EXT. NEW YORK CITY - BLOOMINGDALE'S - DAY The busy block between 59th and 60th - Streets in the middle of a weekday afternoon. Buses, taxis, trucks ; shoppers, messengers, teenagers. In one corner of the screen the time is SUPERIMPOSED : `` 1:52'' Now a man -LRB- GREEN -RRB- is ZOOMED IN on - little of his actual face is visible because of his thick white hair, large bushy white mustache, dark glasses and slouch hat. The rest of him is encased in a knee - length raincoat. He wears gloves and is carrying a large, brown - paper - covered package by a wooden handle attached to the twine securing it. The box has been addressed in black felt marker - `` Everest Printing Corp., 826. Lafayette St.'' - and appears quite heavy. But Green has the gait of a man. younger than he appears. As he turns and heads down a flight of stairs, CAMERA ZOOMS IN even more to the single word on a sign : `` SUBWAY.''

INT. SUBWAY - 59TH ST. CHANGE BOOTH - DAY A level above the locals, two above the express trains. Green appears and joins the line waiting to buy tokens. Wordlessly he shoves two coins under the grille, receives his token, moves on, drops it into the slot, pushes through the turnstile and heads for one of the descending stairways. CAMERA HOLDS on a sign identifying his choice : `` IRT. LEX. AVE. LOCAL. DOWNTOWN.''

INT. SUBWAY PLATFORM - 59TH ST. DOWNTOWN LOCAL - DAY Green comes off the stairs and arrives on a line with a placard that hangs over the edge of the platform bearing the number `` 10'', black on a white ground, indicating the point where the front of a ten - car train stops. Now the sound of a distant rumbling, growing louder, makes Green turn,. cross to the platform's edge, lean out over the track and peer into the darkness of the tunnel beyond the far end of the platform. SUBWAY TUNNEL - GREEN'S POV as the four lights - amber and white markers over white sealed - beam headlights - come into view and the train roars and clatters into the station. CAMERA PANS with the head car as it stops, its breaks sighing, and a pair of doors in EXTREME FOREGROUND, rattles open. CAMERA now MOVES forward, into the car, then TURNS and through the still - open door, focuses on the T.A. Cop, still standing on the platform, regarding Green -LRB- CAMERA -RRB-. MED. SHOT - FIFTH CAR From the platform, featuring the conductor -LRB- BUD CARMODY -RRB- as he leans out of his window surveying the station. He has a young, boyish face surrounded by long, curly red hair.

INT. FIFTH CAR The door to the conductor's cab is open as Bud continues to lean out the window. Directly, behind him is MATSON, an older Conductor of retirement age who is busy instructing the younger man. MATSON C'mon, kid - out loud so's I can hear what you're doin'. BUD I'm checking the passengers getting on and off - front and back - okay, it's all clear - I'm shut - ting the doors ; -. rear section FIRST -. -LRB- pushes a button. -RRB- - then the front section -. -LRB- PUSHES ANOTHER. -RRB- - and - the doors are closed. He pulls his head in and checks a row of lights on a panel. BUD Now I'm checking the indicator box to make sure that the doors are all locked - okay. The train starts with a jerk. BUD Igo back out the window -. -LRB- HE DOES. -RRB- - for a distance of three car - lengths to see that nobody's being dragged -. -LRB- RETURNING. -RRB- - I remove my door key - and then the skate key - and then I hit the transmitter button. -LRB- into a mike. -RRB- Fifty - first Street' next stop - the next stop is Fifty - first Street. -LRB- turning to Matson. -RRB- How'd I do? MATSON How come you wan na be a conductor, anyway? Do n't you know the con - ductor's sittin' in the goddam hotseat? BUD What do you mean, Mr. Matson? MATSON You're visible, for God's sake! Anything goes wrong - anyone's got a gripe - you're the one they see. Hell, in my twen' y - nine years o' stickin' my head out there I been slugged, spit on, hit by purses, fruit, rolled - up newspapers, baseball mitts - an'. I been god - dam lucky! I never been puked on by a drunk like Charlie Boltzen was on the Parkchester line - or stabbed in the neck like I heard one fella was on the Astoria BMT - BUD -LRB- QUIETLY. -RRB- Jesus. MATSON You take my advice, kid - serve your six months an' then put in for Motorman. Watch it, we're cumin' in. Bud looks quickly off, sees the approaching station and hits his transmitter button. BUD -LRB- ANNOUNCING. -RRB- FIFTY - NINTH STREET MATSON No it ai n't BUD -LRB- CORRECTING. -RRB- Fifty - first Street, sorry the station is Fifty - first Street. MATSON Never say you're sorry, kid - somebody'll come back here an' bust your goddam nose. Bud sticks his head out the window, remembers what Matson told him and pulls it partially back in.

51ST ST. STATION - BUD'S POV SHOOTING THROUGH the conductor's window as the train enters the station. We flash by the `` rear - enders'' -LRB- those waiting for the last car -RRB- and gradually slow until we stop - and we are looking right into the face of a man -LRB- GREY -RRB- whose frame and features, while entirely different from Green's, are covered by the same identical externals - thick white hair, bushy white mustache, dark glasses, slouch hat, gloves and raincoat. He looks at the conduc - tor -LRB- CAMERA -RRB- for an instant, then darts away. PLATFORM - GREY RIDERS entering and exiting the train as Grey heads down - track. He carries a large tan valise trimmed in dark brown.

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

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

INT. FIFTH CAR - CONDUCTOR'S CAB Bud is removing his key and activating his mike. BUD -LRB- ANNOUNCING. -RRB- Grand Central Station, next stop - the next stop is Grand Central. MATSON Yeah - if I was you I'd start studyin' for that motorman's exam right now. BUD To tell you the truth, Mr. Matson, I have been. Want to hear some - thing? -LRB- RECITING. -RRB- Every car on the IRT is seventy - two feet long, cost $ 250,000 and weighs 75,000 pounds. It holds 44 seats with room for 136 standing. MATSON ` Cept at rush hour when you can push in another 20, at least. Honest to God, I. know personally of a case where this guy on a number 5 train dies of a heart attack at Union Square and he has t' wait until the Grand Concourse in the Bronx before enough people get off so's he can fall down. -LRB- A PAUSE. -RRB- Honest to God. BUD Mr. D'Agostino who rode with me last week said that happened on a double - A train on the West Side. MATSON Yeah? Who y' gon na believe? A wop or an American? -LRB- LOOKING OUT. -RRB- Here's where I'm gettin' off - think you can get to Brooklyn Bridge all by yourself? BUD -LRB- GRINNING. -RRB- Long as I do n't have ` to drive - MATSON Stick with it, kid - you're doin' great. See ya t ` morrow. He crosses to the nearest door as the train decelerates. Bud activates. his mike and announces, waving to Matson as he does. BUD Grand Central Station - change for the express. This is Grand Central. The train stops, the doors open and Matson steps out, colliding with a very large man -LRB- BROW ^? PN -RRB- who is in a hurry to get aboard. His face is adorned with a large, white, bushy mustache, dark glasses, a lot of white hair, a slouch hat and, covering the rest of him, a raincoat. He carries an outsized florist's box, big enough for several dozen - long - stemmed roses, under his. arm, and wears gloves. MATSON What's your hurry, chief? We wo n't leave without you. Brown says nothing to Matson, does not look at him, does not even seem aware of their cohtact. Matson goes off into the crowd on the platform and Brown heads for the front of the car.

INT. FIRST CAR - GREEN Still sitting, still facing the motorman's cab. The two boys continue to play at the front window. The doors can be heard slamming shut and the train jerks into motion. BUD'S VOICE -LRB- AMPLIFIED. -RRB- Thirty - third Street - next stop is Thirty - third Street. Suddenly Green's hand, clutches at his shirt collar, unbut - toning the top button and loosening his tie. He breathes a sigh of relief,' then notices that his left leg is vibrat - ing. He quickly stills it by placing a hand on his knee.

INT. FOURTH CAR - GREY Leaning back against the storm door. Now he picks up his valise, turns and looks through the door, across the platform between the cars, into the fifth car, and catches sight of Brown who nods, almost imperceptively. Grey makes no sign of recognition at all. He turns and starts forward through the car, heading for the third car. At the far end a MAN is standing in front of the door, leaning down to talk to a seated GIRL. Grey stops and waits a moment. Finally : GREY Your ass. The man looks around and surveys Grey. MAN What about it? GREY Move it. The man glances at Grey for a moment, then moves it. Grey opens the door and steps out onto the platform between the two cars.

TWENTY-EIGHTH STREET PLATFORM CLOSE SHOT - STATION DESIGNATION The tile mosaics spelling out `` 28TH STREET.'' CAMERA now DOLLIES to a TIGHT CLOSE SHOT of still another man with a white bushy mustache, white hair, dark glasses, slouch hat, gloves and raincoat - BLUE. The time is SUPERIMPOSED : `` 2a 01.'' WIDER ANGLE Blue stands at the downtown end of the platform, near the number 10 placard, carrying a bulging canvas valpac in one hazed and a trombone case in the other. A rumbling sound is heard, building, until a train roars through on the northbound express track, its lights flashing between the pillars. In a moment it is gone and the sound dies. Now a young black,. dressed in the latest extravagant PIMP's fashions - flaring double - knit trousers, three - inch heels, wide - lapeled jacket and white, extra - wide - brimmed hat, swaggers, loose - jointed, to a spot near Blue and waits, cool and relaxed. He becomes aware of Blue observing him. PIMP What's wrong, dude - ai n't you never seen a sunset before? Blue - smiles softly and looks uptrack.

INT. FIRST CAR - GREEN BUD'S VOICE -LRB- AMPLIFIED. -RRB- Twenty - eighth Street - next stop is Twenty - eighth Street. Green glances at his watch, then turns to look at the storm door at the far end of the car. GREY - GREEN' S POV The far storm door - with Grey's face seen through the glass. TIGHT CLOSE SHOT - GREEN as he nods to Grey.

INT. SECOND CAR as Grey comes back inside, closes the door and wedges his hip securely against the brass handle. TWENTY - EIGHTH ST. PLATFORM - LOCAL TRACK as the train roars in, brakes,' and grinds to a stop. CAMERA ZOOMS IN on a sign on the side of the first car : `` PELHAM BAY PARK'' until only `` PELHAM'' fills the SCREEN. MED. SHOT - BLUE He hangs back until everyone has gotten on or off the train, then, without haste, carrying the valpac in one hand and the trombone in the other, he approaches the front of the first car. The Motorman -LRB- DENNY DOYLE -RRB-, a middle - aged man with a ruddy face and wearing pin - striped overalls, is leaning far gut of his window, looking back along the platform. Blue puts down his bags, puts his right hand into his raincoat pocket and leans against the train with his left shoulder, blocking Doyle's view of the rest of the train. DOYLE Hey - how do you expect me to -? He stops, suddenly aware that Blue has removed a very large army automatic from his raincoat pocket and has placed the muzzle against his -LRB- Doyle's -RRB- head. Doyle jerks his head back, suddenly, banging it hard against the windowframe. Blue crooks his hand inside the window and now places the gun against the Motorman's cheek, directly under his right eye. DOYLE -LRB- TERRIFIED. -RRB- For God's sake - what do you want? BLUE I'm taking your train. FREEZE FRAME. -LRB- MAIN TITLE SEQUENCE BEGINS -RRB- MED. SHOT - BUD as he hangs out his window of the fifth car, looking down - track, trying to see Doyle. TRAIN & PLATFORM - BUD'S POV Blue's Lack, by the head car, blocking any sight of the Motorman. CLOSE SHOT - BUD Confused for a moment - then : BROWN'S VOICE Turn around - I've got some - thing to show you. Bud turns back, inside the car, then looks down. CLOSE SHOT - REVOLVER The snub - nosed weapon has been pushed into Bud' s midsec - tion. FREEZE FRAME. -LRB- MAIN TITLE CONTINUES -RRB- MED. CLOSE SHOT - BLUE & DOYLE Blue's.45 still against Doyle's cheek. Blue speaks calmly and quietly. BLUE Unlock your cab or. Doyle seems dazed, in a trance. Blue presses on the barrel of his gun, depressing Doyle's cheek. BLUE Pay attention to me. Open your cab door or I'11 kill you. FREEZE FRAME. -LRB- MAIN TITLE CONTINUES -RRB-

INT. FITH CAR - CONDUCTOR'S CAE MED. SHOT - BROWN & BUD BROWN Come in and turn around - slow. Brown, florist's box and all, has moved into the small cubicle. When Bud pulls his head in from outside they are very close. CLOSE SHOT - DOYLE'S HAND as it gropes blindly for the latch, finds it and turns it with a click. The door opens and CAMERA TILTS UP to dis - cover Green standing outside. FREEZE FRAME. -LRB- MAIN TITLE SEQUENCE ENDS -RRB-

INT. FIFTH CAR - CONDUCTOR'S CAB Brown's gun is still pressed into Bud's side. BROWN Go back out the window and tell me what you see. Bud nods, licks his.dry lips and leans out, looking to the left, downtrack. FRONT CARS - BUD' S POV Blue is still leaning against the head car, his back to us. BUD'S VOICE There's someone leaning against the head car. BROWN'S VOICE The second he comes aboard shut the doors. Now Blue turns, picks up his valpac and trombone, enters the train and the doors close.

INT. FIRST CAR - MOTORMAN' S CAB as Green has moved in with his large package, a gun in his hand. Doyle stares at him, still terrified. GREEN Get rid of your seat. Doyle springs to his feet and swats up the folding seat with a clatter. DOYLE Yes, sir! GREEN Just take it easy. Now move over to the window - and if you try to touch the mike pedal with your foot I'll shoot it off. A sharp rapping at the door and Green opens it. Blue squeezes in, placing his bags atop Green's package. it is becoming very crowded in the cab as Blue again pockets his gun. BLUE All right, Mr. Green? GREEN A hundred percent. BLUE Then get it started. Green moves over to face the controls. He stares down at them for a moment, then reaches with his left hand to the controller, his right to the brake handle. Pressing down firmly on the controller, he nudges it to the left. TWENTY - EIGHTH ST. PLATFORM as the train starts to move forward - slowly.

INT. FIFTH CAR - CONDUCTOR'S CAB Brown still holding his gun on Bud. BROWN Okay - announce the next station. Bud presses the transmitter button. BUD -LRB- ANNOUNCING. -RRB- Twenty - third Street - next STOP IS His voice croaks then fails - he ca n't finish. Brown prods him with his gun. Bud clears his throat, then tries again. I BUD -LRB- ANNOUNCING. -RRB- Next stop is Twenty - third Street. BROWN Come on - we're. taking a walk up front.

INT. SUBWAY TUNNEL as the train crawls slowly through the darkened tunnel.

INT. FIRST CAR - MOTORMAN'S CAB Green's eyes are on the controls as Blue and Doyle watch the track. GREEN You say when, Mr. Blue. BLUE Keep going - DOYLE You're still in switching. Why do n't you peg it up to series? You're green all the way through. GREEN We're in no hurry. Suddenly there's a popping sound and the power fails for a moment. BLUE What happened? GREEN She must've bucked. BLUE You said you could drive this thing. GREEN It was n't me! DOYLE It's the train - she bucks all the time - especially in switching. She's a dog. Green glances quickly at Doyle and grins. GREEN What's your name, motorman? DOYLE Denny Doyle, sir. GREEN You ever been written up? DOYLE Yes, sir - once. GREEN What for? DOYLE Running a red signal. The trippers stopped us cold and I hadda climb down and reset'em by hand but by that time Control knew I was lying dead. I never got written up since. How about you? GREEN Twice. - once on the Canarsie - BLUE That's right, Mr. Green - tell him all about yourself. Green stops and looks at Blue. BLUE -LRB- LOOKING OUT. -RRB- There's the emergency power box. Green knocks off his controller and eases the brake handle to the right.

INT. TUNNEZ as the train slows and screeches to a stop.

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

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

INT. MOTORMAN'S CAB Blue and Doyle. BLUE You'll be hearing from Command Center in a minute. -RRB- r two but you'll ignore the call - you wo n't answer - is that perfectly clear? DOYLE Yes, sir. -LRB- A PAUSE. -RRB- They can call all they. want. to - I'm deaf. -LRB- ANOTHER PAUSE. -RRB- Yes, sir. I want to stay alive. BLUE Keep still!

INT. FIRST CAR as Green nears the storm door, Grey, who stands guard in front of it, glides to one side and opens the door for him. GREEN Thanks, Mr. Grey. GREY -LRB- EXAGGERATED. -RRB- Do n't mention it, Mr. Green.

INT. SECOND CAR Brown slides open the door for Green, then slides it shut again. They speak in low tones. GREEN -LRB- TO BUD. -RRB- Give me your cab key. BROWN -LRB- as Bud hesitates. -RRB- You got three seconds to live, conductor - one - two - Bud whips the key from his pocket and hands it to Green, who unlocks the cab door they're standing next to and enters, closing the door after him. BUD What's he going to do? BROWN You would n't want me to spoil the surprise.

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

INT. FIRST CAR - MOTORMAN'S CAB Blue and Doyle, waiting, neither saying anything. SUDDENLY : CORRELL -LRB- RADIO. -RRB- Command Center calling Pelham One Two Three - come in, please - Doyle's foot moves toward the mike pedal and Blue kicks him hard in the ankle. DOYLE Owl I'm sorry - Z could n't help it - it's automatic - CORRELL -LRB- RADIO. -RRB- Pelham One Two Three, do you read me? Come in, Pelham One Two Three - Doyle looks imploringly but Blue shakes his head. Finally : CORRELL -LRB- RADIO. -RRB- Pelham One Two Three1 Where the fuck are you?

INT. GRAND CENTRAL SHUTTLE STATION Two men are walking at a rapid pace : CAZ DOLOWICZ, Super - vising Towerman, an overweight man in his fifties, and a PLUMBER, a short man dressed in overalls and a cap, carry - ing a long wooden box of wrenches ; he struggles to keep up with Dolowicz. The time is SUPERIMPOSED : `` 2:07.'' PLUMBER What's the goddam hurry? CAZ I told you - one of my towermen dropped his wedding ring - down the john. PLUMBER Yeah, but what're we runnin' for? CAZ -LRB- RUNNING. -RRB- Who's runnin'? They pass the Nedick's stand and Caz pushes through a gate marked : `` TO SUPER'S OFFICE''. PLUMBER How come that gate ai n't locked? CAZ Who's gon na steal a subway train?

INT. TUNNEL RAMP as Caz and the Plumber hurry along. - PLUMBER Christ, it stinks down herel Where the hell are we goin'? CAZ To the Tower. PLUMBER Tower? Then what're we goin' down Hey, slow up, will ya? CAZ That's it up ahead - those windows. PLUMBER What kinda tower? They've come to the door of the Tower Room. They turn, go up some steps and disappear inside.

INT. TOWER ROOM A long, unadorned room with a row of desks with phones, and a door marked `` TOILET''. Several TOWERMEN -LRB- and MRS. JENKINS, a black Towerwoman -RRB- sit at the desks before the flashing phone consoles, talking to dispatchers, trainmasters and other Towers. The predominant feature of the room, however, i is the electronic Model Board, stretched high across one wall, recording in colored slashes of light the movements of every train that passes through the sector, all of it superimposed on a painted map showing the line's track routes and stations. One of the Towermen, MARINO, rushes over to Caz as he and the Plumber enter. MARINO Jesus Christ, Caz, you picked a helluva day to be late - CAZ You wanted a plumber down here, did n't you? Whose goddam wedding ring was it? MARINO -LRB- POINTING. -RRB- Who else? Mrs. Jenkins. MRS. JENKINS I'm sorry, Mr. Dolowicz - it just slipped off. CAZ What were you doin' r with your hand in the john, anyway? MRS. JENKINS -LRB- indignant. -RRB-. My hand - was n't in the john, Mr. Dolowicz - it was over the john. CAZ What's the difference? -LRB- to the Plumber. -RRB- Go fish it out, will ya? As the Plumber heads off, Caz turns to Marino. CAZ The classification's been open to women for only a month and already we're in the goddam toilet! -LRB- glancing at the BOARD. -RRB- What the hell's that? MARINO That's what I've been tryin' - to tell you, Caz - a southbound local. He's laying down between 28th and 23rd. CAZ What the hell for? MARINO Dunno yet. CAZ How long? MARINO Couple - three minutes. Command Center's been trying to raise him but so far he do n't answer the radio. Jesus, Caz - why do n't he answer the radio? CAZ Take it easy, Marino - there's lots o' reasons. Maybe he jumped a ball and hadda leave the cab to reset a tripper - or a door got hung and he hadda go fix it. Any - thing more serious and he'd' a called in for a car knocker. MARINO It's been too long, Caz - CAZ Then maybe his radio's busted and the sonuvabitch is too lazy to climb down and use a telephone! I'm gon na write him up for this, goddammit - I'm gon na have his ass. TOWERMAN Hey - it's moving! Everyone wheels around to stare up at the Board. CAZ For Jesus Christ sake! The dumb bastard's moving backwards!

