-year-oldbourbon, smokes cork-tippedcigarettes.

EDDIEHow good is he?

BERTI don't know. Never saw him play.They say he's one of the best.

Sarah makes her way down the aisle and joins them at thetable.

SARAH(brightly)

I'm ready.

BERTSoon as I finish my coffee.

She stands there, lips pursed, absorbing the insult.

EDDIE(to Bert)

You must have a lot of confidence inme.

BERTI don't. But I got confidence inFindley.

EDDIEWhat's that supposed to mean?

BERTMeans I got confidence that he's aloser. All the way a loser. You happen

(MORE)

(CONTINUED)

77.


BERT (CONT'D)to be about only one-half loser --the other half, winner.

(off his coffee)I'm finished.

Bert gets up and reaches in his pocket for his billfold.

EDDIEHere, I got it.

BERTNo, no. When you play for me, I pickup all the tabs.

Eddie and Sarah just stare at him.

DISSOLVE TO:

68 68INT. TRAIN CLUB CAR - NIGHT

They are at a table, sipping drinks. Bert shuffles a deck ofcards as he talks. Eddie, like a schoolboy, listens intently.Sarah sits apart, watching them both.

BERTFats knew the game was in the clutch,knew he had to do something to stopya. He played it smart.

EDDIEI played that game, Bert. In my headI played it a thousand times.

BERTPlay it again. Learn something.

(laughs, to Sarah)Fats went in the john, see? Washedhis face, cleaned his fingernails,made his mind a blank, combed hishair, came back all ready to go.

(to Eddie)You were through. You saw him, yousaw how he looked. Clean, all set tostart all over again. Hold tightand push hard. You know what youwere doing? You were waitin' to getbeat. Flattened out on your butt,swimmin' around in glory. And whisky.Probably deciding how you could lose.

(CONTINUED)

78.

68 CONTINUED: 68

SARAHWhat makes you know so much? How doyou know what Eddie was thinking?

BERTI know. Been there myself. We've allbeen there, haven't we, Miss Packard?

Eddie glances at Sarah who stares mutely at Bert.

BERT(takes a cigarette)

Got a match, Eddie?

Eddie reaches across to light Bert's cigarette with thelighter Sarah gave him. Bert's own lighter is on the table,before him. Sarah sees it, picks it up, and sparks it intoflame.

SARAHDoesn't your lighter work, Mr. Gordon?

BERT(smiling politely)

Oh, I forgot all about it.(to Eddie, who stillholds the flame)

How's the hands?

EDDIEFine.

BERTGood. I'd hate to think I was puttingmy money on a cripple.

EDDIE(angrily)

Hey, whaddya say something like thatfor?

SARAHIt's all right, Eddie. I'm sure Mr.Gordon meant no offense. It was afigure of speech.

BERTThat's right, Miss Packard.

SARAHAnd a fact is a fact.

(CONTINUED)

79.


BERTShe's a smart girl, Eddie.

Bert goes back to shuffling his deck of cards.

DISSOLVE TO:

69 69INT. LOUISVILLE HOTEL LOBBY - NIGHT

The lobby is thronged with gamblers and their women,sportsmen, tourists, all there for the Derby. A jazz combocan be heard over the din of their voices. Eddie, lookingexcited, leads Sarah through the crowd. Behind them is Bert,his face now shaded by dark glasses, following a bellhop tothe main desk.

BELLHOPRight this way, Mr. Gordon.

He forces his way through some people to get to the desk.

BELLHOPHere you are, Mr. Gordon.

CONCIERGESuite fifty-six.

BERTLook, I-I wired ahead for two suitesadjoining.

CONCIERGEI don't recall.

BERTWell, I do. I want two suites.

CONCIERGEWell, I'm sorry, Mr. Gordon. We'refilled up. This is Derby week.

Bert displays a neatly folded wad of money in his hand.

BERTLook, son, you've got it all wrong.You must have gotten my wire. Lookthrough your reservations, huh?

(CONTINUED)

80.

69 CONTINUED: 69

CONCIERGE(artfully acceptscash bribe)

I'll see what I can do... You wereright, Mr. Gordon. I mislaid yourwire. Uh, two adjoining suites?

