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+
+
+
+Gangs of New York (2002)
+
+by Jay Cocks, Steven Zaillian, Kenneth Lonergan.
+
+3rd Draft (1993).
+
+
+
+
+
+
+
+INT. ROOM OLD BREWERY DAY 
+
+Half in shadow, a man named VALLON, dressed in black, fastens a clean
+white clerical collar around his thick neck. He raises a jagged razor to
+his face, RAKES it across his right cheek, drawing BLOOD. He does not
+flinch.
+The sharp SCRAPING of the jagged blade against skin is the first SOUND we
+hear.
+VALLON cuts himself similarly on the left cheek, then hands the razor
+ceremoniously to a BOY standing beside him. The boy, no more than twelve
+years old, looks at VALLON worshipfully, keen eyes shining with fear and
+excitement. He starts to wipe the razor blade on the bottom of his jacket.
+
+VALLON
+No. Never. The blood stays on the blade, son.
+
+He hands the boy a dark red velvet pouch. Very carefully, the boy, known
+as AMSTERDAM, wraps the razor up, hands it back to his father.
+From the shadows, VALLON now raises a long pole with a beautiful golden
+crucifix mounted on the end, then holds his free hand out to his son.
+Amsterdam squeezes tight.
+VALLON nods toward the door. Amsterdam pulls it open. Outside is a dim
+hallway. We hear SOUNDS that might be animal or human.
+MUSIC begins: a steady, driving cadence somewhere between a march and a
+hymn.
+
+CUT TO
+
+2 INT. HALLWAY
+
+VALLON strides in long measured steps. Amsterdam has trouble keeping up
+with him.
+They are walking down a long corridor that's like a tunnel. Patches of
+LIGHT stain the darkness. Sometimes Amsterdam glimpses a FACE peering out
+from the gloom. Once or twice he almost stumbles over a BODY stretched
+across his path.
+
+CUT TO
+
+3 INT. ROOM
+
+Another room, even smaller. The only decoration is a bizarre rendering of
+a Madonna and child painted on the wall.
+A beefy man picks up a home-made PIKE, its iron tip sharpened to a lethal
+point. He is smiling. The grin is huge, but cockeyed. It occupies only
+half of his face. The grotesque, unending grin is the result of facial
+paralysis, and has given him a nickname: HAPPY JACK MULRANEY.
+Jack lifts the pike carefully, then takes a candle from the wall and bends
+down over a wooden cage full of rabbits. He slowly moves the candle back
+and forth across the cage top. Wax falls on the cage, splattering an
+unlucky rabbit.
+Jack thrusts the pike between the wooden bars, impaling the rabbit's body.
+He pulls the pike from the cage and leaves.
+
+CUT TO
+
+4 INT. HALLWAY
+
+Jack falls into step beside VALLON and Amsterdam. He holds the pike with
+the dead rabbit high, next to VALLON's cross.
+
+HAPPY JACK
+Did you bring the boy for a charm, Priest?
+
+VALLON
+No, Jack. For a baptism.
+
+Now a WOMAN joins them. She's dressed in man's clothes, her pants held up
+by suspenders. She wears a set of IRON CLAWS.
+MUSIC builds, growing more insistent and more ominous.
+Now a figure looms before them. Over his street clothes, this WARRIOR
+wears a rig of home-made armor made from fracgments of steel, lengths of
+chain and bits of leather. He carries a battle-axe as lightly as if it
+were a twig.
+
+RABBIT WARRIOR
+We'll send a few across the river today, Priest.
+
+He joins the procession. Another woman, as tough as the first and half
+again as large, and several more men, all armed with implements of
+destruction, fall in beside him. Their faces are marked with blood, like
+Vallan's, or covered with ritual markings made with paint and ink.
+The group grows ever larger and more forbidding. occasionally PEOPLE dart
+around them in the tunnel and scamper out of their way like animals
+frightened in a burrow.
+
+CUT TO
+
+5 INT. ROOM
+
+Vast and dank, like a cavern. We start CLOSE on...
+... the body of a dead rat being filled with some pieces of lead.
+Then a little WIDER to reveal: an eager boy, SHANG DRAPER, about the same
+age as Amsterdam. He drops the last few pieces of lead into the mouth of
+the rat, then sews it closed. He hefts the animal by the tail, swinging it
+as he stands up.
+He is near a primitive forge where a half-drunk SLACKSMITH hammers crude
+weapons into shape and distributes them to OTHER MEN and WOMEN. The floor
+is covered with bits of lead and steel, which Shang has been using to sew
+into his rat.
+Shang FOLLOWS the crowd of men and women with their weapons. And now we
+see this room full. It is huge: the main room of the Old Brewery, crowded
+with families huddled together for warmth and comfort, or out of fear; men
+and women, together or separately, drunk or passed out. They are like zoo
+animals in a pit. There are sticks of furniture jammed in corners, or,
+more often, arranged at angles in the middle of the room to form tiny
+enclaves where the ancient brewery machinery forms irregular boundaries.
+Above Shang's head, VALLON and his gang walk across a plank bridge that
+spans the room a hundred feet beneath them. Armed men and women from the
+Brewery are climbing a rope ladder to join them. Shang SCURRIES up after
+them.
+The men and women from the Brewery fall in behind VALLON and the others in
+the lead. Shang SPOTS someone near his own age toward the front:
+Amsterdam. He presses through the crowd like a hunting dog.
+
+SHANG
+What's the fight?
+
+AMSTERDAM
+The Dead Rabbits against the Native Americans, same as ever. But it'll all
+be settled today.
+
+SHANG
+Are you Native or Rabbit?
+
+AMSTERDAM
+(points to rabbit on pike)
+What do you think?
+
+SHANG
+Looks alright. I'll stand by you, then.
+
+CUT TO
+
+6 INT. HALLWAY
+
+The group now turns down the last corridor, as dim and long as a tunnel.
+In the distance, there's a faint glimmer of light and the figure of a MAN
+(MONK EASTMAN). VALLON stops near the door.
+
+VALLON
+
+I don't know you.
+
+MAN
+(lightly)
+I suppose there's to be a fight.
+
+VALLON catches the heavy Celtic inflection in the man's voice.
+
+VALLON
+Derry?
+
+MAN
+Donnegal. Name's Monk Eastman.
+
+VALLON
+And you want to fight, Mr. Eastman?
+
+MONK
+lf there's money in it.
+
+VALLON
+Fight for the Natives. They have a proper war chest.
+
+MONK
+Well, I might at that. But I thought I'd ask you first, seeing as how I'm
+not quite a Native American myself.
+
+VALLON
+Let's see your skills, and we'll talk of payment later.
+
+MONK
+Fine. But if you like what you see, pay me double.
+Monk turns to the door with the grace of a dancer and delivers a
+SHATTERING kick, sending it flying off its hinges. Clear white LIGHT
+streams in, and we see Monk Eastman plain for the first time: a huge man,
+in stature and girth, wearing a small DERBY that intentionally makes his
+head look even bigger.
+
+VALLON
+(as the door splinters settle)
+Stand with us then.
+
+CUT TO
+
+7 EXT. STREET DAY (WINTER)
+
+WINTER WIND blows across a scene as strange and bleak as an alien planet.
+VALLON, carrying his cross high, steps through the doorway. The OTHERS
+slowly follow VALLON out of the building, which is three stories high and
+maybe a block long. A dilapidated sign identifies it as the 5 Paints
+Brewery.
+It is the tallest structure in the midst of low, squalid SHACKS, winding
+ALLEYS as narrow as a snakels back, and DIRT STREETS filled with ruts, mud
+and filthy snow. A few PIGS wander forlornly about, rooting for garbage.
+WASH hangs stiff, in the middle of the square, from a peculiar monument
+erected to some forgotten war hero.
+The Brewery occupies one side of a SQUARE surrounded by some storefronts
+and a couple of collapsed wooden sidewalks. If this place resembles
+anything at all, it's a horrible hybrid of London's Limehouse and a
+pioneer town in the American West whose best days have long passed--or
+never came at all.
+VALLON stands still, staring across the square past the monument. His
+battalion of irregulars waits for his signal.
+Now... very, very slowly...from around both sides of the monument comes
+ANOTHER GANG, in size the same as VALLON's, men and women both, armed like
+Visigoths with HOMEMADE WEAPONS: knives, pitchforks, building blocks and
+bricks, boards with sharp nails protruding from the ends. Every member of
+this second group is dressed in a long DUSTER which reaches to the ankles.
+Several MEN in front of the group sport dusters made of leather.
+
+VALLON
+Bill Poole! on whose challenge are we assembled?
+A MAN in a leather duster (BILL THE BUTCHER) steps forward. He is young,
+lean and fierce. And then there are his eyes. They do not match. One is
+real. The other is a huge, bulging PEARL upon which has been engraved,
+instead of a pupil, a full-color portrait of the AMERICAN EAGLE.
+
+On the side of the square, arranged to get a good view of the impending
+combat, is a group of STREET KIDS, girls and boys, none older than eight.
+They talk and laugh excitedly among themselves, picking their own
+favorites among the gangs as if the warriors were players on a team.
+
+BILL THE BUTCHER
+On the challenge of the Native Americans, to settle for good and all who
+holds sway.
+
+VALLON
+Bene.
+
+BILL THE BUTCHER
+By the ancient laws of combat, we offer our bodies to the ghosts of those
+warriors who have gone before us. Valor is avid for glory, and glory is in
+our wounds.
+
+VALLON
+But this time can you bear to look on the glory when it comes, Bill? Can
+you see it clear with your single eye?
+
+BILL THE BUTCHER
+Whoever fights untouched in battle has skill, but the warrior who returns
+wounded has been touched by God.
+
+VALLON
+It wasn't God who touched your eye.
+
+BILL THE BUTCHER
+It was God gave me guidance. Will you be able to look on the death blow
+like a gladiator, and not look away? No honorable man turns an eye from
+his death.
+
+VALLON
+I don't expect a death blow from your hand, Butcher. Let's have at it.
+
+BILL THE BUTCHER
+There is another matter.
+
+VALLON
+Say it out and quick, before spring gets here.
+
+BILL THE BUTCHER
+No Native American Warrior will dishonor himself with the blood of the
+halt and maimed.
+
+VALLON
+So?
+
+BILL THE BUTCHER
+So we would like to know whether Squire Jack Mulraney of the Dead Rabbits
+can smile out of both sides of his face.
+
+A pause of a single second. Then HAPPY JACK takes the dead rabbit off the
+tip of his pike and hurls it across the square. It lands right at BILL THE
+BUTCHER's feet.
+In a flash, BILL THE BUTCHER opens his coat. Inside, on a special belt he
+carries a CLEAVER, a CARVING KNIFE and other instruments of the butcherls
+trade, all stained with blood and gristle. Now the MAN standing next to
+him removes the broad BELT from around his coat. The brass buckle is
+sharpened to a point, the leather studded with glass.
+The gallery of Street Kids tenses for action: they are thrilled.
+
+VALLON reaches up to the CROSS, pulls off the top piece, to disclose,
+underneath, a gleaming sword point. He folds the arms of the cross down,
+like the blades of a jackknife.
+
+VALLON
+Prepare to receive the Lord.
+
+And the air is full of screams and battle cries as the two gangs hurl
+across Paradise Square into BATTLE.
+VALLON draws first blood. He impales a Native American on the sword end of
+his cross and turns to fight again.
+Amsterdam and Shang exchange a glance of frightened, worried wonder.
+
+Then a Native American rushes at them, shouting for blood. The boys act
+together. Amsterdam dives down in front of the man, sending him sprawling.
+Shang BLUDGEONS the fallen warrior, using his lead-filled rat like a
+blackjack as Amsterdam kicks him savagely; the Native collapses
+unconscicus at their feet. Before the boys can thank one another, however,
+they are separaten by the SURGING GANGS all around them.
+BILL THE BUTCHER leaves his meat CLEAVER imbedded in the middle of a man's
+skull, then WADES through the combat as if shielded by a charm.
+The gallery of Street Kids is thrilled by this display and reacts with
+CHEERS.
+
+VALLON BATTLES three Natives who come at him at once.
+
+Monk Eastman grabs a Native in his arms like a groom hugging a bride. He
+raises his knee and brings the man crashing down across it, BREAKING his
+spine like a Thanksgiving wishbone.
+The gallery of Street Kids is awed by this display of power from a new
+star in the making.
+
+The Rabbit Warrior in the home-made armor grins at an intrepid Native and
+lowers his battle-axe. The Native rushes as the
+Rabbit Warrior swings and SEPARATES the man from his legs.
+
+A NATIVE WOMAN lowers her head and charges her Dead Rabbit adversary,
+delivering a shattering BUTT to his stomach.
+
+A NATIVE BOY holds a rusty old pistol, which he uses at pointblank range
+against several Rabbits.
+
+A RABBIT WOMAN flies into a Native, using her IRON FINGER EXTENSIONS to
+GOUGE his face.
+
+The NATIVE with the deadly belt uses it to TEAR a piece out of a Rabbit's
+face.
+
+Amsterdam, beginning now to be overwhelmed by the hellish fight, looks
+around in growing PANIC for his father.
+
+SHANG uses his lead-rat blackjack to clear an escape back toward the
+Brewery. The Street Kids can tell he's trying to escape, and start BOOING
+him...
+... as Shang's GRABBED from behind and pulled off his feet by a PEG-LEGGED
+NATIVE. He THROWS the boy to the ground and pins him by holding the
+sword-sharp point of his wooden leg against Shang's throat.
+
+SHANG
+(desperate)
+I run with you! I'm one of you! Born a Native American from the blood of
+five generations!
+
+PEG-LEG
+Yeah? Then you oughta be a red Indian.
+
+He pushes down. Shang starts to bleed. But now PEG LEG is distracted by
+the sudden SOUND of bells and whistles. He watches the BOY trembling on
+the ground, then moves off him, making for the sound of the bell, leaving
+the BOY quaking.
+The SOUND grows louder as TWO HORSE-DRAWN CARTS full of battle ready
+POLICE tear around the curve of a narrow thoroughfare and stop in Paradise
+Square.
+The BELLS on the carts toll loudly and work magic. The fighting stops.
+
+The POLICE, all carrying clubs and wearing leather helmets, LEAP OFF the
+wagons.
+
+There are several moments of ABSOLUTE SILENCE, broken only by the SOUND of
+the wind and the GROANS of the wounded.
+Then, as one, the Dead Rabbits and the Native Americans RUSH the police
+together, hurtling stones and brandishing weapons. Even the Street Kids
+get into the act, kicking and biting and generally having a fine time.
+The gangs SWARM all over the police, driving them back. Some lucky cops
+climb back on the wagons and try to get away. The unlucky police remain
+behind, dead on the ground.
+The GANGS cheer, jeer and continue to throw things at the retreating
+POLICE. When the second wagon disappears from view, the GANGS confront
+each other once again.
+Another brief moment of QUIET. The Street Kids settle back into their
+spectator role. Then the GANGS go at each other with fresh intensity.
+Amsterdam finally SEES his father and starts to PUSH his way toward him.
+VALLON and BILL THE BUTCHER stand facing each other in the midst of battle
+like two titans: then they rush at each other, joining with a terrible
+fury.
+Shang, still blindly SWINGING his blackjack, makes his way closer to the
+relative safety of the Brewery, his face stained with tears of fear. He
+hits someone. The MAN turns, swats him down. Shang sprawls on the street,
+which is a SWAMP of mud and blood and dirty snow, and finds himself face
+to face with a departed PEG LEG. Someone has removed his artificial limb
+and driven it through his heart.
+Across the square, Amsterdam has reached his father in time to see a
+NATIVE AMERICAN sneaking up behind him. Amsterdam grabs a long TRUNCHEON
+from a fallen warrior and uses it to hit the man a strong blow behind the
+knees.
+The MAN falls, howling. AMSTERDAM HITS him again. And again. He is
+hysterical.
+
+VALLON and BILL THE BUTCHER keep fighting. Amsterdam sees, with a single
+look, that his father is in the fight of his life. He looks for a weapon
+to help...
+... sees a HATCHET lying by the body of the Rabbit he has just beaten
+senseless. He grabs it and runs forward, looking for an opening between
+the Butcher and his father...
+As the two combatants move, Amsterdam MOVES. Bobbing, weaving, feinting,
+falling back... looking for his chance...
+... as Bill deals VALLON a blow that ROCKS him back and throws him off
+balance...
+
+...just as Amsterdam has made his move. He RUSHES forward, sees his father
+FALLING, tries to turn but...
+
+... too late. The boy's hatchet SLASHES his father in the leg. VALLON
+falls to one knee, gestures frantically to the stunned Amsterdam to get
+away...
+... and Bill is upon VALLON, SINKING his knife into his chest. VALLON
+screams and falls on his back, Bill kneeling over him. He looks into his
+enemy's eyes ... and VALLON's EYES LOCK ON HIS. For all his suffering,
+VALLON's eyes HOLD Bill ... he forces himself to look at Bill...it's a
+terrible struggle... but VALLON will not look away.
+Amsterdam, hysterical, RUSHES at the Butcher. The Butcher grabs Amsterdam
+by the arm, making him drop his hatchet.
+
+BILL THE BUTCHER
+You need a weapon? Use a knife.
+He puts the struggling boy's hand on the hilt of the knife that the
+Butcher sunk into his father's chest.
+
+BILL THE BUTCHER
+It makes a deeper cut.
+And, HIS HAND GUIDING THE BOY'S, he RAMS his knife deep into VALLON's
+heart.
+
+BILL THE BUTCHER
+Say a benediction, Priest.
+
+VALLON bellows in agony. Amsterdam screams at the very same moment, his
+cry mingling with his fatherls tearing through the air.
+
+BILL THE BUTCHER
+(to Amsterdam)
+Hold this close to mind, boy, should you ever think of going up against
+the Native Americans.
+Bill the Butcher rises and all around him, as if on some mysterious
+signal, the fighting subsides. A DEAD RABBIT sees the fallen Vallon, takes
+a battered brass HORN from his belt and sounds THREE NOTES, quick and
+sharp. As the notes fade away, the fighting stops completely.
+
+BILL THE BUTCHER
+(announcing)
+Ears and noses will be trophies of the day.
+
+The Rabbits SCAMPER to collect their dead and wounded before the Natives
+can get to them to slice off the battle souvenirs. But there are many
+corpses maimed. The Street Kids DISPERSE. The main battle is over, and the
+Natives have clearly carried the day.
+The Rabbits file past Vallon, rorming a protective CIRCLE around him.
+Amsterdam kneels at his side. Vallon tries to speak. Blood bubbles in his
+throat.
+
+VALLON
+Can't..can't cross the river... with steel through my heart.
+Amsterdam looks around. None of the Rabbits makes a move. This is clearly
+something he is meant to do himself.
+Amsterdam grabs the tortoise handle of the knife, PULLS on it. Vallon
+tries not to cry out. The knife does not move.
+Amsterdam tries again. He can't budge the knife. Vallon MOANS. Nearly
+wild, Amsterdam PULLS with all his strength. Vallon SCREAMS in agony.
+Amsterdam is pulling so hard he raises his father's back four inches off
+the ground. Still the knife will not move. Vallon passes out from the pain.
+Now, finally, someone steps forward: Monk Eastman. He leans over but
+Amsterdam, berserk with grief, pushes him away, turns back to his father,
+and, with a last desperate pull, DRAWS the knife from his father's heart.
+He throws it on the ground. Monk picks it up, wipes the blade on his arm,
+closes the knife and hands it to Amsterdam.
+
+MONK
+That's yours, rightfully.
+Now Monk leans over the lifeless body and reaches inside Vallon's coat,
+REMOVING some money.
+
+MONK
+And this is mine. Only what's owed. Use the rest for funeral.
+
+AMSTERDAM
+No!
+He tries to shove Monk away from his father, when the Native Warrior
+intervenes.
+
+HAPPY JACK
+It's fair.
+
+Amsterdam, wild with shock and grief, turns back to his father as Monk
+takes what's owed him. Amsterdam bends over to KISS Vallon on both cheeks,
+then on his left eye.
+The boy is just about to kiss his fatheros closed right eye when the lid
+springs OPEN - Amsterdam jumps back despite himself. Vallon stares at him:
+a last moment of recognition.
+VALLON
+Hon ...
+AMSTERDAM
+No, Pa!
+
+VALLON
+... honor me... think of me ... don't never look away.
+Vallon convulses and DIES. Amsterdam shakes him to revive him.
+
+RABBIT WOMAN
+Take the body. Bring the boy.
+Several RABBITS take a step or two forward, but Amsterdam springs up at
+them, like an animal.
+
+RABBIT WARRIOR
+Come an, lad. Therels nothing to be done now.
+
+AMSTERDAM
+Get away! Get away!
+
+HAPPY JACK
+Leave him be. He's his to mourn.
+
+And the RABBITS turn away, going back to the Old Brewery or vanishing down
+the narrow streets.
+Now a few CITIZENS venture out into Paradise square. A couple of
+SCAVENGERS scoot about, looting bodies.
+Amsterdam stays in the center of the square unmoving, undisturbed, keeping
+solitary vigil over his father.
+
+A TITLE is superimposed across this scene:
+
+NEW YORK CITY 1844
+
+8 EXT. HARBOR DAY WINTER (MATTE)
+
+The same afternoon. As the sun goes down, we have our first full look
+(MATTE) at the low pale outlines of the city.
+The harbor is crowded with the high masts of sailing ships. Just north of
+the island tip is the steeple of the city's tallest structure, Trinity
+Church. The buildings of Wall Street are masses of concrete and wood, the
+streets surrounding them paved with cobblestones. Just above the financial
+district are the sloping buildings and rutted avenue of the Five Points .
+The Old Brewery stands tall and forbidding over Paradise Square.
+Above the Five Points, in the distance, we can glimpse some finer, newer
+buildings. One wide street--Broadway--seems to run from the very tip of
+the island clear up into the woods just a few miles north of the harbor.
+The only SOUNDS are the lapping of the harbor water against the boats, the
+creaking of masts in the winter WIND.
+
+CUT TO
+
+9 EXT. HARBOR DAY
+
+A closer view - The TITLE fades off. We see an imposing edifice on the
+edge of the harbor with a wooden sign identifying: "IMMIGRATION
+DEPARTMENT, UNITED STATES OF AMERICA."
+The sun has nearly set. A boy--about 10 years old--sits on the edge of the
+Castle Garden dock, gazing down at the frozen Hudson. He can just about
+make out his reflection in the dull sheen of the ice. His name is JOHNNY
+SIROCCO, and he watches himself with bewildered seriousness.
+Abruptly, he reaches down and SMASHES through the ice with his fist. In
+SLOW MOTION, we watch the ice fragments drift apart in the river current,
+each bearing away a REFLECTION of Johnnyls face, like pieces of a puzzle.
+
+POLICEMAN
+Where's your family, sonny?
+
+Johnny sees a POLICEMAN scrutinizing him.
+
+JOHNNY
+(lilting brogue)
+My mother's just there.
+
+He gestures toward a ship, where MEN are unloading cargo. In a hoist, they
+are lowering a thin pine COFFIN to dockside.
+
+JOHNNY
+On the trip, her insides all broke up. She wasn't dead and there was three
+others fighting for her bed.
+
+POLICEMAN
+And your father? Where's he, then?
+
+JOHNNY
+I never knew him.
+
+POLICEMAN
+(taking Johnny's hand)
+
+We better see to you, then.
+
+CUT TO
+
+10 EXT. STREET NIGHT
+
+The Policeman leads an awed Johnny through the TEEMING streets of the Five
+Points.
+
+POLICEMAN
+Where all those streets come together right ahead is the true Five Points.
+But most speak of the Five Points and mean anywhere between the Battery
+and the Bowery.
+Although the night's cold, the streets are jammed. WHORES painted like
+carnival Gypsies sell themselves to any man sober enough to stand up.
+SOUNDS of laughter and combat filter out from garish SALOONS like the
+Little Naples, the Hell Hole, the Egyptian Hall.
+In the midst of all this highlife are BEGGARS and the SICKLY, looking for
+charity, scrounging garbage in the street. An INDIGENT battles a CRIPPLE
+for a meager scrap of faod. A richly dressed WOMAN, riding by in a
+carriage, hides her eyes by raising a HUGE BOUQUET OF FLOWERS in front of
+her face.
+
+POLICEMAN
+Streets hereabouts are lively of an evening. The city comes here to sport.
+But there's places to put up a boy on his own.
+
+Three WOMEN, exquisitely costed, burst from the door of the Egyptian Hall.
+Under the harsh glare of a nearby gas lamp, their faces are no longer
+striking. Johnny STARES; there is something not right about these faces.
+
+JOHNNY
+And those? What are those?
+
+POLICEMAN
+Well, those. Those are, as you might say, a sort of...
+
+We SEE one of the women's faces, suddenly harsh under gaslight: under
+thickly caked make-up is a smiling TRANSVESTITE.
+
+POLICEMAN
+... sort of whatnot.
+
+TRANSVESTITE
+Say, policeman. I'll buy your bonny friend.
+
+The Policeman fetches the Transvestite a strong WHACK with his nightstick.
+The Transvestite screams and falls ... and Johnny RUNS.
+
+POLICEMAN
+Hey!
+
+But Johnny's off, already lost in the mad street life.
+
+CUT TO
+
+INT. MORTUARY NIGHT
+
+A funeral chapel.
+
+Vallan's body lies in state. He is wearing his gang regalia, and all the
+Dead Rabbits FILE PAST his coffin in solemn tribute. A WOMAN bends down
+and kisses the body. Happy Jack Mulraney holds Vallon's crucifix, which he
+has obviously inherited. As a disreputable looking Minister mutters
+PRAYERS, Happy Jack whispers to a silent Amsterdam.
+
+HAPPY JACK
+We passed the plate amongst ourselves. Come up with enough ned to carry
+all this, and carry you a while, too.
+
+He stuffs some money in Amsterdam's pocket.
+
+AMSTERDAM
+Where will my father rest?
+
+HAPPY JACK
+Potters Field, with everyone else.
+
+AMSTERDAM
+My father won't be buried with everyone else. He'll lie separate in fresh
+ground, facing east.
+
+HAPPY JACK
+What difference where he faces?
+
+AMSTERDAM
+He'll face east for the second coming of Christ.
+
+HAPPY JACK
+Fine, son. When Jesus gets to the Battery you show Him the way from there.
+
+The Minister finishes the service. MR. CORNELIUS, a funeral director who
+resembles one of his own customers, ushers in a WOMAN (MAGGIE) pulling a
+lovely 10 year old GIRL (JENNY EVERDEKNE) by the hand. The woman is
+obviously drunk, the girl frightened.
+
+MR. CORNELIUS
+Will you have music, entlegen
+
+WOMAN (MAGGIE)
+My daughter'11 do any song you like.
+
+HAPPY JACK
+Not tonight, Maggie, we got...
+
+Monk Eastman interrupts from the Background.
+
+MONK
+How much?
+
+MAGGIE
+Any ned in your pocket, sir.
+
+MONK hands MAGGIE some coins.
+
+MONK
+She sing sweet as she looks?
+
+MAGGIE
+Pure celestial, sir.
+(to girl)
+Go on, Jenny.
+
+Jenny's voice is sweet as promised. The song she SINGS, however, is a
+bawdy saloon song. Maggie cuts her off fast.
+
+MAGGIE
+No, Jen, the other.
+
+Jenny starts to sing a HYMN. To avoid looking at the corpse, she lets her
+eyes rove all around the chapel until she SEES Amsterdam. She locks
+straight at him until the hymn is over. And he does not take his eyes off
+her.
+
+CUT TO
+
+12 INT. MORTUARY HALLWAY NIGHT
+
+Mr. Cornelius is about to escort Maggie and Jenny into another room
+crowded with mourners when a smartly-dressed man (DANIEL KILLORAN)
+gestures to him from the shadows.
+
+KILLORAN
+Mr. Tweed would like a word, Mr. Cornelius.
+(Cornelius hesitates)
+Tweed of Tammany.
+
+At the mention of the name, Cornelius shoos Maggie and Jenny into the
+mourning room and shuts the door behind them. Then he gives Killoran his
+full attention.
+
+KILLORAN
+In your office. At your pleasure, of course.
+
+CUT TO
+
+13 INT. MORTUARY OFFICE
+As the door opens, we see a man gazing out the narrow window onto the
+spectacle in the next building. He is in his late 20s, already a little
+fleshy but dressed with dash: WILLIAM TWEED... "BOSS" TWEED. He shows a
+bemused, almost schalarly interest in the goings-on next door.
+This mortuary is located next to a bordello, where the windows are
+uncurtained and the energy and variety of the
+activities inside is astounding.
+
+Tweed finally TURNS as Killoran opens the door.
+
+TWEED
+Mr. Cornelius. With a view like this I'm surprised the dead can rest in
+peace.
+
+CORNELIUS
+Is there anything I can...
+
+TWEED
+(interrupting)
+Yes. A favor.
+
+CORNELIUS
+Happy to serve, Mr. Tweed.
+
+TWEED
+Excellent. Lend me something.
+
+CORNELIUS
+(puzzled)
+Oh, I don't know what I could ...
+
+TWEED
+I believe in form and appearance, you see. Just like yourself, sir. And I
+believe in law, and the power of example. Our city is a lawless
+wilderness, sir. I'm asking you to help chasten it.
+
+CORNELIUS
+A matter of civic duty, then.
+
+TWEED
+And civic pride. I want you to help me set an example.
+(smiles)
+I only need to borrow one of your clients.
+
+CUT TO
+
+14 INT. MORTUARY NIGHT
+
+Two native Americans open the door where Vallon is laid out and Bill the
+Butcher STRIDES into the room.
+There is immediate TENSION, like an electric charge, as other Natives
+stand in the doorway and crowd the hall stand while Bill walks over to the
+coffin. He places a BLACK ROSE in Vallon's folded hands.
+
+BILL THE BUTCHER
+Tomorrow your cortege will cross Paradise Square, into territory protected
+by the Native Americans. You will be permitted undisputed passage both
+ways. That is our tribute. After that, any Rabbits wishing to join the
+Native Americans and willing to swear blood loyalty will be welcomed. All
+others will be dispatched.
+He starts out of the silent room, but STOPS when he sees Mank Eastman
+looking at him with easy interest. Bill the Butcher
+STARES him down, but Monk's gaze never wavers.
+
+BILL THE BUTCHER
+I'll expect you first.
+
+MONK
+Me? Oh, I don't know. All that talk of blood loyalty makes me quake. I'll
+spill blood when the price is right. But blood for ceremony? I prefer holy
+communion.
+
+BILL THE BUTCHER
+You saw us fight today. You know we can pay any price.
