Сценарий фильма банды нью йорка

Gangs of New York
Theatrical release poster
Directed by	Martin Scorsese
Screenplay by	Jay Cocks Steven Zaillian Kenneth Lonergan
Story by	Jay Cocks
Based on	The Gangs of New York by Herbert Asbury
Produced by	Alberto Grimaldi^[1] Harvey Weinstein
Starring	Leonardo DiCaprio Daniel Day-Lewis Cameron Diaz Jim Broadbent John C. Reilly Henry Thomas Brendan Gleeson
Cinematography	Michael Ballhaus
Edited by	Thelma Schoonmaker
Music by	Howard Shore
Production companies	Touchstone Pictures Miramax Films Alberto Grimaldi Productions
Distributed by	Miramax Films
Release date	December 20, 2002
Running time	167 minutes^[2]
Countries	United States, Italy
Language	English
Budget	$97-100 million^[3]^[4]
Box office	$193.8 million^[4]

Gangs of New York is a 2002 American epic historical drama film directed by Martin Scorsese and written by Jay Cocks, Steven Zaillian and Kenneth Lonergan, based on Herbert Asbury’s 1927 book The Gangs of New York.^[5] The film stars Leonardo DiCaprio, Daniel Day-Lewis and Cameron Diaz, with Jim Broadbent, John C. Reilly, Henry Thomas, Stephen Graham, Eddie Marsan and Brendan Gleeson in supporting roles.

The film is set in 1862, when a long-running Catholic–Protestant feud erupts into violence, just as an Irish immigrant group is protesting against the threat of conscription.

Scorsese spent twenty years developing the project until Harvey Weinstein and his production company Miramax Films acquired it in 1999.

Made in Cinecittà, Rome and Long Island City, New York City, Gangs of New York was completed by 2001 but its release was delayed due to the September 11 attacks. The film was theatrically released in the United States on December 20, 2002, and grossed over $193 million worldwide. It was met with generally positive reviews and Daniel Day-Lewis’s performance was highly acclaimed. It received ten nominations at the 75th Academy Awards, including Best Picture, Best Director for Scorsese and Best Actor for Day-Lewis.

Plot[edit]

In the 1846 slum of the Five Points, two gangs, the Protestant Confederation of American Natives, led by William «Bill the Butcher» Cutting, and the Irish Catholic immigrant Dead Rabbits, led by «Priest» Vallon, engage in their final battle to determine which faction will hold sway over the territory. At the end of the battle, Bill kills Vallon and declares the Dead Rabbits outlawed. Having witnessed this, Vallon’s young son hides the knife that killed his father and is taken to an orphanage on Blackwell’s Island.

In 1862, Vallon’s son, ‘Amsterdam’ returns to the Five Points seeking revenge and retrieves the knife. An old acquaintance, Johnny Sirocco, familiarizes him with the local clans of gangs, all of whom pay tribute to Bill, who remains in control of the territory. Amsterdam is introduced to Bill but keeps his past a secret as he seeks recruitment into the gang. He learns many of his father’s former allies are now in Bill’s employ. Each year, Bill celebrates the anniversary of his victory over the Dead Rabbits and Amsterdam secretly plans to kill him publicly during this celebration. Amsterdam soon becomes attracted to pickpocket and grifter Jenny Everdeane, with whom Johnny is also infatuated. Amsterdam gains Bill’s confidence and becomes his protégé, involving him in the dealings of corrupt Tammany Hall politician William M. Tweed. Amsterdam saves Bill from an assassination attempt and is tormented by the thought that he may have done so out of honest devotion.

On the evening of the anniversary, Johnny, in a fit of jealousy over Jenny’s affections for Amsterdam, reveals Amsterdam’s true identity and intentions to Bill. Bill baits Amsterdam with a knife throwing act involving Jenny. As Bill toasts Priest Vallon, Amsterdam throws his knife, but Bill deflects it and wounds Amsterdam with a counter throw. Bill then beats him and burns his cheek with a hot blade. Going into hiding, Jenny implores him to escape with her to San Francisco. Amsterdam, however, returns to the Five Points seeking vengeance and announces his return by hanging a dead rabbit in Paradise Square. Bill sends corrupt Irish policeman Mulraney to investigate, but Amsterdam kills him and hangs his body in the square as well. In retaliation, Bill has Johnny beaten and run through with a pike, leaving it to Amsterdam to end his suffering. When Amsterdam’s gang beats McGloin, one of Bill’s lieutenants, Bill and the Natives march on the church and are met by Amsterdam and the Dead Rabbits. No violence ensues, but Bill promises to return soon. The incident garners newspaper coverage, and Amsterdam presents Tweed with a plan to defeat Bill’s influence: Tweed will back the candidacy of Monk McGinn for sheriff and Amsterdam will secure the Irish vote for Tammany. Monk wins in a landslide, and a humiliated Bill murders him. McGinn’s death prompts an angry Amsterdam to challenge Bill to a gang battle in Paradise Square, which Bill accepts.

The Civil War draft riots break out just as the gangs are preparing to fight, and Union Army soldiers are deployed to control the rioters. As the rival gangs fight, cannon fire from ships is directed into Paradise Square, interrupting their battle shortly before it begins. Many of the gang members are killed by the naval gunfire, soldiers or rioters. Bill and Amsterdam face off against one another until Bill gets wounded by a piece of shrapnel. Amsterdam then uses his father’s knife to kill Bill.

Amsterdam buries Bill in a cemetery in Brooklyn, next to his father. As Amsterdam and Jenny leave, the skyline changes as modern New York City is built over the next century, from the Brooklyn Bridge to the World Trade Center, and the cemetery becomes overgrown and forgotten.

Cast[edit]

Leonardo DiCaprio as Amsterdam Vallon
Daniel Day-Lewis as William «Bill the Butcher» Cutting (based on William Poole)
Cameron Diaz as Jenny Everdeane
Jim Broadbent as William «Boss» Tweed
John C. Reilly as Happy Jack Mulraney
Henry Thomas as Johnny Sirocco
Liam Neeson as «Priest» Vallon
Brendan Gleeson as Walter «Monk» McGinn
Gary Lewis as McGloin
Stephen Graham as Shang
Eddie Marsan as Killoran
Alec McCowen as Reverend Raleigh
David Hemmings as John F. Schermerhorn
Lawrence Gilliard Jr. as Jimmy Spoils
Cara Seymour as Hell-Cat Maggie
Roger Ashton-Griffiths as P. T. Barnum
Barbara Bouchet as Mrs. Schermerhorn
Michael Byrne as Horace Greeley
John Sessions as Harry Watkins
Richard Graham as Harvey-Card Player
Giovanni Lombardo Radice as Mr. Legree

Production[edit]

The country was up for grabs, and New York was a powder keg. This was the America not [of] the West with its wide open spaces, but of claustrophobia, where everyone was crushed together. On one hand, you had the first great wave of immigration, the Irish, who were Catholic, spoke Gaelic, and owed allegiance to the Vatican. On the other hand, there were the Nativists, who felt that they were the ones who had fought and bled, and died for the nation. They looked at the Irish coming off the boats and said, «What are you doing here?» It was chaos, tribal chaos. Gradually, there was a street by street, block by block, working out of democracy as people learned somehow to live together. If democracy didn’t happen in New York, it wasn’t going to happen anywhere.

— Martin Scorsese on how he saw the history of New York City as the battleground of the modern American democracy^[6]

Filmmaker Martin Scorsese had grown up in Little Italy in the borough of Manhattan in New York City during the 1950s. At the time, he had noticed there were parts of his neighborhood that were much older than the rest, including tombstones from the 1810s in Old St. Patrick’s Cathedral, cobblestone streets and small basements located under more recent large buildings; this sparked Scorsese’s curiosity about the history of the area: «I gradually realized that the Italian-Americans weren’t the first ones there, that other people had been there before us. As I began to understand this, it fascinated me. I kept wondering, how did New York look? What were the people like? How did they walk, eat, work, dress?»^[6]

Writing[edit]

In 1970, Scorsese came across Herbert Asbury’s The Gangs of New York: An Informal History of the Underworld (1927) about the city’s nineteenth-century criminal underworld and found it to be a revelation. In the portraits of the city’s criminals, Scorsese saw the potential for an American epic about the battle for the modern American democracy.^[6] At the time, Scorsese was a young director without money or fame; by the end of the decade, with the success of crime films such as Mean Streets (1973), about his old neighborhood, and Taxi Driver (1976), he was a rising star. In 1979, he acquired screen rights to Asbury’s book; however, it took twenty years to get the production moving forward. Difficulties arose with reproducing the monumental cityscape of nineteenth-century New York with the style and detail Scorsese wanted; almost nothing in New York City looked as it did in that time, and filming elsewhere was not an option. As of 1991, the project was originally to be financed by Universal Pictures on a budget of $30 million. However, the studio assigned the rights to the project to Disney in 1997, whose then-chairman Joe Roth turned down the film due to its excessive violence, which was «not appropriate for a Disney-themed movie». Scorsese took the film to Warner Bros., being contractually obligated to make a film for the studio; the film was however declined by Warner Bros. as well, and afterward declined similarly by 20th Century Fox, Paramount Pictures and Metro-Goldwyn-Mayer.^[7] Eventually, in 1999, Scorsese was able to find a partnership with Harvey Weinstein, noted producer and co-chairman of Miramax Films.^[6] As the film had a large budget of nearly $100 million, Weinstein then sold international distribution rights to the project to Graham King’s Initial Entertainment Group for about $65 million to secure the required funds. Shortly after, Touchstone Pictures joined Miramax in funding the film, in exchange for a portion of the proceeds from domestic distribution.^[7] Jay Cocks was retained by Scorsese for the film script adaptation which was reported in The New Yorker in March 2000 as having gone through nine revised drafts of development with Scorsese.^[8]

Set design[edit]

In order to create the sets that Scorsese envisioned, the production was filmed at the large Cinecittà Studio in Rome, Italy. Production designer Dante Ferretti recreated over a mile of mid-nineteenth century New York buildings, consisting of a five-block area of Lower Manhattan, including the Five Points slum, a section of the East River waterfront including two full-sized sailing ships, a thirty-building stretch of lower Broadway, a patrician mansion, and replicas of Tammany Hall, a church, a saloon, a Chinese theater, and a gambling casino.^[6] For the Five Points, Ferretti recreated George Catlin’s painting of the area.^[6]

Rehearsals and character development[edit]

Particular attention was also paid to the speech of characters, as loyalties were often revealed by their accents. The film’s voice coach, Tim Monich, resisted using a generic Irish brogue and instead focused on distinctive dialects of Ireland and Great Britain. As DiCaprio’s character was born in Ireland but raised in the United States, his accent was designed to be a blend of accents typical of the half-Americanized. To develop the unique, lost accents of the Yankee «Nativists» such as Daniel Day-Lewis’s character, Monich studied old poems, ballads, newspaper articles (which sometimes imitated spoken dialect as a form of humor) and the Rogue’s Lexicon, a book of underworld idioms compiled by New York’s police commissioner, so that his men would be able to tell what criminals were talking about. An important piece was an 1892 wax cylinder recording of Walt Whitman reciting four lines of a poem in which he pronounced the word «Earth» as «Uth», and the «a» of «an» nasal and flat, like «ayan». Monich concluded that native nineteenth-century New Yorkers probably sounded something like the proverbial Brooklyn cabbie of the mid-20th century.^[6]

Filming[edit]

Principal photography began in New York and Rome on December 18, 2000, and ended on March 30, 2001.^[9] Due to the strong personalities and clashing visions of director and producer, the three year production became a story in and of itself.^[6]^[10]^[11]^[12] Scorsese strongly defended his artistic vision on issues of taste and length while Weinstein fought for a streamlined, more commercial version. During the delays, noted actors such as Robert De Niro and Willem Dafoe had to leave the production due to conflicts with their other productions. Costs overshot the original budget by 25%, bringing the total cost over $100 million.^[10] The increased budget made the film vital to Miramax Films’ short-term success.^[11]^[13]

Post-production and distribution[edit]

After post-production was nearly completed in 2001, the film was delayed for over a year. The official justification was after the September 11, 2001, attacks, certain elements of the picture may have made audiences uncomfortable; the film’s closing shot is a view of modern-day New York City, complete with the World Trade Center’s towers, despite them having been destroyed by the attacks over a year before the film’s release.^[14] However, this explanation was refuted in Scorsese’s own contemporary statements, where he noted that the production was still filming pick-ups even into October 2002.^[11]^[15] The filmmakers had also considered having the towers removed from the shot to acknowledge their disappearance, or remove the entire sequence altogether. It was ultimately decided to keep the towers unaltered.^[16]

Weinstein kept demanding cuts to the film’s length, and some of those cuts were eventually made. In December 2001, film critic Jeffrey Wells reviewed a purported workprint of the film as it existed in the fall of 2001. Wells reported the work print lacked narration, was about 20 minutes longer, and although it was «different than the [theatrical] version … scene after scene after scene play[s] exactly the same in both.» Despite the similarities, Wells found the work print to be richer and more satisfying than the theatrical version. While Scorsese has stated the theatrical version is his final cut, he reportedly «passed along [the] three-hour-plus [work print] version of Gangs on tape [to friends] and confided, ‘Putting aside my contractual obligation to deliver a shorter, two-hour-and-forty-minute version to Miramax, this is the version I’m happiest with,’ or words to that effect.»^[14]

In an interview with Roger Ebert, Scorsese clarified the real issues in the cutting of the film. Ebert notes,

His discussions with Weinstein, he said, were always about finding the length where the picture worked. When that got to the press, it was translated into fights. The movie is currently 168 minutes long, he said, and that is the right length, and that’s why there won’t be any director’s cut — because this is the director’s cut.^[17]

Soundtrack[edit]

Robbie Robertson supervised the soundtrack’s collection of eclectic pop, folk, and neo-classical tracks.

Historical accuracy[edit]

Scorsese received both praise and criticism for historical depictions in the film. In a PBS interview for the History News Network, George Washington University Professor Tyler Anbinder said that the visuals and discrimination of immigrants in the film were historically accurate, but both the amount of violence depicted and the number of Chinese, particularly female, immigrants were greater in the film than in reality.^[18]^[19]

Asbury’s book described the Bowery Boys, Plug Uglies, True Blue Americans, Shirt Tails, and Dead Rabbits, who were named after their battle standard, a dead rabbit on a pike.^[6] The book also described William Poole, the inspiration for William «Bill the Butcher» Cutting, a member of the Bowery Boys, a bare-knuckle boxer, and a leader of the Know Nothing political movement. Poole did not come from the Five Points and was assassinated nearly a decade before the Draft Riots. Both the fictional Bill and the real one had butcher shops, but Poole is not known to have killed anyone.^[20]^[21] The book also described other famous gangsters from the era such as Red Rocks Farrell, Slobbery Jim and Hell-Cat Maggie, who filed her front teeth to points and wore artificial brass fingernails.^[6]

Anbinder said that Scorsese’s recreation of the visual environment of mid-19th-century New York City and the Five Points «couldn’t have been much better».^[18] All sets were built completely on the exterior stages of Cinecittà Studios in Rome.^[22] By 1860, New York City had 200,000 mostly Catholic Irish immigrants^[23] in a population of 800,000.^[24]

According to Paul S. Boyer, «The period from the 1830s to the 1850s was a time of almost continuous disorder and turbulence among the urban poor. The decade from 1834–1844 saw more than 200 major gang wars in New York City alone, and in other cities the pattern was similar.»^[25]

As early as 1839, Mayor Philip Hone said: «This city is infested by gangs of hardened wretches» who «patrol the streets making night hideous and insulting all who are not strong enough to defend themselves.»^[26] The large gang fight depicted in the film as occurring in 1846 is fictional, though there was one between the Bowery Boys and Dead Rabbits in the Five Points on July 4, 1857, which is not mentioned in the film.^[27] Reviewer Vincent DiGirolamo concludes that «Gangs of New York becomes a historical epic with no change over time. The effect is to freeze ethno-cultural rivalries over the course of three decades and portray them as irrational ancestral hatreds unaltered by demographic shifts, economic cycles and political realignments.»^[19]

In the film, the Draft Riots of July 1863 are depicted as both destructive and violent. Records indicate the riots resulted in more than one hundred deaths, including the lynching of 11 free African-Americans. They were especially targeted by the Irish, in part because of fears of job competition that more freed slaves would cause in the city.^[28] The bombardment of the city by Navy ships offshore to quell the riots is wholly fictitious. The film references the infamous Tweed Courthouse, as «Boss» Tweed refers to plans for the structure as being «modest» and «economical».^{[citation needed]}

In the film, Chinese Americans were common enough in the city to have their own community and public venues. Although Chinese people migrated to America as early as the 1840s, significant Chinese migration to New York City did not begin until 1869, the time when the transcontinental railroad was completed. The Chinese theater on Pell St. was not finished until the 1890s.^[29] The Old Brewery, the overcrowded tenement shown in the movie in both 1846 and 1862–63, was actually demolished in 1852.^[30]

Release[edit]

The original target release date was December 21, 2001, in time for the 2001 Academy Awards but the production overshot that goal as Scorsese was still filming.^[11]^[15] A twenty-minute clip, billed as an «extended preview», debuted at the 2002 Cannes Film Festival and was shown at a star-studded event at the Palais des Festivals et des Congrès with Scorsese, DiCaprio, Diaz and Weinstein in attendance.^[15]

Harvey Weinstein then wanted the film to open on December 25, 2002, but a potential conflict with another film starring Leonardo DiCaprio, Catch Me If You Can produced by DreamWorks, caused him to move the opening day to an earlier position. After negotiations between several parties, including the interests of DiCaprio, Weinstein and DreamWorks’ Jeffrey Katzenberg, the decision was made on economic grounds: DiCaprio did not want to face a conflict of promoting two movies opening against each other; Katzenberg was able to convince Weinstein that the violence and adult material in Gangs of New York would not necessarily attract families on Christmas. Of main concern to all involved was attempting to maximize the film’s opening day, an important part of film industry economics.^[11]

Gangs of New York was released on VHS and a 2-disc DVD July 1, 2003, the film was split on both discs. A Blu-ray version of the film was released July 1, 2008.