Eddie laughs and moves toward the open door leading to thebilliard rooms. His face glows as he watches the flow of menmoving in and out of the crowded room, and hears the soundof clicking pool balls. He tucks his cue case under his armand turns to Bert and Sarah who join him.

EDDIE(to Bert)

You know, that's real sweet music inthere. You can almost smell theaction and the money. You know, Ican feel it right down in the bottomof my shoes.

BERT(laughs)

Come on, let's go...

Before they can head to their rooms, a small, neatly groomedman approaches Eddie.

BILLYEddie!

EDDIE(shaking his handwarmly)

Hey, Billy, how are ya?

BILLYFast Eddie. I didn't know you werehere. Everybody's here. It's like ahustler's convention. The WhetstoneKid, Johnny Jumbo. C'mon in. Theguys'll be glad to see you. C'mon.

EDDIE(to Sarah)

What room are you in?

SARAHFifty-seven.

EDDIEI'll be up later.

(CONTINUED)

81.


Sarah turns toward the elevators, with Bert behind her,jiggling his keys.

DISSOLVE TO:

70 70INT. HOTEL SUITE - NIGHT

The bellboy unlocks the door and Sarah enters. The doors tothe other suite are open. As she catches sight of Bertarranging things with the bellboy she closes one door. Thebellboy leaves as she moves to close the other.

BERTOh, wait a minute, Miss Packard.

SARAHWe're neighbors now. You can call meSarah.

He comes to the door, holding it open.

BERTI want to talk to you.

SARAHDo we need words?

BERTYeah, I think we do. We could try tocut each other up. But that would bebad for everybody. Bad for me, badfor you. And worst of all, be badfor Eddie.

SARAHYou know what's good for him?

BERTTo win.

SARAHFor whom and for what?

BERTFor what makes the world go round.For money, and for glory.

SARAHYou didn't answer my first question.For whom?

(CONTINUED)

82.

70 CONTINUED: 70

BERTAll right. Today for me, tomorrowfor himself.

SARAHNo, there's no tomorrow. Not withyou. You own all the tomorrows becauseyou buy them today, and you buy cheap.

BERT(nods)

Well, nobody has to sell.

He turns away.

SARAHYou bastard.

BERT(turns back to her,savagely)

Listen, Miss Ladybird, you're hereon a rain check and I know it. You'rehanging on by your nails. You letthat glory whistle blow loud andclear for Eddie and you're a wreckon a railroad track. You're a horsethat finished last. So don't maketrouble, Miss Ladybird. Live andlet live. While you can.

There is a long pause as he glares at her.

BERTI'll make it up to you.

SARAH(weakly)

How?

BERTYou tell me.

He goes back into his room. She closes the door and leansagainst it.

CUT TO:

83.

71 71EXT. RACETRACK - DAY

Screams are heard as the horses jerk out of the startinggate to begin their runs.

CUT TO:

72 72INT. RACETRACK BAR - DAY

Eddie cashes in a winning ticket

EDDIE(to the cashier)

Thanks.

Eddie moves through the ornate racetrack bar to join Sarahat a table.

Sarah has been drinking.

EDDIE(excited)

Where's Bert?

SARAHHe went off someplace.

EDDIEWell, that old lovin' horse paidtwenty-two forty.

(counts his money)Let's see... two hundred I won fromthe jockey last night. And today atthe track... I got five hundred andforty bucks.

(folds it up)Here, you hold it.

SARAH(takes it)

Why?

EDDIEJust for luck.

As she puts the money in her purse, Bert sits down.

BERTHey, Findley's here.

EDDIEWhere?

(CONTINUED)

84.

72 CONTINUED: 72

BERTOver there by the bar.

We see Findley, studying his program and holding a drink inhis hand.

He is tall and refined, with a pale, debauched, yet oddlyyouthful face that some men of forty or more sometimes have.A cork-tipped cigarette dangles from his fingers.

EDDIEAren't you gonna go over and talk tohim?

BERTNah. Sit tight. He'll be over here.

Findley spots Bert, takes a long drag on his cigarette, andsaunters toward them.

BERT(to Sarah)

Are you ready for another?

SARAHThank you.

Bert points to Eddie.