+
+MONK
+Not mine. Not now, and not any time after.
+
+BILL THE BUTCHER
+We'll see. Independence is a slippery thing. But being a rival ... well,
+that's dead dangerous.
+Bill brushes past Monk and leaves, followed by the NATIVES.
+Now the RABBITS file out, with Monk among them.
+
+HAPPY JACK
+Come on, boyo. I'll put you up tonight.
+
+AMSTERDAM
+I'll do for myself, Jack.
+
+HAPPY JACK
+You can't.
+(Amsterdam stares at him)
+There's no mistaking you're his son.
+
+Happy Jack leaves Amsterdam alone in the room.
+
+Now, by himself, sure of no one seeing, Amsterdam CRIES.
+
+CUT TO
+
+15 INT. MORTUARY NIGHT
+
+Mr. Cornelius is seated in his office, enjoying a late supper while
+looking out his window at the bordello activity across the alley. A NOISE
+at the door disturbs him: Amsterdam.
+
+AMSTERDAM
+What's the cost to bury my father proud and proper?
+
+MR. CORNELIUS
+For a plot, a headstone, hands to break the earth...
+
+AMSTERDAM
+How much?
+
+MR. CORNELIUS
+What are your current means?
+
+Amsterdam turns out his pockets, which contain Bill the Butcher's pirate
+knife as well as the cash Happy Jack pressed on him. Cornelius TAKES it
+all.
+
+MR. CORNELIUS
+Of course you'll have to wait three days for a city permit. But all this
+may do for part.
+
+AMSTERDAM
+No.
+
+Amsterdam takes the knife back from Cornelius.
+AMSTERDAM
+That's owed another.
+
+CUT TO
+
+16 EXT. STREET/PARADISE SQUARE DAY
+
+A grey day. Amsterdam stops in front of a window. He STRUGGLES with his
+scarf, trying to keep himself warm. His eye strays for a moment, and he
+sees he is outside Mr. Cornelius' Establishment. Then he NOTICES something
+else....
+.... his FATHER, propped up in a coffin, on public display. There is a
+large sign beside the body: "The Dead End of Lawlessness. Tammany Abhors
+Crime. Tammany Means Justice."
+A sizeable CROWD is goggling at the body. Amsterdam BULLS his way through
+the people to the street. He looks in the gutter, then looks up quickly.
+Someone is watching him: Johnny. He's carrying an armful of wood.
+
+JOHNNY
+Firewood?
+
+Amsterdam grabs the longest plank Johnny has.
+
+JOHNNY
+It's a penny the load.
+
+AMSTERDAM
+Later.
+
+He turns with the plank in his hand and starts to RUN back through the
+crowd.
+
+JOHNNY
+Hey!
+
+Johnny manages to GRAB the other end of the plank. But Amsterdam's so
+strong he YANKS him right along. The Crowd YELLS as it parts for
+Amsterdam, who CHARGES through using the plank like a battering ram, with
+Johnny on the far end, born along by stubbornness and momentum...
+... toward Mr. Cornelius' window. Amsterdam SHATTERS the window and the
+Crowd SCATTERS in a blizzard of GLASS.
+Amsterdam stumbles into the window and against the coffin, which falls
+over, spilling Vallon's BODY, knocking the boy over. Amsterdam picks
+himself up as Johnny stands frozen.
+
+AMSTERDAM
+Help me.
+
+He starts to pull his fatherls body from the window.
+
+AMSTERDAM
+Come on! Help me, goddamn it!
+
+In a daze, Johnny steps forward and HELPS Amsterdam pulls the body onto
+the street.
+
+Now: the SOUND of WHISTLES and WHEELS and RUNNING HORSES as a wagon full
+of POLICE arrives on the scene. Behind them, the Crowd returns, yelling
+insults.
+
+The police RUN toward the window. Mr. Cornelius dithers at the front of
+the crowd.
+
+Amsterdam and Johnny exchange a look. Then Johnny RUNS for it. Amsterdam
+stays with the body...
+
+... as the cops close in, SWINGING clubs. Amsterdam's grabbed and hit a
+couple of times. The Crowd yells. A COP swings his arm back to give
+Amsterdam a good wallop...
+
+... and someone grabs his arm: Bill The Butcher.
+
+BILL THE BUTCHER
+Easy, crusher. What's this all about?
+
+CRUSHER
+Ask the boy.
+
+AMSTERDAM
+I paid Cornelius for my father to rest in honor. He told me I had to wait
+on a permit, but he only wanted time to...
+
+BILL picks up the Tammany sign from the ground.
+
+BILL THE BUTCHER
+Make another Arrangement, looks like. For advertising.
+(to cop)
+Better go along. I'll see to all this.
+
+COP
+The boy...
+
+BILL THE BUTCHER
+Take the little malefactor.
+The Cops YANK the wildly flailing Amsterdam to his feet and DRAG him off
+to their wagon. Bill The Butcher approaches Cornelius.
+
+BILL THE BUTCHER
+Give the boy what he paid for.
+
+CUT TO
+
+17 EXT. STREET/PARADISE SQUARE DAY
+
+Amsterdam is HURLED into the police wagon. The door is locked behind him.
+He pulls himselt to his feet, looks out the tiny barred window, SEES ...
+
+... Dead Rabbits join up in a rough funeral procession. SEVERAL help LOAD
+Vallon's body back into the coffin and place it onto Mr. Cornelius' fancy
+funeral wagon. Monk Eastman LEAPS up onto the wagon and closes the coffin
+lid tight.
+
+There are PEDDLERS everywhere. One dispenses drinks from a portable
+samovar. A SAILOR hawks ships in a bottle, repeatedly shouting the same
+advertisement: "Encourage the work of a landswamped sailor!" A SILHOUETTE
+ARTIST offers to draw portraits of passersby.
+Funeral music is furnished by STREET MUSICIANS: a drummer, a fiddle
+player, and a horn player, with a couple of BUSKERS performing along side
+for good measure.
+Mr. Cornelius takes the wagon reins and guides the horses out of the
+square. The gang FOLLOWS solemnly behind.
+
+And across the square, the police wagon carrying Amsterdam starts MOVING
+OFF in the opposite direction. He keeps looking out the tiny wagon window.
+The funeral procession leaves the square and activity returns quickly to
+normal. Peddlers' CRIES once again fill the air. The Buskers start PLAYING
+a snappier tune. SNOW begins to fall.
+
+CUT TO
+
+18 INT- TOMBS DAY
+
+A huge, awful prison building modeled on an Egyptian mausoleum.
+Amsterdam--trying to hide his growing fear--waits on line with other
+PRISONERS, all of them older than he.
+At the head of the line, prisoners are being processed by a JAILER and a
+couple of COPS. Each prisoner is asked several cursory questions, then
+told to strip. Every one of the men is SCARRED in some way.
+AMSTERDAM nears the front of the line. The MAN just ahead of him
+undresses. His left buttock is missing, and his back is covered with whip
+scars. A PRISONER behind Amsterdam WHISPERS loud enough for Amsterdam to
+hear...
+
+PRISONER
+Ain't his first Tombs trip.
+
+ANSTERDAM steps up to the desk. The JAILER hardly takes notice of him.
+
+JAILER
+What do they call you?
+
+And this is the first time in the film we have heard his name.
+
+AMSTERDAM
+Amsterdam.
+
+The JAILER looks him over.
+
+JAILER
+Your full name.
+
+AMSTERDAM
+Vallon.
+
+The JAILER writes this down with a scratchy pen.
+
+JAILER
+First name?
+
+AMSTERDAM
+I told you.
+
+JAILER
+(skeptical, resigned)
+Address?
+
+AMSTERDAM
+Got none.
+
+JAILER
+I'll put city. Now what's your age?
+(Amsterdam shrugs.)
+Maybe twelve. Got a family?
+
+AMSTERDAM
+No more.
+
+JAILER
+Well, where was they from when you had one?
+
+AMSTERDAM
+(beat)
+City.
+
+JAILER
+(writing)
+Disrobe.
+
+As Amsterdam obeys, the Jailer turns to the Cop in the leather helmet
+standing at his side.
+
+JAILER
+What's the charge, Asbury?
+
+COP
+Theft. Assault. Creating a ...
+
+The Jailer finishes writing. Amsterdam stands naked.
+
+JAILER
+Through that door there.
+(lowers his voice)
+And don't stand too near no one else.
+
+CUT TO
+
+19 INT. CREMORE NIGHT
+
+The largest, noisiest, gaudiest dive we have yet seen, full to bursting
+with bawdy CUSTOMERS even at this late hour. Therels a long bar, where men
+and women stand three deep; lots of small tables; a dance floor; and a
+stage on which four blowsy DANCING GIRLS are giving out with a ribald
+number titled "My Father's Teeth Were Plugged With Zinc."
+One end of the bar is entirely taken up by a huge woaden keg with an
+attached hose. BAR ATTENDANTS DUMP the unfinished contents of glasses into
+the open barrel top as a line of FAR GONE DRUNKS wait their turn for the
+hose. Maggie, Jenny's mother, is close to the front of the line, very
+drunk, hanging on to a mush-faced HOODLUM.
+
+Two VISITORS watch. One has a pad and makes quick SKETCHES.
+
+VISITOR ONE
+Ought to be served in a trough, properly. Will you try some?
+
+ARTIST
+Probably. What is it?
+
+VISITOR ONE
+All-Sorts. It's made of all that's poured and not drunk, and any they can
+salvage that's spilt.
+
+Maggie GRABS the hose, staring at the Artist as she takes a drink. His
+hand moves quickly an the page, SKETCHING her.
+
+VISITOR
+(to Maggie)
+Your health.
+
+She SPITS at him, insulted. The Artist steps forward, puts some of the
+All-Sorts from the hose into his glass, and toasts Maggie. She nods and
+turns away....
+...as Johnny enters, dragging a large SACK across the crowded floor toward
+a far door.
+
+CUT TO
+
+20 INT. CREMORE BACK ROOM NIGHT
+
+Johnny RUSHES toward a wooden pen in the center of the room. There are
+cries from the crowd of SPORTSMEN of "Hurry it up" and "More speed!"
+Johnny dodges a kick or two before he finally arrives at the pen.
+He UPENDS the sack over the pit and a dozen live RATS tumble out. A
+GAMEMASTER slips Johnny a couple of cents as he starts his spiel.
+
+GAMEMASTER
+Alright, gents and ladies, your bets now on Towser against the vermin, the
+count to beat is ten rodents in three minutes.
+
+The crowd starts to place bets. A sleepy Johnny settles down close to
+ringside to watch the show.
+
+At a signal from the Gamemaster, a TRAINER tosses TOWSER--A fierce
+mongrel--into the ring. The crowd cheers lustily, continuing to shout out
+bets, as the dog goes after the rats.The rats, fighting for their lives,
+bite the dog, attaching themselves to his body. Towser retaliates by
+gnawing the rats, SNAPPING them in half and spitting them out.
+
+As the CROWD cheers, and Towser kills, and money changes hands, Johnny
+curls up and goes to sleep.
+
+CUT TO
+
+21 INT. TOMBS NIGHT
+
+A row of cells, noisy and cold. The GUARD shoves Amsterdam into a cell.
+
+GUARD 2
+You get to live private until they come from the orphan's asylum. On
+account of your tender years.
+
+There is nothing in the cell but a board for a bed, and a window through
+which Amsterdam can see the late winter moonlight. He looks for stars in
+the sky, but can see none.
+
+CUT TO
+
+22 INT- MAIN ROOM/OLD BREWERY
+
+Jenny Everdeane and a girl FRIEND, her own age, huddle together in a dark
+corner of this huge space. The Friend opens her hand to show Jenny a
+glimpse of what she's clutching: a penny.
+
+JENNY
+Let me see! I don't believe it.
+
+FRIEND
+(closing her hand)
+No! It's a danger.
+
+JENNY
+Oh come on! It's not.
+(Friend shakes her head)
+Then tell me where you got it.
+
+FRIEND
+From some man. He took me in his carriage. He only wanted to do something
+to me fast.
+
+JENNY
+What?
+
+FRIEND
+(shrugs)
+I didn't understand.
+
+JENNY
+Would he do the same with me?
+
+FRIEND
+I won't tell you if he's around again.
+(clutches penny tight)
+He's my secret.
+
+JENNY
+Better keep it more careful, then.
+
+The Friend GETS UP and starts across the Brewery floor, acting nonchalant.
+But she looks around her, across the sleeping, passed-out bodies, past the
+desperate families and their squalling infants, to see if she's been
+noticed.
+A man and two women cast a glance her way. She looks away, but the TRIO
+keeps watching her... then FANS OUT and starts to FOLLOW her.
+The Friend looks over her shoulder again. SEES the Man. Locks in another
+direction, SEES: the woman. And then: the second woman. All closing on her.
+The Friend starts to RUN. The Trio runs after her. And no one else pays
+attention. The Friend PLUNGES into one of the warren of TUNNELS that lead
+off the Brewery floor.
+CAMERA plunges through the darkness, after her. Her footsteps ECHO; there
+is the SOUND of stumbling, falling, an angry CURSE and a BLOW being
+struck. The FRIEND picks herself up out of the darkness and keeps running,
+CAMERA following down the dank halls.
+Suddenly the TRIO runs AHEAD of the camera. There is a SCREAM. CAMERA
+staps. And others SOUNDS follow quickly now: the dull THUD of a heavy
+object against bone, REPEATED several times; and then, very soon after,
+the most terrible sound of all: silence.
+Then Two Women emerge from the darkness of the tunnel, fighting over the
+penny. The Man, several steps behind them, throws an object to the dirt
+floor: it's a STONE, and it is covered with blood. He comes up behind the
+Two Women quickly and GRABS the penny from them with a hand that still
+DRIPS blood and gore. They CHASE after him across the crowded Brewery
+floor.
+
+CUT TO
+
+23 INT. HALLWAY/TAMMANY NIGHT 2
+
+CAMERA races along the ornate corridor, past PORTRAITS of many affluent
+and self-important GENTLEMEN... through a door and into...
+
+24 INT. TWEEDIS OFFICE/TAMMANY NIGHT
+
+... Tweed's domain. Small in size, but there are dozens of CAGES OF
+CANARIES all around. Tweed looks up startled as the door flies open. The
+birds set up a COMMOTION.
+
+CAMERA bears down on Tweed as a pair of HANDS grabs him and hurls him
+against the wall.
+
+Bill The Butcher GLARES at Tweed. Some NATIVES come into the room behind
+him.
+
+BILL THE BUTCHER
+You come into the Five Points and you stole from me.
+
+TWEED
+I don't know...
+
+BILL THE BUTCHER
+You stole Vallon. He was my kill. My example, of my power. You took him
+and made him yours.
+
+TWEED
+You're a lunatic to come here like...
+
+In the background, same of the NATIVES have begun to play CATCH by
+removing the CANARY CAGES from their places and tossing them all over the
+room.
+
+BILL THE BUTCHER
+Thank you. Just listen good. The Native Americans holds the Five Points.
+We have prevailed. What you do outside the Points is your deciding.
+Outside is your city. Inside the Points is mine. Anyone who says
+different, or does different, or thinks different...
+(smiles)
+... theylll draw my unwelcame attention. You understand?
+
+BOSS TWEED
+I do understand, yes.
+
+BILL pushes him away and starts out.
+
+BOSS TWEED
+But you don't understand at all.
+
+Bill keeps walking.
+
+BOSS TWEED
+There's a whole city to share and all you see is your own narrow streets.
+
+BILL THE BUTCHER
+(turns now)
+You just stay out of my place.
+
+BOSS TWEED
+Yes, alright. Gladly. It's all blackjack jobs and panel games and killings
+for a fiver.
+
+Bill waits for Tweed to continue. But Tweed stoops and tries to soothe a
+canary in a cage.
+
+BILL THE BUTCHER
+It's good work.
+
+BOSS TWEED
+As far as it goes.
+
+BILL THE BUTCHER
+You wouldn't be talking to me otherwise.
+
+BOSS TWEED
+But we're talking about different things, Bill. You describe the present.
+I see the possibilities. Look to the future. There is so much more.
+
+The Butcher starts to look interested.
+
+CUT TO
+
+25 INT. TWEED'S OFFICE NIGHT
+
+Later. The Natives have cleared out; only Tweed and the Butcher remain.
+The cages have been restored to their proper places and the room has been
+straightened. Bill stands beside the door, while Tweed relaxes in a chair.
+
+BOSS TWEED
+There's things demanding to be done that no police force can do, not even
+an obedient one. There's contributions from every dive and brothel.
+Loyalties to be secured and debts to be collected.
+
+BOSS TWEED (Cont'd)
+And now you and your Natives have emerged as the foremost force in the
+Five Points, I'm prepared to extend you an opportunity. You can work for
+Tammany...
+
+BILL THE BUTCHER
+We work for no one.
+
+BOSS TWEED
+... beside Tammany... in the performance of these civic obligations. And
+for a satisfactory... I'm prepared even to say equitable... financial
+participation. It's not the sort of responsibility the founding fathers
+might have recognized. But then, the founding fathers never imagined the
+city New York has become.
+
+BILL THE BUTCHER
+Maybe you Tammany boys should do your own lifting and carrying and muscle
+work. Might build you up.
+
+BOSS TWEED
+We'd like to. I do miss it. But it's wiser for men in the public life to
+give an appearance of probity.
+
+BILL THE BUTCHER
+Then get cops to do it.
+
+BOSS TWEED
+Oh Jesus, no. The appearance of law must be upheld, especially while it's
+being broken.
+
+BILL THE BUTCHER
+Appearance means nothing.
+
+BOSS TWEED
+Perhaps not within the Points. But the smart man could go higher.
+
+Bill looks at Tweed for a long moment. The he SHOVES himself away from the
+wall, pulls away the chair on which Tweed has been resting his feet and
+sits down close to him.
+
+BILL THE BUTCHER
+If you can talk plain, maybe we can do business.
+
+26 EXT. STREET NIGHT
+
+A small slum thoroughfare congested by a splendid FIRE-WAGON labeled
+"Americus Co./Tammany Hall." Curious SPECTATORS and panic-stricken
+RESIDENTS crowd around to watch a ramshackle building going up in FLAMES.
+As Johnny presses through the crowd to get a good look at the fire, Tweed,
+in a white coat and fancy fire helmet, steps off the fire wagon to address
+an ONLOOKER.
+
+TWEED
+Anyone inside?
+
+ONLOOKER
+No, praise God, but all we own...
+
+TWEED places a bucket over the only fire plug in the vicinity, then sits
+on it.
+
+ONLOOKER
+Well?
+
+TWEED
+Waiting on reinforcements.
+
+The SOUND of another bell, nearby. Down the street from the opposite
+direction come TWO MORE FIRE-WAGONS. The crowd starts cheering. Tweed does
+not move from the plug.
+
+TWEED
+That's not them. It's only the Black Jokes. Seems your fire interrupted
+their festivities.
+
+The wagons pull up next to the fire plug. Each of them has the words
+"Black Joke Fire Co." written large on the side, but the FIREMEN wear
+party costumes, not regular uniforms. Some are dressed as British
+Redcoats, still others as Indians.
+The FLAMES continue to devour the building, but Tweed does not budge from
+the plug. He is approached by the Black Jake chief, who is dressed as an
+Indian chief.
+
+CHIEF
+May I point out that the building is burning to ashes?
+
+TWEED
+Certainly. And may I then remind you, Pocahontas, that this entire area is
+the province of the Americus company, and you will kindly keep your
+distance.
+Impasse. The rival Fire Companies size each other up and start toward each
+other. The building continues to burn. Tweed remains regal and unperturbed
+atop the fire plug.
+As the two COMPANIES are about to close with each other, a second BELL
+sounds. Tweed's "reinforcements" have arrived: the Native Americans, led
+by Bill The Butcher. They PILE OFF the wagons before the horses halt. Now
+the Black Joke Co. is outnumbered, and it FALLS BACK. As the Crowd CHEERS,
+Tweed takes the bucket off the fire plug.
+
+TWEED
+Alright, boys! To work!
+
+The MEN of the Americus Co. give a great SHOUT and start firefighting: a
+hose is hitched up to the plug, buckets are filled, a primitive pump sends
+water spluttering everywhere.
+But there is not much blaze left to combat and the Men quickly grow
+frustrated. Tweed realizes this immediately.
+
+TWEED
+Next building over, boys! Mustn't let it spread!
+
+The men charge into a neighboring building, STOMPING down doors, CLIMBING
+through windows and SWINGING AXES with gusto, all to save a building that
+is in no danger at all.
+A local poll named DANIEL KILLORAN detaches himself from the crowd and
+approaches Tweed, giving him a hearty SLAP on the back.
+
+KILLORAN
+Another proud night for Tammany, Bill.
+
+TWEED
+Just tell them...
+(lowers his voice)
+... to take enough to share. And not to steal so in the open.
+
+Indeed, the Men are leaving the building with lots of LOOT. CITIZENS who
+question their right to do this are promptly KNOCKED DOWN. Killoran GRABS
+Bill The Butcher as he rushes by.
+
+TWEED
+Jesus! Boss says to tell you to fight the fire from the front and loot out
+the back.
+
+Bill grins and leaves to spread the word as an angry WOMAN approaches
+Tweed.
+
+TEARFUL WOMAN
+The Black Joke could have saved my house!
+
+TWEED
+Black Joke had no business here, Madam.
+
+TEARFUL WOMAN
+Their business was to save my house!
+
+TWEED
+Tammany's your business. When we're here to call upon there's no need of
+other. We understand loss, Madam, and take care of our own.
+
+As Tweed leads her off, away from the blaze and the thieving, he passes a
+boy sitting an the curb, watching the fire ... and watching Tweed ... with
+admiration. It's Johnny.
+
+The FLAMES light up his EYES as we...
+
+DISSOLVE TO
+
+27 INT. BREWERY NIGHT 2
+
+Jenny's face, as she tries to sleep on a narrow, filthy mattress. Her
+mother Maggie lies beside her, crowding her, THRASHING about in a
+troubled, drunken sleep.
+
+DISSOLVE TO
+
+28 INT- ROOM/HIGH BRIDGE ORPHANS ASYLUM 2
+
+Amsterdam, eyes wide, lying on a cot in the middle of a long room crowded
+with KIDS - This place is a step or two up from the Brewery--but not a big
+step. He stares at the ceiling, eyes grave, untroubled by the small cries
+of loneliness and fear that come from some of the beds surrounding him. As
+we move CLOSE on his EYES we...
+
+DISSOLVE TO
+
+29 EXT. HIGH BRIDGE ORPHANS ASYLUM DUSK
+
+... the same eyes. But OLDER. Smart and full of savagery.
+
+It is Amsterdam. He is now in his early 20s, fully grown and no man to
+trifle with. Moving with jungle stealth and strength he ...
+
+... BURSTS out the door within the massive frame of a great iron gate over
+which hangs the sign "High Bridge Orphan Asylum." He starts to RUN and a
+TITLE comes up...
+1852
+
+Pursued by GUARDS, Amsterdam runs hell-for-lather for a long vaulted
+bridge. It's a beautiful, stern old Romanesque span across the Harlem
+River with rolling banks of leafy trees on the far side. Even in the
+twilight, we can see that it is late spring, the end of a long afternoon.
+
+CUT TO
+
+30 EXT. HIGH BRIDGE DUSK (MATTE)
+
+Amsterdam is on the bridge. But he does not slow up until ....
+
+... two orphanage GUARDS suddenly TACKLE him. A THIRD GUARD beats him with
+a billy club. Amsterdam moans and curses, as much from frustration as pain.
+
+SECOND GUARD
+It's Blackwell's Island certain now, boyo.
+
+The SECOND GUARD pulls AMSTERDAM up by the hair.
+
+THIRD GUARD
+Are you hurting? Let's hear you!
+
+Amsterdam won't give him the satisfaction. The Guard hits him. Amsterdam
+goes down, biting his lip so he won't cry out. Instead, he forces a SMILE.
+
+SECOND GUARD
+There's nothing funny, boyo! You been beat and turned back four times now.
+
+AMSTERDAM
+But every time you bring me back... you got to come further to catch me.
+
+CUT TO
+
+31 EXT. CORLEAPS' HOOK PIER NIGHT
+Through the THICK FOG comes a ghostly apparition: a tattered SKULL AND
+CROSSBONES, made of rags, fluttering from the mast of a leaky, unstable
+vessel.
+The bow of the small boat breaks the fog, and on board we see: a hulk
+called SHEENY MIKE KURTZ and a huge black kid named JIMMY SPOILS, manning
+the cars. Johnny Sirocco, grown wary and wiry, peers into the fog like a
+lookout, while Shang Draper, at the tiller, looks anxious.
+The HULL of a large boat suddenly laoms in front of them, not five yards
+away.
+
+JOHNNY
+Hard starboard, Shang! Hard starboard!
+
+SHANG
+(panic)
+I told you forget that sailor stuff! Which way's star...
+Too late. Their Ticket craft crashes into the side with enough force to
+make a LOUD THUMP and to send Shang sprawling.
+
+SHEENY MIKE
+(sarcastic)
+Why don't we just knock on their front door?
+
+Shang gestures for QUIET. They wait and listen. No sound from the deck of
+the boat above them. The boys throw two ROPE LADDERS over the rail of the
+larger ship and start climbing.
+
+CUT TO
+
+32 EXT. SHIP NIGHT
+
+The boys board the ship and gather on deck. They look around uneasily,
+spooked by the silence and the fog.
+
+SHANG
+Spread out and make for the cabin.
+Moving slowly, the boys FAN OUT and move toward the cabin at the far end
+of the deck. Johnny stays close to Shang, holding onto the shipls rail for
+support.
+
+SHANG
+(whispering)
+Nothing. Looks picked clean.
+
+Johnny stops. His hand, on the railing, is BLOODY. On the other side of
+the deck, Sheeny Mike discovers more traces of blood and SIGNALS Shang.
+
+SHANG
+Bill and the Natives must have got here first.
+
+Johnny freezes in terror.
+
+SHANG
+What ...
+
+A long SHADOW falls across his shoulder. Shang jumps.
+
+Standing before him, holding a musket and covered in blood, is the ship's
+CAPTAIN. A BUTCHER'S CLEAVER is imbedded between his neck and shoulder.
+With his dying energy, the Captain takes AIM at a petrified Shang and
+fires his musket.
+Jimmy Spoils JUMPS the Captain from behind, sending the musket ball way
+wide. But the SOUND of the musket is thunderaus, and echoes through the
+harbor. The boys panic and head for the side.
+
+SHEENY MIKE
+That'll bring the Harbor cops for sure.
+
+JOHNNY
+(about the dead man)
+Wait! Take him. If he's still alive he's good for ransom!
+
+SHEENY MIKE
+Hels dead as Good Friday, can't you...
+
+JOHNNY
+Then we'll take Bill the Butcher's cleaver and sell the body to the
+medical students. They'll go five dollars for it anyway.
+
+SHANG
+Come on. We'll get something out of this.
+
+Shang and Johnny start DRAGGING the body. Pushing, pulling and mostly
+panicked, the others help. As they boost the body over the side, the SOUND
+of a bell cuts through the fog.
+
+SHEENY MIKE
+The Harbors!
+
+Shang shoves the body off the side and into the boat. It lands with a
+resounding THUD. The boys CLAMBER after it.
+
+CUT TO
+
+33 EXT. BOAT/RIVER NIGHT
+
+PUSHING OFF with cars, tearing their rope ladders from the side of the
+ship, stumbling over the captain's body, the boys slip off into the fog.
+The Harbor Police are so close to them they can see a police LANTERN
+shining. The boys stay absolutely still. Suddenly, WE SEE: the POLICE
+BOAT, breaking through the fog, then
+DISAPPEARING again.
+
+SHEENY MIKE
+We can't go back to Corlears Hook, they'll be watching...
+
+SHANG
+We'll make for Blackwells.
+
+JIMMY SPOILS
+And which way's that through this fog?
+
+Johnny throws his hands up for quiet. From close by comes the SOUND of
+COP'S VOICES. They are near. Very near. The boys stay as still as they
+can...
+... and the VOICES recede again in the thick fog.
+
+JIMMY SPOILS
+Should have asked them directions as they drifted by, Shang.
+
+SHANG
+You'd have liked that, wouldn't you Coal Face? You're the only one they'd
+miss in the dark.
+
+SHEENY MIKE
+Let's quiet, or we'll all be found out!
+
+As the BOYS stay still, their boat DRIFTS against an outcropping of land
+and STOPS.
+
+SHANG
+Alright. We lay up here till first light. Then we run back across the
+river.
+
+JIMMY SPOILS
+(contemptuously)
+River pirates!
+
+Spoils settles back and tries to sleep. Johnny watches Shang in the bow.
+Shang is too agitated to notice Johnny's stare. He looks away, waiting for
+the sun.
+
+CUT TO
+
+34 EXT- BLACKWELLS ISLAND DAWN
+
+Shang drowses in the boat, fighting fatigue, then succumbing to it. But
+h's brought awake suddenly by a loud SPLASH. He looks in the direction of
+the noise, SEES ...
+... the BODY of the slaughtered ship's captain floating away in the
+company. He starts to cry out but Amsterdam GRABS him, locking his throat
+in the crook of his arm.
+
+AMSTERDAM
+(to everyone)
+
+Push off! Or his pipe snaps!
+The other boys are too stunned to resist. They push the boat away from the
+island.
+
+AMSTERDAM
+Head straight out, then turn for the current.
+
+He pushes Shang away from him. The two boys stare at each ather, finally
+remembering...
+
+SHANG
+(breathing hard)
+Figured you for dead.
+
+AMSTERDAM
+Close enough.
+
+SHANG
+This is my crew. And welcome to join, if you've the mettle. We're river
+pirates and quick thieves and street brawlers...
+
+AMSTERDAM
+(casual disdain)
+You're lost.
+
+SHANG
+Yeah? You've no business saying anything against us! Do you know how much
+you cost us? You know how much that body's worth?
+
+AMSTERDAM
+I doubt it's worth the water it's floating in.
+
+SHANG
+Fifteen dollars! Fifteen dollars from them medical ghouis.
+
+AMSTERDAM
+I'll make it back for you whatever it is, once we're in the city. Just
+keep sailing, or we're all done for.
+
+SHANG
+(beat; to crew)
+Go ahead then.
+(beat; to Amsterdam)
+He was in his prime. He'd have fetched thirty dollars easy.
+
+CUT TO
+
+35 INT. HIDEOUT DAY
+
+A ramshackle room near the docks. It is part meeting hall, part living
+quarters for the gang, and part clearing house forstolen goods. SHANG
+presides over a boisterous meeting.