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

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

INT. TOWER ROOM Caz, Marino and the others are staring up at the Model Board. MARINO He's stopped again! CAZ Stopped is better than backwards.

INT. SECOND CAR - CAB as Green removes the brake handle and the two keys, stuffs them back into his pockets and leaves the cab.

INT. SECOND CAR Brown and Bud are waiting as Green steps out. Bud stares at him. GREEN What's wrong with you? BUD I did n't know these things'd could go backwards! BROWN -LRB- IMPATIENTLY. -RRB- Let's go, Mr. Green. He opens the storm door and holds it as Green goes through first.

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

INT. FIRST CAR - MOTORMAN'S CAB Blue and Doyle, the latter watching wide - eyed as the former opens his trombone case and removes a submachine gun. He checks it then sets it aside and removes the cord from Green's package. CORRELL -LRB- RADIO. -RRB- Come in, Pelham One Two Three for Chrissake come in - I Blue opens the package, removing a second, identical automatic weapon. As he checks it out, a rapping sounds at the metal door and Blue opens it. Green squeezes in. BLUE Any trouble, Mr. ` Green? GREEN Smooth as silk, Mr. Blue. BLUE I unpacked your weapon. Get this thing moving - we're run - ning almost two minutes behind. Picking up his submachine gun, and holding it vertically along his pants leg, Blue eases himself through the door and shuts it after him. CORRELL -LRB- RADIO. -RRB- -LRB- WEARY. -RRB- Pelham One Two Three - can you hear me, Pelham Ond Two Three -? Green quickly replaces the brake handle and eases the controller to the left.

INT. TUNNEL as the single subway car starts to move slowly forward.

INT. TOWER ROOM CLOSE SHOT - MODEL BOARD as a set of red slashes begin to flicker. REVERSE SHOT All eyes staring up at the Board -LRB- CAMERA -RRB-. MARINO She's moving again - forward this time! CAZ I got eyes, have n't I? MARINO Well - whatever it was, he's okay now, thank God.

INT. FIRST CAR it is moving slowly. Blue stands by the cab, his gun still held hidden behind his leg. He looks down the length of the car. MED. SHOT - BROWN, He undoes his flower box and removes another submachine gun. MED. SHOT - GREY He has opened his valise and has taken out still another submachine gun which he grins at, happily. MED. SHOT - BLUE He comes forward to the center of the car, now, making no attempt at inconspicuousness any more. BLUE -LRB- LOUDLY. -RRB- Attention, please! Some faster than others, the Passengers in the car are either distracted from their reading or talking, or around from their limbo of subway dead - headedness. Registering different degrees of interest, surprise, confusion, or -LRB- in some cases, upon seeing the guns -RRB- fright and even terror, they turn to face Blue.' There are some sixteen of - The black, modishly - dressed Pimp, in his 30's, seen earlier on the station platform. - A plump MOTHER, forty - ish, high - strung, the parent of the the Boys seen earlier playing motorman. - A Puerto Rican DELIVERY BOY, 20, - with acne, wearing a lumberman's wool jacket, a small hat, and carrying a large manila envelope. - A black SECRETARY, 25, attractive, with a natural, and well - dressed, who's been reading a book. - A HIPPIE type, 24, with shoulder - length blond Jesus Christ hair and a beard to match, wearing a Navajo - patterned woolen poncho, a headband, leather sandals and a zonked - out expression. - A black MAID, 50's, overweight, tired, wearing a wig and an old fur - collared coat, end carrying two Blooming - dale's shopping bags. - A HOOKER, 32, white, flashy, dark - haired, wearing a short skirt, no bra and an Anzac - type hat. A W.A.S.P. type, 40's, short - hair, wearing a brown tweed jacket and a narrow tie. - A black SALESMAN, 35, with a, sample case and an order book, wearing glasses. - A woman WINO, a derelict of indeterminate age, with rolled down stockings, layered in ratty coats and sweaters, wearing wool gloves with the fingers out, missing most of her teeth, her hair stringy, her eyes red - rimmed, her complexion sallow, carrying a pint bottle in a paper bag, passed out, dead to the world. - An OLD MAN, 70's, tiny and alert, dressed in an expen - sive but old - fashioned cashmere overcoat. - TWO CO - EDS, 18 and 19, scrubbed, pretty, serious -LRB- Hunter College, 68th St. Station -RRB-, carrying briefcases. - A black FAG, 25, his hair straightened and pompadoured, his eyebrows plucked and redrawn, his figure trim, his clothes calculated to attract other men, his mouth con - stantly pouting, carrying a shoulder bag and listening to a transistor radio. In all, SIXTEEN - seven men, two boys, seven women ; ten white, five black and one Puerto Rican. Center - car, Blue addresses them. He holds his submachine gun in the crook of his arm, the barrel resting on his right hand. BLUE You will all remain - seated. Anyone who tries to rise will be shot. PASSENGERS Oh my God What'd he say? What's going on? I do n't believe it. -LRB- Etc. -RRB- BLUE And you will remain silent! There will be no further warning - any - one who moves or speaks without permission is going to be killed. There is immediate silence as he - looks around. BLUE This weapon fires 450 rounds of.45 calibre ammunition per minute. In other words, if all of you de - cided to rush me simultaneously, not a single one, of you would get any closer than you are right now. Is that understood? This news is met in stony, awe - struck, terrified silence. Except for the Pimp who smiles, seemingly relaxed. PIMP I should' a know'd you was the main man, man.

INT. TUNNEL as the slowly moving car comes to a stop.

INT. TOWER ROOM CLOSE SHOT - CAZ He is staring up at the Board. CAZ He stopped again! The crazy, dumb - assed sonuvabitch stopped again! WIDER ANGLE Including Marino, Mrs. Jenkins and the other Towermen. MARINO What's he doing now? He's half - way between stations. CAZ A pure mental case. I'm gon na nail his pecker to the goddam wall for this! MARINO -LRB- indicating Mrs. JENKINS. -RRB- Hey, Caz, take it easy, will you? CAZ If I got ta watch my language just because they let a few broads in' I'm gon na quit! How the hell. can you run a goddam railroad without swearing?! CORRELL -LRB- RADIO. -RRB- Grand Central Tower - this is the Desk Trainmaster - who the fuck's in charge down there? Caz glances at Mrs. Jenkins, grins, and leans over a desk to flip on a mike. CAZ It's me, Frank - Caz Dolowicz. We're watching it on the Board. CORRELL -LRB- RADIO. -RRB- What good's watching it, for Chris - sake? We got trains piling up behind it. Get some goddam super - vision down there! CAZ On my way, Frank. -LRB- AN AFTERTHOUGHT. -RRB- Oh, and Frank - please do n't say `` fuck'' anymore on the radio - we got some ladies down here now - and you know how it is with ladies, Frank - the cunts do n't like it. He flips off the key and walks out the door.

INT. SUBC47AY -. FIRST CAR Blue maintains his position in min? - car. He turns now to the rear section. BLUE Everybody in this half of the car - that's from here on back - move up front, please. Everybody. -LRB- as they hesitate. -RRB- Right now - upi As the. six or seven passengers in the rear section rise and move forward, the cab door opens and Doyle comes out, i followed by Green who is covering him with his gun. BLUE Get going, Mr. Green. Green nods and goes to the front, uses a key to slide open the storm door, steps out and closes it again, then jumps down onto the tracks. BLUE Motorman - come here. DOYLE Yes, sir? BLUE I want you to walk uptrack and collect all the passengers in the nine cars we out loose, and lead them back to the 28th St. Station - is that clear? DOYLE People hate getting off in the middle of a tunnel - BLUE Just do as you're told : The Hooker raises her hand. HOOKER Can I go with them, please? I've got this important appointment, you see, and - BLUE No. No one else can leave. MOTHER I'm sure you would n't mind if the children were to go - BLUE Nobody leaves! OLD MAN -LRB- raising his hand. -RRB- Excuse me, mister - do n't you think we should be let in on what's happening? BLUE Yes. What's happening is that you're all being held by four dangerous men with machine guns. OLD MAN -LRB- SMILING. -RRB- I suppose if you ask a foolish QUESTION The fluorescent lights suddenly go out and the emergency, incandescent bulbs immediately go on, thereby diminishing the brightness in the car by half. There's a general stirring among the Passengers as they look around them, their alarm peaking again. BLUE Please be quiet - nothing's going to happen if you do as you're told. Get going, Motorman. As Doyle leaves at one end of the train, Green reappears at the other. BLUE All right, Mr. Green? GREEN All power's out between 14th and 33rd Streets on all four tracks, local and express, north - and southbound. BLUE I still see some tunnel lights. GREEN Emergency. They're on A.C. like the signals. BLUE -LRB- a pause. -RRB-. Stay here - and leave the cab door open so you can hear the radio. Blue returns to the center of the car but CAMERA stays on Green as he opens the cab door. CORRELL -LRB- RADIO. -RRB- Command Center to Pelham one two Three - did you cut the power down there? - without calling Power Central to explain? All right, Pelham One Two Three - cut this shit right now and answer me! You're fucking up the whole goddam New York Subway System!

EXT. M.T.A. HEADQUARTERS - BROOKLYN - DAY The large, granite - f aced building in the Borough Hall complex. The following legend is SUPERIMPOSED : `` TRANSIT AUTHORITY 370 JAY ST. BROOKLYN''

INT. T.A. HDQRS. -- SECOND FLOOR CORRIDOR - DAY Elevators and the Information Desk. CLIVE PRESCOTT, a black plainclothes lieutenant in the Transit Police, is pacing, waiting. The time is SUPERIMPOSED : `` 2:09.'' A uniformed TRANSIT COP sits behind the desk, watching him. Finally : an elevator door opens and a smart, efficient SECRETARY emerges, followed by FOUR JAPANESE in business suits. SECRETARY Ah, Lieut. Prescott - it was nice of you to leave your duties long enough to show our distinguished guests around the facilities. May I present Mr. Yashimura, Mr. Mat - sumoto, Mr. Tomashita, and Mr. NAKABASHI The small - framed Orientals bow in turn. SECRETARY - who are all Directors of the Tokyo Metropolitan Subway System. Gentlemen, this is Lieut. Clive Prescott of our own Transit Authority Police. PRESCOTT A pleasure, gentlemen. SECRETARY When you're through the Chairman would like to say goodbye per - sonally so send them up to thirteen, will you? PRESCOTT I sure will. She smiles at the Japanese and walks back to the elevators, pressing the UP button. Prescott looks at the four men for a moment, uncertainly, then goes after the Secretary and speaks to her in low tones. PRESCOTT THEY speak English, do n't they? SECRETARY We're not sure. PRESCOTT You're not. SECRETARY We've been proceeding on the assumption that they do. PRESCOTT You have. The elevator door opens and - she steps in, smiling sweetly. SECRETARY Sayonara. The door closes. Prescott shrugs, then turns and smiles at the visitors. They smile back. He takes a deep breath, then begins. PRESCOTT The New York City Subway System is the largest ` in the world, with 237 miles of track and seven thousand cars that carry over a billion and a third passengers every year, making it also the busiest railroad in, the world. I can see that this last fact surprises you. The Japanese look anything but surprised. Prescott goes on, resolutely. PRESCOTT Yes. Well - Grand Central is the busiest station passenger - wise - train - wise, it's West 4th St. on the I.N.D. line. Now, if you'll step this way, gentlemen - They step no way at all. Prescott gestures broadly. PRESCOTT This way - He hurries ahead of them to open the door and hold it for them as they finally follow. PRESCOTT We are entering the headquarters of the Transit Police, occupying the entire second floor of this building. We call it the Nerve Center.

INT. OPERATIONS - DAY CLOSE SHOT - STATUS BOARD A huge police map covering one wall, divided into pastel shadings of yellow, red, orange, blue and green, showing the various areas of the system. Colored lights - red an & yellow - are continually changing and flickering. PRESCOTT'S VOICE The Status Board pinpoints the disposition of every Transit Authority policeman presently in the field. Things are usually jumping pretty good in here. CAMERA begins to ZOOM BACK, revealing the scene : a large room, cut. up by glass dividers into a maze of squares and rectangles manned by uniformed T.A. POLICEMEN, sitting at desks with telephone consoles. The place is absolutely dead - some reading, some eating, some sleeping. PRESCOTT'S VOICE We have one of our own T.A. cops on every station and every train in the entire system between the hours of eight P.M. and four A.M.. Since we instituted this watch, we've out crime in the subways by about 60 %. CAMERA has finished its ZOOM and now PANS to include Prescott and his four Japanese. PRESCOTT I'm sure you have your own share of crime on the Tokyo subway, right? They merely stare at Prescott and smile. PRESCOTT Right. He clears his throat, loosens his tie and looks around for help. PRESCOTT Uh - follow me, gentlemen, PLEASE - He starts off through the room, the Japanese following. PRESCOTT These are the assignment desks, one for each of the three lines - the I.R.T., the B.M.T. and the I.N.D. - and.over here, the Oper - ations Lieutenant, Sol Garber. Prescott has stopped beside a desk. GARBER, 40, stocky, dour, with a dark stubble that requires shaving twice a day, is absorbed reading the Village Voice. PRESCOTT Uh - Sol - I'd like you to meet some friends of the Chairman. Garber looks up over his paper for a moment. GARBER HI YAA PRESCOTT Good friends of the Chairman. GARBER Hi ya. PRESCOTT They're - uh - directors of the Tokyo Subway. GARBER -LRB- FLATLY. -RRB- You do n't say. PRESCOTT I do say. I - uh - told them things are usually jumping. like crazy in here. GARBER Jumping. Right. PRESCOTT Tell them about some of the excit - ing things that have been happening lately, Sol - GARBER Yeah, well - we had a bomb scare in the Bronx yesterday - but it turned out to be a cantaloupe. He and Prescott look at the Japanese. Nothing. PRESCOTT How about another one, Sol? GARBER Well - uh - Thursday there were three unrelated knife fights in a single half hour - two dead and three wounded -. -LRB- PAUSE. -RRB- - one critical? The Japanese smile. GARBER I'm busy, Clive, okay? He goes back to his newspaper as Prescott leads his four charges away. PRESCOTT In the course of a normal week the T.A. Police have to deal with such crimes as robbery, assault, murder, drunkenness, injury, illness, vandalism, abusiveness, sexual molestation and exhibitionism. -LRB- A PAUSE. -RRB- You know, flashing? To illustrate, he waves a bottom corner of his jacket at the Japanese who nod appreciatively. Then he lifts a pistol from his shoulder holster, just far enough to show the handle. PRESCOTT We carry firearms, of course - off duty as well as on. -LRB- RETURNS IT. -RRB- - and we're fully empowered to make arrests. -LRB- A THOUGHT. -RRB- in fact - you're all four under arrest right now. You get me? I'm tossing you all in the pokey and throwing away the key. He smiles and they smile back. He feels much better. PRESCOTT -LRB- GAYLY. -RRB- All right, you creeps, let's go upstairs to the Command Center. They start off.

EXT. PARK AVE. - 28TH ST. SUBWAY ENTRANCE -.DAY as a Taxi pulls up and Caz jumps out after paying the DRIVER. DRIVER Hey! These are subway tokens : CAZ -LRB- CALLING BACK. -RRB- Sounder than the U.S. Dollar! He disappears down the steps.

28TH ST. PLATFORM - TRAVELLING A train is standing with its doors open, and lit within only by the emergency bulbs. Caz hurries south along the platform, heading for the first car, his ample stomach bouncing over his low - slung belt, CAMERA LEADING him until he comes to the front of the train and stops to talk to the MOTORMAN, a grizzled old - timer who needs a shave. CAZ When did the power go? MOTORMAN Who wants to know? CAZ The Supervisor of the Grand Central Tower wants to know! MOTORMAN Oh - sure - it went a ` couple of minutes ago. He starts off. MOTORMAN What happened down there - a man under? CAZ Who wants to know?

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

INT. SUBWAY - FIRST CAR as Blue surveys.the scene. The rear section is empty. The Sixteen remaining Passengers and Bud are sitting quietly. Brown and Grey stand mid - car, guarding from that side. Now Blue joins Green at the front end. BLUE What time've you got, Mr. Green? GREEN -LRB- CHECKING. -RRB- Two - ten. BLUE Correct. Time to start. Any - thing you want to say first? GREEN -LRB- A PAUSE. -RRB- I'm going to die today, BLUE -LRB- ANOTHER PAUSE. -RRB- Could be. He turns and enters the Motorman's cab. CORRELL -LRB- RADIO. -RRB- Pelham One Two Three - do you read me now -?

INT. T.A. BLDG. - THIRD FLOOR COMMAND CENTER - DAY CLOSE SHOT - FROM ABOVE SHOOTING DOT1N at the enormous, block - long, high - ceilinged area in which the three Divisional units -LRB- IRT, BAIT and IND -RRB- are scattered widely, using so little of the space that the arrangement looks provisional. Over this, one VOICE can be heard, Correll's, continuing from the previous scene. CORRELL'S VOICE - Come in, Pelham One Two Three - if you can receive and not transmit please use a phone - CA14FRA now ZOOMS IN on Correll, the desk trainmaster, seated at a steel desk, talking over a two - way radio / telephone console. CORRELL - Come in, Pelham One Two Three -. -LRB- punches a button. -RRB- Power Central - have you restored Lex 14 - 33 yet? RADIO Not yet, Command Center. Still working. CORRELL -LRB- PUNCHING ANOTHER BUTTON. -RRB- Grand Central Tourer - any movement on Pelham One Two Three? MRS. JENKINS -LRB- RADIO. -RRB- Still lying dead, Command Center. CORRELL -LRB- PUNCHING ANOTHER BUTTON. -RRB- Maintenance - how about a report, for Chrissake? RADIO On what, Command Center? CORRELL How many trains we got laying down, you dumb bastard? CAMERA PANS to pick up Prescott as he leads his four Japanese through the room, moving and speaking rapidly. PRESCOTT Each train is identified by the name of its terminus and the time of its departure - thus, an express leaving Woodlawn at 6:30 P.M. would be Woodlawn Six Three Oh, while on its return trip its new destination might be Flathush Eight Two Five. I hope you're memorizing all this junk - I'm going to ask questions later. He has said this within earshot of a DISPATCHER who now reacts. DISPATCHER Jesus, Prescott, have you lost your marbles or what? PRESCOTT Do n't worry - they do n't under - stand a word. -LRB- to the Japanese. -RRB- Come on, you dummies - get the lead out. MED. - SHOT - CORRELL Bent over his console, shouting into the boom mike curling out of it, as Prescott and the Japanese arrive. CORRELL Pelham One Two Three - come in, Pelham One Two Three - Goddanmit, why do n't you answer your fucking radio?! PRESCOTT There he is, gentlemen - Train - master Frank Correll, the Lord Byron of the New York Subway System. Observe the way smoke and fire shoot out of his ears. CORRELL Do n't bug me, Prescott - I've got trouble here. PRESCOTT What's the matter, Frank? CORRELL Oh, nothing much - a train's down, its radio's dead, the power.'s off and it's dumped its load. Other than that everything's ginger peachy. PRESCOTT No idea what's wrong? CORRELL I told you - his goddam radio's NOT - RADIO Pelham One Two Three to Command Center - this is Pelham One Two Three - do you read me -? CORRELL There he is -! -LRB- punching a button. -RRB- I read you, you sonuvabitch - where the hell have you been? What are you trying to do, screw up this entire railroad single - handedly? - Come in, you bastard, and start explaining - and you'd better make it good! Pelham One Two Three - to Command Center - your train has been taken - repeat, your train has been TAKEN - Correll looks at Prescott in astonishment, then wheels to shout at the room. CORRELL Shut up in here! I said shut it - everybody! REACTION SHOTS as EVERYONE in the room turns to look at Correll. MED. SHOT - CORRELL Into the radio : CORRELL Pelham One Two Three - what the fuck do you mean the train's been taken?! Are you the Motorman? Negative. CORRELL Then who the hell are you? No one's authorized to be in that cab except the goddam motorman! Identify yourself! Listen to me, Trainmaster - your train has been hijacked by a group of heavily - armed men - CORRELL It what?! - We are holding sixteen passengers and the Conductor hostage in the first car and we will not hesitate to kill any or all of them if you do not do precisely as we say. Do I make myself clear, Trainmaster? CORRELL You're out of your fucking mind! Be that as it may, are you ready to take down our list of demands? CORRELL -LRB- FLUSTERED. -RRB- No - wait a minute - stand by -. -LRB- DISCONNECTING ; THEN TO PRESCOTT. -RRB- Why would anybody want to hijack a goddam subway train for? PRESCOTT Hit your six button, will you, Frank? I want T.A. Police in on this. CORRELL -LRB- NOTICING. -RRB- What the hell are all those Chinamen doing in here? PRESCOTT Holy Christ, I forgot! -LRB- LOOKING AROUND. -RRB- Somebody take these monkeys up to Thirteen, will you -? FIRST JAPANESE It is all right, Lieut. Prescott - I'm sure we can find it by our - selves. SECOND JAPANESE -LRB- BOWING. -RRB- Thank you for a most instructive visit, Lieutenant. THIRD JAPANESE And most exciting, too. They all bow low and file out. Prescott watches them in a near state of shock. PRESCOTT Since this is my last day on the job, I might as well make it a good one. He leans over Correll and, pushing a button, speaks into the mike. PRESCOTT Prescott to Garber - GARBER -LRB- RADIO. -RRB- This is Garber - PRESCOTT Sol - plug everything you've got into the I.R.T. Trainmaster's circuit, will you? - an all - unit stand - by, on the d -. -RRB- uble. And call in the city cops - put it on a 9 - 11 so their computer gets it. GARBER -LRB- RADIO. -RRB- What's up, Clive? PRESCOTT You wo n't believe it. GARBER -LRB- RADIO. -RRB- You know me - I'll believe anything. PRESCOTT A train's been hijacked. GARBER -LRB- RADIO. -RRB- -LRB- A PAUSE. -RRB- I do n't believe it.