EDDIENo, no more for me.

FINDLEY(joins them, speaksin a soft Southerndrawl, to Bert)

Well, hello. Haven't seen you in along time.

BERTWell, hello. Haven't been here for along time.

(makes introductions)Ah, Miss Packard, Eddie Felson...James...

Bert snaps his fingers, pretending to forget Findley's name.

FINDLEYFindley.

EDDIEGlad to meet you.

(CONTINUED)

85.


FINDLEYAnd I you.

(shakes Eddie's hand)I think I've heard about you, Mr.Felson. You play pocket billiards,don't you?

EDDIE(playing along)

Now and then. Why, do you?

FINDLEYA little, although I'm afraid Igenerally lose.

BERTSo does Eddie.

EDDIEWell, I win sometimes.

FINDLEY(smugly)

I'll bet you do, Mr. Felson. I'lljust bet you do.

EDDIEHow much?

FINDLEYBert, I believe Mr. Felson's makinga proposition.

BERTCould be.

FINDLEYWell, Mr. Felson, maybe you couldcome out to my place some evening. We could play a few games ofbilliards.

EDDIEWhen?

FINDLEYYou're very direct, Mr. Felson.

EDDIEThat's right. When?

FINDLEYWould you like to come out tonight?

(CONTINUED)

86.


EDDIEWhat time?

FINDLEYI'm having some people over for drinksright after the races. Why don't youall come over? Then about nine, teno'clock we can play.

BERTWe'll be there.

FINDLEYGood, good.

He nods to them all, and leaves.

SARAHIf you don't mind I think I'll stayat the hotel.

EDDIEWell, what's the matter?

SARAH(her voice slurred)

I'm a little tired.

BERTC'mon, there'll be a lot of laughs.Findley's parties are famous. Heinvites everybody from top to bottom,from high society to every tout,hustler, and tramp in town. That'sanother way he has of gettin' hiskicks. It excites him to be aroundwhat he calls the criminal type.Some men are like that.

(beat)Some women too.

Sarah gives Bert a look.

DISSOLVE TO:

73 73INT. FINDLEY'S PARTY - NIGHT

The camera tilts upward from a Dixieland combo blaring out abouncy tune to find Sarah, descending the stairs, looking onat the party below. Holding the rail with one hand, and achampagne glass in the other, she maneuvers her way down thesteps. She stops a waitress on the way upstairs and exchangesher glass for a new one. We follow her unsteady, doll-like

(CONTINUED)

87.

73 CONTINUED: 73

descent. She moves slowly, dreamily past the combo; pastEddie, who is cornered by a chic blonde in a low-cut dress;past Findley, alone with his drink, observing his guests;past the bleary-eyed couples on the dance floor, until shecomes to the bar.

Bert is there too, his head bobbing to the Dixie beat, hiseyes running over her body so plainly covered by a cottonprint dress. Spinning away from him, she takes her glass andgoes to a corner of the room. Bert walks casually to herside. He leans over and whispers something in her ear. Herface hardens. Angrily she turns and throws her champagne inhis face and smashes her glass on the floor. Then she startsto cry and starts to fall, but Bert holds her up by theshoulders. The music stops. The dance couples strain to geta look at what has happened.

Eddie shoves through the gawking crowd.

EDDIEWhat's the matter? What happened?

BERTIt's all right. She had a little toomuch to drink, that's all. Forgetit.

(to Sarah)Go upstairs and sleep it off.

Eddie tries to take her in his arms, but she beats on hischest, sobbing, unable to make words.

EDDIEHey, c'mon. Cut it out! Do what hesays. Come on upstairs.

Eddie drags her limp, trembling body across the dance floorto the stairs. Bert watches them go, wiping the champagneoff his coat lapels.

The music starts up again.

DISSOLVE TO:

74 74INT. AN UPSTAIRS COAT ROOM - TIME LAPSE

A Negro maid sits patiently in the room, watching over Sarahand the coats that Sarah is lying on. A woman enters and,disgusted, pushes Sarah off her fur coat. Eddie appears inthe doorway. The woman takes her coat and leaves. Eddie looksat Sarah for a moment, then turns and walks out.

DISSOLVE TO:

88.