+
+JIMMY SPOILS
+You're as flat as Broadway going north. We can't run the river no more.
+We're poaching the Natives and the Harbor cops are looking for us.
+
+SHANG
+The cops can go to blazes. Who cares about them?
+
+SHEENY MIKE
+Youlre all sand when it comes to cops, Shang. But do you have the sand to
+go against the Natives?
+
+SHANG
+It ain't the time to go against the Natives. We've got to build first.
+Then we go.
+
+JIMMY SPOILS
+If we go like we did in the river, all of us'll sink.
+
+Amsterdam is sitting off to the side, watching this ongoing debate with
+contemptuous detachment. Johnny sits next to him.
+
+AMSTERDAM
+Does Shang have the sand to ever go against the Natives?
+
+JOHNNY
+I don't know. He acts like it.
+
+AMSTERDAM
+If he only acts, held be better on the stage.
+(looks away)
+Like her.
+
+His tone of voice has changed. Jenny Everdeane passes before him; she's
+ravishing. Amsterdam STARES, as if he's trying to see into her heart.
+Jenny pays him scant attention as she moves across the room toward Shang.
+
+JOHNNY
+Jenny Everdeane. Shang turned her into the best bludget in the Points.
+
+Jenny gives Shang silk scarfs, wallets and several purses from her coat.
+
+AMSTERDAM
+Shes his mort, is she, as well as his best provider?
+
+JOHNNY
+Yeah. But Jenny says she's anyone's she chooses.
+
+Jenny's haul is impressive. Shang picks a BRIGHT RED SILK SCARF with a
+distinctive PAISLEY design from the pile of stolen goods. He examines it
+with a shrewd, appreciative eye.
+
+SHANG
+That's the prize of the month. Spice Islands silk.
+
+He puts the scart in his coat pocket with a FLOURISH, then throws his arm
+about Jenny in a proprietary way.
+
+SHANG
+You'll learn our way if you're going to be one of us, Amsterdam.
+
+Jenny reacts slightly to the mention of the name: she looks over and
+RECOGNIZES Amsterdam now.
+
+SHANG
+Every one of us gives a portion of all they steal to the gang. Morts more
+than men, being morts.
+
+AMSTERDAM
+Yeah? And why is that?
+
+SHANG
+Because morts have more resources. Men can work only on their feet, but a
+mort can turn out on her back.
+
+AMSTERDAM
+I mean, why give at all? Why don't they keep for themselves?
+
+SHANG
+If you think there's something off about my way of running things, you got
+no place in this gang.
+
+AMSTERDAM
+I got no place anyway, and you got no gang. This ain't a gang, no matter
+what you say. It's a mob.
+
+There's a tense hush in the grubby room. Shang takes his arm from around
+Jenny, wanting to be restrained.
+
+JENNY
+(smiling)
+It's all your play now, Shang. Maybe you can set him right.
+
+Jenny hands him a cane. Barely managing to hide his reluctance, he
+starts--slowly--toward Amsterdam, who stands his ground. The gang steps
+back to give them room in this tiny space. Shang pulls the cane apart:
+it's a SWORD CANE, but Amsterdam shows no fear. He shifts his weight a
+little, watching ... and they're interrupted by a...
+
+VOICE (HAPPY JACK)
+You boys settle with me before you settle each other.
+
+They turn to him.
+
+HAPPY JACK
+I've come for my due and proper, Shang.
+
+Happy Jack Mulraney (the Dead Rabbit gang member with the halfparalyzed
+face) stands before them in a POLICEMAN'S UNIFORM-sparkling clean and
+splendid--a leather helmet and long coat. In his hand, he twirls a
+NIGHTSTICK.
+
+SHANG
+As agreed, then, Jack. Refreshment?
+
+Shang OPENS the top of the gold-handled sword cane. Inside are large,
+solid LUMPS of cocaine. Jack reaches for the choicest.
+
+AMSTERDAM
+Still smiling, are you?
+
+HAPPY JACK
+(sizing him up)
+It's the young Vallon, is it? I hardly recognized you.
+
+AMSTERDAM
+I hardly knew you under that hat, Jack.
+
+By now, Jack has taken not only the cocaine, and the money and swag Shang
+offers, but several of the purses and wallets Jenny delivered. Jenny
+stares at him with contempt, and he laughs, tossing one of the purses back
+at her.
+
+JACK
+There. For your respect.
+
+Jack turns to leave but a BRASH BOY blocks his way. Moving fast and fancy,
+Jack bashes the Boy to the floor with his nightstick.
+
+HAPPY JACK
+Anybody else? Any number at all, come on.
+
+Several of the gang make a move toward Jack, but Shang WAVES them back.
+Jack departs UNHARMED, to general disgust. Jenny walks back across the
+room to help the Brash Boy. Shang GLARES at Amsterdam, slides his sword
+back into his cane and follows Jenny, trying to explain himself.
+
+AMSTERDAM
+Is that sand we've just seen?
+
+JOHNNY
+It's politics.
+
+CUT TO
+
+36 EXT. PARADISE SQUARE DAY
+
+A hot summer day. All the TRADESMEN are out in force, jamming the square
+and the side streets leading to it. Amsterdam walks fast through the
+crowd, enjoying the freedom and the bustle, as Johnny tags along close
+behind him.
+
+AMSTERDAM
+I've got my own way to go, why don't you find yours?
+
+JOHNNY
+Because your way's different, and I want to see where it goes.
+(Amsterdam looks at him)
+Unless you say otherwise. Amsterdam shrugs and keep walking.
+
+JOHNNY
+You act like you have something in mind, like you know every day what
+you'll be doing the next. Me, I don't figure on tomorrow.
+
+AMSTERDAM
+Well, if you shut up a while maybe it'd come on its own.
+(he stops, looks)
+Now what the hell's that?
+
+JOHNNY
+(following his glance)
+Oh that's heaven.
+
+WE SEE what they're looking at: the Old Brewery. In worse shape than ever
+before, but shut-down, abandoned. A tattered banner flaps against the
+front door: "Future Home of the Five Points Mission/ Praise God!/ The
+Reverend Shadrach Raleigh, Pastor."
+
+JOHNNY
+The city shut down the Brewery as unfit to live and Tammany gave it over
+to this minister.
+
+AMSTERDAN
+What's Tammany?
+
+JOHNNY
+Why Tammany ... you don't know? Tammany makes the city run. A political
+organization that's like... like the Native Americans, only ranging over
+the whole city.
+
+CUT TO
+
+37 MONTAGE
+
+As Johnny continues to speak, we see Tammany tactics in action:
+WARD-HEALERS dispensing coal to the poor, and TOUGHS stealing meat off of
+butcher's wagons; a political PARADE with fife and drum-and
+politicians--including Boss Tweed--in ceremonial Indian costume, and a
+group of GOONS busting up a saloon; Tweed making a speech to enthusiastic
+CONSTITUENTS and a Tammany Fire Company tearing through the streets,
+scattering everyone in their way, finally revealing they are not rushing
+to a fire but are CRASING OFF a rival fire company.
+
+JOHNNY
+They seem like the law, but they got a way of acting outside the law.
+Anything that happens in this city, on the straight or on the sly,
+Tammany's a part of, and Boss Tweedls the heart of Tammany.
+
+CUT TO
+
+38 EXT. PARADISE SQUARE,/OLD BREWERY DAY
+
+Amsterdam studies Johnnyls enthusiastic face.
+
+JOHNNY
+They're the best gang there is.
+
+AMSTERDAM
+So if Tammany's the best, go with Tammany. What are you running with this
+mob for?
+
+JOHNNY
+'Cause they're more my size for now. With Tammany, you got to do something
+large, something that makes them take notice of you.
+
+AMSTERDAN
+You're better oft without their notice. You can run free, work your own
+schemes.
+
+JOHNNY
+But if your schemes have size, you need size to bring them off.
+
+AMSTERDAM
+What are you thinking?
+
+Johnny shrugs, grins: he doesn't want to give anything away. Amsterdam
+understands, turns toward the Brewery.
+
+AMSTERDAM
+Let me in if you ever get it figured.
+
+Amsterdam starts toward the Old Brewery, Johnny keeping step.
+
+AMSTERDAM
+I'll go on my own from here.
+
+Johnny STOPS and Amsterdam continues on by himself.
+
+CUT TO
+
+39 INT. MAIN ROOM/OLD BREWERY
+
+Echoing. Dank. Amsterdam holds a candle high for light. RATS skitter. He
+crosses the main floor, enters one of the side tunnels.
+
+CUT TO
+
+40 INT. ROOM/OLD BREWERY
+
+A tiny room we recognize from the first scene: this is the place where
+Amsterdam lived with his father. He crouches and TEARS UP some
+floorboards, then quickly LOWERS HIMSELF into the hole.
+
+CUT TO
+
+41 INT. UNDER FLOOR/OLD BR.EWERY
+
+A short tunnel under the Brewery floor, the kind a kid might make.
+Amsterdam has trouble crawling through it. DIRT and ROCK sprinkle him
+until he finds what he wants stuck in a shallow hole; a battered leather
+MONEY PURSE; and a PAPER-WRAPPED PACKAGE.
+
+Amsterdam snaps open the purse to make sure the little bit of MONEY is
+still there, then turns his attention to the package. He TEARS it open.
+Inside is the PIRATE KNIFE that Bill the Butcher used to kill Amsterdam's
+father.
+
+Amsterdam handles the knife carefully as he opens it. The candle light
+makes the blade GLEAMS.
+
+CUT TO
+
+42 EXT. ALLEY/OLD BREWERY DAY
+
+A shock of summer SUNLIGHT as Amsterdam emerges from one of the back
+entrances of the Brewery onto a fetid alley filled with rotted barrels,
+broken glass and insensible drunks.
+
+Amsterdam looks carefully up and down the alley, letting his eyes adjust
+to the bright light. Ahead of him, he SEES ...
+
+Shang Draper, in jovial conversation with a SECOND MAN we do not
+recognize. The man is bareheaded, and has a deep scar running back to
+front clear down the center of his bald head. Amsterdam waits, WATCHES.
+
+Shang takes the RED SILK SCARF he got from Jenny's swag and hands it to
+the Second Man. He and Shang SHAKE HANDS, as if they have concluded a
+business deal, and the Second Man walks away.
+
+Amsterdam PRESSES himself close to the door as Shang LOOKS AROUND...
+doesn't see Amsterdam... and walks off in the opposite direction, across
+Paradise Square.
+
+CUT TO
+
+43 INT- RECEPTION ROOM AND TWEED'S OFFICE DAY
+
+The main room is as loud and as prosperous as the stock exchange. Bill the
+Butcher makes his way past Small GROUPS of men engaged in heated political
+dealings of dubious virtue.
+
+Bill knocks on the door to Tweed's private office while he's opening it.
+Inside is Boss Tweed, seated in a large WOODEN BOX like a primitive sauna.
+Around him are various PETITIONERS, and his assistant Daniel Killoran.
+
+TWEED
+I dread city stimmers. They bring illness and beget vermin.
+
+PETITIONER #l (GLEASON)
+My plague box fends off all pestilence. Its elixir combats ill humors...
+
+KILLORAN
+We can't have every citizen of the Five Points boxed up like cargo.
+
+TWEED
+But the season is vicious, and I must take thought of our constituents.
+Mr. Gleason, I'd like you to shake hands with Mr. Barnett Baff...
+
+Gleason, dubious, shakes hands with PETITIONER #2 as Bill the Butcher
+looks on with amusement.
+
+TWEED
+A friend and owner of an estimable carting service. Work out an
+arrangement whereby the citizenry can receive the benefit of Mr. Gleason's
+wondrous elixir outside this excellent box. At a cost, Mr. Gleason, of how
+much the barrel ...
+
+GLEASON
+(figuring rapidly)
+Oh, perhaps twenty-five dollars.
+
+TWEED
+...and how much, Mr. Baff, for haulage and distribution...
+
+BAFF
+The same again. At least.
+
+TWEED
+At least. That's a price of fifty dollars. And greedy, low piracy at that
+(Gleason and Baff splutter)
+But a price that Tammany, in its generosity, will meet. Merely submit a
+bill for a hundred. We'll each have half. And I'll retain this box for
+further experiment. Hello, Bill.
+
+Killoran LEADS the astonished Gleason and Baff away as Bill APPROACHES.
+
+TWEED
+Bolt the door.
+
+Bill complies. As Tweed speaks and the anti-plague VAPORS SWIRL around his
+head, he keeps his eyes closed.
+
+TWEED
+Scotchy Lavelle's gone wrong in his accounts.
+
+BILL THE BUTCHER
+I know. Scotchy's a good man.
+
+TWEED
+Not good enough to rake thirty percent of our share from Sparrow's and use
+it for his own.
+(opens his eyes)
+You got to give him over, Bill.
+
+BILL THE BUTCHER
+I can't do that. No matter what he steals, I still get more from him than
+any two others. As do you.
+
+TWEED
+Alright then. What about Charles McGloin? He's running a panel game off to
+one side. Did you know that?
+(Bill shrugs)
+I can't get a day's work done for all the good citizens pouring in here
+complaining about crime and corruption all over the Points. They accuse
+Tammany of carelesoness. Some even suspect ... a few practically suggest.
+(eying Bill significantly) 
+... our complicity with this rampant criminality. We must show them
+Tammany stands behind the letter of the law. We need to set an example. 
+BILL THE BUTCHER
+(beat)
+Charles McGloin will do.
+
+TWEED
+I'll set the trial for Friday.
+
+CUT TO
+
+44 EXT- TOMBS DAY
+
+CAMERA moves high along the outside wall, past small rectangular slits
+that pass for jail windows. EYES peer out, as if a peep show is underway
+directly below in the Tombs courtyard. A PRISONER is being readied for the
+gallows by having a hood tied to his head.
+
+The CROWD is in a carnival mood; HOT CORN GIRLS, STREET VENDORS,
+"HOKEY-POKEY" (i.e., ice cream) MERCHANTS, even BUSKERS, all add to the
+holiday spirit.
+
+Jenny works through the crowd, pushing and smiling her way past groups of
+raucous merrymakers. She stops once or twice to have a word with a
+GENTLEMAN, flirts for a moment, then moves on.
+
+Further back in the crowd, Amsterdam NOTICES her. He watches her go
+through the crowd with an admiration that quickly turns to FASCINATION as
+he realizes what she's doing: picking pockets. The best bludget in the
+Five Points. He starts to FOLLOW her.
+
+Jenny has worked her way close to the hanging platform, but she's so
+intent on her job she has not noticed Amsterdam. The closer the platform,
+the closer the spectacle and richer the pickings: Jenny's concentration is
+absolute. On the platform, an ASSISTANT HANGMAN addresses the Crowd.
+
+ASSISTANT HANGMAN
+Those interested in the effects of the condemned please come forward.
+
+44 CONTINUED:
+
+Part of the Crowd PRESSES in toward the platform, temporarily blocking
+Amsterdam's view of Jenny. He is right against the platform.
+
+ASSISTANT HANGMAN
+What am I bid for this coat? A coat of some wear but excellent cut...
+containing a rather remarkable pocket silk...
+
+MAN IN CROWD
+Bid a quarter!
+
+HANGMAN
+A quarter, thank you. Do I hear fifty cents? Fifty cents?
+
+The Hangman is holding up the condemned man's coat which contains the RED
+SILK SCARF Amsterdam saw Shang give away. Amsterdam flips the HANGMAN a
+quarter, reaches out and GRABS the handkerchief.
+
+AMSTERDAM
+Here. Just for the silk.
+
+He stuffs it into his pocket and starts to PUSH his way through the crowd.
+On the platform, the WARDEN steps forward holding a primitive megaphone.
+
+WARDEN
+Do you have any last remarks, Charles McGloin?
+
+McGloin grunts from underneath the hood.
+
+MCGLOIN
+Not from under this hood I don't.
+
+Crowd near the platform begins to CHANT "No hood, no hood, no hood!" The
+Warden puts his hand on the hood, starts to remove it...
+
+... and the Crowd CHEERS. Amsterdam turns, SEES: Charles McGloin. Bald,
+with a deep scar running front to back on his head. The very SAME MAN he
+saw in the alley with Shang.
+
+McGloin acknowledges the cheers of the crowd. The Warden holds to
+megaphone close and McGloin bellows...
+
+MCGLOIN
+I never struck a foul blow or turned a card and may God greet me as a
+friend!
+
+The Crowd ROAR approval at these words. Amsterdam PUSHES through the
+crowd, looking for Jenny ... SPOTTING her finally...
+
+... while up on the platform, the NOOSE is placed around McGLOIN's neck,
+and he is HOISTED UP in no time. We hear his neck SNAP. His feet kick
+after death. The Crowd raises a zighty cheer.
+
+CUT TO
+
+45 EXT./INT. BROADWAY AND BROADWAY STAGE DAY
+
+Amsterdam walks with a crowd toward a waiting Broadway stage, a vehicle
+that looks like a horsedrawn train car. The stage will take spectators
+back uptown from the hanging.
+
+He is working his way toward Jenny, who is now BOARDING the stage.
+Amsterdam DASHES through the crowd and SQUEEZES onto the stage, which
+moves forward with a JOLT.
+
+Once on board, Amsterdam looks through the jammed car, SEES: Jenny, about
+to sit down - A MAN has offered her his seat. She smiles dazzlingly as she
+sits...
+
+... and arranges her hands genteelly on her lap. The Man looks down on her
+and she smiles up at him again. He is bequiled.
+
+Amsterdam manages to get a little closer.
+
+MAN
+I hope you won't think me rude if I speak.
+
+JENNY
+No, sir. You look a proper Gentleman down to the ground.
+
+As this conversation continues, we watch-not only Jenny and The Man in
+conversation, and Amsterdam watching them; but we begin to notice what
+Amsterdam SEES. Although Jenny's hands apparently remain folded on her
+lap, her RIGHT HAND moves SLOWLY out from her wrap... toward The Man...
+
+MAN
+Well, I wouldn't want you to think me forward, you see.
+
+... and BRUSHES past his jacket. He does not notice or feel a thing.
+Jenny's hand GLIDES past his THIGH ... nearly brushing it ... moving up
+across his pelvis and around his buttocks...
+
+JENNY
+Does it matter to you what I think?
+
+MAN
+Well, I might like it to.
+
+JENNY
+Oh.
+
+...toward his pocket. The Man is in Jenny's thrall. He feels nothing and
+continues to have no idea what is going on. But Amsterdam KNOWS. Every
+silken, surreptitious move of her HAND across The Man's body is like a
+CARESS that Amsterdam can feel. Jenny's grace is balletic and EROTIC. As
+she picks The Man's pocket, she is, without knowing it, also seducing
+Amsterdam
+
+MAN
+I mean, if you would like.
+
+JENNY
+I might like, sir. But I can't say now.
+
+Her hand HOVERS above his pocket, waiting for the SWAY of the stage to
+match and mask her movement....
+
+MAN
+Why?
+
+... and she starts to get up as soon as the stage JOSTLES. The entire car
+full of passengers LEANS into one another...
+
+... and Jenny's hand SLIDES the Man's WALLET from his trousers as
+
+he recovers his balance. Amsterdam watches her withdraw her HAND in a
+flash and hide it beneath her wrap.
+
+JENNY
+Because this is my stop.
+
+MAN 
+May I walk with you a little, then? 
+JENNY
+(firmly)
+That would be too bold.
+
+MAN
+But I'll never see you again.
+
+JENNY
+I come every Thursday to the Tombs to see my father.
+
+MAN
+I'll look for you.
+
+Jenny fetches him another fine SMILE--it's almost demure--and takes her
+way off the rear entrance of the stage.
+
+lt PULLS AWAY up Broadway and Jenny walks briskly toward an alley.
+
+CUT TO
+
+46 EXT. ALLEY/BROADWAY DAY
+
+Jenny looks to make sure she has the alley to herself, then moves her body
+a little...
+
+... and her arms seem to come off. She has been wearing a set of
+ARTIFICIAL ARMS, hollow inside, which she can leave folded on her lap
+misleadingly while she goes about her pickpocketing.
+
+She's folding up the appliance--cotton sewn over a soft form-when a VOICE
+behind her makes her turn.
+
+AMSTERDAM
+May I walk with you a little, then?
+
+CUT TO
+
+47 EXT. BROADWAY DAY
+
+As Jenny and Amsterdam walk through the noisy bustle of the city's main
+thoroughfare.
+
+JENNY
+Are you a spy, then?
+
+AMSTERDAM
+Got no one to spy for. I'm an appreciator, you might say.
+
+JENNY
+Appreciator of what?
+
+AMSTERDAM
+A good touch.
+
+She STOPS in the street, looks him straight in the eye.
+
+JENNY
+Don't bother with the chat. If you want me, we come to a business
+arrangement. lf the terms is right, then I decide how you suit me. Then I
+do it or not.
+
+AMSTERDAM
+Just take a minute, I was Just...
+
+JENNY 
+I know what you was just. I had years already of what you was just. You
+know how I got so good at thieving? So's I wouldn't have to lay down for
+everyone who had the ned. Now I do it when I want to for how much I want
+to. Otherwise I don't do it, and don't have to do it, and to hell with
+anyone's rules but my own. 
+AMSTERDAM
+What about Shang's rules? You pay a lot over to him. The better your day,
+the better his. It don't seem gute right.
+
+JENNY
+(a little curious now)
+What's it to you?
+
+AMSTERDAM
+Give him this.
+
+He hands her the RED SILK SCARF. She recognizes it instantly as the same
+one she gave Shang.
+
+AMSTERDAM
+
+And you can keep a little more of what you earned.
+
+JENNY
+How'd you come by this?
+
+AMSTERDAM
+I got my own touch.
+
+JENNY
+Are you making me a present, or making an Arrangement?
+
+AMSTERDAM
+It's your rules, right? So you decide.
+
+She looks at him for a moment, then starts to TIE the scarf around her
+neck like a kerchief.
+
+CUT TO
+
+48 INT. HIDEOUT
+
+A gentlemen's WALLET skims across a pitted wooden table, straight into
+Shang's hand. Jenny is giving him her CUT. He opens the wallet, looks up
+at Jenny. No more goods are forthcoming. Amsterdam, hanging back, watches
+them both.
+
+Shang SEES the RED SILK SCARF, tied around her neck.
+
+SHANG
+Pretty slim cut for a hanging day. Where'd you get that?
+
+JENNY
+From Amsterdam.
+
+SHANG
+(beat)
+It don't suit you.
+
+CUT TO
+
+49 EXT. STREET AND PARADISE SQUARE NIGHT
+
+A SWELTERING evening. The streets are jammed with REVELERS and RESIDENTS.
+Some people sleep in doorways in futile search for fresh air. Happy Jack
+Mulraney leads a group of apprehensive UPTOWN CITIZENS past drunks and
+whores.
+
+JACK
+Commissioner Brunt said to spare you nothing concerning conditions.
+
+CITIZEN
+Nothing but our safety, of course.
+
+JACK
+All's snug around Paradise Square in my company, squire. See there.
+
+He gestures toward the street, down which one oi Mr. Barnett Baff's CARTS
+is being drawn by a team of WHEEZING NAGS.
+
+The cart bears massive barrels of what a colorful banner advertises as "an
+anti-pestilence influenza-thwarting solution... a service of Tammany
+Hall." As the wagon draws abreast of a large group of languishing
+RESIDENTS, HOSES spurt waves of solution all over the streets. Many people
+are SOAKED. Jack and his Citizens jump back just in time.'
+
+JACK
+Tammany makes the streets nanitary, I make 'am safe.
+
+WOMAN CITIZEN
+(apprehensive)
+Even against them?
+
+A small distance behind the anti-plague cart, moving in rough formation,
+come some of Shang's mob, heading aimlessly across the Square cruising for
+action
+
+JACK
+Against them especially. Let me demonstrate.
+
+Jack takes out his GOLD WATCH AND CHAIN, which he HANGS carefully over a
+nearby lamppost. Then, very casually, he leads the Citizens off.
+
+JACK
+We'll be back for this at our leisure.
+
+WOMAN CITIZEN
+You dare leave it here?
+
+JACK
+Safe as a vault, lady. Since all knows it's mine.
+
+The Gang draws abreast of the lamppost. No one makes a move to take the
+watch until one of the YOUNGEST BOYS reaches out ... but
+
+Shang knocks his hand away. Jack, at a distance, NODS approvingly.
+
+SHANG
+You know that's Jack's.
+
+BOY
+So what?
+
+AMSTERDAM 
+It should be hangin' off Jack's vest, then. Not here, like some war flag. 
+SHANG
+That watch is a small price for free run of the Points.
+
+AMSTERDAM
+If it's free, how come we pay so much? Wo shouldn't pay for what's our due.
+
+SHANG
+We don't tight when we don't have to. It's not warring that counts. It's
+the living day to day.
+
+ANSTERDAM
+(smiles)
+Is that right? Did I hear that correct? John, did we hear that correct?
+
+Eyes now on Johnny. Jenny looks at him with great interest.
+
+JOHN
+(uneasy pause)
+We heard the same.
+
+AMSTERDAM
+So then.
+
+He reaches for the watch.
+
+CUT TO
+
+50 EXT. STREET AND PARADISE SQUARE NIGHT
+
+Happy Jack stands at the lamppost, aghast. A WOMAN lowers her head and
+retches. Jackls watch and chain are still in place.
+
+But the watch has been SMASHED. And hanging from the chain is a BLACK CAT,
+skinned and strangled.
+
+CUT TO
+
+51 INT- HIDEOUT
+
+Happy Jack stands with his Citizens. The room QUIETS as, one by one, the
+mob notices him.
+
+JACK
+You!
+
+He GRABS the Young Boy who had reached for his watch on the lamppost and
+starts to BEAT him.
+
+JACK
+What'd you do to my watch, you dirty little bastard...
+
+Jack breaks the Boy's hand with his nightstick. The Boy SCREAMS
+
+and FAINTS. So does one of the Women in the group. Jack takes the Boy's
+other hand.
+
+JACK
+Hands won't be so quick in future.
+
+SHANG 
+That's enough sport this evening, Jack. 
+JOHNNY
+(stepping forward)
+It wasn't him.
+
+All turn to look at Johnny. Jack drops the Boy's hand.
+
+JOHNNY
+I have word for you from who did it. You're to meet him at Sparrow's
+Chinese Pagoda.
+
+CUT TO
+
+52 INT. SPAPROW'S CHINESE PAGODA NIGHT
+
+A low and lunatic place: a combination of an opium dream out of the
+Arabian Nights and a panel from a Bosch triptych. FAN-TAN games played by
+Orientals; WOMEN and CHILDREN of various colors suspended in cages from
+the ceiling as MEN and WOMEN in a secondfloor GALLERY point at them and
+JOKE. On the main floor, a long line waits for a shot at the barrel of
+All-Sorts. Jack charges in the front door, looks around.
+
+JACK
+All right, step out, you yellow...
+
+All the NOISE subsides. Only the Fan-Tan game continues;
+
+nothing is so interesting that these Orientals will stop gambling.
+
+Now Amsterdam STEPS right in front of him. It's a grandstand play.
+
+AMSTERDAM
+Hello, Happy Jack. I'm the one you're looking for.
+
+JACK
+Then you're marked for dead.
+
+Jack lunges ahead, swinging his NIGHT STICK. Amsterdam throws a chair
+across his path. Jack stumbles, goes down, dropping his night stick.
+Amsterdam grabs it, jumps on top of him, HITS him twice on the side of the
+head. There is a CRACKING SOUND. The PATRONS of the Pagoda gather round.
+
+CUT TO
+
+53 INT. SPARROW'S CHINESE PAGODA NIGHT
+
+Later. Festive again. And no sign of Amsterdam.
+
+Two PATRONS step away from the all-sorts barrel. Hanging from the spigot
+like the cat from the watch chain is the BODY of Happy Jack Mulraney. The
+belt has been removed from his trousers, tied like a NOOSE around his
+throat, then looped over the spigot. His TEETH lie scattered on the floor
+around him. His NIGHT STICK has been jammed down his throat.
+
+CUT TO
+
+54 EXT. DOCKS/HIDEOUT NIGHT
+
+Amsterdam holds the FANCY COAT from Jack's uniform over his arm.
+Carefully, he DRAPES the coat over Jenny's shoulders. SHANG steps forward.
+
+SHANG
+I gave no order for this.
+
+Amsterdam says nothing at first, just holds his hand out: he's holding the
+RED SILK SCKRF.
+
+AMSTERDAM
+(very quietly) 
+Never mind giving orders. What were you giving this for? 
+SHANG
+I'm calling you out, Amsterdam.
+
+AMSTERDAM
+I got this at the hanging. It was Charles McGloin's. Everybody here saw
+you take it from Jenny. What was MCGloin doing with it? What'd you give it
+to him for?
+
+SHANG
+I didn't give it to him. Why would I give it to him?
+
+AMSTERDAM
+I gaw you give it to him. Last week, behind the Old Brewery.
+
+SHANG
+(to group)
+He's gone flat. I got no reason to trade with the Native Americans.
+
+AMSTERDAM
+What about stepping up in the world, as it were, and leaving the rest of
+us behind. There's a reason. Making a separate arrangement for yourself
+with the one Native so stupid and luckless that he got hung. That's you to
+the ground, Shang.
+
+SHANG
+(very edgy now; to group)
+Who believes what he's saying? Can any of you believe what he's saying?
+
+AMSTERDAM
+Bene. We'll see. Any of you that believes I did proper by Happy Jack
+Mulraney tonight, stand beside me. Any of you that still likes Shang's way
+with the cops, and Shang's way with the Natives, go to him.
+(to Shang)
+Or should we settle right now, you and me, and just see which of us is
+left standing?
+
+SHANG
+Let see where they stand.
+
+Jenny rises, stands next to Amsterdam. Jimmy Spoils, Johnny, Sheeny Mike
+are next. Now the other members of the mob move in clusters to all STAND
+with Amsterdam.
+
+AMSTERDAM
+What's your pleasure, Shang?
+
+One of the YOUNG BOYS has a dead rat blackjack hanging from his belt.
+Shang grabs it. He BITES the head oft the rat and spits it across at
+Amsterdam. Amsterdam almost smiles at him. Shang sneers, drops the body of
+the rat, and LEAVES.
+
+AMSTERDAM
+This mob ever have a proper name?
+
+JOHNNY
+We was called after Shang when we was named at all.
+
+AMSTERDAM
+We're the Dead Rabbits from now. They were the best. They were history.
+They were legend, and we'll live up to them.
+
+CUT TO
+
+55 EXT. DOCKS/WATERFRONT NIGHT
+
+Amsterdam sits on an empty pier, watching the ships in the river. There's
+a SUDDEN RUSTLING NOISE as a NOOSE coils around his neck.