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB Blue waits at the radio, calmly doing one of the crossword puzzles in a book of them. There's a knock and he opens the door. Green sticks his head, in. BLUE What do you want, Mr. Green? GREEN How's it going? BLUE All right. GREEN Did you tell them? BLUE Part of it. GREEN What are they doing now? BLUE Recovering. They sounded a little upsat. GREEN -LRB- SMILING. -RRB- Yeah - I guess they would. BLUE Go back outside - I do n't want Mr. Brown and Mr. Grey left alone with the passengers any longer than we have to. GREEN Do n't you trust them? BLUE I trust Mr. Brown - Mr. Grey's another matter. He's a cocky little pain in the ass who could turn out to be real trouble if we do n't watch him. GREEN Where'd you find him, anyway? BLUE He was recommended. CORRELL -LRB- RADIO. -RRB- Pelham One Two Three, this is Command Center - come in, Pelham One Two Three - BLUE Go on -. -LRB- as Green goes ; into the mike. -RRB- This is Pelham One Two Three, Trainmaster - are you ready to take down the list of our demands? CORRELL -LRB- RADIO. -RRB- I'm listening, you shitheel - what do you want? BLUE Do you have a pencil? CORRELL -LRB- RADIO. -RRB- Go on, goddammitii BLUE To begin with it is important that you understand three things : One -

INT. COMMAND CENTER - DAY MED. SHOT - TRAINMASTER'S DESK Prescott and OTHERS grouped around Correll at his desk, everyone straining to hear. BLUE - Pelham One Two Three is completely in our control. Two - we are armed with fully auto - matic weapons. Three - we have no scruples whatsoever about killing. Do you read me so far? CORRELL I read you, you goddam lunatic - you'll never get away with this, you know - BLUE Please inform - the Mayor that we demand one million dollars in cash for the release of the car and all of the hostages - CORRELL That'll be the day - BLUE The time is now 2:13. The money must be in our hands no later than 3:13 - one hour from now. If it is not, we will kill one hostage for every' minute you are late. CORRELL Keep dreaming, maniac - BLUE Furthermore, if anyone attempts to interfere - anyone -. in any way - we will begin killing the hostages immediately. Confirm, PLEASE - CORRELL Look, I'm only the Trainmaster around here - I do n't know any - thing about contacting the goddam Mayor! -LRB- A PAUSE. -RRB- BLUE All right - patch me into the Transit Police. CORRELL Hold on - I've got one here now. He disconnects and turns to Prescott. CORRELL He's all yours, the sonuvabitch. -LRB- as Prescott reaches for the mike. -RRB- Not here, for Chrissake - Take it over there! He points to another, empty desk. Prescott goes to it and sits, then punches in a line on the console and speaks into the mike. PRESCOTT Pelham One Two Three - can you hear me? BLUE -LRB- RADIO. -RRB- This is Pelham. Identify your - self, please. PRESCOTT Lieut. Prescott of the Transit Police. Identify yourself. BLUE I'm the man who stole your train. PRESCOTT There's no way you can get away with it - you're underground, in a tunnel. BLUE Why do you concern yourself with that, Lieutenant? At precisely 3:13 we will begin executing the passengers. Do n't you think you'd better contact the Mayor without wasting any more time? The moment you've done it report back to me for further instructions. Signing off. There is a click as the line goes dead. Prescott pushes another button. PRESCOTT Sol - did you get all that? GARBER -LRB- RADIO. -RRB- I only get your end but I could piece the rest of it together. Jesus, it's crazy! PRESCOTT What about the city cops? GARBER -LRB- RADIO. -RRB- They've got two cars from the 14th precinct on the way now. PRESCOTT Two cars - you sure they can spare that many? What about our own men? We got anyone at 28th St?

INT. OPERATIONS - DAY Garber at his desk as he swivels to regard the Status Board. GARBER Just checking on that - uh - yeah, he's around there somewhere. PRESCOTT -LRB- RADIO. -RRB- You'd better tell him to hold the fort - it's liable to be a couple of hours before any city cops show up. GARBER Will do, Clive. He disconnects, turns and shouts. GARBER Sargent - get me our guy at Lex 281

INT. 28TH ST. PLATFORM Bedlam. The train still stands idly, empty now, its doors closed. There's a CROWD milling about, some pounding futilely at the doors of the train, others just standing around, waiting. ARTIS JAMES, a black T.A. cop is talking to a small group of irate citizens. He carries a radio on a strap over his shoulder. JAMES I'm sorry, lady, I do n't know how long the delay will be - it's just a minor technical problem. MAN Anybody hurt? 2ND MAN How many killed? JAMES Look - everybody just calm down. -LRB- his radio BEEPS. -RRB- Hold on - He turns away and lifts the radio to his face. JAMES Patrolman James - GARBER -LRB- RADIO. -RRB- This is Lieut. Garber in Opera - tions. Where are you now? JAMES Twenty - eighth southbound. Every - thing's shut down, Lieutenant - what's going on? GARBER -LRB- RADIO. -RRB- Look, do n't react to this - but a train's been hijacked - JAMES Holy shit. GARBER -LRB- RADIO. -RRB- Exactly. Try and maintain order on the platform and for God's sake do n't say anything! Oh, and there's a Supervisor from Grand Central Tower around there some - where - see if you can find him. JAMES I saw him a couple of minutes ago, Lieutenant - he was headed down - track on foot. GARBER -LRB- RADIO. -RRB- - Oh Jesus! You'd better go after him - see if you can turn him back.

INT. TUNNEL Caz is hot in conversation with Doyle as the long line of Passengers files by, on their way out of the tunnel. CAZ I do n't give a goddam what they were armed with - your job is to. stay on that train until you get authorization to leave! DOYLE They said they'd kill me, for God's sake! CAZ You're like the captain of a ship - you're supposed to go down with it. PASSENGER -LRB- as he passes. -RRB- Bullshit. CAZ Butt out! -LRB- TO DOYLE. -RRB- All right - tell Command Center I'm on my way to investigate. DOYLE You're going down there? Hey, I would n't, if I were you. CAZ I know you would n't. He leaves Doyle and starts down the track. A few Passengers in the line call to him. 2ND PASSENGER You work for the subway? Tell'em I'm gon na sue this time - I really mean it - I'm gon na sue! M E D. SHOT - JAMES He is trotting, following Caz, passing the line of Passengers headed the other way. 3RD PASSENGER -LRB- TO 6TH. -RRB- I'll tell you whose goddam fault it is - it's the Mayor's goddam fault. 4TH' PASSENGER Why's it his fault? 3RD PASSENGER ` Cuz he's the head o' the city, ai n't he? That makes him respon - sible. They oughta impeach the bum!

INT. TUNNEL - CAZ as he sees the first car ahead of him - and as he gets closer, the silhouette of a man -LRB- Grey -RRB- through the rear storm door window.

INT. FIRST CAR - GREY He stands guard at the rear storm door. Now he sees some - thing moving in the tunnel and slides open the door, calling. GREY Stop right there, cowboy -! REACTIONS SHOTS - GREEN AND BROWN as they look around, surprised.

INT. TUNNEL - CAZ CAZ -LRB- SHOUTING BACK. -RRB- Who the hell are you? The voices echo and distort in the tunnel. GREY You'll find out if you take another step -! MED. SHOT - JAMES He is scooting along, crouched, hearing the voices, advancing from pillar to pillar, using each for a brief instant of concealment. CAZ' VOICE I'm warning you, mister - that's city property you're fooling around with - I GREY'S VOICE That's just too fucking bad!

INT. TUNNEL - CAZ CAZ Why did n't you ga grab a goddam airplane like everybody else?! GREY We're afraid of flying. Now I'm. tellin' you, buster - clear out or I Ill shoot your ass off! CAZ Stand back - I'm coming on board -! He starts forward. GREY I warned you, stupid - I MED. SHOT - GREY CAZ' POV -LRB- SLOW MOTION & SILENT -RRB- Dead silence as CAMERA ADVANCES toward Grey. Now the sub - machine gun he's pointing at Caz -LRB- CAMERA -RRB- begins spitting fire and spewing out the spent shells. CLOSE SHOT - CAZ -LRB- SLOW MOTION & SILENT -RRB- Only his face - as his eyes and mouth open wide in shock and disbelief and sudden death. CLOSE SHOT - JAMES -LRB- SLOW MOTION & SILENT -RRB- His face peeking out from behind - a pillar, the flashes from Grey's gun reflected in his eyes and on the pillar. MED. SHOT - GREY -LRB- SLOW MOTION & SILENT -RRB- as he continues firing. FLASH CUTS - GREEN, BROWN, PASSENGERS -LRB- SLOW MOTION & SILENT -RRB- Astonished ; unfeeling ; horror - struck. MED. CLOSE SHOT - CAZ -LRB- SLOW MOTION & SILENT -RRB- as his dead body hits the ground, bounces, and rolls over, face up, eyes still - open.

INT. FIRST CAR - BLUE (TRAVELLING) The SOUND returns with a rush. Blue rushes out of the Motorman's cab and runs down the length of the car, CAMERA FOLLOWING as he goes past Green and Brown without speaking to them. He looks out the rear or for a moment, at the dead body. GREY I warned the bastard but he kept on coming anyway. BLUE Was he alone? GREY I did n't see anybody else. -LRB- A PAUSE. -RRB- I guess I got us on the scoreboard, huh? Without a word, Blue moves to Brown at mid - car. BLUE Take over back there. I want Mr. Grey up closer to me so I dan keep an eye on him. BROWN He's a little trigger - happy. BLUE Maybe it was necessary - I did n't see it. BROWN He loved every minute of it.

INT. TUNNEL - JAMES as he - peers around the pillar he's hiding behind. Smoke from the gun still hangs in the air. He ducks back behind the pillar, unslings his radio and, holding it close to his mouth, whispers into it. JAMES Patrolman James calling Operations GARBER -LRB- RADIO. -RRB- This is Garber - It comes in too loud and James frantically lowers the volume. GARBER -LRB- RADIO. -RRB- - what's going on? Did you find that Supervisor? JAMES He's dead, Lieutenant. GARBER -LRB- RADIO. -RRB- Speak up, will you? I ca n't hear you. JAMES I ca n't - I'm only about 20 yards from the hijacked train. They just shot him. GARBER -LRB- RADIO. -RRB- Shot who? JAMES The Supervisor - with a motherfuckin' machine gun! GARBER -LRB- RADIO. -RRB- Is he dead? JAMES Would n't you be? GARBER -LRB- RADIO. -RRB- But you're not sure. JAMES What do you want me to do, Lieutenant - go out there and feel his pulse?

INT. OPERATIONS - DAY Garber at his console. GARBER All right - stay put and keep an eye on things. -LRB- punches a button. -RRB- Clive - they just drew first blood. That Tower Supervisor from Grand Central - we do n't know his name - they just killed him.

INT. COMMAND CENTER,- DAY Prescott at his console. PRESCOTT Oh, God -. -LRB- TURNING. -RRB- Frank - do you knew who went down to 28th Street from Grand Central? CORRELL Yeah - Caz Dolowitz. It7hy? PRESCOTT Jesus - I knew him - CORRELL What do you mean knew him? PRESCOTT They just shot him. CORRELL -LRB- UNBELIEVING. -RRB- Caz? Fat Caz? -LRB- slams his fist down. -RRB- Christ! COSTELLO -LRB- RADIO. -RRB- Lieutenant. Prescott - are you there, Clive -? PRESCOTT -LRB- pushing a button. -RRB- Who's this? COSTELLO -LRB- RADIO. -RRB- Costello. PRESCOTT Yes, Captain. COSTELLO -LRB- RADIO. -RRB- I'm putting you in charge at this end, Clive - I'm going down to 28th Street. If I do n't show up pretty quick the city cops Ill hog all the action. They've ordered up a major mobilization, calling in units from four of the five boroughs - there's even one on board the train - one of the hostages. PRESCOTT You're kidding! A cop? How do you know? COSTELLO -LRB- RADIO. -RRB- There were two of'em - one got off at 33rd Street and called in later when the news got out. That means the other one's still on the damn thing. PRESCOTT Plainclothes? COSTELLO -LRB- RADIO. -RRB- That's right. PRESCOTT Man or woman? COSTELLO -LRB- RADIO. -RRB- -LRB- A PAUSE. -RRB- You know something? I never thought to ask. PRESCOTT Male Chauvinist Pig - sir. COSTELLO -LRB- RADIO. -RRB- Yeah. Keep in touch with'em, Clive - do n't let communications break clown. Tell l em the wheels are grinding - tell'em the Commissioner's on his way up to see the Mayor - tell'em we need more time - tell'em - oh, shit, I do n't know what to tell'em. Jesus, what a city! PRESCOTT Captain - I would n't mind getting over there myself. COSTELLO -LRB- RADIO. -RRB- Out of the question, Clive - we need you here. Incidentally, the Chairman asked me to thank you. PRESCOTT What for? COSTELLO -LRB- RADIO. -RRB- The way you treated those four Japs. They said they had a great time - the highlight of their whole trip. PRESCOTT What do you know.

EXT. GRACIE MANSION - DAY The Mayor's splendid residence on the East River. The following TITLE is SUPERIMPOSED : `` GRACIE MANSION. THE MAYOR'S RESIDENCE.'' Then, the time is SUPERIMPOSED : `` 2:21''.

INT. MAYOR'S BEDROOM - DAY MICRO - CLOSE SHOT - THERMOMETER Being held between a NURSE's fingers, slowly turning so the mercury catches the light. MAYOR'S VOICE What does it say? NURSE'S VOICE 103 - point - 4. WIDER ANGLE Including the MAYOR, a short, swarthy, roly - poly man with a fringe of dark hair and modish aviator's glasses ;. un - shaven, lying in bed, the covers. pulled up to his chin ; suffering from the flu ; a glass, of juice on his bedside table along with sprays and vials of pills ; and the Nurse, an elderly, white - haired we nan who, in case of invasion, could hold off the Mongols single handedly. MAYOR 103 - point - 4?! It was - only 102 - point - 9 the last time! NURSE Last time it was orally. Orally is generally a half a degree lower. MAYOR Do n't remind me. All I know is I've got a chill, my bones ache, my head is ready to come off and my nose is a disaster area I'm the Mayor of the goddam city of New York, the second most important elective office in the entire United States - are you telling me that I have to lie here feeling lousy like every other zhlub in the country? NURSE -LRB- unperturbed, as she goes. -RRB- Do n't forget to drink your juice at three. And take two of the blue pills. MAYOR Orally? -LRB- but she's gone. -RRB- Boy - boy oh boy - He picks up the remote - control clicker and raises the sound of his TV set. EMCEE'S VOICE Couple number two, Arthur and Eleanor - you have twenty points - answer the bonus question correctly and you'll move into first place - The phone rings and he clicks the sound off with one hand and lifts the receiver with the other. MAYOR Yeah. WARREN'S VOICE -LRB- PHONE FILTER. -RRB- Hello, Nate, it's Warren - I'm coming upstairs. MAYOR No! WARREN'S VOICE Sorry, Nate, it ca n't be helped. MAYOR Yes it can - I'll already be dead when you get here. WARREN'S VOICE Hang on a little longer, will you, Nate? We've got a real bitch on our hands. MAYOR Do n't tell me, I do n't want to know. WARREN'S VOICE I'm coming up. MAYOR Ca n't you handle it, Warren? WARREN'S VOICE Sure I can handle it - like I handle every other rotten filthy job in this miserable city - but I wo n't : MAYOR What do you mean you wo n't? You're the goddam Deputy Mayor - of course YOU WILL. WARREN'S VOICE This one you've got to handle your - self, Nate. MAYOR What is it, another strike? That's all right - I can take another STRIKE - WARREN'S VOICE A gang of men has hijacked a subway TRAIN - MAYOR What?! WARREN'S VOICE they want a million dollars for it. MAYOR -LRB- A PAUSE. -RRB- Come on up. -LRB- HANGS UP. -RRB- Shit. Shit, piss, fuck. He clicks the TV back on. EMCEE'S VOICE - And that means couple number one, Tom and Rusty, are the winners of today's Newlywed Game! MAYOR I missed it. He clicks off the TV as WARREN LASALLE enters, a tall, lean, no - nonsense executive with long, blond hair, sideburns and a large blond mustache. MAYOR I thought it over, Warren - you know what we're gon na do? WARREN No, tell me. MAYOR Let'em keep the goddam subway train. Hell, we've got plenty more just like it - we'll never miss it. WARREN How about the seventeen hostages - will we miss them? MAYOR Oh. Dammit, Warren, the city has n't got a million dollars! WARREN Then you'd better empty out one of your Swiss bank accounts because there's no other way out. MAYOR Do n't we even get to think about it? WARREN There's no time! In -. -LRB- checking the time. -RRB- - exactly forty - nine minutes they're gon na start shooting those hostages. How would that look in the Daily News? - `` 1NEW YORKERS DIE WHILE MAYOR THINKS!'' MAYOR I still want the full picture. Get the Police Commissioner, the Chairman of the Transit Authority, and that putz we've got for a CONTROLLER - WARREN They're on their way over now. But it's no good running to them, Nate - you're the Mayor - which means You're gon na do it my way - just like always. MAYOR -LRB- A PAUSE. -RRB- Shit. Shit, piss, fuck.

INT. T.A. COMMAND CENTER - DAY Prescott at his console, Correll in the b.g. PRESCOTT Command Center calling Pelham One Two Three - come in, Pelham One Two Three -. -LRB- TURNING. -RRB- Hey, Frank - you're hogging all my circuits! CORRELL What do you want me to do? I got motormen calling in from all along the line trying to find out what the hell's going on! PRESCOTT Tell'em to shut up and get off the air - I need some more lines open! CORRELL I never thought I'd see the day when talking to murderers got priority over running a railroad. PRESCOTT Oh, get off it, Frank - our priority is trying to save the lives of those passengers! CORRELL Screw the goddam passengers! What do they expect for their lousy thirty - five cents - to live forever?! PRESCOTT Oh, you're beautiful. -LRB- into the mike. -RRB- Do you read me, Pelham One Two Three -? CORRELL If I were handling it I'd go storming in there with guns and tear gas and I blast'em outl PRESCOTT Yeah, well, you're not handling it so why do n't you start doing your own work and let the police do theirs. CORRELL Like that lily - livered cop who's on the train? Why hast n't he started shooting yet? PRESCOTT We do n't. even know it is a he -. -LRB- into the mike. -RRB- Do you read me, Pelham One Two Three -? CORRELL Goddam woman cops - what the hell good are they? She probably ca n't find her gun in her goddam purse! This is Pelham One Two Three - do you have any news to report? INTERCUT - PRESCOTT & BLUE PRESCOTT Nothing yet. BLUE What were you' calling about? PRESCOTT We need more time. BLUE It's 2:24, Lieutenant - you still have 49 minutes. PRESCOTT Be reasonable, will you? We're trying to cooperate but you're not giving us enough time to work with. BLUE 49 minutes. PRESCOTT We're dealing with City Hall, for God's sake - you know what a mass of red tape that is! BLUE 49 minutes. PRESCOTT Look, I know how to tell time, too, but we are n't gon na get anywhere if all you do is repeat 49 minutes! BLUE 48 minutes. MED. SHOT - PRESCOTT Sobered and subdued. PRESCOTT Yeah. All right, we'll get back as soon as we can. He disconnects and sits back in his chair, staring at the ceiling. CORRELL Christ - to hear you pleading with that chickenshit - it makes me ashamed to be an American. PRESCOTT Go away, Frank - go play with your trains.