75 75INT. BILLIARD ROOM AT FINDLEY'S - NIGHT

Findley, drink and cork-tipped cigarette in hand, escortsBert and Eddie down the stairs to his game room. It is abeautifully appointed salon, wood-paneled, filled with plushdivans and decorated with terra-cotta Roman statuary. In thecenter of the room is the billiard table, now covered by acloth. Findley goes to the bar.

FINDLEYYou gentlemen care for a drink?

EDDIE(steps briskly intothe room)

No, none for me. Come on, let's play.

FINDLEYBy all means.

Eddie eagerly pulls back the cloth that covers the table. But it's not a pool table -- it's a billiard table.

EDDIEI thought we came here to play pool.

FINDLEYI don't play pool, Mr. Felson. Iplay billiards. My house, my game.You don't have to play if you don'twant to.

BERTWell, we won't.

EDDIEC'mon, Bert. Let me play him.

BERT(to Findley)

How much?

FINDLEYOh, we'll start small... a hundreddollars a game.

BERT(to Eddie)

You ever played billiards before?

EDDIESure.

(CONTINUED)

89.

75 CONTINUED: 75

BERTYou hustlin' me?

FINDLEYI'm sure Mr. Felson knows what he'sdoing. Certainly you can afford ahundred dollars to find out.

BERTDeal the cards.

Eddie finishes uncovering the table. Bert takes a seat.Findley has a mischievous look on his face as he brings outa cloth bag and pours out the three billiard balls on thetable.

DISSOLVE TO:

76 76INT. BILLIARD GAME - TIME LAPSE

Eddie shoots. His red ball ricochets off the shoulder andreturns to kiss the third ball.

FINDLEYBeautiful shot, Felson. Beautiful.You've played billiards before, Mr.Felson. Ah, you gentlemen sure youdon't care for a drink?

EDDIEOh no, nothing for me.

Findley steps up to the bar, leaving Bert and Eddie alone.

EDDIE(to Bert)

How do we stand?

BERT'Bout even.

EDDIEWhen do I raise the bet?

BERTI don't know.

EDDIEBert, if that's his best game, I canbeat him.

(CONTINUED)

90.

76 CONTINUED: 76

BERTLevel with me, Eddie. You ever playbilliards before?

EDDIEWhat's the difference? You got apool cue, balls on the table. Allyou gotta do is get the feel of it.

FINDLEY(returns with a freshdrink)

Like to raise the stakes, Mr. Felson?

EDDIE(to Bert)

Okay?

BERTHow much?

FINDLEYOh, about five hundred.

BERT(to Eddie)

Do you really think you can beathim?

FINDLEYOf course he thinks he can beat me,Bert. He wouldn't be playing me ifhe didn't. Right, Felson?

BERTI didn't ask him can he beat you. Ialready know he can beat you. I askedhim will he? With Eddie, that's twodifferent things.

EDDIEI can beat him.

BERTAll right. Five hundred.

Findley points to a statue on a table behind the couch. Itis a figure of Pan, with horns sticking up through his curlyhead, and the legs of a goat extending down below his waist.

FINDLEYHave you noticed, Bert?

(MORE)

(CONTINUED)

91.


FINDLEY (CONT'D)This fellow here bears a strikingresemblance to you. It seems as thoughyou might have modeled for the artist.

BERT(nods)

It's possible.

DISSOLVE TO:

77 77INT. BILLIARD GAME - TIME LAPSE

Findley completes a shot, then lays his cue gently on thetable and goes to the bar.

FINDLEYMark that one up too, Bert.

Eddie, his coat off, rubs his hand nervously.

EDDIEI'll beat him the next game.

BERT(toying with hisbillfold)

How're the hands?

EDDIEThey're fine.

BERTWell, rack up your cue. We're leavin'.

FINDLEYThat seems a shame. The night isyoung.

BERTThe night is two thousand dollarsold.

EDDIEHey, Bert. Wait a minute!

BERTI said we're leavin'.

Bert turns his back on Eddie and joins Findley at the bar.Eddie stands helplessly for a moment. Findley pours a drinkas Eddie approaches.

(CONTINUED)

92.