After three years in production, the film was released on December 20, 2002, a year after its original planned release date.^[15] While the film has been released on DVD and Blu-ray, there are no plans to revisit the theatrical cut or prepare a «director’s cut» for home video release. «Marty doesn’t believe in that», editor Thelma Schoonmaker stated. «He believes in showing only the finished film.»^[14]

Reception[edit]

Box office[edit]

The film made $77,812,000 in Canada and the United States. It also took $23,763,699 in Japan and $16,358,580 in the United Kingdom. Worldwide the film grossed a total of $193,772,504.^[4]

Critical reception[edit]

On review aggregator Rotten Tomatoes, the film has an approval rating of 72% based on 214 reviews, with an average rating of 7.10/10. The website’s critical consensus reads, «Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis’s electrifying performance.»^[31] Metacritic, gave the film a score of 72 out of 100, based on 39 critics, indicating «generally favorable reviews».^[32] Audiences polled by CinemaScore gave the film an average grade of «B» on an A+ to F scale.^[33]

Roger Ebert praised the film but believed it fell short of Scorsese’s best work, while his At the Movies co-host Richard Roeper called it a «masterpiece» and declared it a leading contender for Best Picture.^[34] Paul Clinton of CNN called the film «a grand American epic».^[35] In Variety, Todd McCarthy wrote that the film «falls somewhat short of great film status, but is still a richly impressive and densely realized work that bracingly opens the eye and mind to untaught aspects of American history.» McCarthy singled out the meticulous attention to historical detail and production design for particular praise.^[36]

Some critics were disappointed with the film, with one review on CinemaBlend feeling it was overly violent with few characters worth caring about.^[37] Norman Berdichevsky of the New English Review wrote in a negative critique that some locals in Spain who had watched Gangs of New York had several anti-American beliefs «confirmed» afterwards, which he felt was due to the film’s gratuitous violence, historical inaccuracies, and general depiction of American society «in the worst possible light».^[38] Others felt^[vague] it tried to tackle too many themes without saying anything unique about them, and that the overall story was weak.^[39]

Cameron Diaz’s performance as Irish immigrant pickpocket Jenny Everdeane was particularly criticised, and has regularly been cited as an example of poor casting and as one of the worst Irish accents in film.^[40]

Top ten lists[edit]

Gangs of New York was listed on many critics’ top ten lists of 2002.^[41]

1st – Peter Travers, Rolling Stone
1st – Richard Roeper, Ebert & Roeper^[42]
2nd – Richard Corliss, Time
2nd – Ann Hornaday, The Washington Post
3rd – F. X. Feeney, L.A. Weekly
3rd – Scott Tobias, The A.V. Club^[43]
5th – Jami Bernard, New York Daily News
5th – Claudia Puig, USA Today
6th – Mike Clark, USA Today
6th – Nathan Rabin, The A.V. Club^[43]
6th – Chris Kaltenbach, Baltimore Sun
8th – A.O. Scott, The New York Times
9th – Stephen Holden, The New York Times
Top 10 (listed alphabetically) – Mark Olsen, L.A. Weekly
Top 10 (listed alphabetically) – Carrie Rickey, Philadelphia Inquirer

Accolades[edit]

References[edit]

^ Brodesser, Claude & Lyons, Charles (April 3, 2000). «‘Gangs’ green for Grimaldi». Variety.
^ «‘Gangs of New York’ (18)». British Board of Film Classification. December 10, 2002. Archived from the original on October 25, 2020. Retrieved October 5, 2016.
^ «Gangs of New York (2002) — Financial Information». The Numbers.
^ ^a ^b ^c «Gangs of New York (2002)». Box Office Mojo. Retrieved February 27, 2017.
^ «Gangs of New York (2002) — Martin Scorsese | Synopsis, Characteristics, Moods, Themes and Related». AllMovie. Retrieved February 21, 2020.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Bordewich, Fergus M. (December 2002). «Manhattan Mayhem». Smithsonian. Retrieved July 15, 2010.
^ ^a ^b «Gangs of New York (2002)». AFI Catalog of Feature Films. Retrieved May 11, 2022.
^ Singer, Mark (March 19, 2000). «The Man Who Forgets Nothing». The New Yorker.
^ «Gangs of New York (2002) — Original Print Information». Turner Classic Movies. Archived from the original on October 11, 2018. Retrieved August 21, 2021.
^ ^a ^b Holson, Laura M. (April 7, 2002). «2 Hollywood Titans Brawl Over a Gang Epic». The New York Times. Retrieved July 15, 2010.
^ ^a ^b ^c ^d ^e Holson, Laura M. (October 11, 2002). «Miramax Blinks, and a Double DiCaprio Vanishes». The New York Times. Retrieved July 15, 2010.
^ Lyman, Rick (February 12, 2003). «It’s Harvey Weinstein’s Turn to Gloat». The New York Times. Retrieved July 15, 2010.
^ Harris, Dana & Dunkley, Cathy (May 15, 2001). «Miramax, Scorsese gang up». Variety. Retrieved July 15, 2020.
^ ^a ^b ^c Wells, Jeffrey. «Hollywood Elsewhere: Gangs vs. Gangs». Quick Stop Entertainment. Archived from the original on October 26, 2007. Retrieved December 20, 2010.
^ ^a ^b ^c ^d Dunkley, Cathy (May 20, 2002). «Gangs of the Palais». Variety. Retrieved July 15, 2020.
^ Bosley, Rachel K. (January 2003). «Mean Streets». American Cinematographer. American Society of Cinematographers. Retrieved July 26, 2015.
^ «Gangs all here for Scorsese». Chicago Sun-Times. December 15, 2002. Retrieved September 6, 2010.
^ ^a ^b «Tyler Anbinder discusses the historical accuracy of Martin Scorsese’s new film «Gangs of New York»«. National Public Radio. December 24, 2002. Archived from the original on December 9, 2003 – via History News Network.
^ ^a ^b DiGirolamo’s, Vincent (2004). «Such, Such Were the B’hoys». Radical History Review. 2004 (90): 123–141. doi:10.1215/01636545-2004-90-123. S2CID 143207259.
^ Carle, Frances. «Gangs of New York». HerbertAsbury.com. Archived from the original on February 15, 2004. Retrieved October 5, 2016.
^ Carle, Frances. «Bill the Butcher: Background». HerbertAsbury.com. Archived from the original on August 25, 2007. Retrieved October 5, 2016.
^ Christiano, Gregory J. (2003). «Mixing Art and a Brutal History». Bookreview.net. Archived from the original on August 17, 2007.
^ Bayor, Ronald H. & Meagher, Timothy, eds. (1996). The New York Irish. Baltimore, MD: Johns Hopkins University Press. ISBN 978-0-80185-199-5.
^ Teeter, Ruskin (1995). «19th century AD». IndexArticles.com. Retrieved June 29, 2017.
^ Boyer, Paul S. (1992). Urban Masses and Moral Order in America, 1820-1920. Cambridge, MA: Harvard University Press. p. 69. ISBN 0674931106.
^ Lockwood, Charles (September 20, 1990). «Gangs, Crime, Smut, Violence». The New York Times.
^ «Riots». Virtual New York City. 2001. Retrieved October 5, 2016.
^ Johnson, Michael (2009). «The New York Draft Riots». Reading the American Past: Selected Historical Documents (4th ed.). Boston, MA: Bedford/St. Martins. p. 295. ISBN 978-0-31245-967-3.
^ Hamill, Pete (December 14, 2002). «Trampling city’s history: ‘Gangs’ misses point of Five Points». New York Daily News. Archived from the original on February 7, 2003. Retrieved October 4, 2009.
^ Chin, R.K. (2013). «The Neighborhood that was the Five Points». A Journey Through Chinatown. Retrieved May 11, 2017.
^ «Gangs of New York (2002)». Rotten Tomatoes. Fandango Media. Retrieved February 2, 2022.
^ «Gangs of New York Reviews». Metacritic. CBS Interactive. February 7, 2003. Retrieved July 10, 2011.
^ «Home». CinemaScore. Retrieved March 6, 2022.^{[better source needed]}
^ Ebert, Roger & Roeper, Richard. «At the Movies: Gangs of New York». BV Entertainment. Retrieved December 20, 2002.^{[dead link]}
^ Clinton, Paul (December 19, 2002). «Review: Epic ‘Gangs’ Oscar-worthy effort». CNN. Archived from the original on May 3, 2007. Retrieved December 19, 2002.
^ McCarthy, Todd (December 5, 2002). «Review: Gangs of New York». Variety. Retrieved February 2, 2022.
^ Tyler, Joshua (May 27, 2016). «Gangs of New York». CinemaBlend. Retrieved February 21, 2020.
^ Berdichevsky, Norman (March 2011). «Scorsese’s Gangs of New York: How the Left Misuses American History». New English Review. Archived from the original on October 21, 2020. Retrieved February 21, 2020.
^ «Gangs of New York (2002)». Rotten Tomatoes.^{[better source needed]}
^
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- Cleal, Sam (February 3, 2021). «19 Times A Perfectly Good Movie Was Spoiled By A Really Bad Casting Choice». BuzzFeed.
- «10 Extremely Bad Characters In Great Movies». Animated Times. February 9, 2021.
- Hoffman, Barbara (March 17, 2020). «These are the actors with the worst Irish accents, ranked». New York Post.
- Rollison, David (October 29, 2019). ««Gangs of New York» Bites Off More of the Big Apple Than It Can Chew». The Spool.
- Wardlow, Ciara (July 31, 2019). «Requiem for the Irish Skeletons in Martin Scorsese’s Cinematic Closet». Pajiba.
^ «Metacritic: 2002 Film Critic Top Ten Lists». Metacritic. January 22, 2009. Archived from the original on January 22, 2009.
^ «Ebert and Roeper Top Ten Lists». Inner Mind.
^ ^a ^b Phipps, Keith; Rabin, Nathan & Tobias, Scott (January 15, 2003). «The Year In Film: 2002». The A.V. Club.
^ «The 75th Academy Awards – 2003». Academy of Motion Picture Arts and Sciences. Retrieved August 2, 2021.
^ «Films in 2003». British Academy of Film and Television Arts. Retrieved August 2, 2021.
^ «Chicago Film Critics Awards — 1998-07». Chicago Film Critics Association. Archived from the original on May 15, 2012.
^ «Critics Choice Awards». Broadcast Film Critics Association. Archived from the original on June 4, 2012.
^ «Gangs of New York nominated for Directors Guild gong». Irish Examiner. January 22, 2003. Retrieved August 2, 2021.
^ «Best Actor». Empireonline.com. Bauer Consumer Media. 2004. Archived from the original on October 21, 2012. Retrieved September 17, 2011.
^ «Sony Ericsson Scene of the Year». Empireonline.com. Bauer Consumer Media. 2004. Archived from the original on October 20, 2012. Retrieved September 17, 2011.
^ «2002 FFCC Award Winners». Florida Film Critics Circle. Retrieved August 2, 2021.
^ «The 2003 Golden Globe Award Winners». ComingSoon.net. August 20, 2012. Archived from the original on December 8, 2009.
^ King, Susan. «L.A. Film Critics Pick ‘Schmidt’ as Year’s Best Film». Los Angeles Times. Retrieved August 2, 2021.
^ «2002 Awards». New York Film Critics Circle. Archived from the original on December 19, 2008.
^ «Online Film Critics Society Awards for 2002». Rotten Tomatoes. Archived from the original on February 6, 2003.
^ Martin, Denise (January 14, 2003). «‘Far’ wins Golden Satellite kudos». Variety. Retrieved August 2, 2021.
^ «The 2003 Screen Actors Guild Award Winners». ComingSoon.net. August 20, 2012. Archived from the original on January 22, 2009.
^ «3rd Annual Award Winners». Vancouver Film Critics Circle. January 30, 2003. Retrieved August 2, 2021.
^ «1st Annual VES Awards». Visual Effects Society. Retrieved August 2, 2021.
^ Munoz, Lorenza (February 12, 2003). «Plot twists galore». The Los Angeles Times. Retrieved August 2, 2021.

External links[edit]

Источник

Gangs of New York
Theatrical release poster
Directed by	Martin Scorsese
Screenplay by	Jay Cocks Steven Zaillian Kenneth Lonergan
Story by	Jay Cocks
Based on	The Gangs of New York by Herbert Asbury
Produced by	Alberto Grimaldi^[1] Harvey Weinstein
Starring	Leonardo DiCaprio Daniel Day-Lewis Cameron Diaz Jim Broadbent John C. Reilly Henry Thomas Brendan Gleeson
Cinematography	Michael Ballhaus
Edited by	Thelma Schoonmaker
Music by	Howard Shore
Production companies	Touchstone Pictures Miramax Films Alberto Grimaldi Productions
Distributed by	Miramax Films
Release date	December 20, 2002
Running time	167 minutes^[2]
Countries	United States, Italy
Language	English
Budget	$97-100 million^[3]^[4]
Box office	$193.8 million^[4]

The film is set in 1862, when a long-running Catholic–Protestant feud erupts into violence, just as an Irish immigrant group is protesting against the threat of conscription.

Scorsese spent twenty years developing the project until Harvey Weinstein and his production company Miramax Films acquired it in 1999.

Plot[edit]

Cast[edit]

Leonardo DiCaprio as Amsterdam Vallon
Daniel Day-Lewis as William «Bill the Butcher» Cutting (based on William Poole)
Cameron Diaz as Jenny Everdeane
Jim Broadbent as William «Boss» Tweed
John C. Reilly as Happy Jack Mulraney
Henry Thomas as Johnny Sirocco
Liam Neeson as «Priest» Vallon
Brendan Gleeson as Walter «Monk» McGinn
Gary Lewis as McGloin
Stephen Graham as Shang
Eddie Marsan as Killoran
Alec McCowen as Reverend Raleigh
David Hemmings as John F. Schermerhorn
Lawrence Gilliard Jr. as Jimmy Spoils
Cara Seymour as Hell-Cat Maggie
Roger Ashton-Griffiths as P. T. Barnum
Barbara Bouchet as Mrs. Schermerhorn
Michael Byrne as Horace Greeley
John Sessions as Harry Watkins
Richard Graham as Harvey-Card Player
Giovanni Lombardo Radice as Mr. Legree

Production[edit]

— Martin Scorsese on how he saw the history of New York City as the battleground of the modern American democracy^[6]

Writing[edit]

Set design[edit]

Rehearsals and character development[edit]

Filming[edit]

Post-production and distribution[edit]

In an interview with Roger Ebert, Scorsese clarified the real issues in the cutting of the film. Ebert notes,

His discussions with Weinstein, he said, were always about finding the length where the picture worked. When that got to the press, it was translated into fights. The movie is currently 168 minutes long, he said, and that is the right length, and that’s why there won’t be any director’s cut — because this is the director’s cut.^[17]

Soundtrack[edit]

Robbie Robertson supervised the soundtrack’s collection of eclectic pop, folk, and neo-classical tracks.

Historical accuracy[edit]

Release[edit]

Gangs of New York was released on VHS and a 2-disc DVD July 1, 2003, the film was split on both discs. A Blu-ray version of the film was released July 1, 2008.