INT. FIRST CAR as Blue steps out of the cab. Green is staring at the hostages, nervously. BLUE Everything quiet out here, Mr. Green? GREEN Yeah - except I think we've got our - selves a cop. BLUE what do you mean? GREEN One of the hostages - fuzz if I ever saw it. BLUE Which one? GREEN -LRB- POINTING. -RRB- On the right - PANNING SHOT - HOSTAGES On the right side of the car, from face to face. GREEN'S VOICE - the fourth, fifth, sixth, seventh - that's him, next to the freak - It's the W.A.S.P. type, who is staring off into space, I sitting next to the Hippie who seems hypnotized by his own wiggling toes. GREEN'S VOICE You ever see anybody look more like a cop? MED. SHOT - BLUE & GREEN BLUE I'd better frisk him. Cover me. He walks slowly down the aisle and stops. in front of the W.A.S.P. BLUE On your feet. W.A.S.P. What? BLUE You heard me - stand up! Nervously, the man stands. Blue frisks him, quickly and expertly. When he fails to find a weapon, he takes the man's wallet. BLUE Okay - you can sit down. As the man sits, Blue looks through the wallet. BLUE School teacher. W.A.S.P. That's right. BLUE You ever been told you look like a policeman? W.A.S.P. All the time - but I ca n't help it. Blue tosses the wallet back into the teacher's lap, then turns to face the other hostages. BLUE Listen to me, everybody. I'm sure you've' all figured out what' happening by now - you're hostages. VARIOUS REACTION SHOTS The Passengers - some groaning - some frightened - the Puerto Rican crossing himself - the Hippie smiling softly - etc.. MED. SHOT - BLUE BLUE That means when we get what we, want you'll be released unharmed. Until then, you will continue doing precisely as you're told. OLD MAN And if you do n't get what you want? What'll happen to us? BLUE -LRB- A PAUSE. -RRB- We expect to get it.

EXT. EAST RIVER DRIVE - DAY The Brooklyn Bridge and the myriad ramps leading onto the Drive. An official city limousine curves around a ramp and heads uptown, its siren wailing. The time is SUPERIMPOSED : `` 2:27''.

INT. LIMOUSINE - DAY The POLICE COMMISSIONER sits alone in the back seat. He's. on the phone. From the front seat, MUSIC can be heard coming from the radio. COMMISSIONER This is the Police Commissioner - get me theBorough Commander. -LRB- to the DRIVER. -RRB- Turn off that goddam music, will you, George? -LRB- INTO PHONE. -RRB- Harry? I'm heading up to see the Mayor right now. What's it look like down there?

EXT. PARK AVENUE - 28TH STREET SUBWAY STATION - DAY The BOROUGH COMMANDER sits on the front seat of a prowl car, his feet hanging out the open door, talking on the phone. Around him : SPECTATORS, COPS, activity, noise and confusion. BOROUGH COMMANDER It's murder, Phil - as usual, they're coming out of the woodwork. I would n't be surprised if we got a couple of thousand thrill - seekers - they really smell blood on this one. COMMISSIONER -LRB- PHONE. -RRB- Your barriers up? BOROUGH COMMANDER Hell yes - and we're pushing the overflow into the side - streets. We are n't gon na win any new friends, PHIL - COMMISSIONER -LRB- PHONE. -RRB- Do we ever? How about traffic? BOROUGH COMMANDER I stuck a patrolman at every inter - section from 14th to 34th, and crosstown from 2nd to 5th. COMMISSIONER -LRB- PHONE. -RRB- Who's your Number Two? BOROUGH COMMANDER Deputy Chief Inspector Daniels - from Special Operations. He's a good man, Phil - he handled that protest at Bryant Park last month. COMMISSIONER -LRB- PHONE. -RRB- How are you deployed? BOROUGH COMMANDER I've got about fifty men inside the TUNNEL -

INT. SUBWAY TUNNEL - VARIOUS SHOTS as we see what the Borough Commander describes - RIOT POLICE, armored and helmeted, scurrying into positions, resembling a commando raid. BOROUGH COMMANDER'S VOICE - north and south of the train, well concealed - all wearing vests and armed with machine and sub - machine guns, shot guns, riot guns, hand guns, tear gas grenades - and a half - dozen snipers with night scopes. We could fight the goddam third world war down there. COMMISSIONER -LRB- PHONE. -RRB- Just make sure they stay out of sight - if the hijackers see them we may have a massacre on our hands. BOROUGH COMMANDER'S VOICE We have a sniper's report that they're moving around inside the car pretty freely - and the one in the motorman's cab is fully exposed and a damn easy shot.

INT. COMMISSIONER'S CAR COMMISSIONER No! Under no circumstances! Do you understand me, Phil? Absolutely no! We're taking their threats seariously. What've you got above ground?

EXT. 28th STREET - BOROUGH COMMANDER Again, if feasible, we can see what he describes. BOROUGH COMMANDER Trucks, cars, emergency, medical and rescue units, searchlights, bullhorns - the works, Phil. I've got two men stationed at every emergency exit as far south as Union Square. COMMISSIONER -LRB- PHONE. -RRB- Any direct communications with the hijackers? BOROUGH COMMANDER Negative. It's awkward as hell. The T.A. Command Center in Brooklyn has the only direct contact. INTO COMMISSIONER'S CAR COMMISSIONER Harry, tell me something, will you? They're in a tunnel - surrounded on all sides, top and bottom - how the hell do they expect to get away? BOROUGH COMMANDER -LRB- PHONE. -RRB- Beats the shit out of me, Phil.

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

INT. MAYOR'S BEDROOM - DAY CLOSE SHOT - THE MAYOR as he - sneezes into a Kleenex. As CAMERA PULLS BACK he dries off his upper lip, wads the tissue and throws it. onto the floor. JESSIE, his wife, with frosted hair and harlequin glasses, jumps up from a chair and retrieves it. JESSIE Nate, for God's sake. She baskets it, then turns to Warren LaSalle. JESSIE Warren - tell him other Mayors have to use the house after we're gone. There's a knock and Warren hurries to open the door. in walk three men : The Commissioner, the CONTROLLER and the CHAIRMAN of the Transit Authority. WARREN Thanks for coming up on short notice, fellas - you all know Jessie, do n't you? The Police Commissioner - the Controller - the Chairman of the Transit Authority -? JESSIE Yes, it's nice to see you again. COMMISSIONER Mrs. Mayor - CONTROLLER Hi, Jess - CHAIRMAN Good afternoon. - JESSIE Coffee for everybody - and some cake? WARREN Uh - better skip it, Jessie - we're running a little short of time. We all know what's going on underground, right? So the main issue is whether to pay the ransom or not. All the rest is secondary. Phil? What do you think? COMMISSIONER Well - we're fully mobilized - I can go down there any time you say with enough firepower to wipe out an army - but I ca n't guarantee the safety of the ` hostages. WARREN In other words, you're for paying the ransom. COMMISSIONER We do n't want another Attica on our hands, do we? WARREN So your vote is -? COMMISSIONER I abstain. WARREN Shit. Barny? CHAIRMAN The safety of the passengers is the only concern of the Transit Authority. WARREN Your vote? CHAIRMAN Pay the two dollars. CONTROLLER Sure - two dollars I'd pay! But it's a million, Barfly - a one with six zeroes! Is it coming out of your pocket? WARREN Come on, Sid - save the poor - mouth for later. How do you vote? CONTROLLER I'm not through discussing it yet. WARREN Yes you are. Now vote. CONTROLLER My concern is with the taxpayers - someone's oughta be. `` Millions for defense but not one cent for tribute!'' WARREN So that's a no. All right, Nate - you've heard from the Three Wise Men - what do you say? Everyone turns to the Mayor. He sneezes into a Kleenex and tosses it onto the floor. MAYOR What're they gon na say, Warren? WARREN They who? MAYOR Everybody - the press, the man on the street - JESSIE He means the voters. WARREN Just what you'd expect - the Times will support you on purely humani - tarian grounds - the News'11 knock you for coddling criminals - and the Post will take both sides at the same time. As for public opinion - you'll carry Manhattan, lose Queens and Staten Island, and split down the middle in Brooklyn and the Bronx. The rich'11 support you - likewise the blacks - the Puerto Ricans wo n't give a shit. So how about it, Nate? - quit stalling. MAYOR Stop trying to bully everybody, Warren - this is supposed to be a democracy! WARREN Wise up, for Chrissake! We're trying to run a city, not a goddam democracy! JESSIE Nate! Stop farting around! We've got to pay! MAYOR -LRB- A PAUSE. -RRB- What do you say, Jess? JESSIE I know a million dollars is a lot of money - but just think what you'll, get in return. MAYOR What? JESSIE Seventeen sure votes. MAYOR -LRB- SMILING. -RRB- Go ahead, Warren - arrange for the pay - off. WARREN Halleluja! -LRB- as everyone rises. -RRB- You heard it, fellas. Phil - pass the word to the bad guys that we're coughing up. COMMISSIONER -LRB- GOING. -RRB- Will do. WARREN Sid - what bank do we do the most business with? CONTROLLER City National Trust - I'll give'em a call. WARREN I'll call - you're liable to spend an hour trying to knock down the interest rate. Come on - everyone downstairs - let's move it! The Mayor and Jessie are left alone. She picks up the crumpled Kleenex. MAYOR I thought I handled it all right. JESSIE A regular Fiorello LaGuardia.

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB CLOSE SHOT - CROSSWORD PUZZLE as Blue's hand is busy filling in a word. A knock is heard and CAMERA PULLS BACK as Blue opens the door. Green enters. GREEN Nothing yet? -LRB- as Blue shakes his head. -RRB- They're sure taking their time. BLUE Do n't worry - they're going to pay. They have no choice. GREEN The hostages. Yeah. At first I thought to myself, `` Five of'em are spades - who's gon na pay anything for spades?'' But they do n't know who we've got, do they? BLUE It would n't matter if all seventeen were dope pushers - they have to pay, so relax. GREEN I know they have to - but what if they do n't? BLUE Then a lot of people are going to die. GREEN Including us. BLUE Either you live or you die. GREEN Living's better. BLUE It depends. It's not better than trying to sell mutual funds, for example. GREEN Did you do that? BLUE I tried. GREEN I thought you were in the army. BLUE I was. That's where I developed my expensive tastes. GREEN In the army? Sure' - on three - fifty a month. BLUE The Biafrans paid me twenty - five hundred for leading a battalion. GREEN A month? Holy Christ! Why'd you ever get out of that? BLUE The market dried up. GREEN At least you were n't fired. But shit, I did n't mind - who wants to drive a goddam subway train for the rest of his life? BLUE What'd they nail you for? GREEN Nothing! They framed me - the goddam Beakies had to find a fall - guy and they - BLUE Beakies? GREEN Transit inspectors - undercover men. They got wind of a gang passing dope - you know, transporting it from downtown to uptown, giving it to a motorman, and then someone picking it up in Harlem. The Beakies tried to pin it on me, but they never had any evidence. BLUE You were innocent? GREEN Hell yes, I was innocent! Do you think I'd do anything like that? BLUE Yes.

INT. GRACIE MANSION - LASALLE' S OFFICE - DAY Warren sits on the edge of his desk, on the phone. WARREN City National Trust? - the Chairman of the Board, please? -. -LRB- WAITS. -RRB- This is Warren LaSalle in the mayor's office - may I speak to the Chairman, please? SECRETARY -LRB- PHONE. -RRB- The Chairman is on an overseas call at the moment - WARREN I do n't care if he's talking to the moon - get your ass inside that of fice and put him on the line! He lights a cigarette while he waits. CHAIRMAN -LRB- PHONE. -RRB- Good afternoon, Mr. LaSalle - what is it I can do for you? WARREN A subway train's been hijacked. Unless we can deliver a million dollars within -. -LRB- checks his watch. -RRB- - twenty - eight minutes, seventeen people will be assassinated.

INT. BANK CHAIRMAN'S OFFICE - DAY The BANK CHAIRMAN is a silver - haired man in his sixties, sitting behind a large desk ; on the phone. BANK CHAIRMAN A subway train - how very original. A million, you say? INTERCUT - WARREN & BANK CHAIRMAN WARREN Yes, sir - is there any problem about that much cash being available? BANK CHAIRMAN None whatsoever. We're members of the Federal Reserve. WARREN Swell. Then will you arrange for us to be given that amount right away? BANK CHAIRMAN Given? I'm not sure I understand what you mean by `` given,'' Mr. LaSalle. WARREN -LRB- VOICE RISING. -RRB- Lent, of course - I did n't expect it as a gift - BANK CHAIRMAN Lent to whom, Mr. LaSalle? WARREN To us, goddammit - the sovereign city of New York - BANK CHAIRMAN Yes, well, there are certain techni - calities involved in such a trans - action, Mr. LaSalle - terms, duration, signatures - WARREN There is n't time for all that - I BANK CHAIRMAN -LRB- CHUCKLING. -RRB- But `` all that'', as you put it, happens to be what we do for a living, Mr. LaSalle - WARREN Listen to me, you stupid goddam piece of shit! if you do n't come through in five seconds flat I will personally find a violation in every inch ofplumbing and wiring in every branch you've got in this whole fucking city! The Chairman looks as though he's been struck between the eyes. After a pause, he speaks quietly : BANK CHAIRMAN Do you know something, Mr. LaSalle? In my entire sixty - seven years no one's ever spoken to me like that.

EXT. EAST RIVER DRIVE - UN BUILDING - DAY as the Police Commissioner's limousine is now heading downtown on the F.D.R. Drive, passing the Sutton Place apartment houses and approaching the United Nations, siren screaming.

INT. COMMISSIONER'S LIMOUSINE - DRY He is in back, on the phone. COMMISSIONER Harry -? I'm on my way down. We just got the green light.

EXT. PARK AVENUE & 28TH STREET - DAY The Borough Commander, on the phone. BOROUGH COMMANDER Green light - you mean we can rush'em? Jesus, Phil, that's great news - the men are raring to go -! COMMISSIONER -LRB- PHONE. -RRB- Not you asshole! - we're paying the ransom money! Pass the word along to the hijackers. BOROUGH COMMANDER -LRB- DISGRUNTLED. -RRB- Roger. -LRB- clicks a phone button. -RRB- Borough Commander - to 28th Street Platform - Daniels - do you read me -?

INT. 28th STREET SUBWAY PLATFORM FEATURING the motorman's cab of the stalled train. DANIELS, a beefy cop wearing riot gear and helmet, now hears the voice coming over his walky - talky. BOROUGH COMMANDER -LRB- RADIO. -RRB- come in D. C. I. Daniels - this is the Borough Commander - I DANIELS -LRB- INTO WALKY - TALKY. -RRB- This is Daniels - BOROUGH COMMANDER -LRB- RADIO. -RRB- Pass the word along : the Mayor's agreed to pay. Let the hijackers know right away, will you? DANIELS Roger. He sets the hand radio aside and activates the subway transmitter. DANIELS Command Center, this is 28th Street - do you read me, Command Center -?

INT. COMMAND CENTER - DAY Prescott at his desk and console. He pushes a button. PRESCOTT This is Command Center - DANIELS -LRB- RADIO. -RRB- This is Daniels - the Mayor's agreed to pay - inform the hijackers right away. PRESCOTT Will do. -LRB- punching another button. -RRB- Command Center calling Pelham One Two Three - come in, Pelham One Two Three - BLUE -LRB- RADIO. -RRB- This is Pelham - rgo ahead, Prescott - PRESCOTT We agree to pay the ransom - repeat, we agree to pay.

INT. SUBWAY FIRST CAR-- MOTORMAN'S CAB CLOSE SHOT - BLUE as he greets this news calmly. PRESCOTT -LRB- RADIO. -RRB- Do you read me, Pelham -? BLUE I read you. Please take down the next set of instructions. As before, they're to be obeyed to the letter. First - the money is to be paid in the following denominations : five hundred thousand dollars in fifties, five hundred thousand dollars in hundreds. INTERCUT - PRESCOTT & BLUE PRESCOTT -LRB- WRITING. -RRB- Five hundred thousand in fifties, five hundred thousand in hundreds - BLUE Making a total of ten thousand fifty dollar bills and five thousand hundred dollar bills - which will then be put up in stacks of two hundred bills each, bound with a thick rubber band lengthwise and another widthwise. PRESCOTT -LRB- writing. -RRB-. Ten thousand fifties, five thousand hundreds, in packs of two hundred, bound fore and aft with rubber bands BLUE Point two : all of the bills will be old bills, their serial numbers to be random. PRESCOTT -LRB- WRITING. -RRB- Old bills and no serial number sequences - BLUE That's all for now. When the delivery arrives we will contact you with further instructions. PRESCOTT About your getaway? BLUE I'm signing off now. PRESCOTT It might interest you to know I've figured out how you're going to do it BLUE -LRB- A PAUSE. -RRB- Yes - it would interest me. PRESCOTT You're going to make every man, woman and child in New York City close their eyes and count to a hundred. BLUE It's two - forty - seven, Prescott you have twenty - six minutes. PRESCOTT What? Do n't be stupid - we've agreed to pay the money. Now turn off the clock. BLUE Twenty - six minutes, Prescott. MED. SHOT - PRESCOTT PRESCOTT Look - your instructions are complicated! The money has to be counted, stacked, tied, transported all the way uptown - it just is n't physically possible! BLUE You'd be surprised what's physically possible. The clock's running, Prescott. PRESCOTT -LRB- A PAUSE. -RRB- All right. At least let us pick up that man you shot. We want to send a stretcher for him. BLUE Negative. PRESCOTT But he may still be alive BLUE He's dead. PRESCOTT But you ca n't be sure - BLUE Very well - we'll put another half dozen rounds into him so everyone can be sure. Over and out. Prescott turns and sees that the others, at nearby desks, have been watching and listening. He stares back at them for a moment., then checks his watch. PRESCOTT Twenty - five minutes - after that we can start scratching them off - one per minute.

INT. SUBWAY - FIRST CAR - PASSENGERS - BLUE'S POV SHOOTING down the length of the car. Most of the Passengers excepting the Wino Lady and the Hippie. Both are enjoying their own reveries. BLUE'S VOICE Your attention please - At the far end, Brown guards the rear door. At mid - car, Grey stands with his legs astride. ANOTHER ANGLE Including Blue and, behind him, at the front storm door, Green. BLUE The city has agreed to pay for your release. No one quite knows how to greet this news - except the Pimp who slowly, mockingly, claps his hands together. PIMP -LRB- DRAWLING. -RRB- Far out, man - Blue starts forward, walking slowly, looking at passengers on both sides of the aisle as he goes. MOTHER As soon as the money gets here - will you let us go? BLUE No - but soon afterwards. OLD MAN Do you mind telling us now how much you're getting? BLUE What difference does it make? OLD MAN A person likes to know his worth. BLUE A million dollars. OLD MAN Each? BLUE Altogether. OLD MAN -LRB- DISAPPOINTED. -RRB- That's not so terrific. Blue, still walking toward mid - car, stops at the Hippie's estended legs and taps the soles of his sandals with the muzzle of his submachine gun. BLUE Pull in your feet - someone's liable to get hurt. The. Hippie looks up at him, smiles, and slides his feet back. Blue continues until he comes to Grey. He speaks quietly to him. BLUE Stop fooling around with that girl, Mr. Grey. GREY What's the big deal? She's a twenty buck a trick hooker. BLUE I said leave her alone. GREY Do n't worry - I could do this job and hump that broad at the same time - without missing a stroke. BLUE -LRB- A PAUSE. -RRB- I once ordered a man shot for talking to me that way. GREY That's the difference between us, Mr. Blue - I've always done my own killing. BLUE Maybe we'll get a chance to work that out.