77 CONTINUED: 77

EDDIEI can beat him, Bert. Now he suckeredme 'cause he knows how to hustle. Ididn't think he did. But I canoutplay him. I can beat him.

BERTI don't believe you, Eddie. I thinkyou're still a loser.

EDDIEAll right, then. I'll play him withmy own money.

He reaches in his pocket, then remembers that he gave hismoney to Sarah.

EDDIEI'll be right back.

He bounds up the stairs.

CUT TO:

78 78INT. UPSTAIRS COAT ROOM - NIGHT

He bursts into the room, goes past Sarah, stretched out onthe bed, and takes the money out of her purse. She is facingaway from him but her eyes are open. She listens to him ashe shuts the door loudly on his way out.

CUT TO:

79 79INT. THE BILLIARD ROOM - NIGHT

Eddie leaps down the stairs, two at a time.

EDDIEOkay, c'mon. Let's play.

Bert eyes Eddie with controlled rage as the two get ready toplay again.

DISSOLVE TO:

80 80INT. BILLIARD ROOM - TIME LAPSE

A game has just ended as Sarah quietly descends the stairs.She stands at the rail, listening.

EDDIE (O.S.)There it is. I'm broke.

(CONTINUED)

93.

80 CONTINUED: 80

FINDLEY (O.S.)Ah, that's unfortunate, Mr. Felson.

EDDIE (O.S.)For who, Mr. Findley?... Bert, heonly beat me by one point. Now, youcan't get off me now.

BERT (O.S.)The bank is closed.

Bert sits with his shoes up on the couch.

EDDIEPlease don't get off me now.

BERTI know when to quit. You don't. Winor lose, you don't know when to quit.

EDDIE(down on one knee)

What do you want me to do, huh? Whatdo you want me to do? Just say itand you got it but PLEASE don't getoff me now.

SARAH(from the stairs)

Don't beg him, Eddie.

Eddie turns and sees her.

EDDIEGo on back to the hotel.

SARAHPlease, Eddie, don't beg him.

EDDIEWould you go on back to the hotel?Take a cab, go on back to the hotel.

SARAHDoesn't all of this come through toyou, Eddie? Doesn't any of thismean anything to you? That man, thisplace, the people. They wear masks,Eddie. And underneath the masksthey're perverted, twisted, crippled.

EDDIEShut up.

(CONTINUED)

94.


His eyes are shut tight; his balled-up fists rub against histemples.

SARAH(moving to him)

Don't wear a mask, Eddie. You don'thave to.

(points to Bert)That's Turk, Eddie, the man who brokeyour thumbs. Only he's not going tobreak your thumbs. He'll break yourheart, your guts. And for the samereason -- 'cause he hates you, 'causeof what you are. 'Cause of what youhave and he hasn't.

EDDIE(rises)

Would you get off my back, Sarah?Once and for all, will you get out,will you GET OFF MY BACK?!

There is a long pause.

BERTGo ahead and play him, Eddie. Playhim for a thousand dollars a game.

A stunned Eddie moves to the billiard table. Defeated, Sarahturns and goes up the stairs. The men return to the table tocontinue their game.

Bert, deeply satisfied, puts on his coat and sits to watchthe action.

DISSOLVE TO:

81 81INT. FINDLEY'S DEN - TIME LAPSE

A shaken Findley flops into a leather swivel chair. A bucketof iced champagne sits on the desk, ready to be emptied.Findley puffs on his cigarette as he looks at the impatientface of Bert, slouching in the chair across from him. Eddieleans against a wall nearby. He is quiet, morose.

FINDLEYWill you take a check, Bert?

BERT(pause)

Cash.

(CONTINUED)

95.

81 CONTINUED: 81

FINDLEYHow much do I owe you?

BERTTwelve thousand.

Findley reaches nervously for the bottle, gulps at his drink.Then he unlocks his desk drawer and takes out the money.Eddie looks on as Findley gives the money to Bert.

FINDLEYHere.

(to Eddie)Been an interestin' evening.

EDDIEYeah, sure has.

FINDLEY(to a valet)

Charles, will you call a cab forthese gentlemen, please.

(to Eddie)I'd show you to the door, but I...

EDDIEOh yeah, yeah. You're tired.

(to Bert)And beat.