Reception[edit]

Box office[edit]

The film made $77,812,000 in Canada and the United States. It also took $23,763,699 in Japan and $16,358,580 in the United Kingdom. Worldwide the film grossed a total of $193,772,504.^[4]

Critical reception[edit]

Top ten lists[edit]

Gangs of New York was listed on many critics’ top ten lists of 2002.^[41]

1st – Peter Travers, Rolling Stone
1st – Richard Roeper, Ebert & Roeper^[42]
2nd – Richard Corliss, Time
2nd – Ann Hornaday, The Washington Post
3rd – F. X. Feeney, L.A. Weekly
3rd – Scott Tobias, The A.V. Club^[43]
5th – Jami Bernard, New York Daily News
5th – Claudia Puig, USA Today
6th – Mike Clark, USA Today
6th – Nathan Rabin, The A.V. Club^[43]
6th – Chris Kaltenbach, Baltimore Sun
8th – A.O. Scott, The New York Times
9th – Stephen Holden, The New York Times
Top 10 (listed alphabetically) – Mark Olsen, L.A. Weekly
Top 10 (listed alphabetically) – Carrie Rickey, Philadelphia Inquirer

Accolades[edit]

References[edit]

^ Brodesser, Claude & Lyons, Charles (April 3, 2000). «‘Gangs’ green for Grimaldi». Variety.
^ «‘Gangs of New York’ (18)». British Board of Film Classification. December 10, 2002. Archived from the original on October 25, 2020. Retrieved October 5, 2016.
^ «Gangs of New York (2002) — Financial Information». The Numbers.
^ ^a ^b ^c «Gangs of New York (2002)». Box Office Mojo. Retrieved February 27, 2017.
^ «Gangs of New York (2002) — Martin Scorsese | Synopsis, Characteristics, Moods, Themes and Related». AllMovie. Retrieved February 21, 2020.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Bordewich, Fergus M. (December 2002). «Manhattan Mayhem». Smithsonian. Retrieved July 15, 2010.
^ ^a ^b «Gangs of New York (2002)». AFI Catalog of Feature Films. Retrieved May 11, 2022.
^ Singer, Mark (March 19, 2000). «The Man Who Forgets Nothing». The New Yorker.
^ «Gangs of New York (2002) — Original Print Information». Turner Classic Movies. Archived from the original on October 11, 2018. Retrieved August 21, 2021.
^ ^a ^b Holson, Laura M. (April 7, 2002). «2 Hollywood Titans Brawl Over a Gang Epic». The New York Times. Retrieved July 15, 2010.
^ ^a ^b ^c ^d ^e Holson, Laura M. (October 11, 2002). «Miramax Blinks, and a Double DiCaprio Vanishes». The New York Times. Retrieved July 15, 2010.
^ Lyman, Rick (February 12, 2003). «It’s Harvey Weinstein’s Turn to Gloat». The New York Times. Retrieved July 15, 2010.
^ Harris, Dana & Dunkley, Cathy (May 15, 2001). «Miramax, Scorsese gang up». Variety. Retrieved July 15, 2020.
^ ^a ^b ^c Wells, Jeffrey. «Hollywood Elsewhere: Gangs vs. Gangs». Quick Stop Entertainment. Archived from the original on October 26, 2007. Retrieved December 20, 2010.
^ ^a ^b ^c ^d Dunkley, Cathy (May 20, 2002). «Gangs of the Palais». Variety. Retrieved July 15, 2020.
^ Bosley, Rachel K. (January 2003). «Mean Streets». American Cinematographer. American Society of Cinematographers. Retrieved July 26, 2015.
^ «Gangs all here for Scorsese». Chicago Sun-Times. December 15, 2002. Retrieved September 6, 2010.
^ ^a ^b «Tyler Anbinder discusses the historical accuracy of Martin Scorsese’s new film «Gangs of New York»«. National Public Radio. December 24, 2002. Archived from the original on December 9, 2003 – via History News Network.
^ ^a ^b DiGirolamo’s, Vincent (2004). «Such, Such Were the B’hoys». Radical History Review. 2004 (90): 123–141. doi:10.1215/01636545-2004-90-123. S2CID 143207259.
^ Carle, Frances. «Gangs of New York». HerbertAsbury.com. Archived from the original on February 15, 2004. Retrieved October 5, 2016.
^ Carle, Frances. «Bill the Butcher: Background». HerbertAsbury.com. Archived from the original on August 25, 2007. Retrieved October 5, 2016.
^ Christiano, Gregory J. (2003). «Mixing Art and a Brutal History». Bookreview.net. Archived from the original on August 17, 2007.
^ Bayor, Ronald H. & Meagher, Timothy, eds. (1996). The New York Irish. Baltimore, MD: Johns Hopkins University Press. ISBN 978-0-80185-199-5.
^ Teeter, Ruskin (1995). «19th century AD». IndexArticles.com. Retrieved June 29, 2017.
^ Boyer, Paul S. (1992). Urban Masses and Moral Order in America, 1820-1920. Cambridge, MA: Harvard University Press. p. 69. ISBN 0674931106.
^ Lockwood, Charles (September 20, 1990). «Gangs, Crime, Smut, Violence». The New York Times.
^ «Riots». Virtual New York City. 2001. Retrieved October 5, 2016.
^ Johnson, Michael (2009). «The New York Draft Riots». Reading the American Past: Selected Historical Documents (4th ed.). Boston, MA: Bedford/St. Martins. p. 295. ISBN 978-0-31245-967-3.
^ Hamill, Pete (December 14, 2002). «Trampling city’s history: ‘Gangs’ misses point of Five Points». New York Daily News. Archived from the original on February 7, 2003. Retrieved October 4, 2009.
^ Chin, R.K. (2013). «The Neighborhood that was the Five Points». A Journey Through Chinatown. Retrieved May 11, 2017.
^ «Gangs of New York (2002)». Rotten Tomatoes. Fandango Media. Retrieved February 2, 2022.
^ «Gangs of New York Reviews». Metacritic. CBS Interactive. February 7, 2003. Retrieved July 10, 2011.
^ «Home». CinemaScore. Retrieved March 6, 2022.^{[better source needed]}
^ Ebert, Roger & Roeper, Richard. «At the Movies: Gangs of New York». BV Entertainment. Retrieved December 20, 2002.^{[dead link]}
^ Clinton, Paul (December 19, 2002). «Review: Epic ‘Gangs’ Oscar-worthy effort». CNN. Archived from the original on May 3, 2007. Retrieved December 19, 2002.
^ McCarthy, Todd (December 5, 2002). «Review: Gangs of New York». Variety. Retrieved February 2, 2022.
^ Tyler, Joshua (May 27, 2016). «Gangs of New York». CinemaBlend. Retrieved February 21, 2020.
^ Berdichevsky, Norman (March 2011). «Scorsese’s Gangs of New York: How the Left Misuses American History». New English Review. Archived from the original on October 21, 2020. Retrieved February 21, 2020.
^ «Gangs of New York (2002)». Rotten Tomatoes.^{[better source needed]}
^
Multiple sources:
- Cleal, Sam (February 3, 2021). «19 Times A Perfectly Good Movie Was Spoiled By A Really Bad Casting Choice». BuzzFeed.
- «10 Extremely Bad Characters In Great Movies». Animated Times. February 9, 2021.
- Hoffman, Barbara (March 17, 2020). «These are the actors with the worst Irish accents, ranked». New York Post.
- Rollison, David (October 29, 2019). ««Gangs of New York» Bites Off More of the Big Apple Than It Can Chew». The Spool.
- Wardlow, Ciara (July 31, 2019). «Requiem for the Irish Skeletons in Martin Scorsese’s Cinematic Closet». Pajiba.
^ «Metacritic: 2002 Film Critic Top Ten Lists». Metacritic. January 22, 2009. Archived from the original on January 22, 2009.
^ «Ebert and Roeper Top Ten Lists». Inner Mind.
^ ^a ^b Phipps, Keith; Rabin, Nathan & Tobias, Scott (January 15, 2003). «The Year In Film: 2002». The A.V. Club.
^ «The 75th Academy Awards – 2003». Academy of Motion Picture Arts and Sciences. Retrieved August 2, 2021.
^ «Films in 2003». British Academy of Film and Television Arts. Retrieved August 2, 2021.
^ «Chicago Film Critics Awards — 1998-07». Chicago Film Critics Association. Archived from the original on May 15, 2012.
^ «Critics Choice Awards». Broadcast Film Critics Association. Archived from the original on June 4, 2012.
^ «Gangs of New York nominated for Directors Guild gong». Irish Examiner. January 22, 2003. Retrieved August 2, 2021.
^ «Best Actor». Empireonline.com. Bauer Consumer Media. 2004. Archived from the original on October 21, 2012. Retrieved September 17, 2011.
^ «Sony Ericsson Scene of the Year». Empireonline.com. Bauer Consumer Media. 2004. Archived from the original on October 20, 2012. Retrieved September 17, 2011.
^ «2002 FFCC Award Winners». Florida Film Critics Circle. Retrieved August 2, 2021.
^ «The 2003 Golden Globe Award Winners». ComingSoon.net. August 20, 2012. Archived from the original on December 8, 2009.
^ King, Susan. «L.A. Film Critics Pick ‘Schmidt’ as Year’s Best Film». Los Angeles Times. Retrieved August 2, 2021.
^ «2002 Awards». New York Film Critics Circle. Archived from the original on December 19, 2008.
^ «Online Film Critics Society Awards for 2002». Rotten Tomatoes. Archived from the original on February 6, 2003.
^ Martin, Denise (January 14, 2003). «‘Far’ wins Golden Satellite kudos». Variety. Retrieved August 2, 2021.
^ «The 2003 Screen Actors Guild Award Winners». ComingSoon.net. August 20, 2012. Archived from the original on January 22, 2009.
^ «3rd Annual Award Winners». Vancouver Film Critics Circle. January 30, 2003. Retrieved August 2, 2021.
^ «1st Annual VES Awards». Visual Effects Society. Retrieved August 2, 2021.
^ Munoz, Lorenza (February 12, 2003). «Plot twists galore». The Los Angeles Times. Retrieved August 2, 2021.

External links[edit]

Источник

- Автор сценария:
- Джей Кокс
- Стивен Зеллиан
- Кеннет Лонерган
- Режиссер:
- Мартин Скорсезе

Действие фильма происходит в Нью-Йорке, в течение 1840-1863 годов. Молодой человек, по имени Амстердам (Леонардо ДиКаприо) желает отомстить Билу «Мяснику» Пулу (Дэниел Дэй-Льюис), человеку, убившему его отца. Он гарантирует свою помощь карманнику Дженни Эвердану, но задание оказывается намного более опасным, чем Амстердам мог когда-либо себе вообразить, когда он понимает, что его отец был убит в результате войны между манхэттенскими ирландскими и итальянскими группировками. Среди купленных полицейских и коррумпированных политических деятелей объект его мести Билл Пул является всего лишь еще одной фигурой в этой кровавой гангстерской войне.

СКАЧАТЬ

                                        Gangs of New York - 3rd Draft (1993)


INT. ROOM OLD BREWERY DAY 

Half in shadow, a man named VALLON, dressed in black, fastens a clean
white clerical collar around his thick neck. He raises a jagged razor to
his face, RAKES it across his right cheek, drawing BLOOD. He does not
flinch.
The sharp SCRAPING of the jagged blade against skin is the first SOUND we
hear.
VALLON cuts himself similarly on the left cheek, then hands the razor
ceremoniously to a BOY standing beside him. The boy, no more than twelve
years old, looks at VALLON worshipfully, keen eyes shining with fear and
excitement. He starts to wipe the razor blade on the bottom of his jacket.

VALLON
No. Never. The blood stays on the blade, son.

He hands the boy a dark red velvet pouch. Very carefully, the boy, known
as AMSTERDAM, wraps the razor up, hands it back to his father.
From the shadows, VALLON now raises a long pole with a beautiful golden
crucifix mounted on the end, then holds his free hand out to his son.
Amsterdam squeezes tight.
VALLON nods toward the door. Amsterdam pulls it open. Outside is a dim
hallway. We hear SOUNDS that might be animal or human.
MUSIC begins: a steady, driving cadence somewhere between a march and a
hymn.

CUT TO

2 INT. HALLWAY

VALLON strides in long measured steps. Amsterdam has trouble keeping up
with him.
They are walking down a long corridor that's like a tunnel. Patches of
LIGHT stain the darkness. Sometimes Amsterdam glimpses a FACE peering out
from the gloom. Once or twice he almost stumbles over a BODY stretched
across his path.

CUT TO

3 INT. ROOM

Another room, even smaller. The only decoration is a bizarre rendering of
a Madonna and child painted on the wall.
A beefy man picks up a home-made PIKE, its iron tip sharpened to a lethal
point. He is smiling. The grin is huge, but cockeyed. It occupies only
half of his face. The grotesque, unending grin is the result of facial
paralysis, and has given him a nickname: HAPPY JACK MULRANEY.
Jack lifts the pike carefully, then takes a candle from the wall and bends
down over a wooden cage full of rabbits. He slowly moves the candle back
and forth across the cage top. Wax falls on the cage, splattering an
unlucky rabbit.
Jack thrusts the pike between the wooden bars, impaling the rabbit's body.
He pulls the pike from the cage and leaves.

CUT TO

4 INT. HALLWAY

Jack falls into step beside VALLON and Amsterdam. He holds the pike with
the dead rabbit high, next to VALLON's cross.

HAPPY JACK
Did you bring the boy for a charm, Priest?

VALLON
No, Jack. For a baptism.

Now a WOMAN joins them. She's dressed in man's clothes, her pants held up
by suspenders. She wears a set of IRON CLAWS.
MUSIC builds, growing more insistent and more ominous.
Now a figure looms before them. Over his street clothes, this WARRIOR
wears a rig of home-made armor made from fracgments of steel, lengths of
chain and bits of leather. He carries a battle-axe as lightly as if it
were a twig.

RABBIT WARRIOR
We'll send a few across the river today, Priest.

He joins the procession. Another woman, as tough as the first and half
again as large, and several more men, all armed with implements of
destruction, fall in beside him. Their faces are marked with blood, like
Vallan's, or covered with ritual markings made with paint and ink.
The group grows ever larger and more forbidding. occasionally PEOPLE dart
around them in the tunnel and scamper out of their way like animals
frightened in a burrow.

CUT TO

5 INT. ROOM

Vast and dank, like a cavern. We start CLOSE on...
... the body of a dead rat being filled with some pieces of lead.
Then a little WIDER to reveal: an eager boy, SHANG DRAPER, about the same
age as Amsterdam. He drops the last few pieces of lead into the mouth of
the rat, then sews it closed. He hefts the animal by the tail, swinging it
as he stands up.
He is near a primitive forge where a half-drunk SLACKSMITH hammers crude
weapons into shape and distributes them to OTHER MEN and WOMEN. The floor
is covered with bits of lead and steel, which Shang has been using to sew
into his rat.
Shang FOLLOWS the crowd of men and women with their weapons. And now we
see this room full. It is huge: the main room of the Old Brewery, crowded
with families huddled together for warmth and comfort, or out of fear; men
and women, together or separately, drunk or passed out. They are like zoo
animals in a pit. There are sticks of furniture jammed in corners, or,
more often, arranged at angles in the middle of the room to form tiny
enclaves where the ancient brewery machinery forms irregular boundaries.
Above Shang's head, VALLON and his gang walk across a plank bridge that
spans the room a hundred feet beneath them. Armed men and women from the
Brewery are climbing a rope ladder to join them. Shang SCURRIES up after
them.
The men and women from the Brewery fall in behind VALLON and the others in
the lead. Shang SPOTS someone near his own age toward the front:
Amsterdam. He presses through the crowd like a hunting dog.

SHANG
What's the fight?

AMSTERDAM
The Dead Rabbits against the Native Americans, same as ever. But it'll all
be settled today.

SHANG
Are you Native or Rabbit?

AMSTERDAM
(points to rabbit on pike)
What do you think?

SHANG
Looks alright. I'll stand by you, then.

CUT TO

6 INT. HALLWAY

The group now turns down the last corridor, as dim and long as a tunnel.
In the distance, there's a faint glimmer of light and the figure of a MAN
(MONK EASTMAN). VALLON stops near the door.

VALLON

I don't know you.

MAN
(lightly)
I suppose there's to be a fight.

VALLON catches the heavy Celtic inflection in the man's voice.

VALLON
Derry?

MAN
Donnegal. Name's Monk Eastman.

VALLON
And you want to fight, Mr. Eastman?

MONK
lf there's money in it.

VALLON
Fight for the Natives. They have a proper war chest.

MONK
Well, I might at that. But I thought I'd ask you first, seeing as how I'm
not quite a Native American myself.

VALLON
Let's see your skills, and we'll talk of payment later.

MONK
Fine. But if you like what you see, pay me double.
Monk turns to the door with the grace of a dancer and delivers a
SHATTERING kick, sending it flying off its hinges. Clear white LIGHT
streams in, and we see Monk Eastman plain for the first time: a huge man,
in stature and girth, wearing a small DERBY that intentionally makes his
head look even bigger.

VALLON
(as the door splinters settle)
Stand with us then.