+
+It's Jenny. She's slipped the SILK Amsterdam gave her close to his throat,
+and she's TIGHTENING it. Amsterdam starts to resist. Then he sees how's
+she's looking at him.
+
+She uses the silk to bring his face closer to hers. She KISSES him.
+
+AMSTERDAM
+What's this then?
+
+JENNY
+Payment for the silk.
+
+Then DROPS the silk from his throat and starts to touch him. Then his
+hands are under her skirt. Then, under the cloudy moonlight, they start to
+make love.
+
+CUT TO
+
+56 EXT. DOCKS/WATERFRONT NIGHT
+
+Later. Amsterdam pulls Happy Jack's uniform COAT over Jenny to keep her
+warm in the chill air.
+
+JENNY
+You were waiting for me out here, weren't you?
+
+AMSTERDAM
+Maybe I was, yeah.
+
+JENNY
+You was that sure of me?
+
+AMSTERDAM
+Sure enough to wait, anyway. Waiting don't cost nothing.
+
+JENNY
+It don't do to be sure. I could go away just as easy.
+
+AMSTERDAM
+Alright.
+
+He sweeps the coat away from her body, allowing her to leave.
+
+JENNY
+I'll say when I want to, not you.
+
+AMSTERDAM
+Stay then.
+(beat; smile)
+One way or another, I get what I want.
+
+JENNY
+(looking at him)
+Yeah. If it was just a shag you wanted.
+
+AMSTERDAM
+You're a gypsy, are you, come to tell my fortune? Go ahead then. Tell me
+what I'm wanting.
+
+JENNY
+You got blood in your eye for someone.
+
+AMSTERDAM
+It's just I can't look away, that's all.
+
+JENNY
+Who from?
+
+AMSTERDAM
+Bill Poole.
+
+JENNY
+You better get someone else in your sights. No one's ever taken him.
+
+AMSTERDAM
+'Cause he's mine, that's why. I'll take his one eye, and then the rest of
+him, piece by small piece.
+
+JENNY
+You have a plan for this? You going to raise a militia? I'll wager Bill
+the Butcher don't even know about you or care if he does.
+
+AMSTERDAM
+He'll know about me soon enough.
+
+JENNY
+And after the Butcher?
+
+AMSTERDAM
+You.
+
+JENNY
+Is that so?
+
+AMSTERDAM
+You'll be in love with me.
+
+JENNY
+Love you? You just had me. You can have a mort any time you want. So why
+look for more than that.
+
+AMSTERDAM
+That's taking love, not giving it. I want it to be just you and me, no one
+else for either.
+
+JENNY
+Why?
+
+AMSTERDAM
+'Cause none of us means nothing in life except one to the other.
+
+JENNY
+I don't know I want to mean something, to you or anybody. Can there be
+good in that?
+
+He stares at her.
+
+AMSTERDAM
+We'll see.
+
+Jenny pulls the coat tighter around her.
+
+JENNY
+It'll take a while if we do. If we ever do.
+
+AMSTERDAM
+And what about the meantime?
+
+JENNY
+Meantime's business.
+
+CUT TO
+
+57 EXT PARADISE SQUARE DAY
+
+A CROWD gathers in one of the main thoroughfares bisecting the 5 Points. A
+beefy SPEAKER is making an anti-Irish speech on behalf of James W. Barker,
+a mayoral candidate supported by Tammany's current rivals, the
+Know-Nothing Party. Hand-painted signs are everywhere, bearing Barker's
+unsavory likeness. A couple of BUSKERS provide a musical score for the
+political spiel.
+
+SPEAKER
+The potato is a thick vegetable. Heavy. Meaty. Comes out of the ground
+dirty and stays that way unless you scrub it and boil it to death!
+(cheers and laughs from crowd)
+We don't want to keep lem out of the country! We'll even give 'em a place
+at our table! But we ain't gonna vote 'em into office.
+
+Much CHEERING and jovial approval from the Crowd. On its fringes,
+Amsterdam and the Dead Rabbits make their way roughly across the Square.
+
+SHEENY MIKE
+Any Irish hears that will be out for blood.
+
+AMSTERDAM
+The Irish is too busy building up Tammany. That's where their brains and
+muscle goes. Once they're inside with their cronies, they turn on their
+own outside. Tammany'd steal the air and rent the daylight if they could.
+
+SHEENY MIKE
+We'd do the same.
+
+AMSTERDkM
+Not against our own we wouldn't. That's the difference.
+
+JOHNNY
+Tammany earns better. That's the difference.
+
+AMSTERDAM
+I ain't seen their ned yet.
+
+Johnny stops walking, betraying slight annoyance that he has to explain
+the day's deal.
+
+JOHNNY
+You will at day's end, that's our arrangement. A quarter a voter, whether
+they're repeaters or not. I'm telling you, we got a square deal.
+
+SHEENY MIKE
+It's sound, Amsterdam.
+
+AMSTERDAM
+Yeah? Well, it's ned anyway. Just make sure you count it when we get it.
+
+JOHNNY
+It's just a day's job, we don't have to make it a life's work. We work for
+Tammany today and kill them tomorrow, if that's our pleasure.
+
+JIMMY SPOILS
+So we're politicians just for today.
+
+AMSTERDAM
+Not for a minute. We're better than that. We're thieves.
+
+CUT TO
+
+58 MONTAGE
+
+The Dead Rabbits go about the business of rounding up Tammany voters. They
+pick up DRUNKS in alleys; Jenny and some of the Dead Rabbit MORTS raust
+PATRONS in a whore house; Rabbits shanghai SAILORS from saloons; corral
+CITIZENS as they walk along the street, either wheedling or bullying to
+get them to vote. It's the strong arm of democracy.
+
+CUT TO
+
+59 EXT. POLLING PLACE DAY
+
+On one side of the door, some Dead Rabbits, with a RABBLE of potential
+voters; on the other, POLICE doing their best. Behind and all around,
+various WARD HEELERS and SMALL-TIME POLITICIANS, representing both the
+Know-Nothing candidate Barker and Tammany's Fernando Wood. Varicus
+factions push and pull at one another as they wedge their VOTERS into the
+polls.
+
+JIMMY SPOILS 
+He's got the right to vote, damn you! 
+COP
+Not four times he don't.
+(shoves a Voter)
+There'll be no damned repeaters here!
+
+The Cop and Jimmy play tug-of-war with a besotted VOTER, while other gang
+members rush to GRAB VOTERS leaving the polls.
+
+PANDEMONIUM.
+
+CUT TO
+
+60 INT. TAMMANY HALL DAY
+
+The main floor is jammed with CLUBMEN and PARTY RACKS. Daniel Killoran
+bustles from group to group, making promises, taking notes and searching
+out Boss Tweed, who is holding court in a far corner, surrounded by
+JOURNALISTS.
+
+BOSS TWEED
+I would never speak ill of a rival. I would never say that every
+Know-Nothing is a horse thief. It is my observation, however, that every
+horse thief is a Know-Nothing.
+
+Good-natured LAUGHING all around. Even TWEED seems amused. Killoran
+catches the Boss' eye and whispers to him.
+
+KILLORAN
+The Know-Nothings are already finished, and there's four more hours at the
+polls yet.
+
+BOSS TWEED
+Keep our men voting. Everybody works today. It's not a victory we need,
+Daniel. I want a triumph.
+
+CUT TO
+
+61 INT. DON WHISKERANDOSO BARBER SHOP DAY
+
+Amsterdam roughly deposits REPEAT VOTERS in the barber chairs, as the
+BARBERS work FRANTICALLY to cut their hair, prune beards, and otherwise
+alter appearances. As soon as one customer is done, Sheeny Mike douses him
+with bay rum and pushes another REPEATER down in his place. Johnny keeps
+count of the turnover.
+
+DON WHISKERANDOS (BARBER)
+
+Now that's eight... and how many still to come ...
+
+He looks toward the door, where more Repeaters are lined up, waiting their
+turn under close supervision.
+
+REPEATER
+I already voted once today. Cast for Tammany, by God, and Fernando Wood.
+
+AMSTERDAM
+Once? Come here and do your duty.
+
+Amsterdam GRABS him and SLAMS him down in a chair.
+
+CUT TO
+
+62 INT. FAN-TAN PARLOR DAY
+
+Amsterdam and some RABBITS BURST into the front door, frightening and
+scattering all the Chinese GAMBLERS.
+
+AMSTERDAM
+(barking orders)
+Line up like soldiers!
+
+SHEENY MIKE
+They got no notion what you're talking about.
+
+AMSTERDAM
+(To Johnny)
+You explain their democratic right. Illl see they unterstand.
+
+Amsterdam GRABS the nearest two CHINESE by their PIGTAILS and
+HURLS them against the wall.
+
+CUT TO
+
+63 INT. OPIUM DEN
+
+Amsterdam and the Rabbits PROWL the murky darkness where OPIUM EATERS lie
+in bunks stacked high against the walls. The Rabbits start ROUSING and
+rounding up the Opium Eaters. Jimmy Spoils SLINGS a couple over his
+shoulder like flour sacks. Amsterdam SHOVES two more out the door, past an
+admiring Daniel Killoran.
+
+KILLORAN
+(to Johnny)
+I come to see if our counts square. You boys have made a remarkable
+showing....
+
+AMSTERDAM
+Who the hell's this?
+
+JOHNNY
+He's our Tammany man.
+
+Killoran compares his figures to the piece of paper where Johnny has been
+keeping his own count.
+
+KILLORAN
+... remarkable...
+
+AMSTERDAM
+(With an edge)
+Our own Tammany man. We are coming along. Happy to meet any friend of
+Johnny Siroccols.
+
+KILLORAN
+Likewise. Pleasure to meet the best but one in the whole Five Points.
+
+AMSTERDAM
+Best but one? Who's better?
+
+Killoran looks up. Johnny, standing behind Amsterdam, SHAKES his head "NO"
+VIGOROUSLY. Killoran gets the message.
+
+KILLORAN
+(smooth)
+Maybe nobody. But when the count's done the numbers will tell who's come
+out in front.
+
+AMSTERDAM
+I'm in no race. Just pay us what you owe.
+
+KILLORAN
+Tonight. At the victory celebration.
+
+CUT TO
+
+64 INT. SPARROW'S CHINESE PAGODA
+
+A Tammany victory celebration. When we last saw this place--as Amsterdam
+confronted Happy Jack--the place was busy, alive. It's RIOTOUS now, jammed
+to bursting with POLITICIANS, CRIMINALS, GANG MEMBERS, MORTS, WHORES,
+HANGERS-ON, UPTOWN THRILL-SEEKERS, JOURNALISTS and COPS, not all of them
+off duty. The SOUND of the place is a cacophony of SHOUTING, SINGING,
+GAMBLING and STRANGE MUSIC--which we can't identify at first. We START
+CLOSE on a huge ruby ring and we HEAR...
+
+BOSS TWEED
+(V.O.)
+Read what it says there, alongside the ruby...read it out ...
+
+... and WE MOVE OUT as a WELL-WISHER reads the Latin inscription.
+
+64 CONTINUED:
+
+WELL-WISHER
+"Fortuna Juvat Ordentes."
+
+TWEED
+A grand victory gift from the men of Tammany. Now, tell 'em what it means,
+Mayor Wood.
+
+WOOD
+"Fortune favors the bold."
+
+TWEED gives him a resounding slap on the back.
+
+BOSS TWEED
+What do you think? Would that make a fit motto for our fair City?
+
+WOOD
+Well, I could certainly see ...
+
+KILLORAN
+(interrupting)
+We've got a motto.
+
+BOSS TWEED
+what is it?
+(no one knows)
+Well, hell, let's get one we can remember. We're going to build a new City
+hall, we better have something to put over the front door. And Mayor,
+you'll make sure the Latin's right?
+
+As Wood nods his assent, CAMERA MOVES across room...
+
+... past the gilded CAGES suspended ten feet over the floor, where the
+women and children look down at the action just below them with a mixture
+of trepidation and resignation. Occasionally a REVELER will jump up to try
+and GRAB one of the caged inhabitants. Still MOVING, CAMERA...
+
+... passes a stage, where we finally SEE the source of all the strange
+MUSIC we've been hearing: the music is provided by
+
+CHINESE MUSICIANS, a woman SINGER, a DANCER and some ACROBATS. They
+perform some weird, mangled Five Points version of Chinese opera. The
+music and performance continues as we MOVE PAST...
+
+... across a PEWTER FAN-TAN TABLE, where CHINESE GAMBLERS play with fierce
+animation and concentration. By comparison, the Occidental types playing
+beside them seem like tourists.
+
+Everyone SHOUTS and SCRAMBLES to place bets with the FAN-TAN DEALER.
+
+Above the Dealer is an oval opening in the ceiling, through which OTHER
+PLAYERS may watch the action below. These FAN-TAN PLAYERS lean over an
+elegantly carved rail, peering at the action on the table below, placing
+their bets and collecting their winnings by means of a BASKET attached to
+WIRES that whirrs constantly overhead. We continue to MOVE PAST...
+
+... until we are at the door of the place, where Amsterdam, Johnny and the
+Rabbits are having words with a BOUNCER.
+
+BOUNCER
+I don't know you, you don't enter.
+
+AMSTERDAM
+(enjoying himself)
+Come on, what are you saying? If you don't know us now, you'll know us
+tomorrow and you'll be working for us next week.
+
+JOHNNY
+(more temperate)
+Daniel Killoran knows us.
+
+BOUNCER
+Oh he does?
+
+JOHNNY
+We work for him.
+
+AMSTERDAM
+The hell we do.
+
+JOHNNY
+(to Amsterdam)
+Tampen down, will you?
+
+BOUNCER
+Why don't you all get the hell out of here and go fix on a story? Go on!
+
+He SHOVES Johnny, who STUMBLES back into Amsterdam. They're both mad now,
+and they step forward together toward the Bouncer...
+
+... until Killoran intervenes.
+
+KILLORAN
+(to Bouncer)
+It's all right, Nat. They're saying the truth. They gave a good day's work
+for a good wage.
+
+Killoran HANDS OVER a paper-wrapped parcel of money, which Amsterdam takes
+firmly.
+
+KILLORAN
+A fine first showing. But second best.
+
+AMSTERDAM
+Second, eh? You don't say so.
+
+KILLORAN
+It's no shame to be bested by veterans. The Native Americans always sweep
+the field.
+
+AMSTERDAM
+What?
+
+KILLORAN
+We count on them sure as mass comes an Sunday.
+
+AMSTERDAM
+(to Johnny, glaring)
+Did you know this? Is this some scheme of yours?
+
+JOHNNY
+No, I didn't have no idea ...
+
+AMSTERDAM
+I was working the same side as the Natives? The Natives?
+
+KILLORAN
+That's only right. Bill the Butcher's our ambassador throughout the
+Points, as you might say. It's deemed an honor to work with him. Everyone
+knows Bill Poole, everyone fears him, everyone ...
+
+AMSTERDAM
+I sure as hell don't fear him. And I sure as hell won't stand with him, or
+any who calls him one of theirs.
+
+KILLORAN
+Well, if it's matter of personal honor, the money can only be a further
+insult. I have no wish to rile you further, so if you'll allow me...
+
+He REACHES to take back the parcel of money, but Amsterdam BATS his hand
+away.
+
+AMSTERDAM
+Where is he? Where's Bill the Butcher?
+
+KILLORAN
+Listen, buck. This is a Tammany night. If you and Bill Poole have matters
+to settle, you can do it any other time, any other place, I don't give a
+good dancing goddamn. But you do it here tonight and all the Five Points
+will be down on you like the righteous wrath of heaven. or you could, as
+the Book says, put away childish things. Join the celebration. Personally,
+I always find the least strenuous solution the most appealing. Don't you?
+
+Amsterdam stares at him as we...
+
+CUT TO
+
+65 INT. SPARROW'S CHINESE PAGODA
+
+As a CHINESE ACROBAT TWIRLS in the air, off the stage, and lands in the
+middle of the audience. The crowd is raucously appreciative as the Acrobat
+does GYMNASTIC MOVES among them...
+
+... past a table where the Dead Rabbits have settled. it is later in the
+evening, and everyone has been drinking.
+Amsterdam, sullen, intense, WATCHES ...
+
+..Bill the Butcher, across the room. He is like a prince regent. Everyone
+pays him court, including several uniformed COPS, TAMMANY HANGERS-ON, and
+NEWSPAPERMEN. Bill receives the attention as his due....
+
+... while Amsterdam keeps watching, contempt and hatred gleaming in his
+eye. He pays attention to none of the gang around, including Jenny. Johnny
+takes advantage of the situation.
+
+JOHNNY
+I got experience. It's the education I lack.
+
+JENNY
+And you heard I was a good teacher?
+
+JOHNNY
+I don't listen to talk, I figure for myself. And I figured you'd be good
+at everything you did.
+
+JENNY
+That's right.
+
+JOHNNY
+And tonight I got the ned.
+
+JENNY
+And now what?
+
+JOHNNY
+Now I'm ready for you. Unless there's an arrangement between you and
+Amsterdam.
+
+JENNY
+(glancing over at Amsterdam)
+Not to my thinking.
+
+JOHNNY
+(needs to be sure)
+Amsterdam... listen up, Amsterdam...
+
+Amsterdam glances over at them.
+
+JENNY
+(to Johnny)
+You going with me or him? It's my thinking matters here. You don't have to
+ask him nothing.
+
+AMSTERDAM
+What?
+
+JOHNNY
+(makes his decision)
+How's the evening passing?
+
+AMSTERDAM
+Fine. Why?
+
+JOHNNY
+(puts his arm around Jenny)
+'Cause it's treating me fine too.
+
+She gets up and starts toward the stairs to the second floor, Johnny
+following her, holding her hand. As they pass Amsterdam he LEANS toward
+Jenny.
+
+AMSTERDAM
+This is no game, you and me. Don't go on like it's a game.
+
+JENNY
+I said already, it's not a game. It's business.
+
+Johnny pulls her away. As he watches her go through the crowd, Amsterdam's
+gaze falls on Bill the Butcher again...
+
+... and for the first tine their EYES MEET. Bill's eyes rest on Amsterdam,
+take him all in... but DON'T REMEMBER him. He looks away as a TAMMANY HACK
+steps up to pay court....
+
+.... and a MASTER OF REVELS, center-floor, SHOUTS ...
+
+MASTER OF REVELS
+Gentlemen and gentlewomen, if you please ... we will now... raise the
+cages and start the bidding!
+
+The Crowd CHEERS and KIDS PULL on a series of ropes and pulleys to RAISE
+the CAGES further above the floor until they are parallel with the
+second-floor gallery of the Pagoda. WOMEN AND MEN call out BIDS even as
+the cages rise through the air. Depending on their age, the Women and
+children inside the cages respond to the auction with grim resignation,
+trepidation or fear. A few, drugged or drunk on all-sorts, lie insensible
+in their impossibly cramped space.
+
+Johnny and Jenny make their way along the second floor gallery until she
+spots a COUPLE LEAVING a room and walks inside. Johnny CLOSES the door
+behind them as a BURST of APPLAUSE...
+
+... rises from the main floor, where Bill the Butcher stands in the dead
+center of the room. He slowly removes his coat and hands it to a FLUNKY.
+He is wearing his battle vest underneath, and it is fully rigged with all
+his butcher's implements.
+
+The place QUIETS. KIDS swarm silently, like busy ants, all over a huge
+wooden CHANDELIER, LIGHTING its HUNDREDS of CANDLES. Only the noise from
+the Chinese playing fan-tan in the far corner of the room can be heard now.
+
+The Kids finish lighting the candles and the chandelier is RAISED toward
+the Pagoda ceiling, casting the whole place into a new riot of LIGHT and
+SHADOW as The Butcher prepares himself.
+
+Now the Chinese Opera DANCER steps forward and stands near Bill. He NODS.
+The unsprung MUSIC begins. The DANCER starts to move, sinuously...
+
+...and Bill, with amazing skill, starts THROWING his KNIVES. The knife
+MISSES the Dancer by a hairsbreadth, landing in the floor near her foot.
+She doesn't flinch. She keeps dancing. And Bill keeps THROWING...
+
+... the KNIVES, which follow the Dancer around the room in a careful,
+deadly choreography. They land just inches from where she has just been,
+or will be: in a wall; a pillar; the apron of the small stage; the bar;
+the barrel of all-sorts. After each knife LANDS, kids retrieve it. When
+one of the KNIFE KIDS pulls the blade from the all-sorts barrel, DRUNKS
+knock each other over to drink from the stream that flows from the hole.
+
+Native Americans, meanwhile, WORK THROUGH the awed, attentive Crowd. They
+AVOID Cops, Tammany Members and anyone who looks too prosperous or too
+sober. But when one of the Natives SPOTS a MARGINAL CITIZEN, they GRAB his
+hand and examine it as if they were telling fortunes.
+
+Center floor, Bill pulls TWO KNIVES out, BALANCES one in each hand ...
+
+... as a WHORE in the crowd pushes a guy who's groping her toward a couple
+of Natives. Hels wearing a large RING. As soon as the Natives SEE the ring
+they throw their arms around the GROPER like a long-lost pal and escort
+him to Bill ...
+
+... who THROWS both knives rapidly at the Dancer. They land on the floor,
+inches from her dancing feet. She SPINS AWAY to great applause as the
+Natives bring the Groper to Bill.
+
+BILL THE BUTCHER
+Evening, sir. Are you prepared to be celebrated? Are you ready to be
+famous?
+
+GROPER
+How much will it cost?
+
+BILL THE BUTCHER
+Just a moment of your time. My men will assist you.
+
+They do quite a bit more than that: they GRAB the Groper and KNOCK him to
+the floor. In the crowd, one SPECTATOR turns to his companion.
+
+PAGODA SPECTATOR
+Watch this careful. I've never seen the like, not even in Barnum's Museum.
+
+The Groper CRIES OUT as the Natives PIN HIM to the floor, SPREADEAGLED.
+Bill has one weapon left... in a special pocket, inside his vest. It's his
+CLEAVER. He takes it out slowly, SAVORING the moment.
+
+The Pagoda goes QUIET. Only the gambling continues. The MUSIC dies. The
+only SOUND beside the noises of the Chinese at their fan-tan is the
+Groper, who HOLLERS for help as soon as he sees the cleaver.
+
+Bill HEFTS the cleaver in his hand, feels its weight, calculates timing,
+figures distance .... and starts THROWING it in the air...
+
+... CATCHING it by the handle ... then throwing it again... higher, FASTER
+and HARDER with every toss.
+
+BILL THE BUTCHER
+(in full control)
+What's it so quiet for? I don't need quiet.
+
+The Chinese opera MUSIC commences with a dissonant CRASH...
+
+... and Bill catches the cleaver again. But EVERY TIME he throws it and
+every time he catches it by its handle ...
+
+... he also MOVES CLOSER to the terrified Groper. Now... standing
+very close... he gives the cleaver a mighty toss ...
+
+... sending it SPINNING high in the air... up past the cages ... past the
+second-floor gallery, jammed with appreciative spectators ... until it
+SLOWS ... seems to HANG in the air... then starts its descent...
+
+... FALLING FASTER... towards Bill's waiting, STEADY HAND.
+
+The Groper SCREAMS in fear. Bill SMILES confidently, holding his hand out
+until ... just as smoothly, just as confidently...
+
+... he PULLS his hand AWAY and the cleaver FALLS with terrific impact on
+the SPLAYED HAND of the Groper, cleanly SEVERING it at the wrist. The
+Groper FAINTS dead away as a TREMENDOUS CHEER greets Bill's amazing feat.
+One of the Natives TOSSES Bill the severed hand.
+
+Bill SLIDES the ring off the finger and TOSSES it to the Chinese Dancer.
+
+BILL THE BUTCHER
+There's for your beauty and your song.
+
+The Dancer puts the ring on her finger and DANCES OFF. Bill TOSSES the
+hand to the floor and walks back to his table. The Crowd PARTS, murmuring
+compliments on his dexterity, and the Knife Kids reverently RETURN the
+Butcher's implements.
+
+Now two DOGS from the rat pit in the back room RUN through the crowd and
+FIGHT FRENZIEDLY over possession of the bloody hand.
+
+The Crowd PASSES the Groper overhead and WE SEE from ABOVE: the Groper's
+unconscicus BODY being passed from hand to hand. The Crowd looks like a
+wave bearing the body toward the door. The Groper's stump BLEEDS on them
+as he passes overhead, sprinkling drops of blood and flesh like a moveable
+sacrament.
+
+Bill approaches his table, acknowledging the continuing adulation, and is
+about to sit down when a VOICE rises above all others.
+
+AMSTERDAM
+Mr. Poole!
+
+Bill turns, searching out the voice ...
+
+AMSTERDAM
+Bill Poole!
+
+And SEES Amsterdam, standing at his own table. His attitude is calm,
+smiling, respectful. But his eyes are demonic.
+
+AMSTERDAM
+My compliments on your exhibition, sir.
+
+BILL THE BUTCHER
+Thank you, sir.
+
+AMSTERDAM
+It was like watching a dance.
+(Bill nods his thanks)
+Some great grand goddamned dance. (Bill looks at him more closely)
+You know me, sir.
+
+BILL THE BUTCHER
+Do I? Are you missing a finger?
+
+Appreciative laughter from the crowd.
+
+AMSTERDAM
+No. A father.
+
+The laughter turns a little uneasy. Bill the Butcher sizes up the younger
+man.
+
+BILL THE BUTCHER
+Do you have a name?
+
+AMSTERDAM
+Amsterdam.
+
+BILL THE BUTCHER
+That's a New York name.
+(suddenly smiles)
+shall we drink to it?
+
+AMSTERDAM
+Indeed.
+(they drink)
+And to my other name. Vallon. Will you drink to that?
+
+BILL THE BUTCHER
+Priest Vallon's son?
+(Amsterdam nods)
+Of course I'll drink to that. Your father was a worthy man.
+
+AMSTERDAM
+Not worthy of you. Those dogs ain't worthy of you. You ain't worth what
+they feed on, and what they shit's too good for you.
+
+DEAD QUIET. Absolute. Breathless. Only the Chinese Gamblers at their
+fan-tan ignore this confrontation.
+
+BILL THE BUTCHER
+What do you want, boyo?
+
+AMSTERDAM
+I got to give you something, Butcher. Something from my father.
+
+Amsterdam PULLS OUT the piratels knife which Bill the Butcher used to kill
+his father almost 12 years before.
+
+BILL THE BUTCHER
+You got the sand to draw a blade in front of me? You will make good sport.
+Come ahead and give it here, you son of a bitch.
+
+ 
+And Amsterdam THROWS the knife, the bright blade FLASHING OUT of his hand
+like lightning.
+
+And just as quickly the Buitcher PICKS UP his table, sending glasses
+flying and breaking, using it as a SHIELD...
+
+... and the knife THUMPS into it dead center. The Butcher HEAVES the table
+at Amsterdam...sending PATRONS yelling and SCATTERING.
+
+Amsterdam LEAPS out of the way of the table, then RUNS AT Bill the
+Butcher...
+
+... who's already coming for him. As they CLASH and GRAPPLE with each
+other...
+
+... PATRONS all over the Pagoda crowd around for a good view of the action
+and start to MAKE BETS on the outcome. The odds do not favor Amsterdam.
+
+And neither does the fight. Amsterdam fights with real blood lust, but he
+doesn't have the Butcher's skill, or experience, or dispassion. He breaks
+the Butcher's CLINCH... HITS him once in the face... then a second time
+... and then gets FLOORED by a well placed kick. The Crowd cheers.
+
+And, on the second floor, Jenny and Johnny come out of the room. Still
+arranging her clothes, Jenny looks over the gallery rail onto the floor
+below, sees the fight... and starts to RUN down the stairs. Johnny WATCHES
+her go ... looks at the fight again, for a second... then follows Jenny to
+the main floor.
+
+The Butcher is on top of Amsterdam now. He HITS him upside the head with
+the wood and brass handle of his cleaver. Then hits him again. AND AGAIN.
+
+In the Crowd now, Jenny finds Sheeny Mike.
+
+JENNY
+The Butcher'll kill him if we don't do something.
+
+SHEENY MIKE
+It was Amsterdam's own doing. And it'll be our death too if we try to stop
+it.
+
+JOHNNY
+(finally catching up)
+That's the truth.
+
+JENNY
+The truth is you don't give a damn about him.
+
+SHEENY MIKE
+Yeah, well, if he gave a damn about us he wouldn't have called out the
+Butcher in the first place.
+
+Jenny looks at him with contempt, then STARTS into the crowd. Johnny grabs
+her ARM but she pushes him off.
+
+On the floor, Bill uses the FLAT SIDE of the cleaver to SMACK the barely
+conscious Amsterdam on one side of his face... then on the other...
+REPEATEDLY... until Amsterdam is barely sensible. Bill grabs him by the
+hair. Amsterdam's body is slack.
+
+BILL THE BUTCHER
+What do you say? Loin or shank? Rib or chop?
+
+The Crowd YELLS their choices. Jenny tries to PLUNGE through toward
+Amsterdam, but a HALF-DOZEN MORTS and WHORES put hands on her and HOLD her
+back.
+
+BILL THE BUTCHER
+Come on, let me hear you!
+(the Crowd yells louder)
+You're all talking at once, I can't hear you!
+(a near frenzy)
+I don't hear the choicest cut! The best, the vital!
+(they quiet a little to listen)
+The heart. I think I must have the heart!
+
+This is greeted with the biggest CHEER of the night. The newlyelected
+Mayor Wood seems to feel as if he should do something to stop the
+slaughter, but Boss Tweed calms him with a single dismissive GESTURE. Even
+the Boss himself is excited by the prospect of this ritual sacrifice.
+
+BILL THE BUTCHER
+Come on, look at it! You fancy yourself a gladiator, act a gladiator!
+(raises his cleaver)
+Watch the death blow when it comes to you. Go to hell with open eyes!
+
+Bill the Butcher readies himself to deliver the blow... and a HAND GRABS
+his wrist, STOPPING his arm.
+
+Who would dare do this to Bill the Butcher? Bill turns, incredulous, to
+look into...
+
+... the untroubled face of Monk Eastman.
+
+MONK EASTMAN
+It's been a full evening's fun now, Butcher. It's enough.
+
+BILL THE BUTCHER
+You got nothing to do with this, Monk.
+
+MONK EASTMKN
+Well I'm the game warden, you might say. I'm telling you this buck's too
+young yet. Wait till he's aged for a proper kill.
+
+BILL THE BUTCHER
+The hell.
+
+With his gigantic strength, Monk actually PULLS the Butcher off Amsterdam
+and onto his feet.