FINDLEYYeah. You must come again.

EDDIEYeah. Sure.

Eddie moves to leave. Findley and Bert watch him go.

DISSOLVE TO:

82 82INT. FINDLEY'S FOYER - NIGHT

Eddie waits for Bert to come down the stairs.

BERTThere's your share. Three thousand.

CHARLESThe cab's waiting.

(CONTINUED)

96.

82 CONTINUED: 82

BERT(tips him)

Oh, yeah. Here. Thanks... C'mon,Eddie, let's go.

EDDIEI wanna walk.

BERTIt's a long walk.

EDDIEI got time, Bert.

BERTYou want me to tell her for you?

EDDIETell her what?

BERTYou gotta be hard, Eddie.

Eddie abruptly turns and walks out of the house. Bert watcheshim for a moment then follows.

CUT TO:

83 83INT. BERT'S HOTEL SUITE - LATE NIGHT

Bert enters his suite, removes his overcoat, then looks atthe door that divides his room from Sarah's. He seemshesitant, unsure of himself. He pours himself a drink anddowns it in one gulp, walks to the door, listens, and opensit himself without knocking. Sarah is there, seated primlyon the bed. There is a drink in her hand, and a suitcasebeside her on the bed. Bert enters her suite and confrontsher.

BERTWhen are you leaving?

Sarah's voice is subdued, controlled.

SARAHIn a little while. That's what youwant, isn't it?

BERTIt's what Eddie wants. He, uh, toldme to give you some money.

He stands over her, pulling a wad of bills from his pocket.

(CONTINUED)

97.

83 CONTINUED: 83

SARAHPut it on the bed. That's the wayit's done, isn't it?

BERT(tossing it there)

That's the way it's done.

SARAHAnd the way you're looking at me, isthat the way you look at a man you'vejust beaten? As if you'd just takenhis money, and now all you want is...his pride?

BERTAll I want's the money.

SARAHSure, sure, just the money, and thearistocratic pleasure of seeing himfall apart. You're a Roman, Bert.You have to win them all.

He picks her up and tries to kiss her but she is cold andlimp in his arms, so he lets go and she drops back on thebed. Then he turns and walks back into his room. She waitsfor a moment. Then she takes a cigarette out of a pack, getsup, and goes into his room.

SARAH(at the door)

You got a drink?

DISSOLVE TO:

84 84INT. BERT'S HOTEL SUITE - TIME LAPSE

In the bathroom mirror we see Bert asleep on his bed. Thesheets are rumpled and tossed about. Then we see Sarah, inher slip, enter the bathroom and shut the door. She takesout her lipstick and scrawls across the image of herself inthe glass "Perverted, twisted, crippled." She underlines theword "crippled."

DISSOLVE TO:

85 85INT. HOTEL LOBBY - EARLY MORNING

Eddie is just getting back. He walks through the lobby,ignoring the uniformed policeman standing nearby, and stopsat the desk.

(CONTINUED)

98.

85 CONTINUED: 85

EDDIEGive me my key, please. Room fifty-seven.

The concierge stares dumbly.

EDDIEWell, c'mon, give me my key.

The concierge hands it to him. Eddie walks quickly towardthe elevators.

DISSOLVE TO:

86 86INT. HOTEL SUITE - TIME LAPSE

He enters, sees the money on Sarah's bed, puts down his cuecase, and turns to see a crowd in the adjoining room. Bert,laying in bed, talks to a plainclothesman who stands overhim, taking notes. A photographer with a flash camera standsby the bathroom.

PLAINCLOTHESMANNow, let's go over this again. Yousay you were in the other room...

BERTNo, she closed the door. I told youshe closed the door. I was in theother room. She closed the door,went in there, maybe, I don't know,ten minutes, five minutes...

Bert stops when he sees Eddie through the open door. Auniformed policeman bars Eddie's entrance.

BERT(to the policeman)

Hey. Let him come in, huh?

Eddie comes in. He looks at the detectives around Bert'sbed.

BERTEddie?

The photographer's bulb flashes as he takes a picture of thebathroom.

Eddie pushes by the photographer, then stops as he seesSarah's body laid out on the tiled floor. He drops to hisknees beside her.