EXT. LIBERTY STREET - FEDERAL RESERVE BANK - DAY Number 33, the large, stone fortress occupying the entire block, its ground floor windows barred. The following `` FEDERAL RESERVE BANK of N.Y.'' `` 2 : 51''

INT. FEDERAL RESERVE - PRESIDENT'S OFFICE - DAY The PRESIDENT stands in the middle of his large green rug, putting golfbaLls at a gadget that automatically catapaults them back. As he finishes lining up a long one, and is just about to stroke, the office intercom buzzes. A little annoyed, he crosses to his desk. PRESIDENT Yes -? SECRETARY -LRB- INTERCOM. -RRB- The Chairman of the City National Trust on five - seven - he said it's important. The President pushes a button putting the call on the speaker - phone and he returns to his golf. PRESIDENT Hello, Ben - what can I do for you? BANK CHAIRMAN -LRB- SPEAKERPHONE. -RRB- I need a million, Henry. PRESIDENT A million what? BANK CHAIRMAN -LRB- SPEAKERPHONE. -RRB- Dollars, of course. PRESIDENT -LRB- stops golfing, surprised. -RRB- A million ones? BANK CHAIRMAN -LRB- SPEAKERPHONE. -RRB- No, not in ones - in fifties and hundreds. PRESIDENT -LRB- PUTTING AGAIN. -RRB- I got you now, Ben - a million fifties and hundreds. That's more like it. When can you pick it up? BANK CHAIRMAN -LRB- SPEAKERPHONE. -RRB- I do n't think you're following me, Henry - a million dollars, that's all - in fifties and hundreds. PRESIDENT -LRB- STOPPING AGAIN. -RRB- One million? My secretary said it was important. What are you calling me about petty cash for? BANK CHAIRMAN -LRB- SPEAKERPHONE. -RRB- It's ransom money - a subway train's been hijacked - they've threatened to kill all the passengers. PRESIDENT -LRB- going to his desk. -RRB- Why the hell did n't you say so? Tell me how you want it and have a truck at the Maiden Lane loading platform in ten minutes.

EXT. PARK AVENUE. & 28TH STREET - DAY T. V. INTERVIEWS A seriea of head - on television interviews with various individuals in the large crowd gathered at the scene. They all speak directly to CAMERA with the VOICE of a well - known Six O'Clock News PERSONALITY O. S. ROGER'S VOICE This is Roger Grimsby for Eye - witness News, here at the inter - section of 28th Street and Park Avenue South, the scene of this incredible subway hijack - 1. TACTICAL POLICE A group of the blue - helmeted COPS manning the lines and pushing back part of the crowd. ROGER'S VOICE You're looking now at members of the T. P. F. - the Tactical Police Force - as they attempt to deal with this enormous crowd which is con - tinuing to grow every minute. Officer - officer - this is Eyewitness News - An OFFICER turns to CAMERA. ROGER'S VOICE Officer, how would you estimate the size of this very large crowd? OFFICER Very large. ROGER'S VOICE Would you describe it as unruly? OFFICER Compared to some I've seen, Roger, I'd have to say it was ruly. Definitely ruly. 2. A WOMAN Middle - aged, overweight,. dyed blond hair. ROGER'S VOICE Excuse me, madam - do you have any comment on the drama that's unfolding beneath our feet at this very moment? WOMAN What particular part of the drama do you want me to comment on? ROGER'S VOICE Some people feel that our subways have becomes jungles. Any comment on that? WOMAN In my opinion, Roger, our subways have become jungles. 3. TEEN - AGE GIRL Wearing glasses and braces. ROGER'S VOICE Would you feel more secure if, instead of eight hours a day, the trains and platforms were manned by the Transit Police twenty - four hours a day? TEEN-AGE GIRL -LRB- THINKS. -RRB- Twenty - four hours minimum. 4. BLACK DELIVERY BOY DELIVERY BOY Dogs - all they got ta do is loose a pack of Doberman Pinchers an' sic'em onto that train - 5. FASHION MODEL MODEL Yeah - I definitely heard it on the radio - they're asking a million dollars for each passenger. That makes sixty - five million dollars in all - 6. CONSTRUCTION WORKER WORKER You know how they're gon na get away? The sewers - they got a map of the sewers - just like that French guy, the Count of Monte Carlo 7. HOUSEWIFE HOUSEWIFE I met you before, Roger - remember two years ago? - at that three - alarm fire in Crown Heights -? 8. HOTDOG VENDOR Under his yellow and red umbrella, doing a land - office business. ROGER'S VOICE Excuse me, sir - from the looks of things, you could use another pair of hands. I s this your regular corner? VENDOR -LRB- ACCENT. -RRB- For seventeen years. ROGER'S VOICE What do you think of all this? VENDOR Terrific - really terrific! What's going on, a parade?

INT. FEDERAL RESERVE - THIRD FLOOR - DAY (SILENT) The President comes out of an elevator, is let through an iron gate by a GUARD who unlocks it, locks it again, then turns to unlock a second gate, allowing the President to pass into a corridor. MED. SHOT - TX. MONITORS -LRB- SILENT -RRB- A bank showing various areas of the building on closed circuit. CAMERA ZOOMS IN on one monitor : the.Presid ent is seen walking down the corridor.

INT. THIRD FLOOR CORRIDOR (SILENT) The President passes a few wooden trucks on wheels being pushed by armed GUARDS. Farther, on his left, cages marked `` PAYING/RECEIVING'' ; on the right, `` SORTING/COUNTING.'' He turns right.

INT. TUNNEL - PATROLMAN JAMES Still stuck behind the pillar, standing rigidly so as not to be seen from the other side. Now he lifts his radio and speaks softly into it. JAMES Patrolman James calling operations - come in, operations - GARBER -LRB- RADIO. -RRB- This is Garber - what's going on? JAMES That's what I want to know, Lieutenant - standing here like a statue - it's drivin' me bananas! GARBER -LRB- RADIO. -RRB- Just sit tight, James - it wo n't be much longer. JAMES I just want to know one thing, Lieutenant - there's a whole mess of feet runnin' around out there in the dark - I can hear'em. I figure it's a couple of dozen snipers and sharpshooters - am I right? GARBER -LRB- RADIO. -RRB- I would n't be surprised. JAMES Yeah, well, would you make sure they know about' me standin' here between them and the hijackers?

INT. FEDERAL RESERVE - SORTING/COUNTING - DAY (SILENT) Several COMITERS, mostly men, are breaking open the seals on dirty grey canvas money bags, and spilling out the contents - currency tied into packets - and start counting the packets.

INT. GRACIE MANSION - MAYOR'S BEDROOM - DAY His Honor is getting a shot in the rear - end from a DOCTOR as Warren enters without knocking. WARREN Pull your pants up, Nate - we're going downtown. DOCTOR It's totally out of the question, Mr. LaSalle. WARREN Nobody asked you! MAYOR Warren, for Chrissake, I'm sick as a goat. What's the point? WARREN The point, you dumb cluck, is that the Mayor of the City of New York, trailing by twenty - two points in all the polls, cares enough about seven - teen citizens in jeopardy to make a personal appearance in their behalf! MAYOR You know what'll happen - what always happens - I'll get booed. The Doctor starts taking the Mayor's pulse. DOCTOR This is a very sick man. WARREN -LRB- slapping his hand. -RRB- Let go of that! You're off the case! Look, Nate, all you have to do is say a few words to the hi - jackers over a bullhorn - make a dignified plea for mercy MAYOR Do you think it will help? WARREN Of course it'll help! MAYOR -LRB- HOPEFULLY. -RRB- The hostages? WARREN No, You. MAYOR Warren - suppose the hijackers start shooting at me - WARREN Will you stop? They've got no reason to shoot at you. MAYOR -LRB- SMILING. -RRB- You mean they're from out - of - town?

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

INT. COMMAND CENTER - DAY CLOSE SHOT - WALL CLOCK It reads : 2:58. CAMERA PANS to Correll, in his shirtsleeves and sweating now, jumping around, checking teletype messages and bits of scratch paper, talking over several phones at once. CORRELL - Shut up and listen to me! All Lexington Avenue trains departing from Dyer Avenue and 180th Street in the Bronx. are diverted to the West Side tracks at 149th Street and the Grand Concourse -! CAMERA PANS to Prescott, who is sitting at his desk, watching Correll and shaking his head. GARBER -LRB- RADIO. -RRB- CLIVE - PRESCOTT -LRB- punching a button. -RRB- Yeah, who's this? GARBER -LRB- RADIO. -RRB- It's Sol - what're we waiting for, Clive? PRESCOTT I'll be goddamned if I know. Jesus! How long does it take to get that money together? GARBER -LRB- RADIO. -RRB- We'll never make it. The passengers are dead ducks. PRESCOTT There's still fifteen minutes. I'm signing off, Sol. -LRB- pushing another button. -RRB- Command Center calling 28th Street - can you read me, Daniels -? DANIELS -LRB- RADIO. -RRB- This is Daniels - come in, Command Center - PRESCOTT Has the money left yet? DANIELS -LRB- RADIO. -RRB- Not yet. PRESCOTT Well for God's sake, give then a goose, will you? We're running out of time! -LRB- pushing, another button. -RRB- Command Center calling Pelham One Two Three - come in, Pelham - BLUE -LRB- RADIO. -RRB- This is Pelham One To Three - PRESCOTT This is Prescott. Listen - we're moving too slowly at this end. We need some more time. BLUE -LRB- RADIO. -RRB- Sorry - no more time. Prescott's face hardens, his jaw muscles tense. CORRELL - Here's the flex south of 14th Street - I want the expresses run off into Brooklyn - PRESCOTT -LRB- COVERING MIKE. -RRB- Hold it down, will you, Frank -? CORRELL - and all locals `` sent around the loop at South Ferry and shot up the West Side from Bowling Green - PRESCOTT I said knock it off! I'm trying to buy some more time! A silence in the room as everyone turns to watch Prescott as he speaks into the mike. PRESCOTT All we want is another fifteen minutes, all right? A lousy fifteen minutes! BLUE -LRB- RADIO. -RRB- Negative. PRESCOTT Ten minutes, then - what difference can ten minutes make? BLUE -LRB- RADIO. -RRB- Negative. PRESCOTT -LRB- QUIETLY. -RRB- You son of a bitch.

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

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB Blue, as Green enters the cab. GREEN I heard you on the radio - anything wrong, Mr. Blue? BLUE They've requested more time. GREEN How much more? BLUE Ten minutes. GREEN I guess it wo n't hurt anything. BLUE I did n't give it to them. GREEN -LRB- A PAUSE. -RRB- Suppose they ca n't make it? BLUE Then we do what we said we'd do. There's no other way. GREEN Maybe an hour was n't enough time BLUE An hour's plenty! You know how the system works - you give them two hours and they take two - three and they take three. An hour's plenty! GREEN And what if it is n't? -LRB- NO ANSWER. -RRB- Do you think we'll actually have to do it? BLUE I do n't know. They're running pretty late.

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

INT. ADJOINING ROOM - TRAVELLING (SILENT) TWO GUARDS take the bag, leave the room, CARA FOLLOWING, and hurry down a corridor to the right. Another GUARD opens a gate leading to the security elevators.

EXT. FEDERAL RESERVE - MAIDEN LANE SIDE - DAY A police panel truck, its motor running, parked at the side - walk in front of the loading bays. In front of the truck, eight police MOTORCYCLISTS, astride their bikes, the engines also running, and occasionally racing them with a flick of the accelerator. The time is SUPERIMPOSED : `` 3:03''.

INT. POLICE TRUCK - DAY It is manned by two patrolmen of the Special Operations Divison - WENTWORTH, the driver, a young, red - headed man with a boyish face, and RICCI, slightly older, on the moody side. RICCI it sure is taking them a helluva long time - WENTWORTH It's a lot of money, Albert. Do you realize how many times you've got to wet your thumb when you're counting out a million? RICCI That's right - kid around. But you know damn well that if we do n't get it up there on time they're gon na blame us for it - you know they're gon na blame us for it. WENTWORTH Look out there, Albert - eight cycles - just for us - and I hear there's gon na be a cop at every single intersection all the way uptown. RICCI Yeah, and while we're tying up the entire New York Police Force, the whole East Side's gon na be ripped off. WENTWORTH Albert, this might be the biggest day of my life and you're determined to spoil it, are n't you? BOROUGH COMMANDER -LRB- RADIO. -RRB- This is the Borough Commander - come in, Car Fourteen - David - RICCI -LRB- grabbing the mike. -RRB- This is Fourteen - David - BOROUGH COMMANDER -LRB- RADIO. -RRB- Jesus Christi Are n't you guys moving yet? What the hell's going on down there - do you know what the goddam time is? RICCI -LRB- rolling his eyes AT WENTWORTH. -RRB- Yes, sir - we're still waiting for the money to come out, sir -

EXT. PARK AVENUE & 28TH STREET - BOROUGH COMMANDER - DAY Be' s on the radio. BOROUGH COMMANDER Yeah? Well if it's not there in thirty seconds you have my permission to go in after it! A LIEUTENANT interrupts him. LIEUTENANT Sir - we just got word that the Mayor's on his way down. BOROUGH COMMANDER Terrific. Tell him we'll hold the crowd'til he gets here. -LRB- into the mike. -RRB- I'm warning you two guys - if I do n't see your faces before the deadline, I do n't ` want to see them at all! Ever! He slams down the mike.

INT. POLICE TRUCK RICCI What'd I tell you? It's all gon na be our fault.

EXT. LOADING BAY - DAY as the two Guards run out of the Federal Reserve, each holding one end of the money sack, each with his gun drawn, and head for the Police Truck. The time is `` 3:05 °. They throw it into the front seat on Ricci's side and slam the door. The motorcycles are already starting to move, shoving off, their sirens wailing and the truck starts after them.

EXT. MAIDEN LANE & NASSAU STREET - DAY A COP on the corner waves the procession - motorcycles and truck - right on Nassau, one of the narrowest streets in the city - cars are parked half up on the sidewalk - and they head uphill toward John Street. OVERHEAD SHOT From the roof of one of the office buildings, as the police truck continues along Nassau, past john, Fulton, Ann, and on toward Beekman, the eight motorcycles leading it.

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

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

INT. POLICE TRUCK - WENTWORTH & RICCI Wentworth is grinning, really enjoying himself. Ricci, holding the sack of money on his lap, is scowling. WENTWORTH Beautiful - really beautiful! I've always wanted to do this - we're scaring the shit out of everybody. RICCI Including me. WENTWORTH What's wrong with you, Albert? This is something you can tell your kids about some day. RICCI -LRB- CHECKING WATCH. -RRB- Eight minutes. We're never gon na make it.

EXT. MUNICIPAL BUILDING - DAY as, tires screeching, the truck swings over to the right side of the street. Traffic coming off the Brooklyn Bridge is being held up at the ramp. The time is SUPERIMPOSED : `` 3:06'' CAMERA PANS with the truck as it passes Chambers Street and heads up Centre.

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

INT. COMMAND CENTER - DAY MED. SHOT - PRESCOTT He's on the radio. PRESCOTT Where are they now, Daniels -? DANIELS -LRB- RADIO. -RRB- Centre Street, just north of Chambers. PRESCOTT What've we got -? -LRB- CHECKS CLOCK. -RRB- - seven minutes. Christ, it's just not enough. DANIELS -LRB- RADIO. -RRB- Even if they make it up here to 28th Street in time - we've still got ta carry it down track on foot. PRESCOTT No way. -LRB- punches a button. -RRB- Pelham One Two Three - this is BLUE -LRB- RADIO. -RRB- This is Pelham One Two Three - PRESCOTT The money's en route - making pretty good time, too - but it wo n't get to you by 3:13. BLUE -LRB- RADIO. -RRB- I'm sorry to hear that. PRESCOTT Listen - suppose we get it to the station entrance by then - will you change the deadline from delivery to you to arrival at 28th Street? Will you do that at least -? -LRB- NO ANSWER. -RRB- Pelham One Two Three - do you read -? BLUE -LRB- RADIO. -RRB- I'm here, Prescott. -LRB- ANOTHER PAUSE. -RRB- All right. I agree. But no more concessions, is that clear? PRESCOTT Clear, clear. -LRB- punches a button. -RRB- Daniels - they bought it. If we get it to the station entrance by 3:13 we'll be okay. DANIELS -LRB- RADIO. -RRB- Good job, Prescott. PRESCOTT Except for one thing - DANIELS -LRB- RADIO. -RRB- What's that? PRESCOTT We still wo n't make it.

EXT. CANAL STREET - DAY as a COP at the corner waves the cycles and truck left on Canal, the traffic ahead on Centre being too heavy. The time is SUPERIMPOSED : `` 3:09''.

INT. POLICE TRUCK - DAY Wentworth and Ricci, the latter on the radio. RICCI - proceeding west on Canal Street on our way to Lafayette. Traffic heavy. Over. RADIO Keep it coming - you've got five minutes. RICCI We'll make it. -LRB- hangs up mike. -RRB- We'll never make it. WENTWORTH Five minutes? No sweat, Albert - you want to stop for a beer? RICCI Jesus! Look out -

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

EXT. PARK AVENUE & 28TH STREET - DAY A SERGEANT manning the radio at the Command Post shouts to the Borough Commander who is off to one side, issuing orders to a small squad of policemen. SERGEANT Sir - there's been an accident - BOROUGH COMMANDER Jesus Christ, I do n't believe it! He starts for the radio in one of the vehicles. The time `` 3:10'' He grabs the mike. BOROUGH COMMANDER This is the Borough Commander - what the hell happened? RICCI -LRB- RADIO. -RRB- Two cycles went down - both riders got banged up - pretty bad. They'll need an ambulance. BOROUGH COMMANDER Never mind! Drop off two more bikes to look after them and keep going - do you hear me? Keep going.

EXT. LAFAYETTE STREET - DAY as the truck, led by only four cyclists now, continues speeding north. The time is SUPERIMPOSED : `` 3:11''.

INT. POLICE TRUCK RICCI -LRB- ON RADIO. -RRB- Fourteen - David heading north on Lafayette, approaching Vannrnare. RADIO Get the lead out, for Chrissake! RICCI -LRB- hanging up mike. -RRB- Why do n't they face it - it just ca n't be done! WENTWORTH You know something, Albert - you're absolutely right. Next corner we're turning right, crossing the bridge to Brooklyn and you and me, we got ourselves a fast million bucks, free and clear. RICCI Are ou crazy?! -LRB- looks at him. -RRB- You're kidding around again. WENTWORTH But I had you going there for a minute, did n't I, Albert?

INT. SUBWAY TUNNEL - FIRST CAR as it sits in the darkness. The time is SUPERIMPOSED : `` 3:11.34'' as now the seconds are shown, running - `` 35 - 36 - 37 - 38 -'' and will continue to do so throughout the following scenes.

INT. MOTORMAN'S CAB as the SUPERIMPOSED time continues running - `` 3:11.39 - 40 - 41 - 42 -'' and Blue regards his watch. Then he opens the cab door. BLUE Mr. Green - GREEN -LRB- appearing at. door. -RRB- What? BLUE Coming up on one minute. GREEN -LRB- A PAUSE. -RRB- Have you decided which one it's gon na be? BLUE -LRB- SHRUGGING. -RRB- Does it make any difference? GREEN I guess not. -LRB- A PAUSE. -RRB- Who's gon na do it? BLUE Mr. Brown. GREEN Does he know? BLUE He wo n't mind. GREEN Neither would Mr. Grey. BLUE Mr. Brown's better. With hint it's just a job - not kicks. He looks at his watch as the.SUPERIMPOSED time continues to run : `` 3:12.07 - 08 - 09 -'' BLUE Fifty seconds - then we erase one.

EXT. LAFAYETTE & HOUSTON - DAY as the four motorcycles and the truck, sirens all going, whip through the intersection against the light, a COP holding traffic. The SUPERIMPOSED time continues running : `` 3:12.10 - 11 - 12 - 13 -''

INT. POLICE TRUCK RICCI -LRB- ON RADIO. -RRB- Fourteen - David crossing Houston, heading for Cooper square - You've still got twenty - eight blocks - floor the sonovabitch! Wentworth is bent over the wheel, all determination now. WENTWORTH Tell him I'm doing over sixty now! RICCI Holy Christ : - the street's blocked! WENTWORTH Hold on - I'm going through -! WENTWORTH'S POV SHOOTING THROUGH the windshield. -LRB- as the SUPERIMPOSED time continues to run : `` 3:12.26 - 27 - 28 - 29 -'' -RRB- The tail - lights of the cycles are twinkling red ` as they begin braking - a tractor - trailer is stretched across the street, lining up its rear - end with the narrow opening of a loading bay, in preparation for backing into it. Now the truck starts backing, and while there is still some space open. -LRB- on the sidewalk. -RRB- it is closing fast. The cycles screech to a stop but it is clear that the truck does n't intend to as it bumps up onto the sidewalk, and starts for the opening. But it is now too narrow. The screeching brakes of the truck are heard as it starts to skid around, the panorama flashing by sickeningly and, perhaps, a crash and, perhaps, the scene flopping over as the truck, perhaps, rolls over onto one side.