CUT TO

7 EXT. STREET DAY (WINTER)

WINTER WIND blows across a scene as strange and bleak as an alien planet.
VALLON, carrying his cross high, steps through the doorway. The OTHERS
slowly follow VALLON out of the building, which is three stories high and
maybe a block long. A dilapidated sign identifies it as the 5 Paints
Brewery.
It is the tallest structure in the midst of low, squalid SHACKS, winding
ALLEYS as narrow as a snakels back, and DIRT STREETS filled with ruts, mud
and filthy snow. A few PIGS wander forlornly about, rooting for garbage.
WASH hangs stiff, in the middle of the square, from a peculiar monument
erected to some forgotten war hero.
The Brewery occupies one side of a SQUARE surrounded by some storefronts
and a couple of collapsed wooden sidewalks. If this place resembles
anything at all, it's a horrible hybrid of London's Limehouse and a
pioneer town in the American West whose best days have long passed--or
never came at all.
VALLON stands still, staring across the square past the monument. His
battalion of irregulars waits for his signal.
Now... very, very slowly...from around both sides of the monument comes
ANOTHER GANG, in size the same as VALLON's, men and women both, armed like
Visigoths with HOMEMADE WEAPONS: knives, pitchforks, building blocks and
bricks, boards with sharp nails protruding from the ends. Every member of
this second group is dressed in a long DUSTER which reaches to the ankles.
Several MEN in front of the group sport dusters made of leather.

VALLON
Bill Poole! on whose challenge are we assembled?
A MAN in a leather duster (BILL THE BUTCHER) steps forward. He is young,
lean and fierce. And then there are his eyes. They do not match. One is
real. The other is a huge, bulging PEARL upon which has been engraved,
instead of a pupil, a full-color portrait of the AMERICAN EAGLE.

On the side of the square, arranged to get a good view of the impending
combat, is a group of STREET KIDS, girls and boys, none older than eight.
They talk and laugh excitedly among themselves, picking their own
favorites among the gangs as if the warriors were players on a team.

BILL THE BUTCHER
On the challenge of the Native Americans, to settle for good and all who
holds sway.

VALLON
Bene.

BILL THE BUTCHER
By the ancient laws of combat, we offer our bodies to the ghosts of those
warriors who have gone before us. Valor is avid for glory, and glory is in
our wounds.

VALLON
But this time can you bear to look on the glory when it comes, Bill? Can
you see it clear with your single eye?

BILL THE BUTCHER
Whoever fights untouched in battle has skill, but the warrior who returns
wounded has been touched by God.

VALLON
It wasn't God who touched your eye.

BILL THE BUTCHER
It was God gave me guidance. Will you be able to look on the death blow
like a gladiator, and not look away? No honorable man turns an eye from
his death.

VALLON
I don't expect a death blow from your hand, Butcher. Let's have at it.

BILL THE BUTCHER
There is another matter.

VALLON
Say it out and quick, before spring gets here.

BILL THE BUTCHER
No Native American Warrior will dishonor himself with the blood of the
halt and maimed.

VALLON
So?

BILL THE BUTCHER
So we would like to know whether Squire Jack Mulraney of the Dead Rabbits
can smile out of both sides of his face.

A pause of a single second. Then HAPPY JACK takes the dead rabbit off the
tip of his pike and hurls it across the square. It lands right at BILL THE
BUTCHER's feet.
In a flash, BILL THE BUTCHER opens his coat. Inside, on a special belt he
carries a CLEAVER, a CARVING KNIFE and other instruments of the butcherls
trade, all stained with blood and gristle. Now the MAN standing next to
him removes the broad BELT from around his coat. The brass buckle is
sharpened to a point, the leather studded with glass.
The gallery of Street Kids tenses for action: they are thrilled.

VALLON reaches up to the CROSS, pulls off the top piece, to disclose,
underneath, a gleaming sword point. He folds the arms of the cross down,
like the blades of a jackknife.

VALLON
Prepare to receive the Lord.

And the air is full of screams and battle cries as the two gangs hurl
across Paradise Square into BATTLE.
VALLON draws first blood. He impales a Native American on the sword end of
his cross and turns to fight again.
Amsterdam and Shang exchange a glance of frightened, worried wonder.

Then a Native American rushes at them, shouting for blood. The boys act
together. Amsterdam dives down in front of the man, sending him sprawling.
Shang BLUDGEONS the fallen warrior, using his lead-filled rat like a
blackjack as Amsterdam kicks him savagely; the Native collapses
unconscicus at their feet. Before the boys can thank one another, however,
they are separaten by the SURGING GANGS all around them.
BILL THE BUTCHER leaves his meat CLEAVER imbedded in the middle of a man's
skull, then WADES through the combat as if shielded by a charm.
The gallery of Street Kids is thrilled by this display and reacts with
CHEERS.

VALLON BATTLES three Natives who come at him at once.

Monk Eastman grabs a Native in his arms like a groom hugging a bride. He
raises his knee and brings the man crashing down across it, BREAKING his
spine like a Thanksgiving wishbone.
The gallery of Street Kids is awed by this display of power from a new
star in the making.

The Rabbit Warrior in the home-made armor grins at an intrepid Native and
lowers his battle-axe. The Native rushes as the
Rabbit Warrior swings and SEPARATES the man from his legs.

A NATIVE WOMAN lowers her head and charges her Dead Rabbit adversary,
delivering a shattering BUTT to his stomach.

A NATIVE BOY holds a rusty old pistol, which he uses at pointblank range
against several Rabbits.

A RABBIT WOMAN flies into a Native, using her IRON FINGER EXTENSIONS to
GOUGE his face.

The NATIVE with the deadly belt uses it to TEAR a piece out of a Rabbit's
face.

Amsterdam, beginning now to be overwhelmed by the hellish fight, looks
around in growing PANIC for his father.

SHANG uses his lead-rat blackjack to clear an escape back toward the
Brewery. The Street Kids can tell he's trying to escape, and start BOOING
him...
... as Shang's GRABBED from behind and pulled off his feet by a PEG-LEGGED
NATIVE. He THROWS the boy to the ground and pins him by holding the
sword-sharp point of his wooden leg against Shang's throat.

SHANG
(desperate)
I run with you! I'm one of you! Born a Native American from the blood of
five generations!

PEG-LEG
Yeah? Then you oughta be a red Indian.

He pushes down. Shang starts to bleed. But now PEG LEG is distracted by
the sudden SOUND of bells and whistles. He watches the BOY trembling on
the ground, then moves off him, making for the sound of the bell, leaving
the BOY quaking.
The SOUND grows louder as TWO HORSE-DRAWN CARTS full of battle ready
POLICE tear around the curve of a narrow thoroughfare and stop in Paradise
Square.
The BELLS on the carts toll loudly and work magic. The fighting stops.

The POLICE, all carrying clubs and wearing leather helmets, LEAP OFF the
wagons.

There are several moments of ABSOLUTE SILENCE, broken only by the SOUND of
the wind and the GROANS of the wounded.
Then, as one, the Dead Rabbits and the Native Americans RUSH the police
together, hurtling stones and brandishing weapons. Even the Street Kids
get into the act, kicking and biting and generally having a fine time.
The gangs SWARM all over the police, driving them back. Some lucky cops
climb back on the wagons and try to get away. The unlucky police remain
behind, dead on the ground.
The GANGS cheer, jeer and continue to throw things at the retreating
POLICE. When the second wagon disappears from view, the GANGS confront
each other once again.
Another brief moment of QUIET. The Street Kids settle back into their
spectator role. Then the GANGS go at each other with fresh intensity.
Amsterdam finally SEES his father and starts to PUSH his way toward him.
VALLON and BILL THE BUTCHER stand facing each other in the midst of battle
like two titans: then they rush at each other, joining with a terrible
fury.
Shang, still blindly SWINGING his blackjack, makes his way closer to the
relative safety of the Brewery, his face stained with tears of fear. He
hits someone. The MAN turns, swats him down. Shang sprawls on the street,
which is a SWAMP of mud and blood and dirty snow, and finds himself face
to face with a departed PEG LEG. Someone has removed his artificial limb
and driven it through his heart.
Across the square, Amsterdam has reached his father in time to see a
NATIVE AMERICAN sneaking up behind him. Amsterdam grabs a long TRUNCHEON
from a fallen warrior and uses it to hit the man a strong blow behind the
knees.
The MAN falls, howling. AMSTERDAM HITS him again. And again. He is
hysterical.

VALLON and BILL THE BUTCHER keep fighting. Amsterdam sees, with a single
look, that his father is in the fight of his life. He looks for a weapon
to help...
... sees a HATCHET lying by the body of the Rabbit he has just beaten
senseless. He grabs it and runs forward, looking for an opening between
the Butcher and his father...
As the two combatants move, Amsterdam MOVES. Bobbing, weaving, feinting,
falling back... looking for his chance...
... as Bill deals VALLON a blow that ROCKS him back and throws him off
balance...

...just as Amsterdam has made his move. He RUSHES forward, sees his father
FALLING, tries to turn but...

... too late. The boy's hatchet SLASHES his father in the leg. VALLON
falls to one knee, gestures frantically to the stunned Amsterdam to get
away...
... and Bill is upon VALLON, SINKING his knife into his chest. VALLON
screams and falls on his back, Bill kneeling over him. He looks into his
enemy's eyes ... and VALLON's EYES LOCK ON HIS. For all his suffering,
VALLON's eyes HOLD Bill ... he forces himself to look at Bill...it's a
terrible struggle... but VALLON will not look away.
Amsterdam, hysterical, RUSHES at the Butcher. The Butcher grabs Amsterdam
by the arm, making him drop his hatchet.

BILL THE BUTCHER
You need a weapon? Use a knife.
He puts the struggling boy's hand on the hilt of the knife that the
Butcher sunk into his father's chest.

BILL THE BUTCHER
It makes a deeper cut.
And, HIS HAND GUIDING THE BOY'S, he RAMS his knife deep into VALLON's
heart.

BILL THE BUTCHER
Say a benediction, Priest.

VALLON bellows in agony. Amsterdam screams at the very same moment, his
cry mingling with his fatherls tearing through the air.

BILL THE BUTCHER
(to Amsterdam)
Hold this close to mind, boy, should you ever think of going up against
the Native Americans.
Bill the Butcher rises and all around him, as if on some mysterious
signal, the fighting subsides. A DEAD RABBIT sees the fallen Vallon, takes
a battered brass HORN from his belt and sounds THREE NOTES, quick and
sharp. As the notes fade away, the fighting stops completely.

BILL THE BUTCHER
(announcing)
Ears and noses will be trophies of the day.

The Rabbits SCAMPER to collect their dead and wounded before the Natives
can get to them to slice off the battle souvenirs. But there are many
corpses maimed. The Street Kids DISPERSE. The main battle is over, and the
Natives have clearly carried the day.
The Rabbits file past Vallon, rorming a protective CIRCLE around him.
Amsterdam kneels at his side. Vallon tries to speak. Blood bubbles in his
throat.

VALLON
Can't..can't cross the river... with steel through my heart.
Amsterdam looks around. None of the Rabbits makes a move. This is clearly
something he is meant to do himself.
Amsterdam grabs the tortoise handle of the knife, PULLS on it. Vallon
tries not to cry out. The knife does not move.
Amsterdam tries again. He can't budge the knife. Vallon MOANS. Nearly
wild, Amsterdam PULLS with all his strength. Vallon SCREAMS in agony.
Amsterdam is pulling so hard he raises his father's back four inches off
the ground. Still the knife will not move. Vallon passes out from the pain.
Now, finally, someone steps forward: Monk Eastman. He leans over but
Amsterdam, berserk with grief, pushes him away, turns back to his father,
and, with a last desperate pull, DRAWS the knife from his father's heart.
He throws it on the ground. Monk picks it up, wipes the blade on his arm,
closes the knife and hands it to Amsterdam.

MONK
That's yours, rightfully.
Now Monk leans over the lifeless body and reaches inside Vallon's coat,
REMOVING some money.

MONK
And this is mine. Only what's owed. Use the rest for funeral.

AMSTERDAM
No!
He tries to shove Monk away from his father, when the Native Warrior
intervenes.

HAPPY JACK
It's fair.

Amsterdam, wild with shock and grief, turns back to his father as Monk
takes what's owed him. Amsterdam bends over to KISS Vallon on both cheeks,
then on his left eye.
The boy is just about to kiss his fatheros closed right eye when the lid
springs OPEN - Amsterdam jumps back despite himself. Vallon stares at him:
a last moment of recognition.
VALLON
Hon ...
AMSTERDAM
No, Pa!

VALLON
... honor me... think of me ... don't never look away.
Vallon convulses and DIES. Amsterdam shakes him to revive him.

RABBIT WOMAN
Take the body. Bring the boy.
Several RABBITS take a step or two forward, but Amsterdam springs up at
them, like an animal.

RABBIT WARRIOR
Come an, lad. Therels nothing to be done now.

AMSTERDAM
Get away! Get away!

HAPPY JACK
Leave him be. He's his to mourn.

And the RABBITS turn away, going back to the Old Brewery or vanishing down
the narrow streets.
Now a few CITIZENS venture out into Paradise square. A couple of
SCAVENGERS scoot about, looting bodies.
Amsterdam stays in the center of the square unmoving, undisturbed, keeping
solitary vigil over his father.

A TITLE is superimposed across this scene:

NEW YORK CITY 1844

8 EXT. HARBOR DAY WINTER (MATTE)

The same afternoon. As the sun goes down, we have our first full look
(MATTE) at the low pale outlines of the city.
The harbor is crowded with the high masts of sailing ships. Just north of
the island tip is the steeple of the city's tallest structure, Trinity
Church. The buildings of Wall Street are masses of concrete and wood, the
streets surrounding them paved with cobblestones. Just above the financial
district are the sloping buildings and rutted avenue of the Five Points .
The Old Brewery stands tall and forbidding over Paradise Square.
Above the Five Points, in the distance, we can glimpse some finer, newer
buildings. One wide street--Broadway--seems to run from the very tip of
the island clear up into the woods just a few miles north of the harbor.
The only SOUNDS are the lapping of the harbor water against the boats, the
creaking of masts in the winter WIND.

CUT TO

9 EXT. HARBOR DAY

A closer view - The TITLE fades off. We see an imposing edifice on the
edge of the harbor with a wooden sign identifying: "IMMIGRATION
DEPARTMENT, UNITED STATES OF AMERICA."
The sun has nearly set. A boy--about 10 years old--sits on the edge of the
Castle Garden dock, gazing down at the frozen Hudson. He can just about
make out his reflection in the dull sheen of the ice. His name is JOHNNY
SIROCCO, and he watches himself with bewildered seriousness.
Abruptly, he reaches down and SMASHES through the ice with his fist. In
SLOW MOTION, we watch the ice fragments drift apart in the river current,
each bearing away a REFLECTION of Johnnyls face, like pieces of a puzzle.

POLICEMAN
Where's your family, sonny?

Johnny sees a POLICEMAN scrutinizing him.

JOHNNY
(lilting brogue)
My mother's just there.

He gestures toward a ship, where MEN are unloading cargo. In a hoist, they
are lowering a thin pine COFFIN to dockside.

JOHNNY
On the trip, her insides all broke up. She wasn't dead and there was three
others fighting for her bed.

POLICEMAN
And your father? Where's he, then?

JOHNNY
I never knew him.

POLICEMAN
(taking Johnny's hand)

We better see to you, then.

CUT TO

10 EXT. STREET NIGHT

The Policeman leads an awed Johnny through the TEEMING streets of the Five
Points.

POLICEMAN
Where all those streets come together right ahead is the true Five Points.
But most speak of the Five Points and mean anywhere between the Battery
and the Bowery.
Although the night's cold, the streets are jammed. WHORES painted like
carnival Gypsies sell themselves to any man sober enough to stand up.
SOUNDS of laughter and combat filter out from garish SALOONS like the
Little Naples, the Hell Hole, the Egyptian Hall.
In the midst of all this highlife are BEGGARS and the SICKLY, looking for
charity, scrounging garbage in the street. An INDIGENT battles a CRIPPLE
for a meager scrap of faod. A richly dressed WOMAN, riding by in a
carriage, hides her eyes by raising a HUGE BOUQUET OF FLOWERS in front of
her face.

POLICEMAN
Streets hereabouts are lively of an evening. The city comes here to sport.
But there's places to put up a boy on his own.

Three WOMEN, exquisitely costed, burst from the door of the Egyptian Hall.
Under the harsh glare of a nearby gas lamp, their faces are no longer
striking. Johnny STARES; there is something not right about these faces.

JOHNNY
And those? What are those?

POLICEMAN
Well, those. Those are, as you might say, a sort of...

We SEE one of the women's faces, suddenly harsh under gaslight: under
thickly caked make-up is a smiling TRANSVESTITE.

POLICEMAN
... sort of whatnot.

TRANSVESTITE
Say, policeman. I'll buy your bonny friend.