(CONTINUED)

99.

86 CONTINUED: 86

BERTEddie?

Eddie reaches out to touch her, then pulls back his hand.Bert appears at the bathroom door behind him.

BERTEddie? She come in here, Eddie. Sheasked me for a drink. I give herone. We had a few more.

Eyes closed, he writhes as he listens to Bert.

BERTEddie, she came in here.

Suddenly he uncoils and lunges at Bert, grasping him by thethroat and pushing him back. A policeman untangles them, butEddie breaks free. We hear Bert scream as he squirms alongthe floor trying to avoid Eddie's fists.

FADE OUT:

FADE IN:

87 87INT. AMES POOL HALL - LATE AFTERNOON

Minnesota Fats sits in his chair, engrossed in the afternoonpaper. Big John is at a pool table, trying out a few shots.Bert, in dark glasses, stands near the cashier's cage,chucking dice into a leather shaker.

The noise of the dice echoes in the slow, late afternoongloom of Ames.

When Bert sees Eddie push open the glass doors, he drawshimself up fearfully like a turtle, and motions with hiseyes to his men for protection. Eddie, his cue case tuckedunder his arm, walks straight toward him. He stops, staresat him for a moment, then turns and walks over to MinnesotaFats.

EDDIEI came to play pool, Fats.

FATS(after a glance atBert)

That's good, Eddie. For how much?

EDDIEYou name it.

(CONTINUED)

100.

87 CONTINUED: 87

FATSThousand dollars a game.

EDDIELet's make it three thousand dollarsa game, Fats. C'mon, three thousanddollars. That's my bankroll, my life'ssavings.

(beat)What's the matter, Fats? All yougotta do is beat me the first gameand I'm on my way back to Oakland.

FATSLet's go.

Fats rises, ready to play. Eddie starts to screw his cuetogether.

EDDIEGet on me, Bert. I can't lose.

He turns to join Fats at the table. The balls are alreadyracked and ready.

FATSWillie.

Willie collects their stake money and prepares to toss thecoin.

Preacher, Big John draw up their chairs around the table.Bert also takes a seat, but far away, near the coat rack.

WILLIECall it.

EDDIEHeads.

Willie taps Fats on the lapel. It's his break. Sausage sendsthe cue ball down the table and the game begins at once.Fats makes a good break, leaving the cue ball teetering overthe far corner pocket. He looks up at Eddie, and steps back.Eddie looks at the lineup of the balls. Then he sets downhis cue and walks over to the washroom. He glances at Bertas he sprinkles the powder on his hands.

EDDIEHow shall I play that one, Bert?Play it safe?

(MORE)

(CONTINUED)

101.


EDDIE (CONT'D)That's the way you always told me toplay it, safe, play the percentage.Well, here we go... fast and loose.

He turns and snatches up his cue.

EDDIEOne ball, corner pocket.

(chalks his cue, linesup his shot)

Yeah, percentage players die broketoo, don't they, Bert?

He rams a bank shot into the pack. The one ball rolls in,while others scatter about the table. The crowd applauds.Eddie moves swiftly to his next shot. As he plays, he talksto Bert.

EDDIEHow can I lose? Twelve ball.

(shot goes in)I mean, how can I lose? Because youwere right, Bert. I mean, it's notenough that you just have talent.You gotta have character too. Fourball.

(shot goes in, a pause)Yeah and I sure got character now. Ipicked it up in a hotel room inLouisville.

Bert and Fats exchange glances.

FATS(from his seat)

Shoot pool, Fast Eddie.

EDDIEI'm shootin' pool, Fats. When I missyou can shoot.

Eddie returns to his game and Fats waits for his turn, puffingsteadily on his cigarette. Bert shifts uneasily in his chairand we hear the pool balls knock together, then slowly rolldown the track through the belly of the table.

EDDIEFive ball.

(shot goes in)... Fourteen ball.

(shot goes in)... Four ball.

(CONTINUED)

102.


The shot goes in. Eddie looks significantly at Fats who lowershis eyes and puffs on his cigarette.

DISSOLVE TO:

88 88INT. THE GAME - TIME LAPSE

A VOICEThat's game.