EXT. LAFAYETTE STREET - DAY The Police Truck lying on its side, its wheels still spinning, the siren still running eerily. And the SUPER - IMPOSED time still running : `` 3:12.38 - 39 - 40 - 41 -''

INT. COMMAND CENTER - DAY CLOSE SHOT - PRESCOTT On the radio - the time still SUPERIMPOSED and running : `` 2:12.42 - 43 - 44 - 45 -'' PRESCOTT Daniels - for God's sake answer me! Where's that goddam money -?! DANIELS -LRB- RADIO. -RRB- Hello, Prescott - the truck's been wrecked - somewhere on Lafayette Street. Their radio's gone dead - PRESCOTT what the hell are you talking about?! It ca n't be wrecked - we're out of time, goddammit! DANIELS -LRB- RADIO. -RRB- What do you want me to do?! We could n't make it, that's all! PRESCOTT What do you mean, that's all?! They're just about to shoot some poor sonuvabitch - DANIELS -LRB- RADIO. -RRB- What do they expect us to do? If they know we're wrecked how can they ask us to - PRESCOTT They do n't know anything, for Chrissake! How can they know anything down where they - Holy shit, that's it! He punches a button on the console as the SUPERIMPOSED numbers now reflect the time down to the tenth of a second : `` 3:12.55 -LRB- 0 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 -RRB- - 56 -LRB- 0 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 -RRB- - 57. -LRB- 0 - 1 - 2 -. -RRB- PRESCOTT -LRB- shouting into radio. -RRB- Pelham One Two. Three -! The money's arrived - repeat, the money's arrived! BLUE -LRB- RADIO. -RRB- -LRB- SHORT PAUSE. -RRB- You made it just in time, Prescott. The SUPERIMPOSED time freezes : 1:12:59'' Prescott exhales sharply and sits back in his chair, exhausted. The SUPERIMPOSED numbers disappear. BLUE -LRB- RADIO. -RRB- You still there, Prescott? PRESCOTT Yeah. I'm still here. Tell me something - if we were a couple of seconds late - you'd have knocked off an innocent person? BLUE -LRB- RADIO. -RRB- Affirmative. Now if you're ready, I'll give you instructions for the delivery of the money. Again, I'll have to insist you follow them to the letter. PRESCOTT Go ahead. BLUE -LRB- RADIO. -RRB- Two unarmed policemen will walk down the track - one with the money, the other with a light which he'll flash continuously from side to side in a sweeping motion. When they reach the car the rear door will open and the one with the money will throw it in onto the floor. Then they will both turn and walk back to the 28th Street Station. Acknowledge. PRESCOTT I've got it. Is that all? BLUE -LRB- RADIO. -RRB- For now. But keep it in mind that the same ground rules apply - any wrong move by anyone and we'll kill a hostage. PRESCOTT I could've guessed that part. BLUE -LRB- RADIO. -RRB- You have ten minutes to deliver the money. If it is n't here by then - PRESCOTT Yeah, I know - - it's getting mono - tonous. I do n't suppose you'll give us longer than ten minutes - BLUE -LRB- RADIO. -RRB- Ten's more than enough, Prescott unless you were n't telling the truth about the money having arrived PRESCOTT -LRB- QUICKLY. -RRB- It's all right, ten minutes is fine. BLUE -LRB- RADIO. -RRB- No further discussions then. When we have the money in hand I'll call you with the final set of instructions. PRESCOTT You do n't really think you're gon na get out of there, do you? BLUE -LRB- RADIO. -RRB- The clock's running, Prescott I've got three - fourteen - you've got until three - twenty - four. Over. PRESCOTT Over. Over, you bastard.

EXT. PARK AVENUE & 28TH STREET - DAY as two motorcycles, sirens blasting, push their way through the crowd and stop at the Borough Commander's command post. One driver alights and goes to help the other remove the canvas sack of money off the back of the second bike. They carry it together to the Borough Commander. BOROUGH COMMANDER Well, it's about fucking time! -LRB- TURNING. -RRB- You two - He has addressed two uniformed men - a Transit Cop -LRB- MISKOWSKY -RRB- and.a Tactical Policeman -LRB- O'KEEFE -RRB- - standing together drinking coffee out of containers. They hurry over and salute. BOROUGH COMMMADER Which one has the flashlight? MISKOWSKY I do, sir - He shows it hanging from his belt. BOROUGH COMMMADER All right - then you. -LRB- O'KEEFE. -RRB- carry the money. Now move it - you've only got about eight and a half minutes. -LRB- as they salute. -RRB- Never mind the goddam salutes just get going! They take the sack from. the cyclists, hike it up onto O'Keefe's shoulder and hurry off, running down the steps into the subway. Now a chorus of booing is heaxd. BOROUGH COMMMADER Christ, it's the goddam Mayor! SERGEANT -LRB- CRANING. -RRB- I do n't see him - BOROUGH COMMANDER No, but I can sure hear him - WIDER ANGLE The Mayor, wrapped in a blanket, is smiling and nodding as he passes through the crowd, led by a wedge of COPS, flanked on one side by the Commissioner, and on the other by Warren LaSalle. The BoroughrCommander waits for him, shaking his head in disgust. BOROUGH COMMANDER And to think that I voted for the bastard. The Mayor and entourage join him. WARREN Hello, Commander - His Honor wants to go down into the tunnel with a bullhorn and make a personal appeal to the hijackers. BOROUGH COMMANDER I'm afraid not. WARREN I was n't asking for your permission - all you have to do is clear the way. The Commander looks at the Commissioner who stares right back, blankly. Then he turns to the Mayor. BOROUGH COMMANDER I appreciate your wanting to help, sir, but you've come at a very bad time. WARREN Mr. Commissioner, will you order your man to comply? MAYOR Cool it, Warren' - the Commander knows the situation here and we do n't. WARREN Nate - I'm warning you - MAYOR I feel shitty, Warren - I'm going back to bed. The Mayor turns and starts back through the crowd, Warren chasing after him. WARREN Nate -! For God's sake, Nate -!

INT. SUBWAY TUNNEL All that can be seen in the darkness is a flashlight, its beam swinging back and forth, coming toward CAMERA. The time is SUPERIMPOSED : `` 3:18''. ANOTHER ANGLE -LRB- TRAVELLING -RRB- Miskowsky and O'Keefe walking along the roadbed, between the rails, Miskowsky swinging the flash, O'Keefe. carrying the sack on his shoulder, both looking around nervously, CAMERA MOVING with them. Finally : MISKOWSKY My name's Miskowsky. What's yours? O'KEEFE O'Keefe. MISKOWSKY Pleased t' meet ya. Tactical Force? O'KEEFE That's right. MISKOWSKY You get the feelin' we're not alone down here? O'KEEFE What do you mean? MISKOWSKY I thought I saw ` someone - a couple of times in fact - O'KEEFE Sharpshooters - we got a couple dozen of'em spread all over the place. There's one - MED. SHOT - SHARPSHOOTER MISKOWSKY'S POV -LRB- TRAVELLING -RRB- A FIGURE in the shadows, standing behind a pillar, seen only in silhouette as CAMERA PASSES him - his helmet, his high - powered rifle, etc.. - looking very menacing. MED. SHOT - MISKOWSKY & O'KEEFE -LRB- TRAVELLING -RRB- MISKOWSKY You realize we got four submachine guns ahead of us and all those jokers behind us? I feel like I'm walkin' into the fuckin' O.K. Corral. O'KEEFE Look - there it is - I can see it. There's somebody standin' in the rear door. LONG SHOT - FIRST CAR - O'KEEFE'S POV The lone car, lit from within - and the silhouette of Brown at the rear storm door. MED. CLOSE SHOT - JAMES Standing behind his pillar. Now he turns his peaked cap around and, turning his face to the pillar, slowly moves his head to one side. MED. SHOT - FIRST CAR - JAMES' POV SHOOTING from behind the pillar. As the CAMERA slowly CRABS, the subway car comes into view - and we see Brown standing at the rear door, much more clearly than before. MED. CLOSE SHOT - JAMES as he. peeks around the pillar. Now, slowly, he brings his right hand up and, pointing his index finger.like a gun, `` fires.'' JAMES P'choo, p ` choo, p ` choo - He blows imaginary smoke from the end of his finger, pleased with himself. JAMES Shiiiiiit. ANOTHER ANGLE From the other side of the pillar as James ducks back behind it, turns his back to it and looks around for another way of amusing himself. He notices his real gun in a holster at his belt and unbuttons the strap, freeing it. Then he assumes the stance of a gunfighter, hand poised over it, knees slightly bent. Then, moving suddenly, he slaps his holster, wheels, fires without aiming - and there's a reverberating BANG, the shattering of glass and the figure in the subway car reels back. James looks at his hand in amazement - there's no gun in it. Then, at the same - time, Brown has recovered his balance and begins firing his submachine gun, the bullets ricocheting off the metal pillars. MED. SHOT - MISKOWSKY & O'KEEFE as they drop onto the roadbed, bullets whining all around them. MISKOWSKY For Chrissake, they're shooting at us! O'Keefe pushes the sack of money in front of them and they press flat behind it.

INT. FIRST CAR Blue is hurrying from the Conductor's cab to the rear of the car, passing between the two rows of stunned passengers who watch in silence. The storm door window has been smashed and there is glass all over the floor nearby. Brown is just in the process of sitting heavily in the single isolated seat near the door, a dark red patch blossoming on his sleeve, just below the right shoulder, his sub - machine gun resting in his lap. He begins examining his wound with his left hand. Grey s - ands at the rear door, pressed flat against the wall, peering out. BLUE Return to your position, Mr. Grey. GREY Maybe they're not through - BLUE You heard me, Mr. Grey! I do n't think there'll be any more. Reluctantly, Grey goes back to mid - car. BROWN It's not too bad - I think it went right through. Blue spots something, bends and picks up a lump of metal which he tosses to Brown who watches it in his bloodied left hand, glances at it, then throws it away. BLUE How does it feel? BROWN Okay - I never feel pain too much. BLUE How many shots were there? BROWN Just one - the rest was me. I did n't see anything - I guess I just got mad - no sense to it - BLUE -LRB- THINKING. -RRB- Somebody got nervous - or bored - they've been out there a long time. We ca n't let it pass. BROWN I'm not mad any more - forget it. BLUE We ca n't afford to. -LRB- looking around, at the Passengers. -RRB- I'll go pick one out.

INT. TUNNEL - JAMES His back to the pillar, ` he has his radio up to his face, whispering into it. JAMES - I do n't know who did it, Lieutenant - it came from behind me somewhere - in the dark. It hadda be one of them snipers they got down here - GARBER -LRB- RADIO. -RRB- Acting on whose orders? JAMES I do n't know - maybe nobody's. GARBER -LRB- RADIO. -RRB- You mean somebody just took it into his head to fire? On his own? How could he do such a thing? JAMES -LRB- THINKING. -RRB- Easy - real easy. GARBER -LRB- RADIO. -RRB- Can you see what's going on inside the train? JAMES Not too good. GARBER -LRB- RADIO. -RRB- What do you think - they'll do? JAMES I do n't know - but I'd sure hate to be in there finding out.

INT. FIRST CAR - PASSENGERS - BLUE'S POV CAMERA PANNING the Passengers sitting on one side of the car, the Passengers staring back at CAMERA -LRB- Blue -RRB-, then we cross the aisle and PAN BACK up the other side. CLOSE SHOT - BLUE BLUE -LRB- CALMLY. -RRB- You. Stand up, please. REACTION SHOTS - PASSENGERS as they turn to look at whomever Blue has indicated. CLOSE SHOT - BUD The conductor as he looks up and touches his chest with a finger. BUD You mean me -? WIDER ANGLE BLUE That's right, conductor. Would you come along with me, please? BUD Why? - what are you going to do? BLUE There's something you can help us with. Bud still hesitates. BLUE Do n't worry, conductor - come along. He leads Bud by the arm back to the rear of the car, every Passen gar's eye on the conductor as he passes, his free hand moving from overhead strap to strap. BLUE All you have to do is walk uptrack about a hundred feet and wait for the men delivering the money. They have reached the rear where Bud manages to avoid looking at Brown while Blue slides open the door. BLUE I'll help you down onto the track. BUD Why do I have to go -? BLUE -LRB- LEVEL GAZE. -RRB- I told you - there's nothing to worry about. -LRB- FIRMLY. -RRB- Now please go. Bud looks at him, then accepts Blue's offer of help as he starts to swing down onto the roadbed.

INT. TUNNEL - MISKOWSKY & O'REEFE Still face down behind the canvas sack. Now O'Keefe raises his head. O'KEEFE Look - somebody's being helped down onto the track - MISKOWSKY -LRB- PEEKING. -RRB- Christ, he's coming this way - he's headed straight for us -! LONG SHOT - FIRST CAR - MISKOWSKY'S POV as the conductor heads for CAMERA. He hesitates, turns back to the subway car behind him, then continues walking. Suddenly Brown looms in the doorway, his submachine gun poised, and now fires a short burst, the muzzle flashing. MED. SHOT - BUD as he staggers, reaches upward, then crumples as he passes CAMERA, falling forward, CAMERA following him down. One of his outstretched hands comes to rest near a pillar and a black shoe. CAMERA then PANS UP to James' terrified face.

INT. COMMAND CENTER - DAY Prescott on the radio. PRESCOTT What the hell are you talking about, Sol? How do you know they shot a hostage? GARBER -LRB- RADIO. -RRB- Because one of our own cops is right there! The body almost landed on him, for Chris sake! PRESCOTT But why?! We're still under the delivery deadline - GARBER -LRB- RADIO. -RRB- Somebody threw a shot at them - now they're showing us they're men of their word. PRESCOTT Who the hell fired at them? GARBER -LRB- RADIO. -RRB- Nobody knows. My bet is we never will. PRESCOTT How far did the money get? GARBER -LRB- RADIO. -RRB- Our guys says about fifteen yards back of him. It stopped when the shooting started. What do we do now, Clive? PRESCOTT I better find out. Christ, what a fucking mess! -LRB- punching another button. -RRB- Pelham One Two Three - come in, Pelham, this is Prescott - BLUE -LRB- RADIO. -RRB- This is Pelham - go ahead, Prescott - PRESCOTT Did you have to do it, you bastard?

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB BLUE One of my people was shot - I warned you what the penalty would be. PRESCOTT -LRB- RADIO. -RRB- I'm going to get you, you know - me personally. BLUE In the meantime, where's the money? -LRB- CHECKING WATCH. -RRB- You only have three minutes left.

INT. TUNNEL - MISKOV7SKY & O'KEEFE Still lying behind the sack of money. O'KEEFE What do we do now? MISKOWSKY Pray that a million bucks is bullet - proof. JAMES' VOICE Hey, you guys - MISKOWSKY -LRB- draws his gun. -RRB- Jesus, who's that -? JAMES' VOICE Transit cop - I'm up ahead. I got orders for you. Resume your delivery. MISKOWSKY I do n't suppose we could have it in writing - JAMES' VOICE Get going - the orders are make it snappy. Miskowsky and O'Keefe regard one another, then get slowly to their feet and brush themselves off. MISKOWSKY I'll never get this crap off. One of these days they oughta clean up this subway. He switches on his flashlight.

INT. FIRST CAR Brown at the rear door, watching the track. Now he turns and calls. - BROWN Mr. Blue - there's the light. Blue returns to the rear and stands watching with Brown.

INT. TUNNEL - MISKOWSKY & O'KEEFE as they proceed, Miskowsky sweeping the light from side to side, and O'Keefe carrying the sack. Now Miskowsky's light picks out Bud's dead body on the track - and then Caz Dolowitz. MISKOWSKY It looks like Vietnam down here. They continue toward the first car.

INT. FIRST CAR Blue now opens the rear door as the flashlight's beam sweeps across the back end of the car. Now Miskowsky and O'Keefe appear - only their faces peering into the car. O'Keefe tosses the sack off his shoulder onto the car's floor and it lands with a thud. Miskowsky and O' I : eefe look up at Blue and Brown who merely stare back. No one speaks. Then the two policemen turn and go. Blue now busies himself with opening the neck of the sack, then lifting the other end so that the 75 bricks of money spill out onto the floor in a heap. REACTION SHOTS - In rapid succession : Blue, Brown, Grey and Green, their eyes glued on the money - and then Various Passengers : the Pimp, the Hooker, the Old Dian, the Drama Critic, the Hippie, the Puerto Rican, the Fag. MED. SHOT - REAR OF CAR BLUE Mr. Grey - He gestures for Grey to join them which he does, his eyes on the money all the time. GREY Well - will you look at that, now - BLUE Get your things off - both of you - and start loading up. Blue watches while both Grey and : Brown remove their raincoats, jackets and finally their shirts. Brown has a blood - stained kerchief tied around his right upper arm. Both wear what can only be called money vests : canvas, sleeveless, fitting over the head like a Mae West, with ties on the sides, and containing pockets, 20 in all, front and back. BLUE Jr.. Grey, you do Mr. Brown, then he'll do you - nineteen packets each. Blue continues to observe for a mc -, ment as Grey starts inserting packets of pills, one to a pocket, into Brown's vest, as Brown stands stiffly, his hands at his sides. Then Blue walks to the front end of the car, joining Green. GREEN All that money - I ca n't believe it. BLUE When they're finished it'll be your turn. Mr. Grey will load you up. But do n't go down there until Mr. Brown has come here to take your place. I'll load up as soon as I talk to Prescott. GREEN I just wish it was all over already. BLUE Pretty soon now. He goes into the motorman's cab and shuts the door.

INT. COMMAND CENTER - DAY Prescott at his desk, waiting. Then : This is Pelham One Two Three - do you read me, Prescott -? PRESCOTT -LRB- punching a button. -RRB- This is Prescott - INTERCUT - BLUE & PRESCOTT BLUE I'm going to give you five specific instructions. Each one is to be followed precisely - is that clear? PRESCOTT So far. BLUE One : at the end of this conversation you will restore power to the entire sector. PRESCOTT -LRB- WRITING. -RRB- Restore power - BLUE Two : you will clear the local track all the way from 28th Street to South Ferry. By clear I mean switches properly set and all signals green. I emphasize green, Prescott - if I even so much as see a red light, let alone get tripped by one, we will shoot a hostage. PRESCOTT -LRB- WRITING. -RRB- Local track cleared to South Ferry and all signals green - BLUE Three : all southbound trains behind us, local and express, are to remain lying dead. Likewise all northbound between South Ferry and here. PRESCOTT -LRB- WRITING. -RRB- Got it - BLUE Four : you will contact me as soon as the track is clear and all signals are green. PRESCOTT -LRB- WRITING. -RRB- Go ahead - BLUE Five : you will remove all police personnel from the tunnel. If we see a single cop between here and South Ferry we will shoot a hostage. In fact, any deviation from these instructions and we will shoot a hostage. PIED. SHOT - PRESCOTT PRESCOTT Are you aware that you're insane? BLUE -LRB- after a pause. -RRB- Let me know when all five points have been complied with. Over and out. Prescott sits back for a moment, thinking. Then he punches a button. PRESCOTT Sol - you there -? GARBER -LRB- RADIO. -RRB- I'm here, Clive, what's up? PRESCOTT Hold on while I cut in the city COPS -. -LRB- punches a button. -RRB- Daniels -? This is Prescott - DANIELS -LRB- RADIO. -RRB- Come in, Prescott, this is Daniels - PRESCOTT Daniels, I've got Lieutenant Garber of the Transit Police on the line with us. I have the latest instructions from the hijackeraâ $ cents. They want power restored, the tracks cleared, all signals green as far as South Ferry, and no cops anywhere. Okay, so we go along - we have to - but then what? What do you think they've got in mind? -LRB- A SILENCE. -RRB- Do n't all talk at once. INTERCUT - PRESCOTT, GARBER & DANIELS GARBER Beats hell out of me, Clive. I would n't've picked a tunnel to make my getaway from in the first place. PRESCOTT But they did pick it' - and since everything they've done so far has been organized down to tha smallest detail, it stands to reason they've got the rest worked out, too. GARBER Power restored and the track cleared - so they're gon na move their car, obviously. But why South Ferry? DANIELS If I remember right it comes after Bowling Green - what comes after South Ferry? GARBER Bowling Green again - the track loops around and heads back uptown. PRESCOTT All they'll do is bottle themselves up. That's no good. DANIELS So that means they want South Ferry. Why? PRESCOTT Do you think it's the water, Sol? Maybe they've got a boat waiting in the harbor - or a seaplane - GARBER Who knows? We'd better play it a step at a time. Clive, you see about restoring power and clearing the track. Daniels and I'll start pulling our units out of the tunnel. We can follow them just as well up above, on the street. DANIELS How'll we know where they are? PRESCOTT Grand Central Tower has'em on their model board - we can see every move they make. If they stop anywhere before South Ferry we'll know about it. DANIELS We'd better put some men on all of the emergency exits just in case. I'll check back in when I've found a squad car I can use. GARBER Wait a minute! I think I just figured out how they're gon na get away! PRESCOTT I'm listening - GARBER They're gon na fly the train to Cuba! MED. SHOT - PRESCOTT PRESCOTT -LRB- SMILING. -RRB- You're a sick man, Sol. He disconnects, then rises and crosses to Frank Correll who's still frantically leafing through teletype dispatches and shouting into a phone. CORRELL What do you want me to do, for Chrissake? - the goddam power's still off! You'll have to move them by bus - what do you mean you do n't have any buses?! - go hijack some! He slams the receiver down, then notices Prescott looking down ` at him. CORRELL What's going on, Prescott - do I get my trains back now or do n't I? PRESCOTT You do n't - not yet. CORRELL Jesus! Do you realize that in less than an hour the goddam rush hour starts? PRESCOTT Will you shut up and listen? I've got a new set of instructions. CORRELL -LRB- TURNING AWAY. -RRB- I do n't give a rat's ass for your fucking instructions! I'm not doing anything to help the killers of Caz Dolowitz! Prescott reaches into his pocket, removes his service revolver and, grabbing Correll by the chin, pushes his head back and places the muzzle of the gun into his eye. PRESCOTT If you do n't do what I tell you, Frank, you'll be having dinner tonight with Caz Dolowitz.