+
+MONK EASTMKN
+Just settle yourself Bill ...
+
+... and he part SHOVES, part THROWS Bill back a good twenty feet.
+
+MONK EASTMKN
+... and let the merrymaking continue.
+
+The Dead Rabbits have scampered forward, and they're picking Amsterdam up
+off the floor. Monk looks at Jenny and Johnny, who each have Amsterdam by
+an arm.
+
+MONK EASTMAN
+It was his father took me in first, and it's thanks I'm returning now.
+
+BILL THE BUTCHER
+Eastman!
+
+MONK EASTMAN
+(ignoring Bill)
+This squares any debt. Get him out of here.
+
+BILL THE BUTCHER
+Monk Eastman!
+
+As the Rabbits CARRY Amsterdam toward the door, Monk finally turns his
+attention back to Bill.
+
+BILL THE BUTCHER
+I'll have you then!
+
+MONK EASTMAN
+Come ahead, Bill. Unless you're wanting to shout me to death.
+
+And Bill comes forward, BRANDISHING his cleaver. Monk Eastman stands his
+ground, unmoving, untroubled. Everyone looks on in awe at this contest ...
+
+... except Boss Tweed.
+
+BOSS TWEED
+(to Killoran)
+If these two are going to combat, it aught to be a worthier occasion. And
+more rewarding for all.
+
+Tweed SIGNALS to Bill: STOP. The Butcher sees the signal but can't believe
+it. He SHAKES his head. His blood is up. He won't stop.
+
+Tweed SIGNALS AGAIN. Bill KEEPS COMING.
+
+Tweed signals Killoran, who STANDS himself. And, when he stands, every COP
+and TAMMANY LOYALIST in the place--a hundred of them anyway--STAND behind
+Boss Tweed.
+
+As Bill keeps coming, and Monk stands easy, waiting...
+
+... the Natives and their ALLIES now stand, facing the Tammany crew. The
+Tammany backers, dressed flush and fancy, face the scruffier, more savage
+Five Points bunch: the twin factions of the criminal underworld, so
+different in style and so similar in purpose, SIZE EACH OTHER UP from
+opposite sides of the room.
+
+Bill STOPS. The odds are shifting, the stakes are climbing. Even the
+Chinese STOP GAMBLING. For the first time all evening the room is
+absolutely STILL. Even the Dead Rabbits have turned, at the door, to see
+what will happen.
+
+Tweed and the Butcher LOCK EYES: neither blinks. Then after a moment ... a
+very long moment ... a calm, bemused Tweed RAISES his glass.
+
+BOSS TWEED
+I only wanted to thank you, Bill, for the customary good job today... and
+an equally bright future for us both.
+
+Another pause. Bill does not look placated. The whole place seems ready to
+explode...
+
+... until Boss Tweed RISES to his feet, and RAISES his glass higher.
+
+BOSS TWEED
+Will you drink with me, Bill, as a friend? An honored friend.
+
+Bill weighs the proposition... then looks to his men, NODS his head to
+call them off. He GRABS a glass off a table to join Tweed's toast.
+
+The MUSIC begins again. The gambling recommences. Patrons take their
+seats. The Dead Rabbits help Amsterdam out the door.
+
+Monk Eastman sidles up to Bill the Butcher.
+
+MONK EASTMAN
+If there's one thing I can't abide, it's fighting for free.
+
+He takes the Butcher's glass from his hand, raises it in salute, DRINKS
+DEEP and hands it back to him.
+
+At the door of the Pagoda, a badly beaten Ansterdam starts FLAILING and
+fighting by brute instinct. He HITS Jenny, and she goes down. Johnny
+grapples with him as Jenny PICKS HERSELF up and struggles to help SUBDUE
+Amsterdam.
+
+JENNY
+Go easy! Go easy. It's over.
+
+JOHNNY
+He knew what he was doing, hitting you.
+
+JENNY
+Let's get him up.
+
+She grabs Amsterdam's arm and, with Johnny's help, tries to HOIST him back
+to his feet.
+
+JENNY
+(Looking at Amsterdam's bloody face)
+Therels too damn little of him left to know anything.
+
+They start across Paradise Square, holding him up...
+
+... as the rest of the Dead Rabbits join to help them... all growing
+smaller in the distance against the primeval nighttime landscape of the
+Five Points...
+
+... and the Bouncer CLOSES the door.
+
+DISSOLVE TO
+
+66 INT. DON WHISKERANDOS BARBER SHOP DAY
+
+Another DOOR OPENS, and Amsterdam stands on the threshold. A week or so
+has passed since the big night at Sparrow's Pagoda, but Amsterdam's face
+still shows the marks of Bill's beating.
+
+Don Whiskerandos is ministering to Monk Eastman with a straight razor,
+giving him a close and careful shave. Monk is thoroughly relaxed, doesn't
+even glance over when the door opens, hardly reacts when Don Whiskerandos
+says ....
+
+DON WHISKERANDOS
+Someone's here for you.
+
+MONK EASTMAN
+That so? What's he look like?
+
+DON WHISKERANDOS
+He looks pretty damned sorry.
+
+MONK EASTMAN
+(looks at Amsterdam)
+Indeed.- Can I buy you a shave?
+
+AMSTERDAM
+No thanks.
+
+MONK EASTMAN
+Face is too sore, eh? I understand.
+
+AMSTERDAM
+No. I'm beholden enough to you as it is. I don't like to be beholden.
+
+MONK EASTMAN
+We're all even, son. There's nothing more between us.
+
+AMSTERDAM
+I'd like it if there was.
+
+MONK EASTMAN
+Are you proposing employment?
+
+AMSTERDAM
+A collaboration. The Dead Rabbits got to get strong before we make another
+move. I figure you're the one to make us strong. There's a lot we can
+learn from you.
+
+MONK EASTMAN
+Boyo, I'm a freebooter and a mercenary, not a teacher. I can't learn
+nothing from you and I can't earn nothing from you either.
+
+AMSTERDAM
+The Dead Rabbits is going to be glorious again. We're going to reign over
+the Points.
+
+MONK EASTMAN
+And Bill Poole's Natives? What will they have to say?
+
+AMSTERDAM
+Nothing. They won't have tongues left to speak.
+
+MONK EASTMAN
+Don't worry about what theylll have in their mouths. You think about what
+they got in their hands.
+(beat)
+Listen, son... take a word from a man who was honored to fight beside your
+father. Temper yourself like a sword, and pay attention to balance. Anger
+spoils an edge.
+
+AMSTERDAM
+Then you say no?
+
+Monk SIGHS and points to a huge WAR CLUB which hangs in a place of honor
+above the shop mirror. It has deep marks running along its front, like
+NOTCHES-
+
+MONK EASTMAN
+You see my instrument there? First notch represents two dollars and fifty
+cents. That's how much I got for my first kill. There are forty-eight more
+notches after it, and my fee has grown with each one. I can accommodate
+you alright, but you got to afford me. So do business with me or do it on
+your own.
+
+AMSTERDAM
+Everything I got is still to come. So I guess it's on my own, then.
+
+MONK EASTMAN
+Fair enough. You'll find independence a fine thing, a fierce thing.
+Although I do hold money preferable to all.
+(Amsterdam turns to leave)
+
+But I'm sure we'll have news of each other.
+
+AMSTERDAM
+Bound to.
+
+As he shuts the door of the shop, Monk Eastman gestures to Don
+Whiskerandos for another hot towel.
+
+CUT TO
+
+67 EXT. STREETS OFF PARADISE SQUARE DAY
+
+A large wagon bearing a Tammany banner and carrying dozens of small sacks
+of coal moves slowly down the narrow street. Boss Tweed sits on the front
+seat, next to the driver, as his minions HAND him coal sacks. Tweed
+distributes them with a smile to the NEEDY who trot next to the wagon.
+
+BOSS TWEED
+(to the people as they grab the coal)
+Tammany's here to take the chill off the winter and the weight off your
+heart. It's Tammany can make this city a fit place, with the help and vote
+of all you good people...
+
+As he continues, Bill the Butcher JUMPS onto the wagon and sits down
+beside him. Boss Tweed hardly gives him a glance.
+
+BILL THE BUTCHER
+You sent me word.
+
+BOSS TWEED
+We could use help here. Grab a sack.
+
+BILL THE BUTCHER
+I keep my hands clean.
+
+BOSS TWEED
+(now he looks at him)
+So I've observed.
+
+BILL THE BUTCHER
+(tense)
+Better be on your mark to talk like that to me. It was you stopped me at
+the Pagoda. I would have cut Monk inside out.
+
+BOSS TWEED
+What if you hadn't? Think of the embarrassment. And what if you had?
+Consider the waste. Next time you're in a dust-up like that, think ahead
+and make proper plans. It'd be a grand source of revenue, whoever prevails.
+
+BILL THE BUTCHER
+It touches my heart how you always. have our best interests in mind.
+
+BOSS TWEED
+Our mutual interests. That's why I want you to contact Monk Eastman.
+(Bill's incredulous)
+I want you to extend a proposition. I want him to join US.
+
+BILL THE BUTCHER
+What?
+
+BOSS TWEED
+Oh, not Tammany, of course not. We could no more have him there than you.
+But he should throw in with the Native Americans, become aware of our
+Arrangement and ... well, use his influence, shall we say, to enrich us
+all.
+
+BILL THE BUTCHER
+You're saying I can't do everything you need? You don't think the Natives
+has been doing good and right? You think there's something more he can do
+that I ...
+
+BOSS TWEED
+(interrupting)
+It's none of that, Bill. None of that. His independence is like a rebuke
+to Tammany. And an insult to you.
+
+BILL THE BUTCHER
+Then you should have let me have him at Sparrow's.
+
+BOSS TWEED
+I should. If I'd been confident-absolutely certain--that you would have
+prevailed. Monk is an unpredictable power, and a figure of size. He needs
+to be reckoned with.
+
+BILL THE BUTCHER
+He needs to be killed.
+
+BOSS TWEED
+No. He's an elemental force. Them you don't destroy. But you can contain
+them and use them for the good they give off.
+
+He hands Bill a sack of coal.
+
+BOSS TWEED
+Coal?
+
+Bill doesn't answer. He HOPS DOWN off the moving wagon, and the Needy give
+way quickly before him, then regroup and SWARM after Tweed and his coal.
+The Boss continues with his Tammany spiel-enjoying all the attention--as
+the Butcher watches, disdainful of Tweed but filled with angry
+frustration. From his face we ...
+
+DISSOLVE TO
+
+68 INT. DON WHISKERA.NDOS BARBER SHOP DAY
+
+... the incredulous face of Monk Eastman, as he looks at Bill the Butcher.
+
+MONK EASTMAN
+And this is your offer?
+
+BILL THE BUTCHER
+It's Boss Tweedls offer.
+
+MONK EASTMAN
+How do you think we'd sit as allies, Bill?
+
+BILL THE BUTCHER
+The only way we could tolerate being near each other would be stretched
+out dead.
+
+MONK EASTMAN
+My thoughts exactly. Then why are you here? Because you were asked to be.
+You were ordered to be. And who would order me among the Natives? You? And
+would you follow my orders, even if they was being relayed from William
+Marcy Tweed himself?
+
+He EASES himself out of the barber chair. The Butcher TENSES as Monk comes
+toward him.
+
+MONK EASTMAN
+Dubious and doubtful, my friend. But your offer--pardon, the offer you
+bring--is the most generous that's ever been extended. I favor the terms,
+if not the personalities. So let us decide the way any Native American
+would appreciate. We'll do it the democratic way.
+
+He throws open the door of the barber shop and stands there, beside Bill
+the Butcher, his arm thrown carelessly around him. PASSERSBY stop in
+wonderment as Monk ADDRESSES them.
+
+MONK EASTMAN
+Citizens of the Five Points! It seems the Native Americans have come to
+trouble. They have grown so weak that now they seek my help. They can pay
+any wage I ask. But I ask you now. Even for money, should I carouse and
+conspire alongside a boyo like this with gristle on his knife and spittle
+on his chin every time his cock gets hard?
+
+Monk is beaming, the Butcher is appalled. His body tenses like a snake
+ready to spring. But the people in the street just STARE- They can't
+believe what they've just heard.
+
+MONK EASTMAN
+(to Bill)
+There. You see. I'm afraid the people have spoken.
+
+BILL THE BUTCHER
+I'll see you again, you bog Irish bastard.
+
+MONK EASTMAN
+Well, if it's a fight you want now, Bill, remember to come back with a
+bankroll.
+
+Monk returns to the shop and the comfort of his chair. Bill GLARES at the
+people in the street. One lock from him starts them moving fast. But they
+do not look away from him quite so fast, or at him, either, with quite the
+same fear.
+
+CUT TO
+
+69 INT. MISSION (FORMERLY OLD BREWERY) NIGHT
+
+The vast main room has been changed into a dance floor and decorated for
+the evening. An altar has been hung with bunting; SHIP'S LANTERNS and
+CANDLES illuminate the place. The REVEREND SHADRACH RALEIGH GREETS
+everyone. The room, already crowded with CELEBRANTS of all ages, grows
+quiet as the Dead Rabbits, done up in their party best, show up for the
+revelry.
+
+REVEREND RALEIGH
+Ah, the Native Americans, is it now?
+
+AMSTERDAM
+Are they coming?
+
+JENNY
+We don't want a ruckus, minister.
+
+REVEREND RALEIGH
+Nor do I. I intended no disrespect. I'd heard the Native Americans were
+figures of the greatest prominence here.
+
+AMSTERDAM
+Indeed they are, just for the moment. Let them come. Happy to have them.
+Everyone's welcome in a house of God, isn't that right, Reverend?
+
+REVEREND RALEIGH
+As all are welcome in heaven.
+
+SHEENY MIKE
+Ild like to go to heaven. Ild like to go to heaven and bite off Gabriells
+ear.
+
+REVEREND RALEIGH
+You're still welcome, even with such peculiar appetites.
+
+AMSTERDAM
+But if the Natives do come, Father...
+
+REVEREND RALEIGH
+I'm not a priest, son ...
+
+AMSTERDAM
+... there's no accounting for what may follow.
+
+REVEREND RALEIGH
+I'm sure God's hand will guide us in that. Just as He guided you here at
+the right perfect time, with a right perfect regent. The young lady with
+the sunset hair. Miss ...
+
+JENNY
+Everdeane. Jenny Everdeane.
+
+REVEREND RALEIGH
+Miss Everdeane. Step forward, please.
+
+Radiant and curious, Jenny joins the Reverend Raleigh in the center of the
+room.
+
+REVEREND RALEIGH
+And the evening's regent chooses her evening's partner.
+
+There is much MUTTERING about this from everyone. Someone makes a wet,
+farting SOUND.
+
+REVERAND RALEIGH
+(unfazed)
+Here we make only joyful noises to the Lord.
+
+Under the instruction of the bustling Reverend and his HELPERS, the Women
+skeptically stand away from the Men, who allow themselves to be arranged
+into a LINE. The Reverend Raleigh escorts the delighted Jenny to a chair
+that has been placed, by itself, in the center of the room. Jenny sits
+down, facing away from the rest of the guests. She holds a MIRROR in her
+hand.
+
+REVEREND RALEIGH
+Now. The men, please. One by one.
+
+The first volunteer Reverend Raleigh brings forward is a reluctant Sheeny
+Mike. There are RUDE COMMENTS as he leads Mike slowly to the center of the
+room, coming up behind Jenny until she can see Mikels face reflected in
+the mirror. She SHAKES her head.
+
+REVEREND RALEIGH
+Next Gentleman, please.
+
+More laughing. The BOYS push out one CANDIDATE. Rejected.
+
+Now ANOTHER CANDIDATE comes forward. And STILL ANOTHER- Jenny rejects each
+with the composure of a princess.
+
+Now it is Johnny's turn. He WALKS slowly across the big room, and stands
+behind Jenny, trying to look confident. The moment is long, the room's
+tense... until--just once but very decisively-Jenny SHAKES her head.
+
+Jenny watches Johnny's face in the mirror. She stays still. Finally, he
+walks back to the GANG.
+
+Now Amsterdam starts toward the center of the room. He keeps his eyes
+fixed on Jenny.
+
+Jenny catches Amsterdam's reflection in the mirror. He STOPS. She NODS her
+head. Yes. Him.
+
+A small BAND strikes up a barely recognizable version of "A Mighty
+Fortress Is Our God," arranged in waltz time. Jenny rises and holds out
+her arms to Amsterdam. They start to DANCE, a little clumsily, as other
+COUPLES join them.
+
+AMSTERDAM
+So you accept?
+
+JENNY
+What?
+
+AMSTERDAM
+You accept to be my mort and no one else's.
+
+JENNY
+(teasing)
+No, it's just that I didn't recognize you in the mirror. You still got
+some of the face the Butcher gave you.
+
+AMSTERDAM
+(going along with the joke)
+It's not the Butcher, it's the dancing. It shifts my face all around.
+
+JENNY
+Maybe you'll look better later.
+
+The Reverend Raleigh and his Helpers DASH among the dancers, distributing
+LIGHTED CANDLES, which the COUPLES take and hold as they move around the
+floor.
+
+AMSTERDAM
+I will if we're together later.
+(she smiles)
+And what about after that? After tonight?
+
+JENNY
+I chose you just for tonight. If that's not good enough I'll go with
+someone else.
+
+She takes a candle from the Reverend and holds it so the light FLICKERS on
+Amsterdam's face.
+
+AMSTERDAM
+I'll have tonight. But after this don't come to me no more till you're
+ready. No more.
+
+His eyes, in the candlelight, show both his love and his Resolution. Jenny
+NODS and they DANCE AWAY ...
+
+... losing themselves now among the dancers, all moving and holding
+candles. As they dance, their movement becomes SPLIT, SEQUENTIAL, a study
+in motion like an old Gjon Mili photograph. Their bodies create a RUSH OF
+YELLOW LIGHT ACROSS the screen like the tail of a comet.
+
+CUT TO
+
+70 INT- DEAD RABBITS HOUSE NIGHT
+
+In the hallway. JOHNNY stands pressed against a door.
+
+JOHNNY
+(whispering)
+Amsterdam.
+(louder; hissing)
+Amsterdam!
+
+AMSTERDAM (V.O.)
+Who is it?
+
+JOHNNY
+Me.
+
+AMSTERDAM
+Come on in.
+
+JOHNNY
+I don't want to come in! You come out.
+
+AMSTERDAM
+Just a damn minute.
+
+AMSTERDAM comes to the door, half-dressed and sleepy. We see Jenny asleep
+on the floor inside.
+
+AMSTERDAM
+What do you want?
+
+CUT TO
+
+71 EXT. PIER/DEAD RABBITS HOUSE NIGHT
+
+Just before dawn. The streets are empty, the river is quiet. AMSTERDAM
+follows JOHNNY out of the house.
+
+JOHNNY
+I'm going to fight you.
+
+AMSTERDAM
+Oh, Jesus, Johnny, I'm tired. How about sometime else?
+
+JOHNNY
+Now.
+
+AMSTERDAM
+You want to tell me what this fight's over? Is it The Butcher? Jenny?
+(Johnny turns, determined)
+Alright, alright. Then tell me why like this?
+
+JOHNNY
+So when I lose no one will see.
+
+And he SLUGS him. Hard. Harder even than he thought he could. AMSTERDAM
+stumbles, stunned, then pulls himself up. And CHARGES at Johnny, knocking
+him down.
+
+The two friends PUNCH, WRESTLE, BITE and PUMMEL EACH OTHER with such
+extravagant energy that they soon...
+
+... ROLL OFF the pier...
+
+CUT TO
+
+72 EXT. PIER DAWN
+
+... onto the muddy ground underneath the pier. They LAND with a shuddering
+SPLASH in the soggy earth, but they keep fighting ....
+
+... as a PACK OF ORPHANS, eyes glinting like night animals, scatter like
+wild beasts disturbed in their burrow.
+
+Amsterdam has the physical advantage, and more skill. But Johnny has the
+fury. All the feeling and the frustration rain out of him physically,
+making the match nearly even.
+
+The Orphan Pack watches the fight silently, showing no favoritism or
+emotion, just an edge of curiosity.
+
+Amsterdam HITS Johnny a wicked combination that makes him SINK to one knee
+in the mud. But Johnny will not go down. Amsterdam, hurt himself, just
+stares at Johnny in wonderment.
+
+AMSTERDAM
+Satisfied?
+
+JOHNNY
+Satisfied? It wasn't me that's been dancing and shagging all night.
+
+And he pulls himself to his feet and THROWS a roundhouse at Amsterdam, who
+half-staggers out of the way. The moment throws Johnny off balance, and he
+falls in the mud again, this time on all fours. Amsterdam SINKS down
+beside him.
+
+AMSTERDAM
+Enough.
+
+Johnny won't stop: he throws a punch that Amsterdam can see coming a block
+away. But he's too tired too duck; or maybe he's just fed up. He takes the
+punch and FALLS on his back.
+
+AMSTERDAM
+That's it then.
+
+JOHNNY
+The hell.
+
+And he THROWS HIMSELF on Amsterdam. It's more like he rolls over onto him
+than anything, but he's on top of him now, hitting him in the face with
+all he's got left in him.
+
+AMSTERDAM
+Goddamn it.
+
+Amsterdam HEAVES Johnny off and pops him a solid SWIPE to the jaw. That
+does it. Lights out. Johnny falls unconscious into the slime beneath the
+pier.
+
+The Orphan Pack keeps staring from the shadow with their ferret eyes.
+Still silent. Amsterdam STRUGGLES to his feet, stops at the river's edge
+to get a handful of water to revive himself. Then he looks over, sees his
+unconscious friend.
+
+AMSTERDAM
+Goddamn you anyway.
+
+He grabs Johnny's body by the shoulders and pulls him to the river's edge.
+He gets some water on his hand, lets it drip over Johnny's face, washing
+away a little of the blood. Not enough. He draws some more water, and RUBS
+it gently onto Johnny's face.
+
+CLOSE: on the motion of his hand. It is nearly gentle.
+
+CUT TO
+
+73 INT. DON WHISKERANDOS BARBER SHOP DAY
+
+As Don Whiskerandos' hand, holding a razor, travels over the great plains
+of Monk Eastman's face. His hand is shaking.
+
+MONK EASTMAN
+What's the trouble, Don?
+
+DON WHISKERANDOS
+There's someone here.
+
+Monk bestirs himself in the chair, SEES: Bill the Butcher, standing in the
+doorway.
+
+MONK EASTMAN
+It's just a man of commerce.
+
+Monk settles back in the chair as Bill the Butcher walks into the shop.
+
+BILL THE BUTCHER
+You're right enough this time, Monk.
+(to Don Whiskerandos)
+Go ahead.
+(the barber hesitates)
+Go on with your work. I'll finish my business.
+
+Don Whiskerandos picks up a pair of SCISSORS and NERVOUSLY starts to TRIM
+Monk's hair.
+
+MONK EASTMAN
+Come out with it then.
+
+Bill NODS emphatically at Don Whiskerandos, who is clearly terrified. Bill
+nods again, almost vehemently. Don Whiskerandos SHAKES his head. Bill
+GLARES at him. The Barber takes a STEP BACK. Monk opens his eyes, starts
+to size up the situation.
+
+BILL THE BUTCHER
+You damn craven, do it!
+
+Bill LEAPS forward, grabs the trembling barber's arm and pushes it toward
+MONK...
+
+MONK EASTMAN
+(rising from his chair)
+What the hell...
+
+...and the scissors, held by Don Whiskerandos and pushed by Bill the
+Butcher, meet Monk full in the face as he bolts from the chair. The long
+scissor BLADE SINKS into Monkls right eye.
+
+MONK BELLOWS, staggers toward Don Whiskerandos, who shrinks against the
+wall. The scissor protrudes from Monk's eye as he RAGES, blinded by blood,
+now reaching out for the Butcher
+
+BILL THE BUTCHER
+Your eyes was open for that alright. And you still got one to see this.
+
+Bill the Butcher reaches above him for Monk's war club, which hangs on the
+wall. He grabs tight hold of it and, with Monk nearly upon him, swings it
+viciously at Monk's head. The BLOW sends the scissor FLYING out of Monk's
+eye, with the eyeball still attached. It also SMASHES in the side of
+Monk's face. He FALLS, still GRABBING desperately for the Butcher...
+
+... who now stands over him, beating him incessantly with the war club.
+CAVING his head in. KILLING him.
+
+Don Whiskerandos looks at Bill in a virtual paralysis of terror. The
+Butcher lets the CLUB FALL, reaches in his pocket and throws some MONEY at
+the barber.
+
+BILL THE BUTCHER
+If I was you I'd use that to open in a new location. Consider St. Louis.
+
+The enormity of what he's done is beginning to sink in. He turns to leave
+the shop ... but STOPS in the doorway.
+
+Outside, CITIZENS of the Points are staring at the fallen Monk in mute
+wonder. They have just witnessed a moment in history.
+
+Bill the Butcher surveys them all silently, then calls out to Don
+Whiskerandos.
+
+BILL THE BUTCHER
+The war club.
+
+The barber steels himself to CARRY the bloody club to the Butcher, who
+hefts it slowly in his hands, in view of all.
+
+He takes a knife from his vest, and CUTS the LAST NOTCH in the club. Then,
+slowly...
+
+... he steps down into the crowd, which PARTS before him. He
+
+walks among them in regal splendor, the war club at his side, dripping
+gore.
+
+As the crowd falls back, Bill spots Amsterdam, Johnny and some of the
+other Dead Rabbits, watching his every mave. He STOPS.
+
+ 
+HOLDS OUT the bloody war club in front of him... straight in front of
+him... POINTING IT right at Amsterdam.
+
+BILL THE BUTCHER
+I promise you, Amsterdam. I promise you.
+
+Then he grins, turns away and walks through the crowd: prince of all he
+surveys.
+
+CUT TO
+
+74 INT. RESTAURANT/PARK ROW
+
+Boss Tweed reigns in the banquet room of a vast, gaslit restaurant, at a
+long table overburdened with food. Seated along both sides of the table is
+an array of the city's POWER BROKERS, with whom Tweed and his Tammany
+MINIONS mix easily. Their attitude toward the Power Brokers is a mixture
+of ribald fawning and fine condescension; the Power Brokers, in turn,
+enjoy the food, and the MUSIC from a small BAND, and the DANCING GIRLS who
+flirt and entertain them, while exuding the unmistakable impression of
+amateur anthropologists exploring a decaying civilization.
+
+Tweed is courting and joking with a bewhiskered HORACE GREELEY, editor of
+the influential Tribune.
+
+GREELEY
+I may enjoy the bounty of your table and the pleasures of your company,
+Mr. Tweed ...
+
+BOSS TWEED
+And the pleasures of the company provided you, Mr. Greeley.
+
+GREELEY
+...without the Tribune endorsing your politics.
+
+BOSS TWEED
+I suppose you can at that. Take with one hand, flay with the other.
+Virtuels on your conscience, Horace, but Tammany's in your heart.
+
+Killoran materializes at Tweed's side and whispers something quickly,
+discreetly in his ear. Tweed EXCUSES himself, rises quickly and WALKS
+across the restaurant floor...
+
+... past the Band and the Dancing Giris ...
+
+... to the swinging doors of the kitchen. As he pushes open the SWINGING
+DOOR, his face has lost its humor.
+
+CUT TO
+
+75 INT. KITCHEN/RESTAURANT/PARK ROW
+
+A madhouse of activity. WAITERS in black suits, vests and serving outfits
+STREAM by carrying huge TRAYS of food while the KITCHEN STAFF works
+double-time to keep up with the unceasing volume.
+
+As Boss Tweed walks in, Bill the Butcher PLUCKS a piece of roasted poultry
+off a tray as it's carried out the door.
+
+BILL THE BUTCHER
+I'm not good enough for your table, so I eat where I can. (takes a big
+bite)
+It's good, what is it?
+
+BOSS TWEED
+Pheasant.
+
+BILL THE BUTCHER
+Is that like pigeon? I killed a pigeon once but it didn't taste nothing
+like this.
+
+BOSS TWEED
+You killed a bull this morning. I told you to make an Arrangement with
+him, and you come back with his blood on your hands.
+
+BILL THE BUTCHER
+(chewing his food)
+He insulted me. He aggravated me. I couldn't stand for that, for no one.
+
+BOSS TWEED
+You stand for anything if I tell you.
+
+BILL THE BUTCHER
+You think I should be afraid of you. You act like lightning strikes when
+you talk.
+
+As they talk, and the tension builds between them, the two men are
+constantly BUFFETED by the swinging doors and the unending stream of
+WAITERS.
+
+BILL THE BUTCHER
+I never was afraid of you, so don't think I was or act like I was, you
+ain't earned it.
+
+BOSS TWEED
+What did you earn us, killing Monk?
+
+BILL THE BUTCHER
+Where'd you earn the right to ask that question? You raised some dust in
+the streets a while back, but no more. You got power but you ain't got
+muscle and you ain't got a notion what it means to be a warrior.
+
+BOSS TWEED
+I see it lost you a lot of God's sense, along with that eye.
+
+BILL THE BUTCHER
+You don't know nothing about that! It was my doing! It says in The Book,
+"If thy eye offend thee, pluck it out." I followed that law with my own
+knife and hand. The first I ever fought Priest Vallon, he bested me. And
+when he came to bring me to death, I looked away and he watched me and he
+let me go. The shame was worse than the killing. I would have cut out both
+eyes if I could still have fought, but cutting just the one gave me heart.
+When I killed Priest Vallon, that restored me. Now I sent Monk Eastman
+over I got glory. I got all there is, and small thanks to you, squire.
+
+BOSS TWEED
+(measured, conciliatory) You need two eyes to see the depth, Bill. That's
+how we help each other. If it wasn't for me would be happy enough to
+plunder the Points and put the fear into people who don't know nothing
+else. But Bill, I'm only saying... I'm counselinm... look in the distance.
+You want to sit at my table, fine. But you must always remember who the
+host is. It's not a matter of courage welre talking. It's manners.
+
+Bill grabs another piece of food from a tray.
+
+BILL THE BUTCHER
+Howls these manners?
+
+BOSS TWEED
+Fine, if you're hungry.
+
+BILL THE BUTCHER
+I'm always hungry.
+
+BOSS TWEED
+I've always told you, Bill. There's plenty for all, and more for us
+together than separate. We'll dine together sometime.
+
+Bill the Butcher nods, appeased, and leaves, swaggering his way through
+the kitchen chaos, making everyone get out of his way. Boss Tweed watches
+him go, his expression changing from bemused appeasement to molten rage.