The balls are racked. Eddie sinks shots right and left --some tricky, some not. Bert and Fats exchange uneasy looks. Eddie circles the table like a hawk. Then, Fats is up; hisjacket is off, his tie is pulled loose. He makes a shot,chalks his cue.

FATSEight ball.

It's a hard shot and he misses. Eddie moves to take his shot,ignoring Fats altogether.

EDDIEThirteen ball.

Bert looks on. But Eddie is shooting pool now, making allhis shots quickly and accurately. A depressed Fats watcheshim shoot.

DISSOLVE TO:

89 89INT. THE GAME - TIME LAPSE

The clock over the door reads six o'clock. Fats is still inhis seat.

He has a drink in his hand.

FATSI quit, Eddie. I can't beat you.Willie, give him the stakes.

(rises, to Bert)You got yourself a pool player.

EDDIE(softly, as he countshis money)

Preacher, gimme my coat, will ya?

BERTWhere do you think you're going?

Eddie slips into the jacket, helped by Preacher.

(CONTINUED)

103.

89 CONTINUED: 89

BERTEddie?...

(loses it)YOU OWE ME MONEY!

EDDIE(calmly)

And just how do you figure that,Bert? What do you figure I owe you?

BERTHalf.

EDDIEIn Louisville it was seventy-fiveper cent.

BERTWell, here it's half.

EDDIEWhat if I don't pay ya, Bert?

BERT(chuckling)

You don't pay me? You gonna get yourthumbs broken.

(stands up and paces)And your fingers. And if I want themto, your right arm in three or fourplaces.

FATSBetter pay him, Eddie.

Eddie unscrews his cue, thinking it over. Bert's bodyguardsstand around, waiting for the word.

EDDIESo you figure you're still my manager,huh?

BERTI'm a businessman, kid.

EDDIEWell, you got a lot of games linedup for me?

BERTYeah, we're gonna make a lotta moneytogether, from now on.

(CONTINUED)

104.


EDDIEFifty per cent?

BERTNo, it don't have to be fifty. Itcan be thirty... twenty-five.

EDDIEWe really stuck the knife in her,didn't we, Bert?

BERT(disgustedly)

Aaaahhhh!

EDDIEBoy, we really gave it to her good.

BERTIf it didn't happen in Louisville,it'd happened someplace else. If itdidn't happen now, it'd happen sixmonths from now. That's the kindadame she was.

EDDIEAnd we twisted it, didn't we, Bert? Course, maybe that doesn't stick inyour throat cause you spit it outjust like you spit out everythingelse. But it sticks in mine. I lovedher, Bert. I traded her in on a poolgame. But that wouldn't mean anythingto you. Because who did you evercare about? Just win, win, you said,win, that's the important thing. Youdon't know what winnin' is, Bert.You're a loser. 'Cause you're deadinside, and you can't live unlessyou make everything else dead aroundya.

Fats listens, his head bowed.

EDDIEToo high, Bert. Price is too high.Because if I take it, she never lived,she never died. And we both knowthat's not true, Bert, don't we,huh?

(MORE)

(CONTINUED)

105.


EDDIE (CONT'D)She lived, she died. Boy, youbetter... You tell your boys theybetter kill me, Bert. They better goall the way with me. Because ifthey just bust me up, I'll put allthose pieces back together again,and so help me, so help me God,Bert... I'm gonna come back here andI'm gonna kill you.

Bert's men start to move forward but he stops them with agesture of his hand. He tries to smile. A friendly smile.

BERTAll right... All right.

Eddie puts away his cue.

BERTOnly, uh, don't ever walk into a big-time pool hall again.

Eddie just stares at Bert, then looks over at the downcastface of Minnesota Fats.

EDDIEFat man...

Fats looks up at Eddie.

EDDIE... you shoot a great game of pool.

FATS(saluting him withhis glass of whisky)

So do you, Fast Eddie.

Eddie takes his cue case and heads for the door. He stopsfor a moment, looks around at the rows of empty tables, andgoes out. Then Ames returns to normal. Fats puts on his coat;Henry sweeps up. And Bert takes his seat again on his throneoverlooking Ames, sipping his glass of milk.

FADE OUT:

THE END

THE HUSTLER Walter Tevis

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