The Policeman fetches the Transvestite a strong WHACK with his nightstick.
The Transvestite screams and falls ... and Johnny RUNS.

POLICEMAN
Hey!

But Johnny's off, already lost in the mad street life.

CUT TO

INT. MORTUARY NIGHT

A funeral chapel.

Vallan's body lies in state. He is wearing his gang regalia, and all the
Dead Rabbits FILE PAST his coffin in solemn tribute. A WOMAN bends down
and kisses the body. Happy Jack Mulraney holds Vallon's crucifix, which he
has obviously inherited. As a disreputable looking Minister mutters
PRAYERS, Happy Jack whispers to a silent Amsterdam.

HAPPY JACK
We passed the plate amongst ourselves. Come up with enough ned to carry
all this, and carry you a while, too.

He stuffs some money in Amsterdam's pocket.

AMSTERDAM
Where will my father rest?

HAPPY JACK
Potters Field, with everyone else.

AMSTERDAM
My father won't be buried with everyone else. He'll lie separate in fresh
ground, facing east.

HAPPY JACK
What difference where he faces?

AMSTERDAM
He'll face east for the second coming of Christ.

HAPPY JACK
Fine, son. When Jesus gets to the Battery you show Him the way from there.

The Minister finishes the service. MR. CORNELIUS, a funeral director who
resembles one of his own customers, ushers in a WOMAN (MAGGIE) pulling a
lovely 10 year old GIRL (JENNY EVERDEKNE) by the hand. The woman is
obviously drunk, the girl frightened.

MR. CORNELIUS
Will you have music, entlegen

WOMAN (MAGGIE)
My daughter'11 do any song you like.

HAPPY JACK
Not tonight, Maggie, we got...

Monk Eastman interrupts from the Background.

MONK
How much?

MAGGIE
Any ned in your pocket, sir.

MONK hands MAGGIE some coins.

MONK
She sing sweet as she looks?

MAGGIE
Pure celestial, sir.
(to girl)
Go on, Jenny.

Jenny's voice is sweet as promised. The song she SINGS, however, is a
bawdy saloon song. Maggie cuts her off fast.

MAGGIE
No, Jen, the other.

Jenny starts to sing a HYMN. To avoid looking at the corpse, she lets her
eyes rove all around the chapel until she SEES Amsterdam. She locks
straight at him until the hymn is over. And he does not take his eyes off
her.

CUT TO

12 INT. MORTUARY HALLWAY NIGHT

Mr. Cornelius is about to escort Maggie and Jenny into another room
crowded with mourners when a smartly-dressed man (DANIEL KILLORAN)
gestures to him from the shadows.

KILLORAN
Mr. Tweed would like a word, Mr. Cornelius.
(Cornelius hesitates)
Tweed of Tammany.

At the mention of the name, Cornelius shoos Maggie and Jenny into the
mourning room and shuts the door behind them. Then he gives Killoran his
full attention.

KILLORAN
In your office. At your pleasure, of course.

CUT TO

13 INT. MORTUARY OFFICE
As the door opens, we see a man gazing out the narrow window onto the
spectacle in the next building. He is in his late 20s, already a little
fleshy but dressed with dash: WILLIAM TWEED... "BOSS" TWEED. He shows a
bemused, almost schalarly interest in the goings-on next door.
This mortuary is located next to a bordello, where the windows are
uncurtained and the energy and variety of the
activities inside is astounding.

Tweed finally TURNS as Killoran opens the door.

TWEED
Mr. Cornelius. With a view like this I'm surprised the dead can rest in
peace.

CORNELIUS
Is there anything I can...

TWEED
(interrupting)
Yes. A favor.

CORNELIUS
Happy to serve, Mr. Tweed.

TWEED
Excellent. Lend me something.

CORNELIUS
(puzzled)
Oh, I don't know what I could ...

TWEED
I believe in form and appearance, you see. Just like yourself, sir. And I
believe in law, and the power of example. Our city is a lawless
wilderness, sir. I'm asking you to help chasten it.

CORNELIUS
A matter of civic duty, then.

TWEED
And civic pride. I want you to help me set an example.
(smiles)
I only need to borrow one of your clients.

CUT TO

14 INT. MORTUARY NIGHT

Two native Americans open the door where Vallon is laid out and Bill the
Butcher STRIDES into the room.
There is immediate TENSION, like an electric charge, as other Natives
stand in the doorway and crowd the hall stand while Bill walks over to the
coffin. He places a BLACK ROSE in Vallon's folded hands.

BILL THE BUTCHER
Tomorrow your cortege will cross Paradise Square, into territory protected
by the Native Americans. You will be permitted undisputed passage both
ways. That is our tribute. After that, any Rabbits wishing to join the
Native Americans and willing to swear blood loyalty will be welcomed. All
others will be dispatched.
He starts out of the silent room, but STOPS when he sees Mank Eastman
looking at him with easy interest. Bill the Butcher
STARES him down, but Monk's gaze never wavers.

BILL THE BUTCHER
I'll expect you first.

MONK
Me? Oh, I don't know. All that talk of blood loyalty makes me quake. I'll
spill blood when the price is right. But blood for ceremony? I prefer holy
communion.

BILL THE BUTCHER
You saw us fight today. You know we can pay any price.

MONK
Not mine. Not now, and not any time after.

BILL THE BUTCHER
We'll see. Independence is a slippery thing. But being a rival ... well,
that's dead dangerous.
Bill brushes past Monk and leaves, followed by the NATIVES.
Now the RABBITS file out, with Monk among them.

HAPPY JACK
Come on, boyo. I'll put you up tonight.

AMSTERDAM
I'll do for myself, Jack.

HAPPY JACK
You can't.
(Amsterdam stares at him)
There's no mistaking you're his son.

Happy Jack leaves Amsterdam alone in the room.

Now, by himself, sure of no one seeing, Amsterdam CRIES.

CUT TO

15 INT. MORTUARY NIGHT

Mr. Cornelius is seated in his office, enjoying a late supper while
looking out his window at the bordello activity across the alley. A NOISE
at the door disturbs him: Amsterdam.

AMSTERDAM
What's the cost to bury my father proud and proper?

MR. CORNELIUS
For a plot, a headstone, hands to break the earth...

AMSTERDAM
How much?

MR. CORNELIUS
What are your current means?

Amsterdam turns out his pockets, which contain Bill the Butcher's pirate
knife as well as the cash Happy Jack pressed on him. Cornelius TAKES it
all.

MR. CORNELIUS
Of course you'll have to wait three days for a city permit. But all this
may do for part.

AMSTERDAM
No.

Amsterdam takes the knife back from Cornelius.
AMSTERDAM
That's owed another.

CUT TO

16 EXT. STREET/PARADISE SQUARE DAY

A grey day. Amsterdam stops in front of a window. He STRUGGLES with his
scarf, trying to keep himself warm. His eye strays for a moment, and he
sees he is outside Mr. Cornelius' Establishment. Then he NOTICES something
else....
.... his FATHER, propped up in a coffin, on public display. There is a
large sign beside the body: "The Dead End of Lawlessness. Tammany Abhors
Crime. Tammany Means Justice."
A sizeable CROWD is goggling at the body. Amsterdam BULLS his way through
the people to the street. He looks in the gutter, then looks up quickly.
Someone is watching him: Johnny. He's carrying an armful of wood.

JOHNNY
Firewood?

Amsterdam grabs the longest plank Johnny has.

JOHNNY
It's a penny the load.

AMSTERDAM
Later.

He turns with the plank in his hand and starts to RUN back through the
crowd.

JOHNNY
Hey!

Johnny manages to GRAB the other end of the plank. But Amsterdam's so
strong he YANKS him right along. The Crowd YELLS as it parts for
Amsterdam, who CHARGES through using the plank like a battering ram, with
Johnny on the far end, born along by stubbornness and momentum...
... toward Mr. Cornelius' window. Amsterdam SHATTERS the window and the
Crowd SCATTERS in a blizzard of GLASS.
Amsterdam stumbles into the window and against the coffin, which falls
over, spilling Vallon's BODY, knocking the boy over. Amsterdam picks
himself up as Johnny stands frozen.

AMSTERDAM
Help me.

He starts to pull his fatherls body from the window.

AMSTERDAM
Come on! Help me, goddamn it!

In a daze, Johnny steps forward and HELPS Amsterdam pulls the body onto
the street.

Now: the SOUND of WHISTLES and WHEELS and RUNNING HORSES as a wagon full
of POLICE arrives on the scene. Behind them, the Crowd returns, yelling
insults.

The police RUN toward the window. Mr. Cornelius dithers at the front of
the crowd.

Amsterdam and Johnny exchange a look. Then Johnny RUNS for it. Amsterdam
stays with the body...

... as the cops close in, SWINGING clubs. Amsterdam's grabbed and hit a
couple of times. The Crowd yells. A COP swings his arm back to give
Amsterdam a good wallop...

... and someone grabs his arm: Bill The Butcher.

BILL THE BUTCHER
Easy, crusher. What's this all about?

CRUSHER
Ask the boy.

AMSTERDAM
I paid Cornelius for my father to rest in honor. He told me I had to wait
on a permit, but he only wanted time to...

BILL picks up the Tammany sign from the ground.

BILL THE BUTCHER
Make another Arrangement, looks like. For advertising.
(to cop)
Better go along. I'll see to all this.

COP
The boy...

BILL THE BUTCHER
Take the little malefactor.
The Cops YANK the wildly flailing Amsterdam to his feet and DRAG him off
to their wagon. Bill The Butcher approaches Cornelius.

BILL THE BUTCHER
Give the boy what he paid for.

CUT TO

17 EXT. STREET/PARADISE SQUARE DAY

Amsterdam is HURLED into the police wagon. The door is locked behind him.
He pulls himselt to his feet, looks out the tiny barred window, SEES ...

... Dead Rabbits join up in a rough funeral procession. SEVERAL help LOAD
Vallon's body back into the coffin and place it onto Mr. Cornelius' fancy
funeral wagon. Monk Eastman LEAPS up onto the wagon and closes the coffin
lid tight.

There are PEDDLERS everywhere. One dispenses drinks from a portable
samovar. A SAILOR hawks ships in a bottle, repeatedly shouting the same
advertisement: "Encourage the work of a landswamped sailor!" A SILHOUETTE
ARTIST offers to draw portraits of passersby.
Funeral music is furnished by STREET MUSICIANS: a drummer, a fiddle
player, and a horn player, with a couple of BUSKERS performing along side
for good measure.
Mr. Cornelius takes the wagon reins and guides the horses out of the
square. The gang FOLLOWS solemnly behind.

And across the square, the police wagon carrying Amsterdam starts MOVING
OFF in the opposite direction. He keeps looking out the tiny wagon window.
The funeral procession leaves the square and activity returns quickly to
normal. Peddlers' CRIES once again fill the air. The Buskers start PLAYING
a snappier tune. SNOW begins to fall.

CUT TO

18 INT- TOMBS DAY

A huge, awful prison building modeled on an Egyptian mausoleum.
Amsterdam--trying to hide his growing fear--waits on line with other
PRISONERS, all of them older than he.
At the head of the line, prisoners are being processed by a JAILER and a
couple of COPS. Each prisoner is asked several cursory questions, then
told to strip. Every one of the men is SCARRED in some way.
AMSTERDAM nears the front of the line. The MAN just ahead of him
undresses. His left buttock is missing, and his back is covered with whip
scars. A PRISONER behind Amsterdam WHISPERS loud enough for Amsterdam to
hear...

PRISONER
Ain't his first Tombs trip.

ANSTERDAM steps up to the desk. The JAILER hardly takes notice of him.

JAILER
What do they call you?

And this is the first time in the film we have heard his name.

AMSTERDAM
Amsterdam.

The JAILER looks him over.

JAILER
Your full name.

AMSTERDAM
Vallon.

The JAILER writes this down with a scratchy pen.

JAILER
First name?

AMSTERDAM
I told you.

JAILER
(skeptical, resigned)
Address?

AMSTERDAM
Got none.

JAILER
I'll put city. Now what's your age?
(Amsterdam shrugs.)
Maybe twelve. Got a family?

AMSTERDAM
No more.

JAILER
Well, where was they from when you had one?

AMSTERDAM
(beat)
City.

JAILER
(writing)
Disrobe.

As Amsterdam obeys, the Jailer turns to the Cop in the leather helmet
standing at his side.

JAILER
What's the charge, Asbury?

COP
Theft. Assault. Creating a ...

The Jailer finishes writing. Amsterdam stands naked.

JAILER
Through that door there.
(lowers his voice)
And don't stand too near no one else.

CUT TO

19 INT. CREMORE NIGHT

The largest, noisiest, gaudiest dive we have yet seen, full to bursting
with bawdy CUSTOMERS even at this late hour. Therels a long bar, where men
and women stand three deep; lots of small tables; a dance floor; and a
stage on which four blowsy DANCING GIRLS are giving out with a ribald
number titled "My Father's Teeth Were Plugged With Zinc."
One end of the bar is entirely taken up by a huge woaden keg with an
attached hose. BAR ATTENDANTS DUMP the unfinished contents of glasses into
the open barrel top as a line of FAR GONE DRUNKS wait their turn for the
hose. Maggie, Jenny's mother, is close to the front of the line, very
drunk, hanging on to a mush-faced HOODLUM.

Two VISITORS watch. One has a pad and makes quick SKETCHES.

VISITOR ONE
Ought to be served in a trough, properly. Will you try some?

ARTIST
Probably. What is it?

VISITOR ONE
All-Sorts. It's made of all that's poured and not drunk, and any they can
salvage that's spilt.

Maggie GRABS the hose, staring at the Artist as she takes a drink. His
hand moves quickly an the page, SKETCHING her.

VISITOR
(to Maggie)
Your health.

She SPITS at him, insulted. The Artist steps forward, puts some of the
All-Sorts from the hose into his glass, and toasts Maggie. She nods and
turns away....
...as Johnny enters, dragging a large SACK across the crowded floor toward
a far door.

CUT TO

20 INT. CREMORE BACK ROOM NIGHT

Johnny RUSHES toward a wooden pen in the center of the room. There are
cries from the crowd of SPORTSMEN of "Hurry it up" and "More speed!"
Johnny dodges a kick or two before he finally arrives at the pen.
He UPENDS the sack over the pit and a dozen live RATS tumble out. A
GAMEMASTER slips Johnny a couple of cents as he starts his spiel.

GAMEMASTER
Alright, gents and ladies, your bets now on Towser against the vermin, the
count to beat is ten rodents in three minutes.

The crowd starts to place bets. A sleepy Johnny settles down close to
ringside to watch the show.

At a signal from the Gamemaster, a TRAINER tosses TOWSER--A fierce
mongrel--into the ring. The crowd cheers lustily, continuing to shout out
bets, as the dog goes after the rats.The rats, fighting for their lives,
bite the dog, attaching themselves to his body. Towser retaliates by
gnawing the rats, SNAPPING them in half and spitting them out.

As the CROWD cheers, and Towser kills, and money changes hands, Johnny
curls up and goes to sleep.

CUT TO

21 INT. TOMBS NIGHT

A row of cells, noisy and cold. The GUARD shoves Amsterdam into a cell.

GUARD 2
You get to live private until they come from the orphan's asylum. On
account of your tender years.

There is nothing in the cell but a board for a bed, and a window through
which Amsterdam can see the late winter moonlight. He looks for stars in
the sky, but can see none.

CUT TO

22 INT- MAIN ROOM/OLD BREWERY

Jenny Everdeane and a girl FRIEND, her own age, huddle together in a dark
corner of this huge space. The Friend opens her hand to show Jenny a
glimpse of what she's clutching: a penny.

JENNY
Let me see! I don't believe it.

FRIEND
(closing her hand)
No! It's a danger.

JENNY
Oh come on! It's not.
(Friend shakes her head)
Then tell me where you got it.

FRIEND
From some man. He took me in his carriage. He only wanted to do something
to me fast.

JENNY
What?

FRIEND
(shrugs)
I didn't understand.

JENNY
Would he do the same with me?

FRIEND
I won't tell you if he's around again.
(clutches penny tight)
He's my secret.

JENNY
Better keep it more careful, then.

The Friend GETS UP and starts across the Brewery floor, acting nonchalant.
But she looks around her, across the sleeping, passed-out bodies, past the
desperate families and their squalling infants, to see if she's been
noticed.
A man and two women cast a glance her way. She looks away, but the TRIO
keeps watching her... then FANS OUT and starts to FOLLOW her.
The Friend looks over her shoulder again. SEES the Man. Locks in another
direction, SEES: the woman. And then: the second woman. All closing on her.
The Friend starts to RUN. The Trio runs after her. And no one else pays
attention. The Friend PLUNGES into one of the warren of TUNNELS that lead
off the Brewery floor.
CAMERA plunges through the darkness, after her. Her footsteps ECHO; there
is the SOUND of stumbling, falling, an angry CURSE and a BLOW being
struck. The FRIEND picks herself up out of the darkness and keeps running,
CAMERA following down the dank halls.
Suddenly the TRIO runs AHEAD of the camera. There is a SCREAM. CAMERA
staps. And others SOUNDS follow quickly now: the dull THUD of a heavy
object against bone, REPEATED several times; and then, very soon after,
the most terrible sound of all: silence.
Then Two Women emerge from the darkness of the tunnel, fighting over the
penny. The Man, several steps behind them, throws an object to the dirt
floor: it's a STONE, and it is covered with blood. He comes up behind the
Two Women quickly and GRABS the penny from them with a hand that still
DRIPS blood and gore. They CHASE after him across the crowded Brewery
floor.