INT. SUBPAY TUNNEL - FIRST CAR It stands, as before. in the semi - darkness. Then, suddenly, the lights in the tunnel and inside the car flash on - the power has been restored. The time is SUPERIMPOSED : `` 3:28''

INT. FIRST CAR All lights are on and the Passengers react to the sudden brightness. Brown, fully dressed again but looking even bulkier with the addition of the money, stands at the front end of the car now. Grey.is at mid - car, also dressed again. Blue and Green are at the rear end, the latter having just finished filling the former's money vest and now helps him on with his jacket and raincoat. Blue moves to the center of the car. BLUE Your attention, please - in a moment we're going to start moving again. You will all remain seated and quiet. We expect to release you unharmed in a short while, but until then you must continue doing exactly as you're told. Come along, Mr. Green. He heads for the motorman's cab, Green right behind him. The Pimp looks at Grey for a moment. PIMP Hey, dude. - long as you goin' downtown anyway, you mind droppin' me off at Fulton Street? GREY Smart - assed nigger - PIMP You pretty, smart too, baby - long as you holdin' that piece. FAG Will you please?!

INT. MOTORMAN'S CAB Blue stands to one side as Green sets up at the controls and checks the track ahead. GREEN Green all the way down. BLUE Go ahead then. GREEN This is gon na hand'em a jolt, you know - moving before they expect it. BLUE Go ahead, Mr. Green. Green edges the controller forward and the car responds.

INT. GRAND CENTRAL TOWER CLOSE SHOT - MODEL BOARD as the red slashes representing Pelham One Two Three are moving. WIDER ANGLE Featuring Marino who is staring up at the Board. MARINO Holy Christ, she's moving! -LRB- TURNING. -RRB- What the hell's goin' on? They said they'd wait until we'd cleared the track all the way down! Jenkins - get the Command Center. MRS. JENKINS -LRB- INTO MIKE. -RRB- Grand Central Tower calling Command Center -

INT. COMMAND CENTER - PRESCOTT - DAY PRESCOTT Come in, Grand Central Tower MRS. JENKINS -LRB- RADIO. -RRB- She's moving. PRESCOTT Who's moving? MRS. JENKINS -LRB- RADIO. -RRB- Pelham One Two Three PRESCOTT What?! Since when? MRS. JENKINS -LRB- RADIO. -RRB- She just started. PRESCOTT Hold on -. -LRB- Punches a button. -RRB- Sol - she's moving! GARBER -LRB- RADIO. -RRB- Who's moving? PRESCOTT Who the hell do you think?! Pelham! What's she doing now, Grand Central? MRS. JENKINS -LRB- RADIO. -RRB- Still moving - pretty slow, but no sign of stopping. GARBER -LRB- RADIO. -RRB- It's too goddam soon! We're not set up yet! PRESCOTT Which is probably why they did it. You heard from Daniels yet? GARBER -LRB- RADIO. -RRB- Yeah. He's in a squad car on Park Avenue South. Try him on seven - five PRESCOTT -LRB- punching another button. -RRB- Daniels -? It's Prescott - DANIELS -LRB- RADIO. -RRB- I read you, Prescott - what's up? PRESCOTT She's moving. DANIELS -LRB- RADIO. -RRB- Who's moving? PRESCOTT What's the matter with everybody?! How many hijacked trains we got around here? DANIELS -LRB- RADIO. -RRB- You mean Pelham? But they're not supposed to do that yet - how far have they gone? PRESCOTT Grand Central -? MRS. JENKINS -LRB- RADIO. -RRB- They're coming up on the 23rd Street Station. DANIELS -LRB- RADIO. -RRB- Oh shit, I'd better clear the cops off that platform. Signing off. PRESCOTT All right, everybody - listen to me! They jumped the gun on us but we're gonna.stick right with'em. That means every single person in every department's gon na shake his ass, do you get that? MRS. JENKINS -LRB- RADIO. -RRB- Do n't worry, Lieutenant - it's shakin'.

INT. SUBWAY. TUNNEL as Pelham One Two Three rolls slowly along.

INT. FIRST CAR - MOTORMAN'S CAB Blue and Green. GREEN We're coming in to 23rd Street. BLUE Keep it steady. GREEN I'm still in switching - can I push it up a notch? BLUE No - steady as she goes. GREEN'S POV SHOOTING through the windshield. Ahead, the 23rd Street Platform is drawing nearer - and there is a CROWD waiting, many leaning over to look uptrack at the approaching train. GREEN'S VOICE Jesus - look at'em hanging over the edge. When I was a motorman I had nightmares about them falling off in front of me.

INT. 28TH STREET PLATFORM as the lone car passes slowly through. The long - stranded would - be RIDERS start to shout, whistle and bang on the windows and side of the. slowly passing car.

INT. FIRST. CAR The. terrified Passengers and the uncertain Brown and Grey as the car runs the gauntlet of the irate crowd outside ; they all shy from the poundi ng fists.

INT. GRAND CENTRAL TOWER - MODEL BOARD The red lights moving past 23rd Street. CAMERA WHIP PANS to Mrs. Jenkins on t : : e radio. MRS. JENKINS Pelham One Two Three passing 23rd Street Station -

EXT. PARK AVENUE SOUTH & 23RD STREET - DAY A police squad car inches along, crossing 23rd Street, heading downtos'm.

INT. SQUAD CAR - DAY Daniels and a uniformed police DRIVER. DANIELS -LRB- INTO MIKE. -RRB- Speed? MRS. JENKINS -LRB- RADIO. -RRB- Continuing slow, at around five miles per hour - what they call the switching position. DANIELS Prescott -? PRESCOTT -LRB- RADIO. -RRB- Go ahead, Daniels. - DANIELS I just had a terrible thought : what if they're not on the train? What if they set the throttle and jumped off? While we're chasing the train they're sneaking out an emergency exit somewhere behind us. PRESCOTT -LRB- RADIO. -RRB- Ingenious - except for one thing : it's impossible. DANIELS Why? PRESCOTT -LRB- RADIO. -RRB- A little gizmo called the - dead man's feature. It was built into the controller handle in case a motorman should ever drop dead. It has to have a man's hand pressing down on it at all times in order to work. Otherwise the train stops cold. DANIELS Yeah? PRESCOTT -LRB- RADIO. -RRB- Nice try, though. But in case you're still worried, I was just about to call them. I'll let you know if I get their answering service.

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB CLOSE SHOT - CONTROLLER HANDLE Green's hand pressed down on it. PRESCOTT -LRB- RADIO. -RRB- Command Center calling Pelham One Two Three - CAMERA PULLS BACK to include Green and Blue. BLUE -LRB- INTO MIKE. -RRB- This is Pelham. PRESCOTT -LRB- RADIO. -RRB- What's going on? The track is n't clear to South Ferry yet - how come you're moving? BLUE Slight change of plan. We decided to put some distance between us and all those cops you had hidden in the tunnel back there. PRESCOTT -LRB- RADIO. -RRB- If you keep moving you're gon na start running into red signals. I do n't want you to blame us for it. BLUE We'll be stopping soon. Just get back when you've cleared the rest of the track. Signing off. GREEN Do you think he's figured anything out? All those questions - BLUE Perfectly natural under the circumstances. They're thinking just the way we want them to.

INT. 18TH STREET PLATFORM Closed down for some years, the station platform is no more brightly lit than the rest of the tunnel, giving it an eerie look. The first car of Pelham One Two Three rolls slowly through.

INT. MOTORMAN'S CAB BLUE Look sharp now - it's coming up Blue and Green are straining their eyes against the darkened tunnel ahead. BLUE Do you see it? GREEN It's that white light about a hundred feet ahead. BLUE All right - this is close enough. Green starts to apply the brake.

INT. GRAND CENTRAL TOWER - MODEL BOARD The red lights representing Pelham One Two Three stop. CAMERA PULLS BACK to include Marino, Mrs. Jenkins and some of the Towermen, all watching the board. MARINO She's shut down again. Pass it along. MRS. JENKINS -LRB- INTO MIKE. -RRB- Grand Central ` Tower calling Command Center - come in, Command Center -

INT. COMMAND CENTER - PRESCOTT - DAY at his console. He punches a button and speaks into the mike. PRESCOTT This is Command Center - MRS. JENKINS -LRB- RADIO. -RRB- She's stopped again, Lieutenant - just below the 18th Street Station. PRESCOTT Gotcha, thanks. -LRB- pushing a button. -RRB- Daniels? Come in, Daniels this is Prescott - DANIELS -LRB- RADIO. -RRB- This is Daniels. PRESCOTT They've stopped again. Where are you? DANIELS -LRB- RADIO. -RRB- Just crossing 17th Street. PRESCOTT Pull over - you're right above them. DANIELS -LRB- RADIO. -RRB- And then what? PRESCOTT It's up to them. I'll get back to you. -LRB- punches a button. -RRB- Pelham One Two Three - this is PRESCOTT -. -LRB- NO ANSWER. -RRB- Pelham One Two Three - do you read me -?

INT. SUBWAY - FIRST CAR - MOTORMAN'S CAB Blue is hanging the mike back on its hook before lending Green a hand with the bulky valpac that originally came onto the train with Blue. PRESCOTT -LRB- RADIO. -RRB- Come in, Pelham One Two Three this is Prescott calling - can you hear me, Pelham One Two Three -? BLUE Ignore him - he'll get tired and quit after a while. Let's get this stuff unpacked - there is n't much time. They are unbuckling the straps and unfolding the canvas bag, then attacking the zippers. PRESCOTT -LRB- RADIO. -RRB- Come in, Pelham One Two Three -

INT. COIiTiAND CENTER - PRE- SCOTT - DAY PRESCOTT -LRB- INTO MIKE. -RRB- Goddaranit, Pelham One Two Three, what the hell's wrong with you -?! Still no answer. He sits back and thinks for a moment. Then he turns to Correll. PRESCOTT Frank - how long before you're clear all the way to South Ferry? CORRELL You mean before this railroad is so totally fucked up that it'll take a goddam computer, to put it back together? PRESCOTT Right, Frank, that's what I meant. CORRELL Five or six minutes. I've got a snag at Brooklyn Bridge. PRESCOTT -LRB- pushing a button. -RRB- SOL - GARBER -LRB- RADIO. -RRB- Yeah, Clive - PRESCOTT Something's going on down there - I have n't the faintest idea what but I'm gon na go'over and join Daniels at 17th Street. Come on up here and take over on the radio - but do n't tell'em the track's clear until I check in with you. I do n't want them starting up again before I get there.

INT. SUBWAY - FIRST CAR - IHiOTORF,IAN' S CAB CLOSE SHOT - GLZ11CK as it is pulled from the valpac - a cast - iron, shoe - like form with a molded, hollowed - out area on one side. It is clearly heavy enough to require both of Green's hands to heft it. CAMERA PULLS BACK to reveal him, grunting, setting it over the controller handle which it fits perfectly. Blue stands by, watching. GREEN Perfect fit. Blue now hands him a length of pipe, some six inches in length. Green takes it, fits one end into a socket on top of the gimmick, facing toward the windshield, and screws it in. Then Blue hands him his submachine gun. Green looks at him for reassurance. BLUE Go ahead. Green attacks the windshield with tine stock of the gun, opening a great splintered hole.

INT. SUBWAY CAR as the Passengers react to the sounds of breaking.glass coming from within the i iotorman's cab.

INT. 14OTMMM'S CAB The front window is almost completely out - only a few pieces of glass cling to the frame. BLUE Get it all - it's got to look right. Green uses the gun's barrel to scrape around the edges, clearing away the last traces of glass. Blue now hands Green another length of pipe - this one about three feet long. Green fits one end over the protruding end of the attached short pipe - not screwing it, merely fitting it. The other end extends straight out the glassless windshield. BLUE Try it once - make sure it comes away clean. Green yanks at the long pipe and it separates from the shorter one. GREEN Perfect. He reattaches it. BLUE Okay. Now jump down - Ill hand the other piece through. Green leaves the cab. FRONT STORM DOOR Brown standing guard as Green comes out of the cab. The two men exchange glances but no words as Green opens the storm door, stepping out.

INT. TUNNEL As Green jumps onto the roadbed and comes around in front of the car, his shoes crunching the broken glass. % Lbove, from the cab, Blue hands Green down still a third pipe, this one the same length -LRB- three feet -RRB- as the second. Green now screws one end of the third to the protruding end of the second, but at such an angle that the construction now. turns sharply left, extending toward the tunnel wall, beyond the side line of the train. BLUE Make sure its tight. GREEN I did. BLUE Come on back in. Green returns to the storm door c There Brown extends his left hand and pulls Green back up into the car.

INT. MZOTORIIAN' S C B Blue is inspecting. the placement of the gimmick over the controller as Green enters. GREEN It's all set to go. I only wish we were. BLUE Do n't worry - ten minutes from now we'll be free and clear.

EXT. PARK AVENUE SOUTH & 16TH STREET - DAY Union Square Park. A police squad car sits at the curb. The time is SUPERIiIPOSED : `` 3:41''

INT. SQUAD CAR - DAY Daniels on the radio. BOROUGH COMMANDER -LRB- RADIO. -RRB- This is the Borough Commander, Daniels, what the hell's going on? DANIELS Not very much at the moment, sir - they're sitting down there and we're sitting up here. BOROUGH COMMANDER -LRB- RADIO. -RRB- That's swell. What are you trying to do, starve them out? DANIELS No, sir - but it's their move. We're just waiting for them to make it. BOROUGH COMMANDER -LRB- RADIO. -RRB- All right - keep me posted. As Daniels hangs up the mike the rear door opens and Prescott sticks his head inside. PRESCOTT Daniels? DANIELS Who the hell are you? PRESCOTT Prescott. DANIELS Prescott? I thought - I do n't know what I thought. Get in. Prescott climbs into the back and closes the door. PRESCOTT Anything happening? DANIELS No. They're still down there. If the street collapsed we'd probably land right on top of them. PRESCOTT -LRB- grabbing the mike. -RRB- Prescott to Command Center Garber? GARBER -LRB- RADIO. -RRB- Yeah, Clive - the tracks been clear for a couple of minutes. Can I call the hijackers? PRESCOTT Let'em know. And let us know when they start moving. -LRB- hangs up mike. -RRB- DANIELS What do we do - wait or get started? If they ever get up to speed we're. gon na have trouble staying with them. PRESCOTT -LRB- THINKING. -RRB- Let's go - for once we'll be a step ahead of them.

EXT. SQUAD CAR as it pulls away from the curb.

INT. SUBWAY FIRST CAR - MOTORMAN'S CAB Blue and Green. GARBER -LRB- RADIO. -RRB- Command Center to Pelham One Two Three - come in, Pelham - GREEN That's not Prescott - BLUE -LRB- INTO MIKE. -RRB- This is Pelham - what happened to Prescott? GARBER -LRB- RADIO. -RRB- Even stars have to pee. Just letting you know the track's clear - all the way to South Ferry. BLUE Thanks, Command Center. Give Prescott our regards. GARBER -LRB- RADIO. -RRB- You can do it youraelf - at the arraignment. BLUE Over and out. He gives the mike a strong tug and - snaps the wire. BLUE I want this train moving in thirty seconds. Tell Mr. Brown and Mr. Grey they can cut the emergency brake cords. Green leaves the cab. Blue examines the gimmick one last time, then follows Green out.

INT. SUBWAY CAR CLOSE SHOT - EMERGENCY BRAKE CORD as the rope with the red wooden handle, which dangles some six inches from a hole in the ceiling of the car, is cut by a pair of clippers inserted into the hole. CAMERA PULLS BACK to include Brown, standing on a seat behind the Motorman's cab. WIDER ANGLE Including Grey who is cutting the brake cord at the other end of the car. Now, submachine gun in hand, Brown opens the front storm door, crouches and drops out of sight. Then Grey starts for the rear door, hesitates, returns to the Hooker and bends to whisper something in her ear. HOOKER You and what army? Snickering, he returns to the rear door, opens it and disappears. At the front of.the car, Green backs out of the door, closing it after him, and is helped down to the roadbed by Brown from below. Only Blue is left. He holds his submachine gun easily cradled in one arm as he moves through the car. BLUE You will remain in your seats. Do n't try to get up. MAID You mean ever? BLUE I mean remain seated. He has reached the rear, walking backwards, and now gropes behind him for the door handle. OLD MAN Are n't you going to tell us what a great bunch of hostages we've been? Blue does n't answer as he opens the door and backs out onto the metal landing. Then he closes the door and drops down to the track. The Passengers, left alone, look at one another uncertainly.

INT. TUNNEL The four hijackers are deployed along the side of the car - Green in front with Brown, Blue in back with Grey. BLUE All right, Mr. Green - Green, a hand on the protruding pipe connected to the controller handle inside the Motorman's cab, now grabs it with both hands and pushes inward, toward the train.

INT. MOTOR11AN' S CAB CLOSE SHOT - CONTROLLER HANDLE as it is moved clockwise, through switching, into the series position.

INT. TUNNEL The train starts to move. As it does, Green tugs sharply back on the pipe and the two longer sections, angled together, disengage and come loose in his hand. He starts to lose his balance but Brawn grabs him and pulls him back to the tunnel wall. The train it picking up speed rapidly as it slides by them.

INT. FIRST CAR as it accelerates. The Passengers continue looking around, not sure what's happening. Suddenly, without warning, the Hippie jumps to his feet and, running in a crouch toward the rear of the car, draws a revolver. MOTHER They said to remain seated - I HIPPIE I'm a police officer -! He slides open the rear door of the now - rapidly - moving car and dives out, leaving the Passengers even more confused.

INT. TUNNEL - HIPPIE as the car rattles away and he lands hard, rolling over -LRB- perhaps hitting a pillar -RRB-, dropping his gun and sustaining arm and head lacerations. He lies, face upwards, semi - conscious, fairly bloody. MED. SHOT - BLUE, GREEN, BROWN & GREY as they group. BLUE Let's move along, gentlemen - there's no time to waste. You all remember the drill. What's wrong, Mr. Brown? BROWN -LRB- LOOKING DOWNTRACK. -RRB- I thought I saw something fall out the back of the train. BLUE What did it look like? BROWN I do n't know - a shadow - could've been a person - I'm not a hundred percent sure I saw it. GREY -LRB- hefting his gun. -RRB- Want me to go check? BLUE -LRB- peering aid thinking. -RRB- Forget it - there's no time.

INT. GRAND CENTRAL TOWER - MODEL BOARD The red blips are moving. Mrs. JENKINS' VOICE Grand Central Toner to Cozna.nd Center - Pelham One Two Three in motion -

INT. SQUAD CAR - DAY Prescott still in the back seat, Daniels up front with the Driver. JENKINS -LRB- RADIO. -RRB- - passing 14th St. station and running. Speed approaching 35 miles per hour. DANIELS We're right on top of her. PRESCOTT It does n't make any sense - they know we're monitoring their position - that we've got to be following THIN - DANIELS So? PRESCOTT So it's dumb. DANIELS Whoever said crooks were smart? PRESCOTT But these have been - up to now, that is. They have n't made a single mistake. I tell you we're overlooking something

INT. TUNNEL - EMERGENCY EXIT Blue, Green, Brown and Grey have moved to the door leading to the exit chamber -LRB- under a grating in the street above -RRB-, beneath the bare white bulb. BLUE All right, we do it exactly as we did in the drill - by the numbers. GREY Drills, numbers - it's all chicken - shit. Why do n't we just do it? BLUE Shut up and do what you're told. SUBMACHINE GUNS They set them down on the roadbed. BLUE Hats, glasses, wigs and mustaches - They remove their disguises anal we see their faces for the first time.