+
+CUT TO
+
+76 INT. RESTAURANT/PARK ROW
+
+Later. Everyone's gone except some WAITERS, cleaning up, and Boss Tweed
+and Daniel Killoran, who sit at the end of the banquet table. Leftover
+plates of food have been massed at Tweedls place and, as he talks, he
+PICKS from them.
+
+BOSS TWEED
+Let me put this to you, Daniel. Now that the Butcher has killed the single
+most prominent figure in the Five Points--a man of myth and moment--who is
+there to take his place?
+(as Killoran starts to answer)
+Of course. Then what do we do about the Butcher? He's too useful to be
+killed, but he must be checked.
+
+KILLARAN
+It could be a police matter.
+
+BOSS TWEED
+Impossible! Any cops who might have the mettle to go against the Butcher
+have blood ties to the gangs. They can't be trusted. And any cops that can
+be trusted are too craven to be any use. If Bill's to be checked, it must
+come from within the Points, not without.
+
+KILLORAN
+The Dead Rabbits did a proud job for elections. That Amsterdam boy has
+sand.
+
+BOSS TWEED
+That so? The last time I saw him he was under the Butcher's knife looking
+like a fine filet. Who else is there?
+
+KILLORAN
+Well, the Rough and Tumble Boys over to Slaughterhouse Point. There's
+Country McCleesterls bunch, too, and the Plug Uglies, but there's none
+that have the promise of the Dead Rabbits, or the stake, neither.
+
+BOSS TWEED
+What would that be?
+
+KILLORAN
+The boy Amsterdam has a blood feud with the Butcher. He's sworn revenge
+for the death of his father, and he's got the heart to carry it forward.
+He'll have the skill and power soon enough.
+
+BOSS TWEED
+Blood will make a man intrepid. Bring them along, then. Nurture the
+Rabbits with neglect. Let them roam where they like.
+
+KILLORAN
+And if they roam into some portion of our own revenues?
+
+BOSS TWEED
+I'd tolerate a little trespassing if it was for a higher good and use.
+They'll cross with the Natives soon enough and keep each other occupied.
+
+KILLORAN
+Bill's got to be a lot more than occupied.
+
+BOSS TWEED
+I'll hold Bill in check. If he becomes unwieldy ... well, damn it all,
+Daniel, I might just have to oil up my old musket. What do you think of
+that, eh?
+
+Boss Tweed gets up from the table. A WAITER is DIMMING the gaslights,
+filling the room with deep shadows.
+
+KILLORAN
+It'd be gratifying, Mr. Tweed. Even edifying.
+
+BOSS TWEED
+But poor politics, eh? Well, we musn't have that.
+(as he walks away)
+I do miss those roistering days, though. Oh, and bring some of that food
+for the canaries.
+
+CUT TO
+
+77 EXT. STREET/THE BLOODY ANGLE DAY
+
+The sharply-angled turn of Doyers Street, nicknamed "The Bloody Angle."
+SOUND of a horse and cart as we see a row of UPTURNED mostly WOMEN and
+YOUNG CHILDREN.
+
+A NATIVE AMERICAN drives a cart carrying large barrels of MILK. A SECOND
+NATIVE rides beside him on the seat, holding a rifle, looking impassively
+at the faces turned up to him. A WOMAN holding a BABY in one arm and a
+CHILD by the hand steps in front of them. They almost run her down.
+
+WOMAN
+We ain't had no milk this week.
+
+NATIVE 2
+You can have as much as you can pay for.
+(to crowd)
+Anyone that's got the ned, step up with your pitchers. Any not, come back
+when you do.
+
+The Woman gives her children to other WOMEN in the crowd and advances
+toward the wagon. Native 2 cocks his rifle...
+
+... and Jenny steps from the watchful Crowd.
+
+JENNY
+I got ned enough for all. See? Fair enough?
+
+She holds her hand out as she WALKS slowly toward the milk wagon. She's
+carrying a huge fistful of GLEAMING COINS. The Natives on the wagon watch
+her warily...
+
+... and are JUMPED from behind by a couple of Dead Rabbits. Amsterdam
+grabs a milk pitcher from a WOMAN in the crowd, AXES open the spigot on a
+milk barrel and FILLS the pitcher to overflowing. Jenny JUMPS up on the
+wagon seat.
+
+JENNY
+(to Amsterdam)
+What's our rate? What do we charge?
+
+AMSTERDAM
+Johnny worked it out to a nickel less than the Natives. Just till we're
+established. Then we raise it a penny more than now.
+
+JENNY
+Raise it? Is that what you want?
+
+AMSTERDAM
+You say, then.
+
+JENNY
+(beat; then, to Crowd) There'll be no paying at all this day. Or this
+week, neither. This is Dead Rabbits business from now on.
+
+The Crowd scrambles for milk and the Rabbits try to keep ORDER.
+
+JENNY
+(to Crowd)
+We'll take ned if you got it, now or in future. But no one will go without.
+
+AMSTERDAM
+(to Jenny)
+Except us. You opening a charity?
+
+JENNY
+They'll pay us what they owe, in loyalty if not in cash. Tammany gives
+coal, we give milk.
+
+AMSTERDAM
+They can afford it.
+
+JENNY
+Can't we?
+
+CUT TO
+
+78 INT. MOTHER JOYCE'S BORDELLO DAY
+
+The midday sun shining through the windows makes the place look tatty and
+slightly desperate: this is a place that needs low light and long shadows
+to look good.
+
+Amsterdam and Johnny are at a long bar, talking to Mother Joyce, a beefy,
+wised-up woman with pornographic tattoos an both forearms.
+
+MOTHER JOYCE
+This place is so clean it's the next thing to chaste. And safe as a
+convent, too.
+
+AMSTERDAM
+From the Natives, maybe. But not from us.
+
+MOTHER JOYCE
+You're saying I got to worry about your mob too?
+
+JOHNNY
+No worries at all. You throw in with the Dead Rabbits and we'll worry
+about the Natives.
+
+Across the room, Jenny is sitting talking to a few of the WHORES, one of
+whom is a mixed-blood Eurasian with long black hair named Emma Loss. She
+gets up lazily and heads for the bar. As she passes a DRUNK, he reaches
+out to grab her. She's used to this, and she knocks his hand away. He
+keeps after her.
+
+At the bar, Mother Joyce notices Emma being hassled, but pays no
+attention: her girls can take care of themselves.
+
+MOTHER JOYCE
+(to Amsterdam and Johnny)
+And if someone else comes along, do I pay them too?
+
+AMSTERDAM
+You only pay us. We see you safe from everyone.
+
+Johnny has been watching the drunk bothering Emma Loss. Without saying
+anything to Amsterdam or Mother Joyce, Johnny LEAVES the bar, walks over
+to the drunk and SHOVES him away.
+
+JOHNNY
+Leave off her. She don't want you. Not even if you could pay her.
+
+EMMA LOSS
+Hey, just a minute.
+
+JOHNNY
+(to Emma)
+He can't pay. I can pay.
+
+AMSTERDAM
+(watching this)
+Maybe I should offer Johnny as a bouncer for your busy nights.
+
+MOTHER JOYCE
+(laughs)
+A bouncer! I don't know if he could bounce on a feather bed. He wants to
+be a character like you, is that it?
+
+AMSTERDAM
+He's got his own ideas. Too full of Tammany, maybe, but he's a fast friend.
+
+Across the room, Johnny is talking to Emma Loss. She NODS and starts to
+LEAD him upstairs.
+
+MOTHER JOYCE
+But in my trade you go on your instincts. My instincts says to heed you,
+and my memory of your father says I'm right. We'll shake on it.
+(Amsterdam grabs her hand)
+And have one of my best to seal the bargain. Megs!
+
+A lanky blonde, seated across the room near Jenny, bestirs herself.
+
+MOTHER JOYCE
+Come here and show my new friend why we're worth special care.
+
+Jenny watches MEGS move toward Amsterdam.
+
+CUT TO
+
+79 INT. ASSIGNATION ROOM/MOTHER JOYCE'S
+
+Big enough to contain a half-gutted mattress supported by a rickety bed,
+some worn sheets and a few GUTTERING CANDLES.
+
+Johnny undresses as Emma sits on the bed and starts to take off her dress.
+
+JOHNNY
+You liked that old man? You would have gone with him?
+
+EMMA LOSS
+I like anyone that pays, that's all.
+
+JOHNNY
+Tell me what he wanted you to do.
+
+EMMA LOSS
+He mostly wanted comforting.
+
+JOHNNY
+I never seen hair so black. Can you take the pins out?
+
+EMMA LOSS
+It takes so long to do back up.
+
+He sits beside her and starts slowly, almost tenderly, to remove the pins.
+
+79 CONTINUED:
+
+JOHNNY
+Did your mother have the same color?
+
+I don't know.
+
+JOHNNY
+(as the hair cascades over her bare shoulders)
+Lie back, I want to look at you.
+(his eyes glide along her body)
+What's that mark?
+
+EMMA LOSS
+I always had it.
+
+JOHNNY
+(touching her lightly)
+And there? Is that a scar?
+
+EMMA LOSS
+(she looks at her naked belly)
+There was a baby. They cut it out.
+
+JOHNNY
+And that on your shoulder? That looks old.
+
+EMMA LOSS
+Yeah, I got that when I ...
+
+JOHNNY
+(interrupting, quiet)
+I don't want to know when. Don't tell me about before or what you used to
+be, I don't want that.
+
+EMMA LOSS
+What about your scars. Do you have scars?
+
+JOHNNY
+None I ever seen. Maybe you can find them.
+
+Her hands and mouth cover his body. He closes his eyes.
+
+CUT TO
+
+80 INT. ASSIGNATION ROOM/MOTHER JOYCEIS
+
+Another room. Amsterdam and Megs are undressing each other when Jenny
+walks in.
+
+AMSTERDAM
+Go on. I can see you later.
+Megs leaves, brushing past Jenny.
+
+JENNY
+What are you doing?
+
+AMSTERDAM
+I couldn't decline what Mother Joyce offered. It's in the interests of
+business. You understand business.
+
+JENNY
+Sure I do. But there's something else I still don't understand. At
+Sparrow's Pagoda, did you hit me, knowing it was me?
+
+AMSTERDAM
+Yeah. I did.
+
+She HITS him. In the face. Hard. Not a slap. A solid PUNCH. His nose
+starts to gush blood. He puts his arm under it to staunch the flow,
+keeping his eyes an her.
+
+JENNY
+Meantime's over.
+
+AMSTERDAM
+Oh fine. That's fine. I'd be celebrating but I'm losing too much blood.
+
+Jenny tears part of the sleeve from her blouse and puts it against his
+nose.
+
+JENNY
+Put your head back.
+
+AMSTERDAM
+That don't work.
+
+JENNY
+Put your head back I said.
+
+AMSTERDAM
+(as she tends to him)
+So why so sudden, then?
+
+JENNY
+Sudden? Every day I see you and you complain I can't decide. Now I decide,
+you say it's sudden.
+
+AMSTERDAM
+It's the whore did it, then.
+
+JENNY
+Don't flatter yourself.
+
+AMSTERDAM
+It's because you're jealous.
+
+JENNY
+It's because you didn't lie about hitting me.
+
+AMSTERDAM
+Christ, I wish I had. Come here, then.
+
+He reaches to pull her down on the bed.
+
+JENNY
+Not here. There's too much past.
+
+CUT TO
+
+81 INT. ROOM/DEAD RABBIT HOUSE
+
+The room where Johnny fetched Amsterdam out for the fight. Amsterdam and
+Jenny have just made love.
+
+JENNY
+It must be morning.
+
+AMSTERDAM
+I don't care, I'm not getting up.
+
+JENNY
+This is what you meant, then? It's going to be just the same from now on?
+
+AMSTERDAM
+What?
+
+JENNY
+Every morning I wake up next to you.
+
+AMSTERDAM
+Or you don't wake up at all.
+
+JENNY
+We only just started in and you're already threatening me.
+
+AMSTERDAM
+It's not a threat.
+(no teasing now)
+It's a declaration of love.
+
+JENNY
+I prefer my kind. This kind.
+
+She reaches beneath the pillow and pulls out a fine DIAMOND RING, which
+she slips on his finger. Amsterdam reacts with surprise, gratitude and (of
+course) suspicion.
+
+AMSTERDAM
+What's this? Where'd you get this?
+
+JENNY
+You said I was the best thief in the Five Points. But I got
+restless. Will you wear something I got?
+
+CUT TO
+
+82 EXT- UPTOWN STREET DAY
+
+A long street of tree-shaded houses. Spacious lawns. North of the Five
+Points. Considerably north. This is the first time we have been outside
+the Five Points and Paradise Square. The city
+rent place.
+
+Jenny and Amsterdam stand near a residence at the end of the street.
+Amsterdam, dressed in a suit, can't quite conceal his wonder as he stands
+staring at the house.
+
+AMSTERDAM
+What is this place?
+
+JENNY
+My jeweler's.
+
+She GESTURES for him to follow her and we see now that she is dressed in a
+maid's outfit.
+
+JENNY
+Come on.
+
+AMSTERDAM
+I don't see nobody.
+
+JENNY
+That's the best time. They're all having lunch.
+
+CUT TO
+
+83 EXT. UPTOWN HOUSE DAY
+
+At the back door of the grand house, as Jenny OPENS it slowly and glances
+inside.
+
+AMSTERDAM
+You're off your head.
+
+JENNY
+(pleased, showing off)
+You can wait on me a minute. Or I'll see you back in the Points if you're
+scared.
+(Amsterdam looks at her)
+Don't worry. I know every house on this street. They all leave their doors
+open. They live like they're not in New York.
+
+She GOES IN the house. Amsterdam WATCHES through the window, sees her
+going up stairs. Then he looks at the dining room, visible distantly
+through an open kitchen door.
+
+He WATCHES, fascinated, fragments of the everyday rituals of a world he's
+never seen. As SOUNDS drift listlessly from the street beyond, and a light
+BREEZE blows, WE SEE IN A SERIES OF DISSOLVES the serving of a meal;
+SERVANTS carrying and passing plates; FAMILY MEMBERS reaching for dishes
+and passing them; the LOW KURMUR of Konversation in accents he has never
+heard. It's not so much that these people and their life are foreign to
+him. It is as if he has stepped into another Dimension.
+
+He loses his sense of time, and of danger. So that when Jenny TOUCHES his
+arm she surprises him thoroughly.
+
+JENNY
+Come on. I might still be taken for a maid. But you're nobody's notion of
+a butler.
+
+84 EXT. UPTOWN STREET DAY
+
+As Jenny and Amsterdam walk away from the house. She holds his arm. They
+look young and full of hope, like a servant couple just over from the old
+country enjoying a day off.
+
+JENNY
+The Police Commissioner lives the next street over. I was thinking of
+visiting him next month, but cops don't buy goods. They keep all their
+graft in cash.
+
+Amsterdam looks at the houses with wonder that he tries to make casual.
+She opens her satchel a little way, then NUDGES him to have a lock at the
+swag inside.
+
+JENNY
+How's that for ten minutes?
+
+AMSTERDAM
+It's a lot to fence.
+
+JENNY
+I'm not going to fence it. I'm going to keep it and take it where no one
+will recognize it.
+
+AMSTERDAM
+Where would that be?
+
+JENNY
+Somewhere west. Far west. Past the Mississippi River, somewhere into that
+territory.
+
+AMSTERDAM
+That's a hard journey for a woman alone.
+
+JENNY
+You'd be with me.
+
+AMSTERDAM
+You got it all planned and straight, is that it?
+
+JENNY
+Once I said I'd be with you I wanted someplace we could be together.
+Someplace better than here. What's the matter with that?
+
+AMSTERDAM
+Nothing. Except there's no place but here for me right now. I got to
+settle things.
+
+JENNY
+Yeah, I know, but I'm talking about settling down, not settling debts.
+
+AMSTERDAM
+You don't have my obligations.
+
+CUT TO
+
+85 EXT. PARADISE SQUARE DAY
+
+The Dead Rabbits SWEEP across the bustling square, Johnny and Amsterdam in
+the lead.
+
+JOHNNY
+It's a fair day's wage. We just move the people out of the building, and
+collect.
+
+AMSTERDAM
+Who from?
+
+JOHNNY
+Who owns the building.
+(points)
+Them.
+
+The gang approaches a tumbledown BUILDING called Jacob's Ladder because of
+the iron rungs that run straight up its front to the roof. Two
+well-dressed GENTS stare at the building fretfully.
+
+GENT 1
+(to Johnny)
+I'm glad you came in force. There's half a hundred people still in there.
+
+GENT 2
+Maybe more.
+
+GENT 1
+And not one's given rent the whole year.
+
+AMSTERDAM
+You live here?
+
+GENT 1
+No, no, of course not.
+
+AMSTERDAM
+I mean in the city. A ways north, I'll bet.
+
+GENT 2
+Yes. Why?
+
+A RIFLE SHOT sounds from an upper window and a Rabbit falls wounded. They
+all DUCK FOR COVER.
+
+JOHNNY
+It's not just citizens in there?
+
+GENT 1
+Of course it is.
+
+JOHNNY
+with arms?
+
+GENT 2
+From their damned gang. Some of them live there.
+
+AMSTERDAM
+Some of who?
+
+GENT 2
+The Native Americans.
+
+JOHNNY
+We didn't contract for that.
+
+GENT 1
+We'll pay extra for the danger.
+
+AMSTERDAM
+No danger. But you will pay extra.
+(turns; to gang)
+Let's go and greet some Natives.
+
+Under SCATTERED RIFLE FIRE and a barrage of ROCKS, the GANG STORMS the
+building, charging inside and starting up the ladder as if they were
+attacking a medieval fortress. ARMS reach out from windows to try and pull
+them off. The Rabbits respond with knives and PISTOL SHOTS. As they charge
+inside, the CAMERA RISES to an OVERHEAD shot and we ...
+
+DISSOLVE TO
+
+86 EXT. PARADISE SQUARE DAY
+
+Later. The same OVERHEAD ANGLE. BODIES litter the street everywhere. Some
+dead and wounded Rabbits lie near NATIVES who have gone to their reward.
+Some BUILDING RESIDENTS wander the street in a daze. JOHNNY is collecting
+money from the Two Gents, who look very pleased as Amsterdam approaches
+with Jenny. He's carrying a rifle he took from the building.
+
+AMSTERDAM
+(to Gents)
+Alright, then?
+
+GENT 2
+Very much alright. Quite a spectacle.
+
+AMSTERDAM
+Oh really? Just the entertainment you favor, is it? Pardon me for a
+moment, gents.
+(he turns to Jenny)
+You wanted to settle, you and me. That's so, isn't it? You did agree, did
+you not.
+
+JENNY
+I did, yes.
+
+AMSTERDAM
+Good, because I didn't want to act hasty. I can never tell for sure what
+you're thinking, and sometimes I'm not always sure what you're saying...
+
+GENT 2
+(interrupting)
+Excuse me, we have to finish and...
+
+AMSTERDAM
+(to Gent 2)
+Excuse me. We'll conclude in a moment.
+(back to Jenny)
+Where do you settle?
+
+JENNY
+Amsterdam, what are you saying?
+
+AMSTERDAM
+I'm asking, where does anyone settle?
+
+JENNY
+I don't know, you mean a place, a home?
+
+AMSTERDAM
+A home yes.
+
+GENT 1
+Excuse me, but we really must conclude.
+
+AMSTERDAM
+(ignoring him)
+Well, I'm saying to you then, Jenny Everdeane, welcome home.
+
+No one sees it coming. Amsterdam FLASHES around, swinging the BUTT of his
+rifle into Gent l's midsection, doubling him over and sending him
+breathless to the ground. Amsterdam SPINS again and swings the butt into
+Gent 2's face, knocking him cold.
+
+AMSTERDAM
+Fine place. Room enough for all.
+(to Johnny)
+Get them out of here.
+
+GENT 2
+They'll come back looking for you.
+
+AMSTERDAM
+With whose help? The Natives? They won't help these flourishing bastards
+even for ned.
+(to Jenny)
+Tell any who wants they can stay. If they can't pay rent they can join the
+gang. But make sure the best rooms go to us. Look around ...
+
+JENNY
+(interrupting)
+I know this building.
+
+CUT TO
+
+87 INT. UNDERGROUND/JACOB'S LADDER
+
+As Jenny leads Amsterdam through a narrow tunnel. The place is like a
+weird catacomb: it is narrow and dank, filled with bones of dead animals,
+of the two- and four-legged variety.
+ 
+JENNY
+These lead all under the Square, into the Brewery and out again from
+there. They're closed off and forgotten since the Reverend opened the
+mission. Pass me the candle.
+
+Amsterdam hands Jenny a stump of candle, which she holds high enough to
+see...
+
+... that the tunnel has opened onto a small room just above the foundation
+of Jacob's Ladder. It's a graveyard, memorializing gang members gone to a
+better world--or worse. Trophies from many gangs--including the bones and
+skulls of some Dead Rabbits-litter the place in loose ritual fashion, as
+if this were a catacomb in Palermo.
+
+Stooping low, Jenny walks to a narrow corner of the room, where several
+PAVING STONES have been laid in the rough pattern of a cross. A slab of
+slate serves as a headstone, and on it, in fading paint, barely legible,
+is the name "Maggie Everdeane."
+
+JENNY
+We lived in this building till she lost her seamstress work and we went to
+the Brewery. One day she slept so drunk she never woke and I brought her
+back here. Dug this myself.
+(beat)
+Families. Give here what I gave you.
+
+Amsterdam hands her a chest that looks like a small version of
+Blackbeard's treasure box. She opens it and holds the candle close: inside
+is the swag from all her cat burglaries. There's a lot of it, GLITTERING
+with promise in the GUTTERING flame. Jenny starts to dig in her mother's
+grave.
+
+JENNY
+She'll keep an eye on this for us. How about some help?
+
+He KNEELS beside her and they dig at the grave with stones and bones.
+
+AMSTERDAM
+You trusting me with your treasure, then?
+
+JENNY
+Just take another look at it to remind you. I can always do fine on my own.
+
+Amsterdam reaches inside the chest, pulls out a ring and SLIPS it onto
+Jenny's dirt-covered finger. She KISSES him.
+
+JENNY
+What's mine is yours, is that it?
+
+AMSTERDAM
+I could use this, too.
+
+From the bag he holds up a small GOLD CROSS.
+
+JENNY
+You making an offering to the Reverend Raleigh?
+
+Amsterdam slips the cross into his pocket without answering and starts to
+dig again.
+
+AMSTERDAM
+Are you sure we can trust your mother?
+
+CUT TO
+
+88 INT. HALLWAY/TAMMANY
+
+BOSS TWEED listens to an angry BILL THE BUTCHER as they walk briskly down
+a long marble corridor lined with formal portraits of former Tammany
+worthies.
+
+BOSS TWEED
+The building and how many?
+
+BILL THE BUTCHER
+A dozen at least of my Natives.
+
+BOSS TWEED
+The Dead Rabbits are a wooly bunch alright.
+
+BILL THE BUTCHER
+I want at them. All of them, and Amsterdam especial. Now.
+
+BOSS TWEED
+Not just now. It's between too late and too soon. They've become a little
+too prominent for comfort, but they're still too small for you to soil
+your hands. The man who killed Monk Eastman pushing around a mob of
+upstarts. It's practically undignified.
+
+BILL THE BUTCHER
+To hell with any of that.
+
+Tweed stops under a grand new PORTRAIT of himself.
+
+BOSS TWEED
+Very well, and to hell as well with any plans you and I may have for
+growth and change and even greater reward. You'll never advance anywhere
+beyond the limited perimeter of your imagination.
+
+BILL THE BUTCHER
+I don't got to advance anywhere further.
+
+BOSS TWEED
+Got to, no. But ought to.
+
+He hands him a fancy embossed envelope.
+
+BILL THE BUTCHER
+What's this?
+
+BOSS TWEED
+(eyes merry)
+An invitation. To dinner.
+
+CUT TO
+
+89 INT. JENNY AND AMSTERDAM'S ROOM/JACOB'S LADDER DAY
+
+Better by a little than their place in the old hideout. There's even a
+window that throws some LIGHT an the few bits of castoff furniture in the
+room... an the bed where Jenny sleeps with her face turned to the dawn
+light... and an Amsterdam, who is dressing quietly in the corner. He
+checks in his coat Pocket,...finds the gold cross ... and leaves. Jenny
+does nat stir.
+
+CUT TO
+
+90 EXT. GRAVEYARD DAY
+
+START CLOSE on: Amsterdam's hand, as he places the gold cross in a small
+hole at a grave site, then covers it over with dirt.
+
+Then WE SEE: Amsterdam is kneeling at his father's grave.
+
+AMSTERDAM
+He never had his own cross. Thanks.
+
+Now he STANDS and TURNS. Jenny is half-hidden behind an elm tree.
+
+AMSTERDAM
+Your touch is light, but as a tracker you work awful heavy. Come ahead.
+Now that I met your mother, you should come and meet my father.
+
+As Jenny starts to WALK towards the grave, we see for the first time ...
+
+... that we are in the country, a graveyard in an open field with an
+astonishing PANORAMA of New York and the East River. (MATTE) The cemetery
+is atop a hill, and the East River, busy with ferries and vessels of
+trade, glistens in the near distance. Just beyond it is Manhattan Island:
+low buildings, winding narrow streets, houses surrounded by open land. A
+BREEZE off the river rustles Jenny's dress and blows her hair as she steps
+up to the grave site, looks at the headstone and sees ...
+
+... it is blank. No name, no date. Clean stane.
+
+JENNY
+You should finish the stone.
+
+AMSTERDAM
+It'll be finished when everything's finished. That's when helll rest. The
+hand that killed him is the hand that will bury him in peace.
+
+He holds up his open hand, covered in dirt.
+
+JENNY
+It was Bill killed him, not you.
+
+AMSTERDAM
+With my hand on the knife.
+
+JENNY
+And his hand on yours!
+
+AMSTERDAM
+And me feeling the life go out of my father! He looked at me ... he looked
+at me and he swore me with his eyes. I could feel his spirit... I say I
+could feel it rising... flowing through the knife like blood into my own
+heart.
+
+JENNY
+You talk like he lives in you.
+
+AMSTERDAM
+I don't want him to live, I want him dead! I kill Bill and I'm free of
+them both!
+
+JENNY
+You think you can be free that easy? You need your way so clear, and
+you''' use anything to clear it. Anyone, too. Me, everybody, we're all
+just a way for you to settle your damned ghosts.
+
+AMSTERDAM
+You're part of me now, like the gang is part of me and my father both. If
+I can bring us to glory, then my father... like The Book says...my father
+can enter his house justified.
+
+As Amsterdam continues to talk we ...
+
+DISSOLVE TO
+
+91 MONTAGE
+
+The growth of the Dead Rabbits, as we continue to HEAR Amsterdam speak
+passionately to Jenny. We first see the Rabbits surrounding and
+OVERTURNING a fire wagon; this starts as a live action scene but soon
+BLEEDS into SEPIA, then freezes like an old magazine illustration.
+
+AMSTERDAM (V.O.)
+All of us is set on the same road together. The gang can have everything
+they ever wanted and get me what I want while they're doing it. We're not
+interfering with each other, we're helping each other. It's all the same,
+we're all one together.
+
+We CONTINUE with sepia illustrations: of Dead Rabbit morts picking pockets
+and purses along a crowded Broadway; climbing onto a wagon distributing
+newspapers and tossing off the occupants, taking over the route
+themselves; swarming all over a merchant ship in the harbor as the captain
+doles out protection money to have his cargo unloaded.
+
+AMSTERDAM (V.O.)
+We'll all have a share of the profit like we'll all have a portion of the
+fame. If we come to be notorious, that only means we're strong, and if
+we're strong that means we're ready.
+
+A sepia illustration of a fire wagon rounding a corner, refurbished and
+manned by Rabbits, all wearing striking uniforms with short capes called
+TAMLAS. (N.B.: they will be seen wearing the tanlas from these uniforms
+during all gang activity throuqhout the rest of the film. Only Johnny,
+Amsterdam and Jenny do not wear them.)
+
+The sepia illustration turns to live action as the fire wagon TEARS around
+Paradise Square, SCATTERING everyone in its path, the Dead Rabbits
+laughing, their tamlas FLYING behind them.
+
+AMSTERDAM (V.O.)
+And I'll know that time, know it right off when it comes. Just like I knew
+you.
+
+The live action DISSOLVES TO...
+
+... the last image in the montage: an ILLUSTRATION of Amsterdam, a
+half-decade older, turned out in fancy clothes, but with all his
+fierceness intact. This is a magazine illustration, and there is a dated
+headline over his picture: "Fresh Scourge of the Five Points." The date
+reads "June, 1863.11
+
+AMSTERDA.M (V.O.)
+And just like that, there'll be no way of stopping till it's ended.
+
+From this illustration, we quickly...
+
+DISSOLVE TO
+
+92 EXT. RIVER DAY
+
+... Amsterdam, as he is in the picture, but in live action, SPRINGING to
+his feet and YELLING at a couple of PRIZEFIGHTERS doing battle in a ring.
+
+AMSTERDAM
+Now! Finish him now!
+
+Far up the sparkling Hudson, a RAFT floats slowly upstream. It's a huge
+thing (perhaps half a city block in size) crowded with SPORTSMEN. They
+form a LARGE RING around two mammoth PRIZEFIGHTERS who are brawling with
+bare knuckles. Amsterdam and Johnny are among the spectators.
+
+JOHNNY
+Our man will take him in another five. What puts you in such a hurry?
+
+FIGHTER 1 fetches FIGHTER 2 a powerful roundhouse punch that sends him
+CRASHING to the deck. As soon as he hits the floor, a CARD GIRL appears
+carrying a sign announcing "Round 37.11 SECONDS drag the stupefied Fighter
+2 to his corner, while two BOYS minister to Fighter 1, SUCKING THE BLOOD
+off his knuckles.
+
+A GONG sounds to announce the appearance, in the center of the ring, of
+the fight promoter, a florid and fulsome P.T. Barnum .
+
+BARNUM
+I want to extend thanks and admiration not only to our two combatants
+today, but to their sponsors, the Dead Rabbits ...
+(indicates one side of the ring)
+... and the Native Americans.
+
+He FLINGS an expansive arm toward the opposite side of the ring, where
+Bill the Butcher sits with Daniel Killoran and a large group of Natives.
+Amsterdam and the Butcher eye each other with all the old animosity: it's
+almost ceremonial now, part of the Tradition.
+
+BARNUM
+Their generous support allows me to bring you this splendid exhibition.
+With their indulgence I'd like to remind you also of the further wonders
+that await you at my new Museum, located on Broadway...
+
+There are BOOS from the crowd at such untoward commercialism.