CUT TO

23 INT. HALLWAY/TAMMANY NIGHT 2

CAMERA races along the ornate corridor, past PORTRAITS of many affluent
and self-important GENTLEMEN... through a door and into...

24 INT. TWEEDIS OFFICE/TAMMANY NIGHT

... Tweed's domain. Small in size, but there are dozens of CAGES OF
CANARIES all around. Tweed looks up startled as the door flies open. The
birds set up a COMMOTION.

CAMERA bears down on Tweed as a pair of HANDS grabs him and hurls him
against the wall.

Bill The Butcher GLARES at Tweed. Some NATIVES come into the room behind
him.

BILL THE BUTCHER
You come into the Five Points and you stole from me.

TWEED
I don't know...

BILL THE BUTCHER
You stole Vallon. He was my kill. My example, of my power. You took him
and made him yours.

TWEED
You're a lunatic to come here like...

In the background, same of the NATIVES have begun to play CATCH by
removing the CANARY CAGES from their places and tossing them all over the
room.

BILL THE BUTCHER
Thank you. Just listen good. The Native Americans holds the Five Points.
We have prevailed. What you do outside the Points is your deciding.
Outside is your city. Inside the Points is mine. Anyone who says
different, or does different, or thinks different...
(smiles)
... theylll draw my unwelcame attention. You understand?

BOSS TWEED
I do understand, yes.

BILL pushes him away and starts out.

BOSS TWEED
But you don't understand at all.

Bill keeps walking.

BOSS TWEED
There's a whole city to share and all you see is your own narrow streets.

BILL THE BUTCHER
(turns now)
You just stay out of my place.

BOSS TWEED
Yes, alright. Gladly. It's all blackjack jobs and panel games and killings
for a fiver.

Bill waits for Tweed to continue. But Tweed stoops and tries to soothe a
canary in a cage.

BILL THE BUTCHER
It's good work.

BOSS TWEED
As far as it goes.

BILL THE BUTCHER
You wouldn't be talking to me otherwise.

BOSS TWEED
But we're talking about different things, Bill. You describe the present.
I see the possibilities. Look to the future. There is so much more.

The Butcher starts to look interested.

CUT TO

25 INT. TWEED'S OFFICE NIGHT

Later. The Natives have cleared out; only Tweed and the Butcher remain.
The cages have been restored to their proper places and the room has been
straightened. Bill stands beside the door, while Tweed relaxes in a chair.

BOSS TWEED
There's things demanding to be done that no police force can do, not even
an obedient one. There's contributions from every dive and brothel.
Loyalties to be secured and debts to be collected.

BOSS TWEED (Cont'd)
And now you and your Natives have emerged as the foremost force in the
Five Points, I'm prepared to extend you an opportunity. You can work for
Tammany...

BILL THE BUTCHER
We work for no one.

BOSS TWEED
... beside Tammany... in the performance of these civic obligations. And
for a satisfactory... I'm prepared even to say equitable... financial
participation. It's not the sort of responsibility the founding fathers
might have recognized. But then, the founding fathers never imagined the
city New York has become.

BILL THE BUTCHER
Maybe you Tammany boys should do your own lifting and carrying and muscle
work. Might build you up.

BOSS TWEED
We'd like to. I do miss it. But it's wiser for men in the public life to
give an appearance of probity.

BILL THE BUTCHER
Then get cops to do it.

BOSS TWEED
Oh Jesus, no. The appearance of law must be upheld, especially while it's
being broken.

BILL THE BUTCHER
Appearance means nothing.

BOSS TWEED
Perhaps not within the Points. But the smart man could go higher.

Bill looks at Tweed for a long moment. The he SHOVES himself away from the
wall, pulls away the chair on which Tweed has been resting his feet and
sits down close to him.

BILL THE BUTCHER
If you can talk plain, maybe we can do business.

26 EXT. STREET NIGHT

A small slum thoroughfare congested by a splendid FIRE-WAGON labeled
"Americus Co./Tammany Hall." Curious SPECTATORS and panic-stricken
RESIDENTS crowd around to watch a ramshackle building going up in FLAMES.
As Johnny presses through the crowd to get a good look at the fire, Tweed,
in a white coat and fancy fire helmet, steps off the fire wagon to address
an ONLOOKER.

TWEED
Anyone inside?

ONLOOKER
No, praise God, but all we own...

TWEED places a bucket over the only fire plug in the vicinity, then sits
on it.

ONLOOKER
Well?

TWEED
Waiting on reinforcements.

The SOUND of another bell, nearby. Down the street from the opposite
direction come TWO MORE FIRE-WAGONS. The crowd starts cheering. Tweed does
not move from the plug.

TWEED
That's not them. It's only the Black Jokes. Seems your fire interrupted
their festivities.

The wagons pull up next to the fire plug. Each of them has the words
"Black Joke Fire Co." written large on the side, but the FIREMEN wear
party costumes, not regular uniforms. Some are dressed as British
Redcoats, still others as Indians.
The FLAMES continue to devour the building, but Tweed does not budge from
the plug. He is approached by the Black Jake chief, who is dressed as an
Indian chief.

CHIEF
May I point out that the building is burning to ashes?

TWEED
Certainly. And may I then remind you, Pocahontas, that this entire area is
the province of the Americus company, and you will kindly keep your
distance.
Impasse. The rival Fire Companies size each other up and start toward each
other. The building continues to burn. Tweed remains regal and unperturbed
atop the fire plug.
As the two COMPANIES are about to close with each other, a second BELL
sounds. Tweed's "reinforcements" have arrived: the Native Americans, led
by Bill The Butcher. They PILE OFF the wagons before the horses halt. Now
the Black Joke Co. is outnumbered, and it FALLS BACK. As the Crowd CHEERS,
Tweed takes the bucket off the fire plug.

TWEED
Alright, boys! To work!

The MEN of the Americus Co. give a great SHOUT and start firefighting: a
hose is hitched up to the plug, buckets are filled, a primitive pump sends
water spluttering everywhere.
But there is not much blaze left to combat and the Men quickly grow
frustrated. Tweed realizes this immediately.

TWEED
Next building over, boys! Mustn't let it spread!

The men charge into a neighboring building, STOMPING down doors, CLIMBING
through windows and SWINGING AXES with gusto, all to save a building that
is in no danger at all.
A local poll named DANIEL KILLORAN detaches himself from the crowd and
approaches Tweed, giving him a hearty SLAP on the back.

KILLORAN
Another proud night for Tammany, Bill.

TWEED
Just tell them...
(lowers his voice)
... to take enough to share. And not to steal so in the open.

Indeed, the Men are leaving the building with lots of LOOT. CITIZENS who
question their right to do this are promptly KNOCKED DOWN. Killoran GRABS
Bill The Butcher as he rushes by.

TWEED
Jesus! Boss says to tell you to fight the fire from the front and loot out
the back.

Bill grins and leaves to spread the word as an angry WOMAN approaches
Tweed.

TEARFUL WOMAN
The Black Joke could have saved my house!

TWEED
Black Joke had no business here, Madam.

TEARFUL WOMAN
Their business was to save my house!

TWEED
Tammany's your business. When we're here to call upon there's no need of
other. We understand loss, Madam, and take care of our own.

As Tweed leads her off, away from the blaze and the thieving, he passes a
boy sitting an the curb, watching the fire ... and watching Tweed ... with
admiration. It's Johnny.

The FLAMES light up his EYES as we...

DISSOLVE TO

27 INT. BREWERY NIGHT 2

Jenny's face, as she tries to sleep on a narrow, filthy mattress. Her
mother Maggie lies beside her, crowding her, THRASHING about in a
troubled, drunken sleep.

DISSOLVE TO

28 INT- ROOM/HIGH BRIDGE ORPHANS ASYLUM 2

Amsterdam, eyes wide, lying on a cot in the middle of a long room crowded
with KIDS - This place is a step or two up from the Brewery--but not a big
step. He stares at the ceiling, eyes grave, untroubled by the small cries
of loneliness and fear that come from some of the beds surrounding him. As
we move CLOSE on his EYES we...

DISSOLVE TO

29 EXT. HIGH BRIDGE ORPHANS ASYLUM DUSK

... the same eyes. But OLDER. Smart and full of savagery.

It is Amsterdam. He is now in his early 20s, fully grown and no man to
trifle with. Moving with jungle stealth and strength he ...

... BURSTS out the door within the massive frame of a great iron gate over
which hangs the sign "High Bridge Orphan Asylum." He starts to RUN and a
TITLE comes up...
1852

Pursued by GUARDS, Amsterdam runs hell-for-lather for a long vaulted
bridge. It's a beautiful, stern old Romanesque span across the Harlem
River with rolling banks of leafy trees on the far side. Even in the
twilight, we can see that it is late spring, the end of a long afternoon.

CUT TO

30 EXT. HIGH BRIDGE DUSK (MATTE)

Amsterdam is on the bridge. But he does not slow up until ....

... two orphanage GUARDS suddenly TACKLE him. A THIRD GUARD beats him with
a billy club. Amsterdam moans and curses, as much from frustration as pain.

SECOND GUARD
It's Blackwell's Island certain now, boyo.

The SECOND GUARD pulls AMSTERDAM up by the hair.

THIRD GUARD
Are you hurting? Let's hear you!

Amsterdam won't give him the satisfaction. The Guard hits him. Amsterdam
goes down, biting his lip so he won't cry out. Instead, he forces a SMILE.

SECOND GUARD
There's nothing funny, boyo! You been beat and turned back four times now.

AMSTERDAM
But every time you bring me back... you got to come further to catch me.

CUT TO

31 EXT. CORLEAPS' HOOK PIER NIGHT
Through the THICK FOG comes a ghostly apparition: a tattered SKULL AND
CROSSBONES, made of rags, fluttering from the mast of a leaky, unstable
vessel.
The bow of the small boat breaks the fog, and on board we see: a hulk
called SHEENY MIKE KURTZ and a huge black kid named JIMMY SPOILS, manning
the cars. Johnny Sirocco, grown wary and wiry, peers into the fog like a
lookout, while Shang Draper, at the tiller, looks anxious.
The HULL of a large boat suddenly laoms in front of them, not five yards
away.

JOHNNY
Hard starboard, Shang! Hard starboard!

SHANG
(panic)
I told you forget that sailor stuff! Which way's star...
Too late. Their Ticket craft crashes into the side with enough force to
make a LOUD THUMP and to send Shang sprawling.

SHEENY MIKE
(sarcastic)
Why don't we just knock on their front door?

Shang gestures for QUIET. They wait and listen. No sound from the deck of
the boat above them. The boys throw two ROPE LADDERS over the rail of the
larger ship and start climbing.

CUT TO

32 EXT. SHIP NIGHT

The boys board the ship and gather on deck. They look around uneasily,
spooked by the silence and the fog.

SHANG
Spread out and make for the cabin.
Moving slowly, the boys FAN OUT and move toward the cabin at the far end
of the deck. Johnny stays close to Shang, holding onto the shipls rail for
support.

SHANG
(whispering)
Nothing. Looks picked clean.

Johnny stops. His hand, on the railing, is BLOODY. On the other side of
the deck, Sheeny Mike discovers more traces of blood and SIGNALS Shang.

SHANG
Bill and the Natives must have got here first.

Johnny freezes in terror.

SHANG
What ...

A long SHADOW falls across his shoulder. Shang jumps.

Standing before him, holding a musket and covered in blood, is the ship's
CAPTAIN. A BUTCHER'S CLEAVER is imbedded between his neck and shoulder.
With his dying energy, the Captain takes AIM at a petrified Shang and
fires his musket.
Jimmy Spoils JUMPS the Captain from behind, sending the musket ball way
wide. But the SOUND of the musket is thunderaus, and echoes through the
harbor. The boys panic and head for the side.

SHEENY MIKE
That'll bring the Harbor cops for sure.

JOHNNY
(about the dead man)
Wait! Take him. If he's still alive he's good for ransom!

SHEENY MIKE
Hels dead as Good Friday, can't you...

JOHNNY
Then we'll take Bill the Butcher's cleaver and sell the body to the
medical students. They'll go five dollars for it anyway.

SHANG
Come on. We'll get something out of this.

Shang and Johnny start DRAGGING the body. Pushing, pulling and mostly
panicked, the others help. As they boost the body over the side, the SOUND
of a bell cuts through the fog.

SHEENY MIKE
The Harbors!

Shang shoves the body off the side and into the boat. It lands with a
resounding THUD. The boys CLAMBER after it.

CUT TO

33 EXT. BOAT/RIVER NIGHT

PUSHING OFF with cars, tearing their rope ladders from the side of the
ship, stumbling over the captain's body, the boys slip off into the fog.
The Harbor Police are so close to them they can see a police LANTERN
shining. The boys stay absolutely still. Suddenly, WE SEE: the POLICE
BOAT, breaking through the fog, then
DISAPPEARING again.

SHEENY MIKE
We can't go back to Corlears Hook, they'll be watching...

SHANG
We'll make for Blackwells.

JIMMY SPOILS
And which way's that through this fog?

Johnny throws his hands up for quiet. From close by comes the SOUND of
COP'S VOICES. They are near. Very near. The boys stay as still as they
can...
... and the VOICES recede again in the thick fog.

JIMMY SPOILS
Should have asked them directions as they drifted by, Shang.

SHANG
You'd have liked that, wouldn't you Coal Face? You're the only one they'd
miss in the dark.

SHEENY MIKE
Let's quiet, or we'll all be found out!

As the BOYS stay still, their boat DRIFTS against an outcropping of land
and STOPS.

SHANG
Alright. We lay up here till first light. Then we run back across the
river.

JIMMY SPOILS
(contemptuously)
River pirates!

Spoils settles back and tries to sleep. Johnny watches Shang in the bow.
Shang is too agitated to notice Johnny's stare. He looks away, waiting for
the sun.

CUT TO

34 EXT- BLACKWELLS ISLAND DAWN

Shang drowses in the boat, fighting fatigue, then succumbing to it. But
h's brought awake suddenly by a loud SPLASH. He looks in the direction of
the noise, SEES ...
... the BODY of the slaughtered ship's captain floating away in the
company. He starts to cry out but Amsterdam GRABS him, locking his throat
in the crook of his arm.

AMSTERDAM
(to everyone)

Push off! Or his pipe snaps!
The other boys are too stunned to resist. They push the boat away from the
island.

AMSTERDAM
Head straight out, then turn for the current.

He pushes Shang away from him. The two boys stare at each ather, finally
remembering...

SHANG
(breathing hard)
Figured you for dead.

AMSTERDAM
Close enough.

SHANG
This is my crew. And welcome to join, if you've the mettle. We're river
pirates and quick thieves and street brawlers...

AMSTERDAM
(casual disdain)
You're lost.

SHANG
Yeah? You've no business saying anything against us! Do you know how much
you cost us? You know how much that body's worth?

AMSTERDAM
I doubt it's worth the water it's floating in.

SHANG
Fifteen dollars! Fifteen dollars from them medical ghouis.

AMSTERDAM
I'll make it back for you whatever it is, once we're in the city. Just
keep sailing, or we're all done for.

SHANG
(beat; to crew)
Go ahead then.
(beat; to Amsterdam)
He was in his prime. He'd have fetched thirty dollars easy.

CUT TO

35 INT. HIDEOUT DAY

A ramshackle room near the docks. It is part meeting hall, part living
quarters for the gang, and part clearing house forstolen goods. SHANG
presides over a boisterous meeting.

JIMMY SPOILS
You're as flat as Broadway going north. We can't run the river no more.
We're poaching the Natives and the Harbor cops are looking for us.

SHANG
The cops can go to blazes. Who cares about them?

SHEENY MIKE
Youlre all sand when it comes to cops, Shang. But do you have the sand to
go against the Natives?

SHANG
It ain't the time to go against the Natives. We've got to build first.
Then we go.

JIMMY SPOILS
If we go like we did in the river, all of us'll sink.

Amsterdam is sitting off to the side, watching this ongoing debate with
contemptuous detachment. Johnny sits next to him.

AMSTERDAM
Does Shang have the sand to ever go against the Natives?

JOHNNY
I don't know. He acts like it.

AMSTERDAM
If he only acts, held be better on the stage.
(looks away)
Like her.