INT. SUBWAY CAR as it bumps and rattles along. The Passengers have remained seated. MOTHER Can you imagine? That beatnik being a policeman? OLD MAN Hippie - they do n't call them beatniks any more. CO-ED They do n't call them hippies any more, either. MOTHER How can they let policemen dress like that? OLD MAN That's his job - he's in cognito. W.A.S.P. He's also dead, most likely. We were moving pretty fast by the time he jumped off. SALESMAN They're trained to do that. PIMP Jump headfirst off a subway? Shiiit. MOTHER Where do you think they're taking us now? OLD MAN Do n't worry - they'll let us go pretty soon. The Hooker has been looking around with growing anxiety and now, she stands up. HOOKER You dumb bastards - ca n't anybody count?! They all four got off - there's nobody driving the fucking train! There's a moment's silence as everyone digests this news. Then the Mother screams.

INT. ASTOR PLACE PLATFORM as the lone car hurtles through the station.

INT. TUNNEL - HIPPIE He raises himself on one elbow and shakes his head. He wipes some blood off his face and looks at his fingers. BLUE'S VOICE Remove your coats - turn inside - out - and put back on. He looks off. EMERGENCY EXIT - HIPPIE'S POV as Blue, Green, Brown and Grey take off their coats and begin turning them inside out - illuminated by the over - head bulb. CLOSE SHOT - HIPPIE He blink, still in a foa. He lcoks at his empty hand for. a moment, trying to remember what should still be in it but is n't. Then he begins groping around on the ground, and whispering to himself, barely audibly. HIPPIE Gun - got ta find my gun - NED. SHOT - BLUE, GREEN, BROWN & GREY as they are putting their coats on again. Grey's is now a light beige poplin ; Brown's a mediumn grey with fur collar ; Green's a tan herringbone ; weed ; Blue's a salt and pepper Donegal. BLUE HATS - They remove new hats from their coat pockets - Grey's a powder blue low - crowned golfing hat ; Brown's a grey with short upturned brim ; Green's a grey Russian astrakhan ; Blue's a brown cap with short visor. BLUE Remove gloves -

EXT. ASTOR PLACE - DAY as the squad car goes through, siren screaming.

INT. SQUAD CAR - DAY JENKINS -LRB- RADIO. -RRB- Pelham One Two Three reported halfway, between Astor Place and Bleeker, speed increasing - DANIELS Christ, they're gaining on us! PRESCOTT it has something to do with that short move they surprised us with - from 28th to 17th St. - DANIELS What does? PRESCOTT Their scheme - it's tied up some - how with that move - it has to be. But why'd they do it? DANIELS I give up. PRESCOTT To get away from the cops in the tunnel, that's what they said - all right, why not? Suppose they were doing something they did n't want anybody to see? DANIELS Like what? CLOSE SHOT - PRESCOTT PRESCOTT -LRB- softly and evenly. -RRB- Like getting off the train. Daniels - turn around, we're going back. WIDER ANGLE Including Daniels. DANIELS Like hell we are. PRESCOTT They're not on the train - I'm sure of it! DANIELS Look, Presoctt - I'm the one who suggested that in the first place - but you shot me down - something about a `` dead man's feature'' - PRESCOTT They figured out how to beat it - that's their plan - that's what they started with! Daniels considers for an instant, then turns to the Driver. DANIELS Turn it around - and burn rubber!

EXT. SQUAD CAR as it pulls a U - turn in the middle of the block -LRB- Broadway -RRB-, tires squealing, barely avoiding a bus. The time is `` 3:48.'' INTO TUNNEL Blue, Green, Brown and Grey. BLUE Check handguns in coat pocket - They each remove a snub - nosed pistol, check it, then return it. BLUE Remove magazines from submachine guns. All of them pick up their submachine guns but only three remove the magazines and then place the guns back dcwn again. Grey merely watches the other three,. continuing to hold his gun under his arm, a slight smile on his face. BLUE Did you hear me, Mr. Grey? Disarm your gun and put it down so we can I get out of here. GREY I'm not leaving it - it goes out with me. BLUE Put it down, Mr. Grey - GREY What if something's gone wrong? What if they're waiting for us up there? I want more'n just a dinky pea - shooter! BLUE Nothing's gone wrong. The plan depends on our walking away un - noticed. You ca n't do that carry - ing a submachine gun. GREY I wo n't just carry it - I'll hold it under my coat - GREEN This is crazy! Do what he says so we can get going! BLUE You're leaving your gun here, Mr. GREY - GREY -LRB- SMILES INSOLENTLY. -RRB- In a pig's ass, Mr. Blue - Without any warning, Blue, whose Wright hand has been in his pocket, fires his pistol through his coat, catching f Grey full in the chest. He staggers back, bumps against the tunnel wall and collapses, landing on his side. Blue bends, pries the submachine gun ` Loose from Grey's death grip, removes the magazine, pockets it, and tosses the gun away. Green has watched all this in near panic. GREEN Oh my God - Brown watches with a detachment bordering on disinterest. BROWN What about his money vest? BLUE Mr. Green will put it on over his own. GREEN Me? Why me? BLUE You're the thinnest one - it'll show less. Hurry up and undress. Mr. Brown - help me with Mr. Grey. They start to work on the dead body as Green starts undressing.

INT. GRAND CENTRAL TOWER - MODEL BOARD The red lights progressing. CA14ERA PULLS BACK. MRS. JENKINS She's passing Canal St., doing around fifty miles. MARINO That's a pretty good clip - I hope they know what they're doing. MRS. JENKINS Only four more stations to South Ferry.

INT. CANAL ST. PLATFORM as the single car roars through the station, the darkened front window divulges nothing.

INT. FIRST CAR Some of the Passengers have gone to the front of the car. The W.A.S.P. is trying to open the door to the Motorman's cab, but there's no outside handle so all he can do is pound impotently against it. The Mother remains in her seat holding her two boys pressed against her. Now the Old Man starts pushing his way up front. OLD MAN My friends - please - the situa - tion is n't as lousy as it looks - FAG Just a little lousy's good enough for me. W.A.S.P. I never knew these things went so fast. MOTHER We're going to be killed! OLD MAN No - no we wo n't! I admit that right now we're on a run - away train, but it's only temporary - The car careens into a curve and sways wildly as the metal wheels scrape and screech. There's a good deal of scream - ing and shouting from the Passengers as several fall down. The Old Man starts to topple but the Pimp steadies him. OLD MAN Thank you, brother. W.A.S.P. Ahelluva lot you know - OLD MAN But I do know - I've been riding the subways for over sixty years - I'm an expert! HOOKER Why do n't we cut all this crap and beat down that goddam door, for CHRISSAKE! OLD MAN It is n't necessary! They got something called stoppers or trippers or stickers or something like that - so whenever a train goes through a red light these things automatically stop it. PIMP -LRB- looking out the FRONT WINDOW. -RRB- There's jest one thing, baby - OLD MAN -LRB- TURNING. -RRB- What's that? PIMP They all green. THE TUNNEL -LRB- UNDERCRANKED -RRB- SHOOTING straight ahead from the - front of the train. Nothing but green lights ahead as the train races along.

INT. TUNNEL - HIPPIE Propped up now against a pillar, straining to look at something, off. HIJACKERS - HIPPIE'S POV Blue and Brown are tying the second money vest on Green, then help him on with his shirt 4nd coat. MED. SHOT - HIPPIE He returns his attention to the business of locating his gun. He scrapes the heel of an extended leg -LRB- to his extreme discomfort -RRB- along the ground hoping to discover it - and does. Seeing it, he now goes through the painful exercise of reaching for it - finally managing this, too. Now, lifting one knee as a gun mount, he holds the revolver in both hands and starts to take aim. HIJACKERS - HIPPIE'S POV with the gun in the foreground, its sight being shifted as the three men are preparing to leave through the emergency exit. Now the Hippie's vision -LRB- FOCUS -RRB- blurs for a moment, and when it clears, Green has already disappeared through the door and Brown is right behind him. The gunsight centers on Brown's broad back - and the gun fires. Brown convulses and topples backwards.

EXT. BROADWAY - DAY The Squad Car, racing uptown now.

INT. SQUAD CAR DANIELS You'd better be right about this, PRESCOTT. PRESCOTT Even if I am, we're probably gon na be too late.

INT. TUNNEL Blue stands behind a pillar, his gun in hand, peering into the darkness, trying to locate the marksman. Green is in the well of the emergency exit, beside the metal ladder that leads up through a grate and out onto the street. Between them, before the open doorway to the well, Brown's body lies face up on the ground. Green now gestures for Blue to come across the open area separating then. GREEN Come on - i BLUE I'd never make it -. -LRB- POINTING DOWNTRACK. -RRB- It came from down there someplace - I've got to get him. Go on up! Green hesitates, looks up the ladder, looks back at Blue. GREEN I - I'll wait for you - Blue looks at him fora moment, then checks his pistol and, slowly, steps out from behind the pillar. A shot rings out immediately and the ricochet off the pillar zings loudly. Blue calmly fires twice at the muzzle flash. MED. SHOT - HIPPIE Both shots have connected, one hitting his arm and sending the pistol flying away, the other into his upper chest, below the right shoulder. He topples over, sprawling across one rail, onto the roadbed. ICED, SHOT - BLUE He has stepped back behind his pillar again to listen. Silence. GREEN Did you hit him -?! BLUE Quiet! He listens again, then leaves his pillar, and hurries downtrack to the next where he again waits and listens, MED. SHOT - HIPPIE Inadvertently, he groans. MED. SHOT - BLUE He has heard. Now he steps out from behind the pillar and starts forward to the next, a - little more secure.

INT. WALL ST. PLATFORM as the single car flashes through the station. THE TUNNEL -LRB- UNDERCRANKED -RRB- As before, SHOOTING straight ahead from the front of the train. Still nothing but green lights.

INT. FIRST CAR Most of the passengers are now packed at the front of the car, staring out at the track - ahead. W.A.S.P. Where are the goddam red lights?! SALESMAN There are n't any! MOTHER We're not stopping - we're going to be killed! OLD MAN There's gon na be a red light - there has to be! HOOKER And what if there is n't -?! OLD MAN -LRB- LESS SURE. -RRB- There has to be -

INT. TUNNEL - BLUE Now he can see the Hippie lying across the track ahead. He slowly starts toward him, calm, his pistol at his side. BLUE Mr. Green -! It's all right! Go on up - I'll be right with you -! MED. SHOT - GREEN as he climbs up the ladder and starts pushing up the grating above his head.' MED. SHOT - HIPPIE Barely conscioous, unable to move, he watches Blue approach. MED. SHOT - BLUE as he continues walking, unhurried, toward the Hippie. Finally he arrives, stops, looks down at the injured man. BLUE You were on the train. Are you a cop? Almost imperceptibly, the Hippie nods - just once. BLUE Then the Mayor will come to your funeral. He lifts his gun to aim and fire and the Hippie manages to turn his head away. Then there's a shot - and Blue crumples to the ground, dead. ANOTHER ANGLE as Prescott comes up and stands looking down at Blue's body. Then he turns his attention to the Hippie, bending beside him. All he can see is the long blond hair. PRESCOTT I'll have an ambulance here in no time at all, Miss - every - thing's going to be all right.

INT. SOUTH FERRY PLATFORM CLOSE SHOT - SIGN Identifying the stop - `` SOUTH FERRY''. CAMERA Ti7HIP PANS to the track as the lone car of Pelham One Two Three roars in and, speed undiminished, roars out.

INT. FIRST CAR The old man is sitting now, his head in his hands. The W.A.S.P., the Hooker, the Pimp and one or two others, are still jammed up against the window.' HOOKER My God - look -! THE TUNNEL - HOOKER' S POV -LRB- UNDERCRANKED -RRB- A sharp curve ahead. W.A.S.P.'S VOICE We're going too fast to make it - The train rushes into the curve and then, as the wheels start to screech, a red signal comes into view - and CAMERA ZOOMS IN on it. HOOKER'S VOICE Look - I It's red! INSERT - SUBWAY CAR WHEELS If possible, showing the trippers working on the car to stop it.

INT. FIRST CAR With a hissing sound, and as everyone is thrown forward, the car decelerates quickly and finally stops - and there is complete silence. VARIOUS REACTION SHOTS - PASSENGERS - The Puerto Rican crossing himself. - The Mother hugging her two sons to her, weeping. - The Pimp, sitting, his head back, staring at the ceiling. - The W.A.S.P. lightin_g. a, cigarette with trembling. hand. - Etc.. MED. SHOT - OLD MAN & HOOKER He slowly looks up, then around, finally at the Hooker and he smiles. OLD MAN I told you it would stop, did n't I? HOOKER You win, pop. CLOSE SHOT - WINO LADY She opens her rheumy eyes for the first time. WINO LADY Forty - secon' stree' aw ` ready -?

EXT. PARK AVE. SO. & 16TH ST. - DUSK TRAVELLING with Prescott as he walks and surveys the scene : Several squad cars standing at the curb, their red lights flashing and revolving ; and now an ambulance, siren wailing, pulling up. A couple of COPS help the ATTENDANTS with their wheeled stretcher and hurry off with it. Prescott heads for one of the squad cars and the time is SUPERIMPOSED : `` 4:06'' He arrives at the car and leans in to talk to Daniels. PRESCOTT What about the train? DANIELS Stopped itself just past South Ferry. Everybody's okay. PRESCOTT That's a break. So what's the score? DANIELS On our side - two' dead and a long - haired cop on the critical list. Their side? PRESCOTT Three dead. DANIELS And do n't forget him. He indicates the back seat with his thumb. CAMERA PANS to pick up Green, sitting sadly, staring at nothing in particular.

INT. COMMAND CENTER - CORRELL - NIGHT At his desk, operating furiously on the phone, the radio, with dispatches, his sweat - soaked shirt clinging to him. CORRELL - Maintenance - you got those trippers reset yet? - well, it's about fucking time! - Nevins St. Tower - the South Ferry loop's open again, repeat, South Ferry loop open - Operations, this is my last warning - if all your cops are n't out of the tunnel at 16th St. in thirty seconds I'm gon na run'em down - what? - well, why the hell did n't you say so?! - to all Motormen, to all Motormen - resume normal routes and schedules, effective immedi - ately! He shuts off all his lines and sits back, looking around. His RELIEF MAN is standing by. CORRELL Okay, Augie - I'm givin' you back your railroad - full ser - vice restored - try and keep it that way, will you? He rises wearily, takes his coat off the back of his chair, and watches as the Relief Man slips into the seat. RELIEF MAN Great job, Frank - great job. Correll nods and starts out. TRAINMASTER It's gon na be pretty dull around here tomorrow, Frank - what're you gon na do for an encore? CORRELL Bring charges against that nigger cop. He waves and starts off, across the large room. The others watch him go. TRAINMASTER With that mouth he eats? The time is SUPERIMPOSED : `` 8:21''

INT. HOSPITAL ROOM - NIGHT HIPPIE'S POV - BLURRED Then coming into FOCUS - a group of men -LRB- the Mayor, the Commissioner, Warren LaSalle and a DOCTOR -RRB- are standing looking down at the Hippie -LRB- CAMERA -RRB- lying in bed. DOCTOR I believe he's awake now - ANOTHER ANGLE including the Hippie in bed and a NEWS CAMERMAN standing by. The Mayor is wrapped. in a heavy overcoat, a woolen muffler and a fur hat with ear - muffs. MAYOR Congratulations, Patrolman - UH - COMMISSIONER Berry - Robert G. MAYOR - Patrolman Berry - all right if I call you Bob? You performed an act of extraordinary valor, Bob - the people of the city of New York are in your debt. -LRB- HE SNEEZES. -RRB- WARREN Shake his hand, Nate - The Mayor reaches out to shake hands, but the Hippie is too weak to lift his - so the Mayor picks it up from atop the covers and pumps it. A flashbulb pops from the Photo - grapher's camera. Then the Mayor sneezes again. COMMISSIONER Splendid work, Berry - the Department's very proud of you. I've already put you in for pro - motion. HIPPIE -LRB- WEAKLY. -RRB- Thank you, sir - I only did what any other man on the force would've - MAYOR So long now, Bob - hurry up and get well, will you, fella? And congratulations again. HIPPIE Thank you, sir - I only did what any other man on the force But they're already moving toward the door. MAYOR He looks better than I do - probably feels better, too. The Hippie's eyes slowly close as he goes back to sleep. The time is SUPERIMPOSED : `` 9:03.''

EXT. TRANSIT AUTHORITY BLDG. - J AY ST. - NIGHT as Prescott comes down the front steps, alone, wearing a raincoat against the night's chill. He starts off down the street.

EXT. FULTON ST. - NIGHT Most of the stores closed, their iron grills drawn, as Pres - cott walks along. He stops at a corner newsstand that's just being boarded up by an OLD WOMAN. He spots the Daily News headline - `` I.R.T. TRAIN HIJACKED!'' - and buys one. OLD WOMAN Know what's gon na go next? The Empire State Building. PRESCOTT -LRB- SMILING. -RRB- I would n't be surprised. He starts off down the street again, having folded back the front page and now reading the third page. Suddenly he crumples the paper into a ball between his two hands, fakes dribbling it along the sidewalk, makes a good move, fakes one man, spins away from another and, hooking a high arching shot at a wire mesh trash basket, watches it hit the rim and bounce away, onto the pavement. PRESCOTT -LRB- SOFTLY. -RRB- Shit. He keeps on walking as the time is SUPERIMPOSED : `` 10:14.'' FADE OUT. THE END

Summary: In New York City, four men wearing similar disguises and carrying concealed weapons board the same downtown 6 train, Pelham 1-2-3, at different stations. Using codenames Mr. Blue, Mr. Green, Mr. Grey, and Mr. Brown, they take 18 people, including the conductor and an undercover police officer, hostage in the first car. They uncouple the car from the train and park it down the tunnel below 28th Street. Communicating over the radio with Zachary Garber, a New York City Transit Authority police lieutenant, Blue demands a $1 million ransom to be delivered within one hour or he'll kill one hostage for every minute it is late. Green sneezes periodically, to which Garber always responds, "Gesundheit." Garber, his co-worker Lt. Rico Patrone, and others cooperate while speculating about the hijackers' escape plan. Garber surmises that one hijacker must be a former motorman since they were able to drive the car down the tunnel. Conversations between the hijackers reveal that Blue was an officer in a mercenary army in Africa; Green was a motorman caught in a drug bust; and Blue does not trust Grey, who was ousted from the mafia for being too violent. Just then, Grey shoots and kills a supervisor sent to investigate the stalled train. The ransom is transported uptown in a speeding police car that crashes well before it reaches 28th Street. As the deadline arrives, Garber bluffs Blue by telling him that the money has reached the station and just has to be walked down the tunnel to the train. Blue accepts this and spares a hostage. A police motorcycle arrives with the ransom. As two patrolmen carry the money down the tunnel, one of many police snipers in the tunnel shoots at Brown, and the hijackers exchange gunfire with the police. In retaliation, Blue kills the conductor. The money is delivered and divided among the hijackers. Blue orders Garber to restore power to the subway line; set the signals to green all the way to South Ferry; and clear the police from stations along the route. Garber warns that this will take time. Before the process is complete, however, Green moves the train farther south. When Garber becomes alarmed, Blue explains that he wanted more distance from the police inside the tunnel. The hijackers override the dead-man's switch so that the train will run without anyone at the controls. Garber joins Inspector Daniels above ground where the train stopped. When the route is clear, the hijackers set the train in motion and get off. As they make their way to the tunnel's emergency exit, the undercover officer jumps off the train and hides between the rails. Unaware that the hijackers left the train, Garber and Daniels drive south above the train's route. With no one at the controls, the train gains speed. The hijackers collect their disguises and weapons for disposal, but Grey refuses to surrender his gun, resulting in a stand-off with Blue, who shoots him dead. The undercover officer shoots and kills Brown. While Green escapes through the emergency exit onto the street, Blue exchanges fire with the officer. Garber, contemplating the train's last suspicious movement, concludes that the hijackers defeated the dead-man feature and are no longer on board. He returns to where the train had stopped, enters the same emergency exit from street level, and confronts Blue as he is about to kill the undercover officer. Blue deliberately places his foot against the third rail and electrocutes himself. Meanwhile, Pelham 1-2-3 hurtles through the southbound tunnel. When it enters the South Ferry loop, its speed triggers the automatic safeties. It screeches to a halt, leaving the hostages bruised but safe. Since none of the three dead hijackers were transit employees, Garber surmises that the lone survivor must be the one. Working their way through a list of recently discharged motormen, Garber and Patrone knock on the door of Harold Longman (Green). After hastily hiding the loot, Longman lets them in, bluffs his way through their interrogation, and complains indignantly about being suspected. Garber vows to return with a search warrant. As Garber closes the door behind him, Longman sneezes and Garber reflexively says "Gesundheit". Recalling the sneezes he heard over the radio, Garber re-opens the door and gives Longman a caustic stare.