+
+BARNUM
+... P.T Barnum's gallery of wonders from worlds natural and unnatural,
+from nature and from myth!
+(continued boos)
+And to encourage you also in the view that new Albany ordinances
+forbidding sportive violence on land shouldn't dampen your enthusiasm for
+wagering. Bets down, entlegen, and you gents..
+(indicated fighters)
+... fists up!
+
+The Fighters come to center ring, circle each other, then start slugging.
+A flurry of punches, and Fighter 2 GOES DOWN again. As he hits the deck,
+the round automatically ends and the between-rounds ritual takes place
+again.
+
+JOHNNY
+Dobbs will take him this round. That'll be something. The Natives has
+never lost before.
+
+AMSTERDAM
+Because there's never been a Dead Rabbit fighting before.
+
+JOHNNY
+That'll shame them thorough.
+
+AMSTERDAM
+There'll be worse than shaming. We only got the Natives in range.
+
+It's time to squeeze the trigger, John.
+
+The next round begins and the Fighters set to, MAULING each other
+furiously.
+
+JOHNNY
+Don't push the Natives too far, Amsterdam. Otherwise it'll be Tammany
+pushing back.
+
+AMSTERDAM
+That don't matter any more.
+
+JOHNNY
+It does matter, and it's going to matter even more. Tammany's the heart
+and future of this city. If the Rabbits is going to keep growing, we're
+going to have to throw in with Tammany some way.
+
+The action in the ring is FURIOUS. The Crowd cheers. Fighter 1 seems about
+to go down, but recovers and starts returning punishment to Fighter 2.
+
+JOHNNY
+They got that Conscription Act from Washington keeping them busy, but they
+won't leave us alone forever. And the Natives is strong as they ever been!
+
+In the ring, Fighter 1 drives Fighter 2 to the deck again, and this time
+KNOCKS HIM COLD.
+
+AMSTERDAM
+(indicates Fighter 1)
+You call that strong, John?
+
+In the ring, a couple of agitated NATIVE AMERICANS are trying to get at
+the Rabbit-sponsored winner. RABBITS start to RUSH the ring but Amsterdam
+WAVES them back.
+
+AMSTERDAM
+(to Johnny)
+This is our time now!
+
+BARNUM
+(trying to make official announcement)
+The winner... gentlemen, please! ... the winner in the 39th round is the
+Dead Rabbits champion, High Water Dobbs ... please, gentlemen!
+
+The unofficial ring COMBAT continues, knocking Barnum about, as the new
+champ throws marauding Natives around like empty flower sacks. Amsterdam
+iumps into the fray, PUSHES some Natives away. They start for him but the
+champ stands them off while Amsterdam WHISPERS to Barnum.
+
+BARNUM
+Just a moment, please, gentlemen! There's a word for us all. Amsterdam
+promises ...
+(Amsterdam whispers to him briefly)
+
+... something large, something grand, something epic. The greatest these
+are my own words, of course the greatest righting of the gravest wrong
+ever done in the Five Points.
+
+The crowd quiets, their sporting blood still up, curiosity engaged. Only
+Johnny seems glum, concerned.
+
+This is to be a duel not for money, but for honor! A fight to the death...
+
+AMSTERDAM
+(interrupting, emphasizing)
+To the death. If he can stand up to it.
+
+BARNUM
+... on which money, I hasten to add, may certainly be wagered. The names
+of the two champions are Amsterdam Vallon, here beside me, and ... and Mr.
+William Poole, known to all as ...
+
+BILL THE BUTCHER
+(leaping up)
+They know me by any name, you son of a bitch!
+
+The crowd ERUPTS: this is a death match between Olympians. Only Johnny
+does not rejoice. He looks at Amsterdam's face, flush with the belief that
+the right moment has finally come, and he has to turn away. He walks away
+from the ring as Killoran tries unsuccessfully to PULL the Butcher down
+and cool him off.
+
+BILL THE BUTCHER
+(yelling)
+I'll have him stretched on a spit!
+
+Killoran is beside him now, whispering urgently. Bill the Butcher shakes
+his head vehemently.
+
+BILL THE BUTCHER
+(to Killoran)
+You got no more to say about this now.
+
+92 CONTINUED:
+
+AMSTERDAM
+Come on, Bill! Let go of your Tammany wet nurse! My challenge, your terms.
+
+KILLORAN
+(to Bill)
+Don't do it, you can't do it! There's the Conscription to deal with, and
+elections coming, too. That's your calling now, not these ancient quarrels.
+
+BILL THE BUTCHER
+I'll do my work. But this is a shame, a public shame. It demands my
+attention.
+(yelling to Amsterdam)
+Fine, then! Fine and welcome! Day after elections, we'll meet with seconds
+on neutral ground to work out time and terms. It will be done and done.
+
+He walks to the ring, holds his HAND out to Amsterdam.
+
+BILL THE BUTCHER
+You know this hand. Last time it was this close, it was on your throat.
+
+AMSTERDAM
+I remember it better from another time.
+
+He takes the Butcher's hand. The duel is on.
+
+CUT TO
+
+93 INT./EXT. DRAFT REGISTRATION OFFICE
+
+START CLOSE ON: money being counted out: $300. And a RECEIPT quickly
+written and given. We think at first this must be a bet being made on the
+duel between Amsterdam and Bill the Butcher-
+
+But we go WIDER to reveal: an office, tables and chairs, and a line. Two
+lines, in fact. One, very long, filled with young man. And the second,
+very short, in which a CLERK is handing the receipt to a PROSPEROUS YOUNG
+MAN.
+
+CLERK
+Your release from service, according to the terms of the Conscription Act.
+Keep it somewhere safe.
+
+PROSPEROUS YOUNG MAN
+I'll keep it with me.
+
+There is only one OTHER PERSON standen behind the Prosperous Young Man,
+and he steps up quickly and hands $300 to the Clerk as the Prosperous
+Young Man heads for the door...
+
+... past the second line, which snakes out into the street, filled with
+draftees who SHOUT at the Prosperous Young Man as he leaves.
+
+DRAFTEE 1
+Hey, tell your Papa to pass me three hundred dollars too.
+
+DRAFTEE 2
+Tell him if he don't we'll come get you on our way to Gettysburg.
+
+The Prosperous Young Man HURRIES away, but spots Boss Tweed and Daniel
+Killoran as he leaves.
+
+PROSPEROUS YOUNG MAN
+Oh, Mr. Tweed, I'd take the time to say proper thanks but...
+
+BOSS TWEED
+No thanks owed, son. Conscription's Federal Law, and so's the $300
+exemption. You might remind your father, though, that you saw me here
+today, minding that the law's strictly and equitably enforced.
+
+The Prosperous Young Man hurries out, as the Draftees continue to holler
+abuse. Boss Tweed HEADS for them, followed by Killoran.
+
+KILLORAN
+You see how much they like this damned law? Enforcing it's going to hurt
+us in elections.
+
+BOSS TWEED
+It's not my law, and not my liking, either. But Washington's always
+treated us with sufferance, and we must extend the same regard to them.
+(to Draftees)
+Boys, we are bound by honor and love of country to fight in this time of
+crisis!
+
+DRAFTEE 4
+We're bound by our wallets and the emptiness in them, that's what!
+
+BOSS TWEED
+Boys, the union is in distress, our land is wounded deeply, our future is
+suddenly a frail and finite thing. We must ask ourselves how...
+
+DRAFTEE 5
+Yeah, you could talk a dog off a meat wagen, Tweed. But let's see you
+fight!
+
+DRAFTEE 6
+That'd be worth twice three hundred dollars to see!
+
+BOSS TWEED
+(as he backs off)
+Thank you, boys, thank you for your understanding.
+(to Killoran)
+Holy Mother.
+
+Tweed hustles Killoran outside, where the line of Potential draftees
+snakes down the block and into Paradise Square.
+
+BOSS TWEED
+Daniel, between the blindness of Washington and the damned brass of Bill
+Poole Tammany will fall like an autumn leaf. We must take what measures we
+can. Attend to the Butcher. After the elections, of course. Unless you
+think Amsterdam will do our work for us first.
+
+KILLORAN
+He could at that. Then he would become a fresh concern
+
+BOSS TWEED
+Not so daunting as this.
+(turns to the Draftees in the street)
+Boys, I've just had a word with your compatriots inside, and if you show
+half the sand and a fraction of the spirit they have manifeste for joining
+this great struggle...
+
+There is a chorus of BOOS and JEEPS from the Draftees outside.
+
+OUTSIDE DRAFTEE
+Put a rope around it, Tweed, and swing in your own wind!
+
+BOSS TWEED
+Great weeping Jesus, Daniel, whatever happened to the halcyon days?
+
+CUT TO
+
+94 EXT. POLLING PLACE/PARADISE SQUARE DAY
+
+Election Day pandemonium. The Dead Rabbits aren't working the repeaters
+this day, but Johnny observes the action as Native Americans--identifiable
+because of their long dusters--strongarm REPEATERS into the polls.
+
+His attention is drawn to a HARRIED TELEGRAPH OPERATOR, who is being
+SHOUTED at by Natives as he is inundated by pieces of paper and teetering
+volumes of the voting registry. It's chaos. The poor Operator can't cope.
+
+CUT TO
+
+95 INT. TAMMANY HALL
+
+It's chaos here, too. The large main room is filled with TELEGRAPH
+OPERATORS receiving election returns. There is SHOUTING and CONCERN
+throughout the room. Even Boss Tweed shows signs of worry.
+
+BOSS TWEED
+I swear that science will be the death of industry.
+
+KILLORKN
+The telegraph moves the voter tabulation by wire faster than we can get
+the repeaters in and out.
+
+BOSS TWEED
+(losing patience)
+Your role is to expedite, Daniel, not to explain.
+(Killoran looks at him blankly)
+Do something!
+
+JOHNNY
+If you'll allow me.
+
+They both TURN to see Johnny standing coolly before them.
+
+JOHNNY
+There's a scheme we might try.
+
+KILLORAN
+You got no place among us, get the hell out of here however you come in.
+
+BOSS TWEED
+A moment please, Daniel. One moment.
+(to Johnny)
+You're a Dead Rabbit, aren't you? Friend to Amsterdam?
+(Johnny nods)
+And therefore no particular friend to us. What brings you here?
+
+JOHNNY
+Opportunity. Science and opportunity.
+
+KILLORAN
+You got opportunities enough among your own.
+
+JOHNNY
+I did have. But times change faster than people. Some people, anyhow. And
+I like to stay with the advantage.
+
+BOSS TWEED
+Well, then, a Gentleman of foresight! Are you suggesting... or perhaps
+you're even saying... that your friend and your gang may be ... well,
+lagging behind the great march of history?
+
+JOHNNY
+Something like that, yeah.
+
+BOSS TWEED
+Well fine, step up to history then and tell us what you have in mind.
+
+CUT TO
+
+96 EXT. POLLING PLACE/PARADISE SQUARE DAY
+
+START CLOSE ON: telegraph wire, HUMMING with the election returns. And,
+below it--far below--Johnny, Killoran and a couple of TAMMANY BOYOS,
+looking up at the wire.
+
+BOYO 1
+I ain't goin' up there. I got my election suit on.
+
+JOHNNY
+This election'll be over unless we get up there.
+
+KILLORAN
+"We?" This was your notion, you go up there.
+
+BOYO 2
+(looking at polling place)
+Him. He looks likely, and he ain't workin'.
+
+He points over at Sheeny Mike Kurtz, who is observing the action at the
+polls.
+
+JOHNNY
+(calls to him)
+Sheeny Mike, you want to make ...
+(to Boyo 1)
+...how much?
+
+BOYO 1
+A dollar.
+
+JOHNNY
+(to Sheeny Mike)
+Five dollars? Just to help us?
+
+SHEENY MIKE
+(a bit wary)
+What's the pitch, Johnny? Amsterdam wouldn't like it, working with Tammany.
+
+BOYO 2
+Well, now, if Amsterdam wouldn't like it ...
+
+JOHNNY
+(interrupting)
+He knows about it. Welre working a whole new scheme. But I won't tell him
+youlre helping, if that's the way you want it. And you can keep the full
+five. Just start climbing.
+
+SHEENY MIKE
+(beat)
+Where's the ned?
+
+Boyo 2 hands Sheeny Mike five bucks, which he pockets as Boyo 1 gives him
+a large pair of SHEARS. Mike wipes his palms on his pants and STARTS UP
+the pole.
+
+For Killoran and the Tammany Boyos, this is like a circus stunt. They
+watch Mike's ascent with pleasure.
+
+Sheeny Mike is quite pleased with himself as he nears the top of the pole.
+He turns to look at Johnny and the Tammany group below. A couple of
+SPECTATORS have stopped to watch as well.
+
+Mike gets to the top of the pole, REACHES OUT--STRETCHES OUT-toward the
+telegraph wire with the shears...
+
+... strains... reaches ... MAKES THE CUT.
+
+On the ground, Johnny looks relieved. The Boyos offer a partmocking round
+of applause.
+
+In the spirit of things, Sheeny Mike TURNS to acknowledge the applause.
+Just briefly. But long enough so he's distracted. He sees the upturned
+FACES fill suddenly with fear, and he TURNS when he HEA.RS a sharp, odd
+WHISTLING NOISE.
+
+A LIVE TELEGRAPH WIRE is coming at him. He doesn't even have time to
+scream. The wire hits him, whipping around him as JOLTS OF NT leap through
+his body and he FALLS to the ground.
+
+CUT TO
+
+97 EXT. PARADISE SQUA.RE DAY
+
+HANDS pick up the lifeless body of Sheeny Mike and start to carry it
+off... past Amsterdam and Jenny, who stand on one side of it, watching...
+and Johnny, who is on the other.
+
+JOHNNY
+He was working a Tammany job, Tammany will see to him.
+
+AMSTERDAM
+He wasn't Tammany. Not like you.
+
+JOHNNY
+He made the right choice.
+
+AMSTERDAM
+You don't know what you're saying! You killed one of our own. One of your
+family!
+
+JOHNNY
+(slowly)
+I didn't know he was going to die, Amsterdam. And don't tell me what's my
+own and what isn't. You're not my family. And I swear, I swear on the
+Virgin Mother's eyes ... I know what I'm doing, Amsterdam. It's you that's
+always been blind.
+(they look at each other)
+I'll say my farewells.
+
+Johnny KNEELS down beside Mike's body, brushes the hair from his brow.
+
+JOHNNY
+You still smell like drink.
+
+He nods to the Rabbits to carry the body on and, as he RISES a half-dozen
+NEWSBOYS DASH into the square, carrying fresh copies of the Tribune and
+crying...
+
+NEWSBOYS
+New Tammany victory! Fernando Wood elected to third term! Tammany ticket
+prevails by narrow margin! Boss Tweed vows
+Armageddon for crime!
+
+JOHNNY
+(looking at Amsterdam and Jenny)
+Can't you hear the future?
+
+He walks away from the gang, through the rushing Newspaper Boys.
+
+CUT TO
+
+98 INT. SPARROW'S CHINESE PAGODA
+
+The place has been cleared out for a war council: Amsterdam with a couple
+of Dead Rabbits, and Bill the Butcher with a few Natives. They sit at a
+round poker table with a green felt top.
+
+JIMMY SPOILS
+We say the Square is the place. Let Barnum sell the tickets for a share of
+the price...
+
+NATIVE SECOND
+(interrupting)
+A small share.
+
+JIMMY SPOILS
+And the Rabbits and Natives will split the majority portion equal.
+
+NATIVE SECOND
+Who works the crowd?
+
+AMSTERDAM
+Nobody. This is a day of honor. No pickpockets, no lush-rollers, nothing.
+
+BILL THE BUTCHER
+I'll cut their hands off. After the fight.
+
+NATIVE SECOND
+We got to fix positions for everyone so there won't be no other fighting.
+I know for fact the Roach Guards has sworn blood against the Black Birds,
+and the Forty Thieves don't tolerate the Chichesters.
+
+As these delicate negotiations continue, the only two outsiders in the
+place, Mother Joyce and a Bartender, are listening intently on the far
+side of the room.
+
+BARTENDER
+Amsterdam will make the Butcher a fine banquet.
+
+MOTHER JOYCE
+My ned's on the boy. He's got the youth, and he's got the hunger.
+
+BARTENDER
+Is he so hungry you'll put up a hundred?
+
+MOTHER JOYCE
+Two.
+
+CUT TO
+
+99 EXT. PARADISE SQUARE DAY
+
+OFFICIALS stand on a high wooden platform facing a JEERING CROWD. Banners
+announce a "DRAFT LOTTERY." OFFICIALS are preparing to draw the first
+numbers as Boss Tweed gives out with a speech.
+
+BOSS TWEED
+Your honor... yes, and the law of the land... lies in the balance. The
+Conscription Act of 1863 was handed down by President Lincoln himself ...
+
+CROWD MEMBER
+(shouting)
+If Lincoln signed it, then let Lincoln fight!
+
+CROWD MEMBER 2
+It's an army of the poor fighting for a bunch of rich slackers!
+
+CROWD MEMBER
+Tammany's been our voice, let Tammany pay the exemption for all!
+
+A YOUNG MEMBER of the crowd steps forward as Boss Tweed turns to look at
+those backing him on the platform: Killoran, a CAVALRY OFFICER in fancy
+dress ... and, out of sight of the crowd, Johnny Sirocco. Their
+expressions are not reassuring.
+
+YOUNG CROWD MEMBER
+Your first payment, m'lords.
+
+The Young Crowd Member hurls a STONE through the front window of a nearby
+store. The CROWD cheers and runs to sack the store, and others SURGE
+toward the platform. Johnny'and Killoran grab a fearful Tweed and rush him
+to safety. But the Cavalry Officer stands his ground with sword and
+pistol. He SHOOTS.
+
+That STOPS them. But only for a fractured, eerie moment. Then they jump on
+the Cavalry Officer, PULL him to the ground, begin to KICK and BEAT him.
+
+CUT TO
+
+100 EXT. STREET/JACOB'S LADDER NIGHT
+
+A building burns at the end of the street, spreading a silhouette of smoke
+and flame in the air...
+
+... as a LION CHARGES down the street, growling, scattering RIOTERS in its
+wake. It's a mad, frightening sight, like a fulfillment of the Biblical
+prophecy produced by P.T Barnum, whose Museum is burning in the distance.
+
+SCREAMS, YELLS, CURSES and GROANS. CRIES of pain and fear as RIOTERS jump
+out of the way of the wild animal, then course up the street toward
+Broadway burning in the distance.
+
+From ABOVE, on the roof of Jacob's Ladder, Amsterdam and Jenny watch the
+madness below.
+
+AMSTERDAM
+(watching lion)
+That must be the vanguard of Barnum's army.
+
+JENNY
+This city will burn like Gomorrah.
+
+AMSTERDAM
+Then we'll take what we can before it gets too hot.
+
+JENNY
+I think it's past that already.
+
+AMSTERDAM
+It'll never come to that. These people ain't gang-led and they have no
+purpose.
+
+They'd rather die for themselves than the army, that's the purpose. What
+would you do?
+
+AMSTERDAM
+Fight better and not get so mad. They're only doing what they should have
+done years ago. Why'd they ever think there was another way to live?
+
+JENNY
+They believed what people told them, that's all.
+
+AMSTERDAM
+What people is that? The Reverend at the mission? Boss Tweed? Daniel
+Killoran? People like Johnny Sirocco?
+
+JENNY
+You believed Johnny.
+
+AMSTERDAM
+Hell.
+
+JENNY
+And I believed you.
+
+AMSTERDAM
+I ain't done nothing different than what I told you, Jen.
+
+JENNY
+I believed what you said abaut being with me, with me alone. But you lied
+to me. It's not me alone, it's just you and Bill Poole. Youlre so
+blood-blind you can't see nothing else, not even this!
+
+AMSTERDAM
+I don't care a fine damn about what they want! It's what I want! They
+won't dare harm the Points, that's all I care about! Let them turn the
+rest of the city into hell! It's another country anyway.
+
+JENNY
+It's not a country for me, Amsterdam. I don't know about you. Will you
+come with me?
+
+AMSTERDAM
+Not now.
+
+JENNY
+Now is when I'm going. Will you come?
+
+AMSTERDAM
+I don't want all this fighting to go to waste, Jen. I want to come out of
+it with something. And I got to be waiting for the Butcher.
+
+CUT TO
+
+101 INT. UNDERGROUND/JACOB'S LADDER
+
+Jenny digs out her treasure from her mother's grave, throws open the box,
+starts to GRAB all the swag she can and hide it on her person... in her
+pockets, under her clothes, anywhere. She takes as much as she can, but
+she has to travel fast.
+
+CUT TO
+
+102 EXT. STREET NIGHT
+
+Beginning a swift series of scenes that are like a laudanum nightmare.
+
+The street is JAMMED with people fleeing and people fighting... as Jenny
+forces her way through, trying to escape.
+
+A small mob starts to ATTACK a house where a TERRIFIED FAMILY stands in
+the doorway.
+
+FAMILY MAN
+We're with you, don't harm us!
+
+MOB MAN
+Show us your spirit and come out with us then!
+
+MOB WOMAN
+And put a candle in the window to show you're one with us! Every light is
+a flame against the draft!
+
+The WIFE begs her husband not to join the mob, but they PULL HIM out into
+the street. The Mob Woman hands the Wife a candle, then runs back to join
+the mob.
+
+Jenny starts to cross Paradise Square now... tries to cross, anyway... and
+passes the stand where Tweed delivered his speech that very morning. She
+sees: the Cavalry officer. Several MOB WOMEN have revived him with water.
+He has been beaten terribly, but as he MOANS and starts to regain
+consciousness, the MOB WOMEN fall upon him with fresh fury, KICKING and
+HITTING his helpless body. They BREAK his bones with rocks and TEAR OFF
+the fancy braid of his uniform to hang around their necks.
+
+Now a SECOND MOB RUSHES toward the first from the opposite side of
+Paradise Square. Chaos. Jenny is buffeted wildly. It's like being in a
+whirlpool. She grabs a LITTLE GIRL whose face is bruised and blaody but
+whose eyes shine wildly.
+
+JENNY
+What is it?
+
+LITTLE GIRL
+Cops has everything closed to the north, and the militia's coming.
+
+CUT TO
+
+103 EXT. STREET/FIVE POINTS NIGHT
+
+As Jenny presses her way through the mob-devoured streets. She sees: MEN,
+WOMEN and CHILDREN attacking a small group of BLACKS.
+
+BOY
+My Daddy don't have to die for you! Why should he fight and die for you?
+
+Jenny looks ahead, sees: the river, in the distance. And flames. She runs
+forward, STUMBLES. Some of the swag FALLS to the street. She SCRAMBLES to
+pick it up as Rioters rush by her.
+
+CUT TO
+
+104 EXT. PIERS HUDSON RIVER NIGHT
+
+MATTE: The surface of the water looks like a mirror made of flame. The
+piers are BURNING. The docks are ash.
+
+SAILORS battle a MOB for possession of a small rowboat. As they fight, the
+boat starts to DRIFT. Jenny spots it, RUNS for it
+
+... but so does ANOTHER GIRL. Younger than Tenny--20 maybe, Jennyls age
+when Amsterdam fell in love with her. They both get to the boat at the
+same time. Each grips it by a gunwale, and they STARE at each other like
+two jungle beasts over a kill.
+
+JENNY
+I'd kill you for this.
+
+The Girl lunges at her with a knite, and Jenny SHOOTS. The GIRL slides
+into the flame-reflecting Hudson as if she drowning in a pit of lava.
+
+Jenny climbs into the boat and frantically starts to row. We stay CLOSE on
+her ... working the oars clumsily, furiously ... moving the boat across
+the water, trying to get away from the city...
+
+... and we go WIDER now. A huge line of IRON--like the side of a
+glacier... bisects the frame, then starts to move. Jenny
+turns, SEES it. It is ...
+
+... the looming hull of an ironclad war ship (MATTE). It LOBS cannon fire
+into the city, setting off tremendous explosions.
+Jenny TURNS back for the shore...
+
+... as cannonballs land, devastating rioters.
+
+CUT TO
+
+105 EXT. SHORE/RIVER NIGHT
+
+MATTE: Police and MILITIA push the rioters back toward the river like
+rats. A cannanball EXPLODES in their midst...
+
+... injuring many more cops and militia than rioters. The rioters rally,
+RUN over the bodies of fallen cops and soldiers. Now the advantage is
+theirs; cops and militia are in retreat.
+
+Jenny climbs up on shore and joins the mob as it presses back inland.
+
+CUT TO
+
+106 EXT. DOYERS STREET/THE BLOODY ANGLE NIGHT
+
+Further from the docks. Shells still exploding in the distance. Jenny
+moves with the marauding mob, recognizes Doyers Street. She splits away
+from the mob, moves stealthily into the street known as the Bloody Angle.
+And STOPS.
+
+Weird shadows dance on the walls of the buildings. SMOKE and EERIE LIGHT.
+The angle is lined with lampposts. And from every lamppost dangles the
+BODY of a black man. Or woman. Or child. Some are still smouldering.
+
+At the base of a lamppost, a group of RIOTERS have cut open the hog-tied
+CORPSE of a black man and are pouring oil into it. One of the Rioters sees
+Jenny, grins and holds out the TORCH he's holding. She shakes her head and
+starts to BACK out of the alley.
+
+The Rioter touches the torch to the oil in the wound of the corpse. The
+body IGNITES in flame. The RIOTERS pull on a rope and the body rises,
+burning, to the top of the lamppost ...
+
+... where its awful shadow joins all the others in the madhouse
+refractions on walls all up and down the street. On the street, as the
+flames dance and the bodies burn, rioters DANCE and SING. Walpurgis Night.
+From these mad SHADOWS, we...
+
+DISSOLVE TO
+
+107 EXT. ROOF/JACOB-S LADDER NIGHT
+
+... the face of Amsterdam, stepping out of the SHADOWS of the roof. There
+are flames in the distance. The whole gang is assembled, facing him as he
+speaks.
+
+AMSTERDAM
+No we ain't going to fight, but we can take something for ourselves out of
+this.
+
+JIMMY SPOILS
+I want to know who hung them bodies in the Bloody Angle. I want to address
+who done it.
+
+AMSTERDAM
+Five thousand people in the street done it! Boss Tweed done it! Abe
+Lincoln done it! There's nothing you can do about any one of them but stay
+with us. You'll have a little of your own back.
+
+JIMMY SPOILS
+How's that?
+
+AMSTERDAM
+These riots are a gift. They...
+
+... he PAUSES just for a moment as he sees a hand on the last rung of the
+outside ladder leading to the roof: it's Jenny, returning.
+
+AMSTERDAM
+... they've made everything clear, as you might say.
+(to Jenny)
+Are you with us, then?
+
+JENNY
+Until I can get out. I'll go with you...
+(straight at Amsterdam)
+...meantime.
+
+AMSTERDAM
+Good. We're going for the Armory at Canal Street.
+
+JIMMY SPOILS
+The Armory! We'll have to beat the militia to get there.
+
+AMSTERDAM
+There's a way through the lines. Jen, did you see the cops and militia?
+
+JENNY
+I can show you from here where they are. I doubt they'll get to the Armory
+in force before midday tomorrow.
+
+AMSTERDAM
+We'll get there first. We'll take everything we can carry, and destroy the
+rest so no one else has the use of it, the militia, the Natives, nobody.
+Then we'll turn to real business. We'll go down to the Battery.
+
+JIMMY SPOILS
+Why, we going to take a sail to Europe?
+
+AMSTERDAM
+No. But we could, after this. We're going...
+(slowly, savoring this)
+...we're going to take the banks. The government banks.
+(awed silence from all)
+Are we not?
+
+JENNY
+(beat; steps forward)
+Seems we are.
+
+One by one, then in small groups, the entire gang FOLLOWS her. They are
+uncertain, reluctant, even frightened at the audacity of the scheme. But
+they stand with Amsterdam.
+
+CUT TO
+
+108 INT. MAIN ROOM/TAMMANY HALL NIGHT
+
+The crowded main room of Boss Tweed's domain, jammed with anxious
+POLITICOS and OFFICIALS, as well as a harried group of TELEGRAPH OPERATORS
+who receive news of the riots from all over Manhattan. There is a huge map
+of the city against one wall: the place has been converted from a
+political princedom to an operational headquarters. Johnny Sirocco and
+Bill The Butcher are there. Other guests include the GOVERNOR, Mayor
+Fernando Wood, and a badly shaken Horace Greeley.
+
+GREELEY
+They attacked me! I had every sympathy for them at first...
+
+BOSS TWEED
+Too much sympathy, Horace. Writing these riots were a rising against
+"unjust laws and unsuitable law-givers." The shame!
+
+GOVERNOR
+I suspended the draft at noon but the mobs only grew more virulent. It is
+a criminal rising of the lowest class, of the Gangsters and rabble who
+have been allowed by Tammany to run lawless!
+
+BOSS TWEED
+It was Tammany and the rabble that elected you, Governor. And it's Tammany
+and the gangs who'll stop it. Isn't that so, Bill?
+
+BILL THE BUTCHER
+(nods at Johnny)
+I won't say nothin' in front of him. Who knows what business he's here on?
+
+BOSS TWEED
+He's here on our business and my invitation. He's already been of great
+help. What's the opposition strength, John?
+
+To answer, Johnny yanks back a CURTAIN drawn across a high window. The
+view, looking downtown, is one of almost continual ILLUMINATION-- every
+place the eye falls, CANDLES burn in sympathy for the rioters.
+
+JOHNNY
+Each candle is against you, gents.
+
+MAYOR
+"Against you," sir? Don't you mean "us".
+
+JOHNNY
+(diplomatic)
+Some of us come from those people, Mayor. I'll not deny they still claim
+part of me.
+
+MAYOR
+Which part? Perhaps your heart.
+
+BOSS TWEED
+Gentlemen, I'm sorry you find it necessary to question the loyalty of my
+friend here, and by extension, my own judgement. So as proof ... John,
+where will the mob go? What will the gangs do?
+(Johnny is uneasy about answering)
+Go on, tell them what you told me.
+
+JOHNNY
+There's no telling about the mob. Or the small gangs. But the Dead Rabbits
+... if I was Amsterdam...
+
+BOSS TWEED
+(interrupting)
+As indeed you nearly was. Were.
+
+JOHNNY
+... if I was ... I'd figure to take the Rabbits to the Armory.
+
+BOSS TWEED
+Would you agree with that, Bill? Wouldn't you do the same? If you were
+fighting against the militia instead of beside them?
+
+BILL THE BUTCHER
+Beside them? What are you talking... ?