His tone of voice has changed. Jenny Everdeane passes before him; she's
ravishing. Amsterdam STARES, as if he's trying to see into her heart.
Jenny pays him scant attention as she moves across the room toward Shang.

JOHNNY
Jenny Everdeane. Shang turned her into the best bludget in the Points.

Jenny gives Shang silk scarfs, wallets and several purses from her coat.

AMSTERDAM
Shes his mort, is she, as well as his best provider?

JOHNNY
Yeah. But Jenny says she's anyone's she chooses.

Jenny's haul is impressive. Shang picks a BRIGHT RED SILK SCARF with a
distinctive PAISLEY design from the pile of stolen goods. He examines it
with a shrewd, appreciative eye.

SHANG
That's the prize of the month. Spice Islands silk.

He puts the scart in his coat pocket with a FLOURISH, then throws his arm
about Jenny in a proprietary way.

SHANG
You'll learn our way if you're going to be one of us, Amsterdam.

Jenny reacts slightly to the mention of the name: she looks over and
RECOGNIZES Amsterdam now.

SHANG
Every one of us gives a portion of all they steal to the gang. Morts more
than men, being morts.

AMSTERDAM
Yeah? And why is that?

SHANG
Because morts have more resources. Men can work only on their feet, but a
mort can turn out on her back.

AMSTERDAM
I mean, why give at all? Why don't they keep for themselves?

SHANG
If you think there's something off about my way of running things, you got
no place in this gang.

AMSTERDAM
I got no place anyway, and you got no gang. This ain't a gang, no matter
what you say. It's a mob.

There's a tense hush in the grubby room. Shang takes his arm from around
Jenny, wanting to be restrained.

JENNY
(smiling)
It's all your play now, Shang. Maybe you can set him right.

Jenny hands him a cane. Barely managing to hide his reluctance, he
starts--slowly--toward Amsterdam, who stands his ground. The gang steps
back to give them room in this tiny space. Shang pulls the cane apart:
it's a SWORD CANE, but Amsterdam shows no fear. He shifts his weight a
little, watching ... and they're interrupted by a...

VOICE (HAPPY JACK)
You boys settle with me before you settle each other.

They turn to him.

HAPPY JACK
I've come for my due and proper, Shang.

Happy Jack Mulraney (the Dead Rabbit gang member with the halfparalyzed
face) stands before them in a POLICEMAN'S UNIFORM-sparkling clean and
splendid--a leather helmet and long coat. In his hand, he twirls a
NIGHTSTICK.

SHANG
As agreed, then, Jack. Refreshment?

Shang OPENS the top of the gold-handled sword cane. Inside are large,
solid LUMPS of cocaine. Jack reaches for the choicest.

AMSTERDAM
Still smiling, are you?

HAPPY JACK
(sizing him up)
It's the young Vallon, is it? I hardly recognized you.

AMSTERDAM
I hardly knew you under that hat, Jack.

By now, Jack has taken not only the cocaine, and the money and swag Shang
offers, but several of the purses and wallets Jenny delivered. Jenny
stares at him with contempt, and he laughs, tossing one of the purses back
at her.

JACK
There. For your respect.

Jack turns to leave but a BRASH BOY blocks his way. Moving fast and fancy,
Jack bashes the Boy to the floor with his nightstick.

HAPPY JACK
Anybody else? Any number at all, come on.

Several of the gang make a move toward Jack, but Shang WAVES them back.
Jack departs UNHARMED, to general disgust. Jenny walks back across the
room to help the Brash Boy. Shang GLARES at Amsterdam, slides his sword
back into his cane and follows Jenny, trying to explain himself.

AMSTERDAM
Is that sand we've just seen?

JOHNNY
It's politics.

CUT TO

36 EXT. PARADISE SQUARE DAY

A hot summer day. All the TRADESMEN are out in force, jamming the square
and the side streets leading to it. Amsterdam walks fast through the
crowd, enjoying the freedom and the bustle, as Johnny tags along close
behind him.

AMSTERDAM
I've got my own way to go, why don't you find yours?

JOHNNY
Because your way's different, and I want to see where it goes.
(Amsterdam looks at him)
Unless you say otherwise. Amsterdam shrugs and keep walking.

JOHNNY
You act like you have something in mind, like you know every day what
you'll be doing the next. Me, I don't figure on tomorrow.

AMSTERDAM
Well, if you shut up a while maybe it'd come on its own.
(he stops, looks)
Now what the hell's that?

JOHNNY
(following his glance)
Oh that's heaven.

WE SEE what they're looking at: the Old Brewery. In worse shape than ever
before, but shut-down, abandoned. A tattered banner flaps against the
front door: "Future Home of the Five Points Mission/ Praise God!/ The
Reverend Shadrach Raleigh, Pastor."

JOHNNY
The city shut down the Brewery as unfit to live and Tammany gave it over
to this minister.

AMSTERDAN
What's Tammany?

JOHNNY
Why Tammany ... you don't know? Tammany makes the city run. A political
organization that's like... like the Native Americans, only ranging over
the whole city.

CUT TO

37 MONTAGE

As Johnny continues to speak, we see Tammany tactics in action:
WARD-HEALERS dispensing coal to the poor, and TOUGHS stealing meat off of
butcher's wagons; a political PARADE with fife and drum-and
politicians--including Boss Tweed--in ceremonial Indian costume, and a
group of GOONS busting up a saloon; Tweed making a speech to enthusiastic
CONSTITUENTS and a Tammany Fire Company tearing through the streets,
scattering everyone in their way, finally revealing they are not rushing
to a fire but are CRASING OFF a rival fire company.

JOHNNY
They seem like the law, but they got a way of acting outside the law.
Anything that happens in this city, on the straight or on the sly,
Tammany's a part of, and Boss Tweedls the heart of Tammany.

CUT TO

38 EXT. PARADISE SQUARE,/OLD BREWERY DAY

Amsterdam studies Johnnyls enthusiastic face.

JOHNNY
They're the best gang there is.

AMSTERDAM
So if Tammany's the best, go with Tammany. What are you running with this
mob for?

JOHNNY
'Cause they're more my size for now. With Tammany, you got to do something
large, something that makes them take notice of you.

AMSTERDAN
You're better oft without their notice. You can run free, work your own
schemes.

JOHNNY
But if your schemes have size, you need size to bring them off.

AMSTERDAM
What are you thinking?

Johnny shrugs, grins: he doesn't want to give anything away. Amsterdam
understands, turns toward the Brewery.

AMSTERDAM
Let me in if you ever get it figured.

Amsterdam starts toward the Old Brewery, Johnny keeping step.

AMSTERDAM
I'll go on my own from here.

Johnny STOPS and Amsterdam continues on by himself.

CUT TO

39 INT. MAIN ROOM/OLD BREWERY

Echoing. Dank. Amsterdam holds a candle high for light. RATS skitter. He
crosses the main floor, enters one of the side tunnels.

CUT TO

40 INT. ROOM/OLD BREWERY

A tiny room we recognize from the first scene: this is the place where
Amsterdam lived with his father. He crouches and TEARS UP some
floorboards, then quickly LOWERS HIMSELF into the hole.

CUT TO

41 INT. UNDER FLOOR/OLD BR.EWERY

A short tunnel under the Brewery floor, the kind a kid might make.
Amsterdam has trouble crawling through it. DIRT and ROCK sprinkle him
until he finds what he wants stuck in a shallow hole; a battered leather
MONEY PURSE; and a PAPER-WRAPPED PACKAGE.

Amsterdam snaps open the purse to make sure the little bit of MONEY is
still there, then turns his attention to the package. He TEARS it open.
Inside is the PIRATE KNIFE that Bill the Butcher used to kill Amsterdam's
father.

Amsterdam handles the knife carefully as he opens it. The candle light
makes the blade GLEAMS.

CUT TO

42 EXT. ALLEY/OLD BREWERY DAY

A shock of summer SUNLIGHT as Amsterdam emerges from one of the back
entrances of the Brewery onto a fetid alley filled with rotted barrels,
broken glass and insensible drunks.

Amsterdam looks carefully up and down the alley, letting his eyes adjust
to the bright light. Ahead of him, he SEES ...

Shang Draper, in jovial conversation with a SECOND MAN we do not
recognize. The man is bareheaded, and has a deep scar running back to
front clear down the center of his bald head. Amsterdam waits, WATCHES.

Shang takes the RED SILK SCARF he got from Jenny's swag and hands it to
the Second Man. He and Shang SHAKE HANDS, as if they have concluded a
business deal, and the Second Man walks away.

Amsterdam PRESSES himself close to the door as Shang LOOKS AROUND...
doesn't see Amsterdam... and walks off in the opposite direction, across
Paradise Square.

CUT TO

43 INT- RECEPTION ROOM AND TWEED'S OFFICE DAY

The main room is as loud and as prosperous as the stock exchange. Bill the
Butcher makes his way past Small GROUPS of men engaged in heated political
dealings of dubious virtue.

Bill knocks on the door to Tweed's private office while he's opening it.
Inside is Boss Tweed, seated in a large WOODEN BOX like a primitive sauna.
Around him are various PETITIONERS, and his assistant Daniel Killoran.

TWEED
I dread city stimmers. They bring illness and beget vermin.

PETITIONER #l (GLEASON)
My plague box fends off all pestilence. Its elixir combats ill humors...

KILLORAN
We can't have every citizen of the Five Points boxed up like cargo.

TWEED
But the season is vicious, and I must take thought of our constituents.
Mr. Gleason, I'd like you to shake hands with Mr. Barnett Baff...

Gleason, dubious, shakes hands with PETITIONER #2 as Bill the Butcher
looks on with amusement.

TWEED
A friend and owner of an estimable carting service. Work out an
arrangement whereby the citizenry can receive the benefit of Mr. Gleason's
wondrous elixir outside this excellent box. At a cost, Mr. Gleason, of how
much the barrel ...

GLEASON
(figuring rapidly)
Oh, perhaps twenty-five dollars.

TWEED
...and how much, Mr. Baff, for haulage and distribution...

BAFF
The same again. At least.

TWEED
At least. That's a price of fifty dollars. And greedy, low piracy at that
(Gleason and Baff splutter)
But a price that Tammany, in its generosity, will meet. Merely submit a
bill for a hundred. We'll each have half. And I'll retain this box for
further experiment. Hello, Bill.

Killoran LEADS the astonished Gleason and Baff away as Bill APPROACHES.

TWEED
Bolt the door.

Bill complies. As Tweed speaks and the anti-plague VAPORS SWIRL around his
head, he keeps his eyes closed.

TWEED
Scotchy Lavelle's gone wrong in his accounts.

BILL THE BUTCHER
I know. Scotchy's a good man.

TWEED
Not good enough to rake thirty percent of our share from Sparrow's and use
it for his own.
(opens his eyes)
You got to give him over, Bill.

BILL THE BUTCHER
I can't do that. No matter what he steals, I still get more from him than
any two others. As do you.

TWEED
Alright then. What about Charles McGloin? He's running a panel game off to
one side. Did you know that?
(Bill shrugs)
I can't get a day's work done for all the good citizens pouring in here
complaining about crime and corruption all over the Points. They accuse
Tammany of carelesoness. Some even suspect ... a few practically suggest.
(eying Bill significantly) 
... our complicity with this rampant criminality. We must show them
Tammany stands behind the letter of the law. We need to set an example. 
BILL THE BUTCHER
(beat)
Charles McGloin will do.

TWEED
I'll set the trial for Friday.

CUT TO

44 EXT- TOMBS DAY

CAMERA moves high along the outside wall, past small rectangular slits
that pass for jail windows. EYES peer out, as if a peep show is underway
directly below in the Tombs courtyard. A PRISONER is being readied for the
gallows by having a hood tied to his head.

The CROWD is in a carnival mood; HOT CORN GIRLS, STREET VENDORS,
"HOKEY-POKEY" (i.e., ice cream) MERCHANTS, even BUSKERS, all add to the
holiday spirit.

Jenny works through the crowd, pushing and smiling her way past groups of
raucous merrymakers. She stops once or twice to have a word with a
GENTLEMAN, flirts for a moment, then moves on.

Further back in the crowd, Amsterdam NOTICES her. He watches her go
through the crowd with an admiration that quickly turns to FASCINATION as
he realizes what she's doing: picking pockets. The best bludget in the
Five Points. He starts to FOLLOW her.

Jenny has worked her way close to the hanging platform, but she's so
intent on her job she has not noticed Amsterdam. The closer the platform,
the closer the spectacle and richer the pickings: Jenny's concentration is
absolute. On the platform, an ASSISTANT HANGMAN addresses the Crowd.

ASSISTANT HANGMAN
Those interested in the effects of the condemned please come forward.

44 CONTINUED:

Part of the Crowd PRESSES in toward the platform, temporarily blocking
Amsterdam's view of Jenny. He is right against the platform.

ASSISTANT HANGMAN
What am I bid for this coat? A coat of some wear but excellent cut...
containing a rather remarkable pocket silk...

MAN IN CROWD
Bid a quarter!

HANGMAN
A quarter, thank you. Do I hear fifty cents? Fifty cents?

The Hangman is holding up the condemned man's coat which contains the RED
SILK SCARF Amsterdam saw Shang give away. Amsterdam flips the HANGMAN a
quarter, reaches out and GRABS the handkerchief.

AMSTERDAM
Here. Just for the silk.

He stuffs it into his pocket and starts to PUSH his way through the crowd.
On the platform, the WARDEN steps forward holding a primitive megaphone.

WARDEN
Do you have any last remarks, Charles McGloin?

McGloin grunts from underneath the hood.

MCGLOIN
Not from under this hood I don't.

Crowd near the platform begins to CHANT "No hood, no hood, no hood!" The
Warden puts his hand on the hood, starts to remove it...

... and the Crowd CHEERS. Amsterdam turns, SEES: Charles McGloin. Bald,
with a deep scar running front to back on his head. The very SAME MAN he
saw in the alley with Shang.

McGloin acknowledges the cheers of the crowd. The Warden holds to
megaphone close and McGloin bellows...

MCGLOIN
I never struck a foul blow or turned a card and may God greet me as a
friend!

The Crowd ROAR approval at these words. Amsterdam PUSHES through the
crowd, looking for Jenny ... SPOTTING her finally...

... while up on the platform, the NOOSE is placed around McGLOIN's neck,
and he is HOISTED UP in no time. We hear his neck SNAP. His feet kick
after death. The Crowd raises a zighty cheer.

CUT TO

45 EXT./INT. BROADWAY AND BROADWAY STAGE DAY

Amsterdam walks with a crowd toward a waiting Broadway stage, a vehicle
that looks like a horsedrawn train car. The stage will take spectators
back uptown from the hanging.

He is working his way toward Jenny, who is now BOARDING the stage.
Amsterdam DASHES through the crowd and SQUEEZES onto the stage, which
moves forward with a JOLT.

Once on board, Amsterdam looks through the jammed car, SEES: Jenny, about
to sit down - A MAN has offered her his seat. She smiles dazzlingly as she
sits...

... and arranges her hands genteelly on her lap. The Man looks down on her
and she smiles up at him again. He is bequiled.

Amsterdam manages to get a little closer.

MAN
I hope you won't think me rude if I speak.

JENNY
No, sir. You look a proper Gentleman down to the ground.

As this conversation continues, we watch-not only Jenny and The Man in
conversation, and Amsterdam watching them; but we begin to notice what
Amsterdam SEES. Although Jenny's hands apparently remain folded on her
lap, her RIGHT HAND moves SLOWLY out from her wrap... toward The Man...

MAN
Well, I wouldn't want you to think me forward, you see.

... and BRUSHES past his jacket. He does not notice or feel a thing.
Jenny's hand GLIDES past his THIGH ... nearly brushing it ... moving up
across his pelvis and around his buttocks...

JENNY
Does it matter to you what I think?

MAN
Well, I might like it to.

JENNY
Oh.

...toward his pocket. The Man is in Jenny's thrall. He feels nothing and
continues to have no idea what is going on. But Amsterdam KNOWS. Every
silken, surreptitious move of her HAND across The Man's body is like a
CARESS that Amsterdam can feel. Jenny's grace is balletic and EROTIC. As
she picks The Man's pocket, she is, without knowing it, also seducing
Amsterdam

MAN
I mean, if you would like.

JENNY
I might like, sir. But I can't say now.

Her hand HOVERS above his pocket, waiting for the SWAY of the stage to
match and mask her movement....

MAN
Why?

... and she starts to get up as soon as the stage JOSTLES. The entire car
full of passengers LEANS into one another...

... and Jenny's hand SLIDES the Man's WALLET from his trousers as

he recovers his balance. Amsterdam watches her withdraw her HAND in a
flash and hide it beneath her wrap.

JENNY
Because this is my stop.

MAN 
May I walk with you a little, then? 
JENNY
(firmly)
That would be too bold.