+
+BOSS TWEED
+(interrupting)
+You will have to fight beside them to take the Armory. It cannot fall into
+unfriendly hands.
+
+BILL THE BUTCHER
+I can't stand with the militia against the people. I could never work the
+Points no more if I did.
+
+BOSS TWEED
+We're all of us swept up in a great tide of events, Bill. Have you learned
+to swim?
+
+From Bill's face, struggling to make sense of this, knowing Tweed's right
+but not wanting to believe it, we ...
+
+DISSOLVE TO
+
+109 INT. MAIN ROOM/TAMMANY HALL NIGHT
+
+... Johnny's face, as Tweed talks to him. It is later, and the Butcher has
+left. The activity is still frantic all around, but Tweed speaks in
+unhurried tones.
+
+BOSS TWEED
+I'm sure that Bill will do his usual splendid job. But after that ...
+well, I'm afraid he's grown away from us.
+(Johnny looks puzzled)
+He shows distressing signs of... shall we say, free-thinking. Crime
+flourishes in chaos, and these riots could encourage Bill to overstep
+himself. He no longer inspires in me the same trust... well, that you
+might. If you can prove yourself further.
+
+109 CONTINUED:
+
+JOHNNY
+You already said in front of everyone you trusted me.
+
+BOSS TWEED
+In vital things. Would I be talking to you now otherwise? Vital things,
+but small things. Are you equal to greater responsibility and opportunity?
+
+JOHNNY
+Such as what?
+
+BOSS TWEED
+Ridding me of Bill the Butcher.
+(Johnny is startled)
+He may question your loyalty to me, but Bill would never believe you had
+the sand to go against him. He'd never expect it. Do you have the sand?
+
+From Johnny's face, struggling to make the right answer, we...
+
+DISSOLVE TO
+
+110 INT. JACOB'S LADDER
+
+... Ansterdam's face, as he looks up from preparing a brace of pistols for
+the next day's scheme.
+
+AMSTERDAM
+Let him in.
+
+Johnny enters the common room of Jaccb's Ladder, where the Dead Rabbits
+have gathered to ready themselves. As they work over their weapons and
+prepare battle dress, Johnny walks through their midst. They do not
+acknowledge him... except for Jenny.
+
+JENNY
+Did you miss us, John?
+
+JOHNNY
+Not a bit.
+
+AMSTERDAM
+(rising to meet him)
+Are you here to spy?
+
+JOHNNY
+I don't have to spy.
+
+Amsterdam leads Johnny off to a shadowy corner of the room where they can
+talk privately.
+
+JOHNNY
+(as they walk)
+I know what you're doing. I told Tweed what you're doing.
+
+AMSTERDAM
+You don't know what I'm doing.
+
+JOHNNY
+You're going after the Armory.
+
+AMSTERDAM
+Am I now? Why do you think that?
+
+JOHNNY
+'Cause that's what I would do, and you and I think alike.
+
+AMSTERDAM
+No more. And it don't seem worth a visit to tell me something you already
+think I'm doing.
+
+JOHNNY
+There's something else alright. Tweed's arranged to kill Bill the Butcher.
+
+AMSTERDAM
+(disbelieving)
+Who could Tweed get to do that?
+
+JOHNNY
+One of his own.
+
+AMSTERDAM
+There's no one around him...
+
+JOHNNY
+(interrupting)
+Listen, it don't matter who, it's going to be done, that's all! Tweed
+ain't going to wait around
+for you and Bill to settle yourselves. I'm telling you so you have a
+chance.
+
+AMSTERDAM
+Chance of what?
+
+JOHNNY
+A chance... a chance to do what you want. Bury the Butcher, draw what
+blood you got to. But you better make speed. The Natives will move on the
+Armory too.
+
+AMSTERDAM
+And what's any of it mean to you?
+
+JOHNNY
+It means whatever's left of friendship, I don't know. There's still part
+of me here. I don't
+want to see you lose everything in your life at once.
+
+AMSTERDAM
+I'm going to lose nothing.
+(beat)
+If you believe me, you can stay.
+
+JOHNNY
+I got to go.
+
+He turns so Amsterdam can't see his face and LEAVES-
+
+JENNY
+So Tammany's going to kill the Butcher. That puts you and Tweed on the
+same side. Does that make the path clear enough to suit you?
+
+From Amsterdam's face, trying to work out all the new angles, we...
+
+DISSOLVE TO
+
+111 INT. NATIVE AMERICAN HIDEOUT
+
+... Amsterdam's face, full of resolve, staring unblinking as ...
+
+... the barrels of two dozen RIFLES SURROUND the edges the screen, boxing
+Amsterdam in, as if his head were in a frame.
+
+And Bill the Butcher gazes at him with astonishment. We are, for the first
+time, in the Natives' lair, a house hung with American flags of all shapes
+and vintages, some of them torn by battle, others by years of weather and
+use. Some of them go back to the early days of the republic. There is not
+an inch of wood or wall space to be seen for all the stars and stripes.
+
+BILL THE BUTCHER
+Murder Me? No one's going to murder me.
+
+AMSTERDAM
+Then you better learn to fight locking over your shoulder, Bill, because
+that's the only way you'll ever see it coming.
+
+BILL THE BUTCHER
+I don't believe it, and I don't believe it's you telling me. You got no
+reason to care about any danger to me.
+
+AMSTERDAM
+One reason. You're my kill, Butcher. No one else is going to have you, not
+Tweed, not Tammany, not those pigs in the street. No one--not even you,
+Bill--will ever take the pleasure of your death away from me. I'd do
+anything to keep you for my own, even if I have to protect you.
+
+BILL THE BUTCHER
+You protect me? Get out of here and go to hell.
+
+AMSTERDAM
+Fine, so long as I pass you on my way.
+
+BILL THE BUTCHER
+Maybe I'd believe you more if I knew who was talking to you.
+
+AMSTERDAM
+Someone I credit.
+
+BILL THE BUTCHER
+That means nothing to me. None of this means nothing to me because I am
+Tammany. Without me and my Natives they're nothing but a bunch of old
+horses at a trough.
+
+AMSTERDAM
+You join with me and we fight against Tammany, fight them back and out of
+the Points. Then you and me can settle. But if you don't join with me,
+then there won't be no settlement because you'll be murdered in the street
+and the whole Points will be mine.
+
+BILL THE BUTCHER
+I relish the thought... just the thought... of cutting you up and opening
+you wide. So if just thinking about it gives me such pleasure, imagine how
+I'm going to enjoy doing it.
+
+AMSTERDAM
+Why don't I make it easy for you, then.
+
+He TURNS his back on the Butcher and starts to walk out, through the
+entire gang of Natives.
+
+AMSTERDAM
+Same as you're making it easy for Tweed.
+
+He keeps walking... through the Natives ... dozens of ancient enemies
+glowering at him.
+
+BILL THE BUTCHER
+Amsterdam!
+(Amsterdam looks around)
+Don't be like your father. Don't make it too easy.
+
+Amsterdam struggles to keep his temper. But he turns and keeps walking
+through the enemy camp as we...
+
+DISSOLVE TO
+
+112 INT. JACOB'S LADDER
+
+....Amsterdam walking. But this time, he is WALKING among his gang. All
+the Dead Rabbits are assembled, weapons ready. Jenny is beside him. Then
+Jimmy Spoils. Then a few others.
+
+As the group passes, others STAND and walk with them...
+
+... until the whole gang is rallied...
+
+... and bound for the passageway in the corner of the room that leads
+under the building.
+
+DISSOLVE TO
+
+113 INT. BASEMENT
+
+As Amsterdam and the gang heads through the catacomb-like basement, past
+the graves, into a tunnel. Torchlight GUTTERS all around. Their steps echo
+like repeated rifle shots.
+
+DISSOLVE TO
+
+114 INT. TUNNEL
+
+The whole gang MARCHES down a tunnel under the Old Brewery. Except for
+Amsterdam and Jenny, they all wear their tamlas. Many have marks and gang
+insignia on their faces. All of them have weapons. A lot of weapons.
+
+Frightened FACES--people seeking shelter and safety from the riots--appear
+in the darkness, then vanish like ghosts.
+
+As the Rabbits walk, they summon memories of the first fight, that same
+march through the tunnels when Amsterdam marched beside his father.
+Amsterdam's face gives little away. But perhaps he is remembering that day
+too.
+
+DISSOLVE TO
+
+115 INT. TUNNEL
+
+The last tunnel.. Shreds of light from a door in the distance. Amsterdam
+walks up to the door and--just as Monk Eastman did years before--KICKS it
+down. Dim dawn LIGHT FLOODS the tunnel as the Dead Rabbits step out.
+
+CUT TO
+
+116 EXT. CANAL STREET DAWN
+
+The first thing we see is an ELEPHANT, who trumpets fearfully at the
+sudden sound of the sattere door. The gang stops, wary of this huge
+refugee from Barnum's Museum, but the animal is more frightened of them.
+It hurries on down the street...
+
+... revealing behind it a group of several dozen RIOTERS who carry a huge
+American flag and a long wooden plank bearing the legend "No Draft." They
+stare at the Rabbits with something near reverence.
+
+AMSTERDAM
+Where's the Native Americans?
+
+RIOTER
+Ain't seen them. Ain't here.
+
+AMSTERDAM
+And the militia?
+
+RIOTER
+There's a detachment coming on from two streets over. The rest is still
+north of here. What are you after?
+
+Amsterdam POINTS to a formidable building a block away: the Armory. It
+looks like a fortress.
+
+RIOTER
+The Devil himself couldn't take that place.
+
+AMSTERDAM
+That's why he sent us.
+
+CUT TO
+
+117 EXT. STREET NEAR ARMORY/ DAY
+
+The DETACHMENT of militia proceeds warily towards the Armory. They are a
+young, uncertain-looking outfit; their COMMANDER looks like an upstate
+farm kid. He tenses and his eyes widen as he sees Jenny walking toward
+him, carrying a BOY in her arms.
+
+JENNY
+(crying)
+Help me. Oh please help me. He's shot, we need a doctor, please help.
+
+DETACHMENT COMMANDER
+Miss, we ain't a medical outfit. The main unit's ten minutes behind us,
+they'll have...
+
+He doesn't get the chance to finish. Jenny DROPS the Boy from her arms and
+shoots the Detachment Commander once, cleanly...
+
+... as the Boy roles into a prone position and FIRES two shots into the
+stunned Detachment...
+
+... while the Dead Rabbits SWARM from every doorway along the street,
+FIRING GUNS and brandishing weapons.
+
+It's over in seconds. The Detachment has hardly gotten off a shot. Every
+one of them lies dead or wounded in the street...
+
+... as the Rabbits CROUCH over their bodies.
+
+CUT TO
+
+118 EXT. ARMORY DAY
+
+A rifle emplacement manned by a dozen GUARDS- They stand anxious post in
+front of the Armory. Each window is barred and fortified, and the front
+door is massive. But the tension in the Guards' faces eases a little when
+they see ...
+
+... the Detachment of militia heading towards them down the street. Some
+of the Detachment are wearing bloody uniform jackets; several are being
+carried. The Detachment, unrecognized by the Guards, is made up entirely
+of Dead Rabbits.
+
+AMSTERDAM
+Help us, we got wounded!
+
+GUARD 1
+We can't leave the post.
+
+AMSTERDAM
+Open the damn doors then! We're bad hurt!
+
+GUARD 1
+Where's the others?
+
+AMSTERDAM
+Just behind us! But I got our major here wounded so bad half his guts is
+out!
+
+Guard 1 SIGNALS for the doors to be opened to the Armory as the Detachment
+draws close to the emplacement.
+
+GUARD 1
+God, it's good to see you!
+
+AMSTERDAM
+Likewise.
+
+Ainsterdam SHOOTS him where he stands as the Rabbits OVERWHELM the
+emplacement.
+
+AMSTERDAM
+(shouting)
+Move fast! We got to get out with everything we can before the militia
+gets here!
+
+As the Armory Guards return fire, the Boy Jenny carried in the previous
+scene RUNS for the telegraph pole and starts to CLIMB. A SHOT makes the
+wood fly inches from his face...
+
+... as the Rabbits storm into the Armory, FIRING wildly.
+
+The Boy reaches the top of the telegraph pole and CUTS the wire. He
+shinnies back down the pole as the wire SWINGS ineffectually in the air
+and we ...
+
+DISSOLVE TO
+
+INT. Y HALL/MAIN ROOM 119
+
+..a telegram, held in Killoran's hand. He passes it to Tweed.
+
+KILLORAN
+It's from the Armory Guards. That's the last before the wire went dead.
+
+BOSS TWEED
+(reading, furious)
+If the Rabbits are already at the Armory, where the hell is Bill and the
+militia?
+
+He THROWS the telegram onto the floor, where it joins a whole SEA of
+yellow telegraph forms. They are shin-high; there must be thousands of
+them.
+
+KILLORAN
+They got to be near.
+
+JOHNNY
+So long as they're near, it's alright. The Rabbits can take the Armory,
+but they can't hold it. If Bill can get into position, he can make sure
+they don't get out.
+
+BOSS TWEED
+Alright then, John, you pray to any God you choose that's the fact of it.
+If Bill thinks he can best the Natives, that is your opportunity. That is
+your moment.
+(Johnny hesitates)
+Are you a Bible man? The Book says in Revelations, "I saw a new heaven and
+a new earth." If the hand of God's not on you to fulfill that prophecy,
+then the hand of Tweed will be. Go on and God bless.
+
+Johnny looks like he is about to say something, but he stops; looks at
+Tweed a moment longer; then nods acknowledgment and leaves.
+
+GOVERNOR
+I don't believe he can do it, Tweed.
+
+BOSS TWEED
+Oh, I think he can. Whether it's one man against another or a mob against
+the city, the mathematics remain the same. You never enjoyed the
+enlightenment of poverty, did you, Governor? If you had, you'd know you
+can always hire half the poor to kill the other half.
+
+CUT TO
+
+120 EXT. ARMORY DAY
+
+A TREMENDOUS VOLLEY of GUNFIRE, as if to illustrate the Tweed theory of
+class warfare. Bodies fall in the street. Bodies fall from the Armory. The
+building is under siege by the main unit of the MILITIA and by Bill the
+Butcher and the Natives. The Dead Rabbits are trapped.
+
+Johnny SNAKES through the Native American lines, over dead bodies, moving
+towards Bill, who he sees a hundred yards away...
+
+... running over corpses of comrades and enemies toward the MILITIA
+COMMADER. As SHOT WIDENS, the carnage is revealed. Bodies of Natives, in
+their uniform dusters, and Rabbits, in their tamlas, lie side by side in
+the street.
+
+120 CONTINUED:
+
+FIRING continues from both sides as the Butcher shouts at the Militia
+Commander.
+
+BILL THE BUTCHER
+We move now and we can drive them out! We press them and they'll break!
+
+MILITIA COMMANDER
+I can't spare the men or stand the risk! We stay fast and smoke lem out!
+
+BILL THE BUTCHER
+Tweed put me in charge of this! I say we move, and by the crucified Christ
+we will move!
+(turns to his men)
+Native Americans, come with me! Any militia that wants to live upright
+instead of die hunkered down, come with us!
+
+Bill STALKS through the lines, rallying the men. And Johnny starts to
+FOLLOW.
+
+BILL THE BUTCHER
+We'll show you gladiators' greatness! Come on!
+
+The men start to JOIN the Butcher; even some militia fall in. Johnny SLIPS
+through the men gathering near the Butcher. He's closer to Bill than ever.
+
+Bill starts to mount their BARRICADE. There is MOVEMENT and commotion all
+around him as Natives and militia fall into rough formation. It threatens
+to obscure Bill from Johnny's view. Shield him.
+
+He has to make his move. NOW. He DRAWS a revolver as militia and Natives
+pass in front of him... he AIMS ... he's anxious, confused ... his HAND
+shakes ... he fires... too soon! ...
+
+... and HITS a Native, who falls dead. Right near Bill.
+
+The Butcher turns in the direction of the shot, SEES Johnny. Their eyes
+lock. Johnny FIRES again ... WINGS Bill ...
+
+... and Bill SHOOTS him. Johnny FALLS with the first shot. Bill's above
+him now, looking down at him.
+
+BILL THE BUTCHER
+Was it Tweed or your friend put you to this?
+
+JOHNNY
+Tweed.
+
+Bill SHOOTS him again, point blank. Johnny screams.
+
+BILL THE BUTCHER
+You'd lie to save your friend.
+
+JOHNNY
+(in terrible pain)
+No. There's no friends for me.
+
+BILL THE BUTCHER
+Me the same. Pity us both.
+
+He EMPTIES his revolver into Johnny.
+
+BILL THE BUTCHER
+(to his men)
+Hold your fire!
+(toward the Armory)
+In there! Hey in there! I want to talk to Amsterdam!
+
+The Militia Commander is aghast at this proposition and starts forward,
+gun in hand. But a Native STOPS him.
+
+Amsterdam's face APPEARS in a front window of the Armory.
+
+AMSTERDAM
+Go on, then, talk.
+
+BILL THE BUTCHER
+You and me.
+
+AMSTERDAM
+(beat)
+Come ahead then. And bring my friend's body.
+
+Bill the Butcher SLINGS Johnny's body over his shoulder as easily as if it
+were an empty sack of flour...
+
+... and starts walking thraugh the lines toward the Armory. The Militia
+watches in disbelief, the Natives in confusion. The Dead Rabbits keep the
+Butcher in their sights. But no one fires. No one moves.
+
+And Bill the Butcher enters the front doors of the Armory.
+
+CUT TO
+
+121 INT. ARMORY DAY
+
+As the Butcher is admitted through the huge doors which clang SHUT quickly
+behind him. It's a scene of devastation inside-dozens of dead and wounded
+everywhere. And enough rifles and munitions to sink Manhattan island.
+
+Bill the Butcher stands dead center in the middle of the Armory floor as
+Amsterdam walks toward him. The Butcher DROPS Johnny's body in a heap at
+his feet.
+
+BILL THE BUTCHER
+Your friend made different friends lately.
+
+AMSTERDAM
+Tammany's put us all in the same place. You want to get out alive?
+
+BILL THE BUTCHER
+It don't matter to me. I got enemies outside, enemies in here. The militia
+can move on me anytime. You could drop me before I get to the door.
+
+AMSTERDAM
+I don't want to lose you so easy. You'll never get past the militia unless
+you come with the Dead Rabbits.
+
+BILL THE BUTCHER
+You'd lay aside what's between us?
+
+AMSTERDAM
+I'm not forgetting where I put it.
+
+BILL THE BUTCHER
+If you do, I'll remind you.
+(he turns, leaves)
+
+AMSTERDAM
+What's your call, Bill?
+
+BILL THE BUTCHER
+I'm considering where's my better chance.
+
+He walks to the doors. The Rabbits guarding it don't make a move. He OPENS
+it himself and strides out into the street.
+
+CUT TO
+
+122 EXT./INT. ARMORY DAY
+
+Bill walks alone toward the Native/militia lines.
+
+From inside... from every window ... the Dead Rabbits watch him.
+
+The sun is high, but the street is eerily quiet. There are FARAWAY SOUNDS
+of battle, but here there is only the sound of distant, unheard
+conversation between Bill, the Militia Commander and some Natives.
+
+Amsterdam WATCHES intently.
+
+The Butcher and the Militia Commander argue, but we still can't hear what
+they're saying. There is still no sound...
+
+... until, SUDDENLY, we see the Militia Commander's face. Huge. EYES WIDE
+with surprise as we HEAR the thunderclap of a SHOT.
+
+Bill the Butcher has just gutshot the Militia Commander.
+
+As if the shot were a signal, the Natives TURN on the militia. It's
+hellish, close-quarter combat. Guns fired inches from enemies who had just
+been allies. Knives, swords, bludgeons, kids with dead-rat blackjacks,
+women with hob-nailed wooden planks, attacking better-armed but totally
+stunned soldiers.
+
+Bill the Butcher falls back toward the Armory, the Natives following him.
+
+Inside the Armory, Amsterdam turns to his own greatly diminished gang.
+
+AMSTERDAM
+Go ahead them, give them cover! Give them some damn cover!
+
+The Rabbits are so stunned to be fighting on the same side as their sworn
+enemies that, even with Amsterdam's order, no one makes a move. It's
+Amsterdam who FIRES the first shots. And that unleashes a great VOLLEY
+from the Armory...
+
+... toward the militia.
+
+The Butcher and the Natives are closer to the Armory now... and the Armory
+doors start to open...
+
+... when a MILITIA LIEUTENANT SIGNALS ...
+
+... and MILITIA on the surrounding roofs, waiting for this moment,
+suddenly open fire...on the Natives below and on the Rabbits on the roof
+of the armory. Many drop in the street and fall from the Armory roof...
+
+... as the Armory doors SWING WIDE to admit the Natives. As they run or
+stagger inside, the Rabbits start to close the doors. Some Rabbits are cut
+down by the fire from the rooftops. Other Natives never make it to the
+doors. And a few are shot...
+
+... when the doors close before they can get through.
+
+CUT TO
+
+123 INT./EXT. ARMORY DAY
+
+The Dead Rabbits keep firing, but they have sustained grave losses. The
+Butcher looks around at the Natives who have made it inside with him: he
+has perhaps one-quarter of his original strength.
+
+BILL THE BUTCHER
+Well, it seems like between us we got two mobs that might make a gang.
+
+AMSTERDAM
+Whose gang might it be?
+
+BILL THE BUTCHER
+Not William Tweed's.
+
+Jimmy Spoils and a crew of Natives PUSH a cannon toward the rear of the
+Armory.
+
+AMSTERDAM
+Which way you pointing that?
+
+JIMMY SPOILS
+Any way you say. One direction could let us out, the other will let them
+in.
+
+BILL THE BUTCHER
+They got to come in if we're going to fight them.
+
+AMSTERDAM
+Who do you want to fight, Bill?
+
+Amsterdam MOTIONS toward the rear wall and Jimmy swings the cannon around.
+
+Everything surrounding them is MOVEMENT and COMMOTION as the remaining
+members of both gangs TAKE whatever weapons they can carry from the Armory
+stockpile...
+
+... and Jenny steps forward with a torch, LIGHTING the fuse of the
+cannon...
+
+... which ROARS and BLOWS a huge hole in the rear wall of the Armory.
+
+AMSTERDAM
+(to Bill the Butcher)
+See you in the street.
+
+The gang members RUSH for the opening, carrying whatever they can manage.
+
+Outside, the MILITIA LIEUTENANT hears the cannon blast... sees no damage
+to the front of the building... and SIGNALS for a frontal ASSAULT on the
+Armory.
+
+HIGH ANGLE FROM ABOVE, CAMERA MOVING as the militia CHARGES ... following
+them forward, then moving ahead to the Armory
+
+... SHOOTING straight down inside (no roof or ceiling) as the Gangs HURTLE
+through the still-smoldering hole in the wall ...
+
+... and drop twenty feet to an alley below...
+
+... where militia on the roof try to pick them off. As the militia presses
+closer from the front, gang defenses start to fall back inside the Armory.
+Everyone wants to get through that hole.
+
+Amsterdam, Jenny, Jimmy Spoils and some of the other gang nembers are
+carrying TORCHES. Jenny HANDS a torch to the Butcher. Amsterdam MOTIONS
+them all toward the back of the Armory.
+
+But he stays behind. Just for a moment. He BENDS over the crumpled body of
+Johnny Sirocco, ARRANGES it, folding JOHNNY'S HANDS across his chest.
+
+AMSTERDAM
+You'll have a warrior's funeral anyway, John.
+
+He STANDS and RUNS for the hole in the wall, where Jenny and the others
+stand waiting.
+
+He TURNS, takes a last look inside the Armory. The militia is BATTERING
+DOWN the front doors. Then he raises his TORCH over his head... and HURLS
+it through the air. Jenny and the others do the same.
+
+His single torch BLAZES a path of light across the screen. The others,
+JOINING it, make a fiery CONSTELLATION.
+
+CUT TO
+
+124 EXT. REAR OF ARMORY/STREETS BEHIND ARMORY DAY
+
+As Jenny, Jimmy Spoils, Bill the Butcher and Amsterdam HURTLE through the
+hole into the alley below...
+
+... and start to run through the withering GUNFIRE of the militia on the
+roof...
+
+... getting away... just barely away.
+
+As Jenny runs, her swag drops and FALLS from under her clothes. She TURNS
+to pick it up but Amsterdam PULLS her on....
+
+... and just away from the titanic EXPLOSION of the Armory. The CONCUSSION
+throws some of the militia from their perches on the roof. It sends a
+fountain of FLAME and RUBBLE high into the sky. It is VOLCANIC in its
+brilliance and intensity. The sky turns BLACK with powder, BLAZING ORANGE
+with flame.
+
+In the small streets BEHIND THE ARMORY, many gang members are CRUSHED by
+debris or burned by FIREBALLS breaking off from the central flame.
+
+The Armory is gone. Much of the surrounding area is gone with it.
+
+On the ground, everything is smoke, flame, dirt, death, confusion, Corpses
+everywhere. Gang members and kids running all over, desperate. It looks
+like the last day of mankind on earth.
+
+Bill the Butcher HELPS a couple of fallen Natives, then SEES through the
+smoke and flame and storm of ash ... Amsterdam.
+Coming towards him.
+
+BILL THE BUTCHER
+We're finished, all of us.
+
+AMSTERDAM
+But you and me ain't settled.
+
+BILL THE BUTCHER
+We got the same now, a full share of nothing. There's nothing to settle.
+There's nothing left.
+
+Amsterdam takes a weapon from his pocket, OPENS it for the Butcher to see:
+it is the pirate's knife which the Butcher used to kill Priest Vallon.
+
+AMSTERDAM
+Then let's start over.
+
+Bill the Butcher looks tired, sorrowful. He BURIES his face wearily in his
+arms. And for a moment we think he has given everything up. Amsterdam
+MOVES toward him, through the smoke. The Butcher does not even look at
+him. Of all the things he could do, this is the one that Amsterdam could
+not anticipate and does not know how to reckon.
+
+AMSTERDAM
+Look at me. Look at me!
+
+But the Butcher will not obey. Amsterdam HESITATES.
+
+And it's at that moment the Butcher LOOKS UP... in a FLASH... a pistol in
+his hand, a grin of triumph on his face... and shoots. Amsterdam goes down.
+
+The Butcher THROWS ASIDE his gun and takes out his CLEAVER... walking
+through the smoke ...
+
+... and past gang members who FLEE the explosion around them... toward
+Amsterdam.
+
+BILL THE BUTCHER
+Don't look away, Amsterdam. You wanted this so long.
+
+A HAZE of ash and gunpowder BLOWS across the Butcher's face, making him
+look like a phantom... but making the ground where Amsterdam lies
+indistinct. For just a second.
+
+But time enough. A WOODEN PLANK filled with NAILS cuts through the haze,
+catching the Butcher across the middle. He goes down howling...
+
+... and Amsterdam, wounded in the leg, kneels before him. Then SPRINGS at
+him, pinning him like some crazed lover. The CLEAVER flies from the
+Butcherls grip.
+
+The two men STRUGGLE desperately. But the gang members FLEEING around them
+pay no attention. This great epic combat, this tremendous blood feud, has
+been reduced to its essence: it is a street fight. But a street fight to
+the death.
+
+WE WATCH Amsterdam and the Butcher struggle from street level, the fight
+often obscured by the legs and feet of the gang members RUSHING past.
+These two ancient antagonists could be anyone. Anyone at all.
+
+The Butcher is atop Amsterdam now, iron hand? at his throat...as
+Amsterdam's hand rises, holding the pirate's knife... searching for the
+strength ... and the place... for one final blow ... the Butcher's fingers
+TIGHTEN ... Amsterdam's hand moves ... and the pirate's knife DRIVES HOME
+right into the Butcher's stomach: the belly of the beast.
+
+The Butcher bellows. Amsterdam FLIPS him over, starts to SLIT him up the
+front, but the knife cannot cut the pelvic bone. Amsterdam puts his knee
+on the Butcher's throat, PINNING HIM.
+
+AMSTERDAM
+Don't look away.
+
+And he SLAPS his hand over the Butcher's one good eye, so he can't see the
+death blow, EXTRACTS the knife...and PLUNGES it like a stake into the
+Butcher's heart.
+
+He takes his hand away. All the Butcher can see is Amsterdam's face as his
+EYE starts to roll back in his head at the approach of death.
+
+BILL THE BUTCHER
+Thank... thank God I died a true American.
+
+And he dies. There is no triumph in Amsterdam's face. Only pain, and
+satiation. He SEES: the CLEAVER, on the ground a few yards from him. And
+Jenny, staring at him. Amsterdam GESTURES for the cleaver.
+
+JENNY
+(quietly)
+Get it yourself.
+
+Amsterdam tries to get up. He can't. So he CRAWLS through the mud... for
+the cleaver. Grabs it.
+
+DISSOLVE TO
+
+125 EXT. CEMETERY DAY
+
+The headstone of Priest Vallon. Now it has an inscription, which Amsterdam
+is finishing. He uses the handle of the Butcher's cleaver for a hammer,
+the blade of the piratels knife as a chisel. WE SEE the inscription:
+"Priest Vallon/ 1814-1844/ New York City... of
+
+The blade BREAKS on the final letter. Amsterdam sits back an the ground
+near the grave. Behind him across the river (MATTE), the fires of the
+riots still burn.
+
+JENNY
+You'll have to come back to finish.
+
+AMSTERDAM
+Maybe I'll leave it.
+(beat)
+Are you leaving?
+
+JENNY
+I'm going west.
+
+AMSTERDAM
+Well wherever you go, you got to go back through the city. so we're going
+the same way for a while.
+
+He starts to STAND, STUMBLES to one knee.
+
+AMSTERDAM
+Help me, will you?
+
+She looks at him... a lingering moment ... then goes to him.
+
+JENNY
+Give me your hand.
+
+She HELPS him up, puts his arm over her shoulder... and they start to walk
+away together through the graveyard toward the burning island beyond.
+
+The CAMERA pulls back.... and as Amsterdam and Jenny WALK AWAY the SKYLINE
+OF NEW YORK starts to take shape before us. TOWERS of steel and concrete
+start to rise.
+
+As the SUN begins to descend, we see, in outline, the familiar
+contemporary SKYLINE of New York. As the SUN FALLS, the outline of the
+city becomes grander still, until, in the late afternoon light, it gives
+off an almost SPECTRAL GLOW...
+
+... which SHINES for a last moment on the now-aged headstone of Priest
+Vallon, its inscription unfinished.
+
+As, in the distance, the sun SETS an New York and the city grows still and
+black in the wash of impenetrable darkness.
+
+THE END.
\ No newline at end of file