MAN
But I'll never see you again.

JENNY
I come every Thursday to the Tombs to see my father.

MAN
I'll look for you.

Jenny fetches him another fine SMILE--it's almost demure--and takes her
way off the rear entrance of the stage.

lt PULLS AWAY up Broadway and Jenny walks briskly toward an alley.

CUT TO

46 EXT. ALLEY/BROADWAY DAY

Jenny looks to make sure she has the alley to herself, then moves her body
a little...

... and her arms seem to come off. She has been wearing a set of
ARTIFICIAL ARMS, hollow inside, which she can leave folded on her lap
misleadingly while she goes about her pickpocketing.

She's folding up the appliance--cotton sewn over a soft form-when a VOICE
behind her makes her turn.

AMSTERDAM
May I walk with you a little, then?

CUT TO

47 EXT. BROADWAY DAY

As Jenny and Amsterdam walk through the noisy bustle of the city's main
thoroughfare.

JENNY
Are you a spy, then?

AMSTERDAM
Got no one to spy for. I'm an appreciator, you might say.

JENNY
Appreciator of what?

AMSTERDAM
A good touch.

She STOPS in the street, looks him straight in the eye.

JENNY
Don't bother with the chat. If you want me, we come to a business
arrangement. lf the terms is right, then I decide how you suit me. Then I
do it or not.

AMSTERDAM
Just take a minute, I was Just...

JENNY 
I know what you was just. I had years already of what you was just. You
know how I got so good at thieving? So's I wouldn't have to lay down for
everyone who had the ned. Now I do it when I want to for how much I want
to. Otherwise I don't do it, and don't have to do it, and to hell with
anyone's rules but my own. 
AMSTERDAM
What about Shang's rules? You pay a lot over to him. The better your day,
the better his. It don't seem gute right.

JENNY
(a little curious now)
What's it to you?

AMSTERDAM
Give him this.

He hands her the RED SILK SCARF. She recognizes it instantly as the same
one she gave Shang.

AMSTERDAM

And you can keep a little more of what you earned.

JENNY
How'd you come by this?

AMSTERDAM
I got my own touch.

JENNY
Are you making me a present, or making an Arrangement?

AMSTERDAM
It's your rules, right? So you decide.

She looks at him for a moment, then starts to TIE the scarf around her
neck like a kerchief.

CUT TO

48 INT. HIDEOUT

A gentlemen's WALLET skims across a pitted wooden table, straight into
Shang's hand. Jenny is giving him her CUT. He opens the wallet, looks up
at Jenny. No more goods are forthcoming. Amsterdam, hanging back, watches
them both.

Shang SEES the RED SILK SCARF, tied around her neck.

SHANG
Pretty slim cut for a hanging day. Where'd you get that?

JENNY
From Amsterdam.

SHANG
(beat)
It don't suit you.

CUT TO

49 EXT. STREET AND PARADISE SQUARE NIGHT

A SWELTERING evening. The streets are jammed with REVELERS and RESIDENTS.
Some people sleep in doorways in futile search for fresh air. Happy Jack
Mulraney leads a group of apprehensive UPTOWN CITIZENS past drunks and
whores.

JACK
Commissioner Brunt said to spare you nothing concerning conditions.

CITIZEN
Nothing but our safety, of course.

JACK
All's snug around Paradise Square in my company, squire. See there.

He gestures toward the street, down which one oi Mr. Barnett Baff's CARTS
is being drawn by a team of WHEEZING NAGS.

The cart bears massive barrels of what a colorful banner advertises as "an
anti-pestilence influenza-thwarting solution... a service of Tammany
Hall." As the wagon draws abreast of a large group of languishing
RESIDENTS, HOSES spurt waves of solution all over the streets. Many people
are SOAKED. Jack and his Citizens jump back just in time.'

JACK
Tammany makes the streets nanitary, I make 'am safe.

WOMAN CITIZEN
(apprehensive)
Even against them?

A small distance behind the anti-plague cart, moving in rough formation,
come some of Shang's mob, heading aimlessly across the Square cruising for
action

JACK
Against them especially. Let me demonstrate.

Jack takes out his GOLD WATCH AND CHAIN, which he HANGS carefully over a
nearby lamppost. Then, very casually, he leads the Citizens off.

JACK
We'll be back for this at our leisure.

WOMAN CITIZEN
You dare leave it here?

JACK
Safe as a vault, lady. Since all knows it's mine.

The Gang draws abreast of the lamppost. No one makes a move to take the
watch until one of the YOUNGEST BOYS reaches out ... but

Shang knocks his hand away. Jack, at a distance, NODS approvingly.

SHANG
You know that's Jack's.

BOY
So what?

AMSTERDAM 
It should be hangin' off Jack's vest, then. Not here, like some war flag. 
SHANG
That watch is a small price for free run of the Points.

AMSTERDAM
If it's free, how come we pay so much? Wo shouldn't pay for what's our due.

SHANG
We don't tight when we don't have to. It's not warring that counts. It's
the living day to day.

ANSTERDAM
(smiles)
Is that right? Did I hear that correct? John, did we hear that correct?

Eyes now on Johnny. Jenny looks at him with great interest.

JOHN
(uneasy pause)
We heard the same.

AMSTERDAM
So then.

He reaches for the watch.

CUT TO

50 EXT. STREET AND PARADISE SQUARE NIGHT

Happy Jack stands at the lamppost, aghast. A WOMAN lowers her head and
retches. Jackls watch and chain are still in place.

But the watch has been SMASHED. And hanging from the chain is a BLACK CAT,
skinned and strangled.

CUT TO

51 INT- HIDEOUT

Happy Jack stands with his Citizens. The room QUIETS as, one by one, the
mob notices him.

JACK
You!

He GRABS the Young Boy who had reached for his watch on the lamppost and
starts to BEAT him.

JACK
What'd you do to my watch, you dirty little bastard...

Jack breaks the Boy's hand with his nightstick. The Boy SCREAMS

and FAINTS. So does one of the Women in the group. Jack takes the Boy's
other hand.

JACK
Hands won't be so quick in future.

SHANG 
That's enough sport this evening, Jack. 
JOHNNY
(stepping forward)
It wasn't him.

All turn to look at Johnny. Jack drops the Boy's hand.

JOHNNY
I have word for you from who did it. You're to meet him at Sparrow's
Chinese Pagoda.

CUT TO

52 INT. SPAPROW'S CHINESE PAGODA NIGHT

A low and lunatic place: a combination of an opium dream out of the
Arabian Nights and a panel from a Bosch triptych. FAN-TAN games played by
Orientals; WOMEN and CHILDREN of various colors suspended in cages from
the ceiling as MEN and WOMEN in a secondfloor GALLERY point at them and
JOKE. On the main floor, a long line waits for a shot at the barrel of
All-Sorts. Jack charges in the front door, looks around.

JACK
All right, step out, you yellow...

All the NOISE subsides. Only the Fan-Tan game continues;

nothing is so interesting that these Orientals will stop gambling.

Now Amsterdam STEPS right in front of him. It's a grandstand play.

AMSTERDAM
Hello, Happy Jack. I'm the one you're looking for.

JACK
Then you're marked for dead.

Jack lunges ahead, swinging his NIGHT STICK. Amsterdam throws a chair
across his path. Jack stumbles, goes down, dropping his night stick.
Amsterdam grabs it, jumps on top of him, HITS him twice on the side of the
head. There is a CRACKING SOUND. The PATRONS of the Pagoda gather round.

CUT TO

53 INT. SPARROW'S CHINESE PAGODA NIGHT

Later. Festive again. And no sign of Amsterdam.

Two PATRONS step away from the all-sorts barrel. Hanging from the spigot
like the cat from the watch chain is the BODY of Happy Jack Mulraney. The
belt has been removed from his trousers, tied like a NOOSE around his
throat, then looped over the spigot. His TEETH lie scattered on the floor
around him. His NIGHT STICK has been jammed down his throat.

CUT TO

54 EXT. DOCKS/HIDEOUT NIGHT

Amsterdam holds the FANCY COAT from Jack's uniform over his arm.
Carefully, he DRAPES the coat over Jenny's shoulders. SHANG steps forward.

SHANG
I gave no order for this.

Amsterdam says nothing at first, just holds his hand out: he's holding the
RED SILK SCKRF.

AMSTERDAM
(very quietly) 
Never mind giving orders. What were you giving this for? 
SHANG
I'm calling you out, Amsterdam.

AMSTERDAM
I got this at the hanging. It was Charles McGloin's. Everybody here saw
you take it from Jenny. What was MCGloin doing with it? What'd you give it
to him for?

SHANG
I didn't give it to him. Why would I give it to him?

AMSTERDAM
I gaw you give it to him. Last week, behind the Old Brewery.

SHANG
(to group)
He's gone flat. I got no reason to trade with the Native Americans.

AMSTERDAM
What about stepping up in the world, as it were, and leaving the rest of
us behind. There's a reason. Making a separate arrangement for yourself
with the one Native so stupid and luckless that he got hung. That's you to
the ground, Shang.

SHANG
(very edgy now; to group)
Who believes what he's saying? Can any of you believe what he's saying?

AMSTERDAM
Bene. We'll see. Any of you that believes I did proper by Happy Jack
Mulraney tonight, stand beside me. Any of you that still likes Shang's way
with the cops, and Shang's way with the Natives, go to him.
(to Shang)
Or should we settle right now, you and me, and just see which of us is
left standing?

SHANG
Let see where they stand.

Jenny rises, stands next to Amsterdam. Jimmy Spoils, Johnny, Sheeny Mike
are next. Now the other members of the mob move in clusters to all STAND
with Amsterdam.

AMSTERDAM
What's your pleasure, Shang?

One of the YOUNG BOYS has a dead rat blackjack hanging from his belt.
Shang grabs it. He BITES the head oft the rat and spits it across at
Amsterdam. Amsterdam almost smiles at him. Shang sneers, drops the body of
the rat, and LEAVES.

AMSTERDAM
This mob ever have a proper name?

JOHNNY
We was called after Shang when we was named at all.

AMSTERDAM
We're the Dead Rabbits from now. They were the best. They were history.
They were legend, and we'll live up to them.

CUT TO

55 EXT. DOCKS/WATERFRONT NIGHT

Amsterdam sits on an empty pier, watching the ships in the river. There's
a SUDDEN RUSTLING NOISE as a NOOSE coils around his neck.

It's Jenny. She's slipped the SILK Amsterdam gave her close to his throat,
and she's TIGHTENING it. Amsterdam starts to resist. Then he sees how's
she's looking at him.

She uses the silk to bring his face closer to hers. She KISSES him.

AMSTERDAM
What's this then?

JENNY
Payment for the silk.

Then DROPS the silk from his throat and starts to touch him. Then his
hands are under her skirt. Then, under the cloudy moonlight, they start to
make love.

CUT TO

56 EXT. DOCKS/WATERFRONT NIGHT

Later. Amsterdam pulls Happy Jack's uniform COAT over Jenny to keep her
warm in the chill air.

JENNY
You were waiting for me out here, weren't you?

AMSTERDAM
Maybe I was, yeah.

JENNY
You was that sure of me?

AMSTERDAM
Sure enough to wait, anyway. Waiting don't cost nothing.

JENNY
It don't do to be sure. I could go away just as easy.

AMSTERDAM
Alright.

He sweeps the coat away from her body, allowing her to leave.

JENNY
I'll say when I want to, not you.

AMSTERDAM
Stay then.
(beat; smile)
One way or another, I get what I want.

JENNY
(looking at him)
Yeah. If it was just a shag you wanted.

AMSTERDAM
You're a gypsy, are you, come to tell my fortune? Go ahead then. Tell me
what I'm wanting.

JENNY
You got blood in your eye for someone.

AMSTERDAM
It's just I can't look away, that's all.

JENNY
Who from?

AMSTERDAM
Bill Poole.

JENNY
You better get someone else in your sights. No one's ever taken him.

AMSTERDAM
'Cause he's mine, that's why. I'll take his one eye, and then the rest of
him, piece by small piece.

JENNY
You have a plan for this? You going to raise a militia? I'll wager Bill
the Butcher don't even know about you or care if he does.

AMSTERDAM
He'll know about me soon enough.

JENNY
And after the Butcher?

AMSTERDAM
You.

JENNY
Is that so?

AMSTERDAM
You'll be in love with me.

JENNY
Love you? You just had me. You can have a mort any time you want. So why
look for more than that.

AMSTERDAM
That's taking love, not giving it. I want it to be just you and me, no one
else for either.

JENNY
Why?

AMSTERDAM
'Cause none of us means nothing in life except one to the other.

JENNY
I don't know I want to mean something, to you or anybody. Can there be
good in that?

He stares at her.

AMSTERDAM
We'll see.

Jenny pulls the coat tighter around her.

JENNY
It'll take a while if we do. If we ever do.

AMSTERDAM
And what about the meantime?

JENNY
Meantime's business.

CUT TO

57 EXT PARADISE SQUARE DAY

A CROWD gathers in one of the main thoroughfares bisecting the 5 Points. A
beefy SPEAKER is making an anti-Irish speech on behalf of James W. Barker,
a mayoral candidate supported by Tammany's current rivals, the
Know-Nothing Party. Hand-painted signs are everywhere, bearing Barker's
unsavory likeness. A couple of BUSKERS provide a musical score for the
political spiel.

SPEAKER
The potato is a thick vegetable. Heavy. Meaty. Comes out of the ground
dirty and stays that way unless you scrub it and boil it to death!
(cheers and laughs from crowd)
We don't want to keep lem out of the country! We'll even give 'em a place
at our table! But we ain't gonna vote 'em into office.

Much CHEERING and jovial approval from the Crowd. On its fringes,
Amsterdam and the Dead Rabbits make their way roughly across the Square.

SHEENY MIKE
Any Irish hears that will be out for blood.

AMSTERDAM
The Irish is too busy building up Tammany. That's where their brains and
muscle goes. Once they're inside with their cronies, they turn on their
own outside. Tammany'd steal the air and rent the daylight if they could.

SHEENY MIKE
We'd do the same.

AMSTERDkM
Not against our own we wouldn't. That's the difference.

JOHNNY
Tammany earns better. That's the difference.

AMSTERDAM
I ain't seen their ned yet.

Johnny stops walking, betraying slight annoyance that he has to explain
the day's deal.

JOHNNY
You will at day's end, that's our arrangement. A quarter a voter, whether
they're repeaters or not. I'm telling you, we got a square deal.

SHEENY MIKE
It's sound, Amsterdam.

AMSTERDAM
Yeah? Well, it's ned anyway. Just make sure you count it when we get it.

JOHNNY
It's just a day's job, we don't have to make it a life's work. We work for
Tammany today and kill them tomorrow, if that's our pleasure.

JIMMY SPOILS
So we're politicians just for today.

AMSTERDAM
Not for a minute. We're better than that. We're thieves.

CUT TO

58 MONTAGE

The Dead Rabbits go about the business of rounding up Tammany voters. They
pick up DRUNKS in alleys; Jenny and some of the Dead Rabbit MORTS raust
PATRONS in a whore house; Rabbits shanghai SAILORS from saloons; corral
CITIZENS as they walk along the street, either wheedling or bullying to
get them to vote. It's the strong arm of democracy.

CUT TO

59 EXT. POLLING PLACE DAY

On one side of the door, some Dead Rabbits, with a RABBLE of potential
voters; on the other, POLICE doing their best. Behind and all around,
various WARD HEELERS and SMALL-TIME POLITICIANS, representing both the
Know-Nothing candidate Barker and Tammany's Fernando Wood. Varicus
factions push and pull at one another as they wedge their VOTERS into the
polls.

JIMMY SPOILS 
He's got the right to vote, damn you! 
COP
Not four times he don't.
(shoves a Voter)
There'll be no damned repeaters here!

The Cop and Jimmy play tug-of-war with a besotted VOTER, while other gang
members rush to GRAB VOTERS leaving the polls.

PANDEMONIUM.

CUT TO

60 INT. TAMMANY HALL DAY

The main floor is jammed with CLUBMEN and PARTY RACKS. Daniel Killoran
bustles from group to group, making promises, taking notes and searching
out Boss Tweed, who is holding court in a far corner, surrounded by
JOURNALISTS.

BOSS TWEED
I would never speak ill of a rival. I would never say that every
Know-Nothing is a horse thief. It is my observation, however, that every
horse thief is a Know-Nothing.

Good-natured LAUGHING all around. Even TWEED seems amused. Killoran
catches the Boss' eye and whispers to him.

KILLORAN
The Know-Nothings are already finished, and there's four more hours at the
polls yet.

BOSS TWEED
Keep our men voting. Everybody works today. It's not a victory we need,
Daniel. I want a triumph.

CUT TO

61 INT. DON WHISKERANDOSO BARBER SHOP DAY

Amsterdam roughly deposits REPEAT VOTERS in the barber chairs, as the
BARBERS work FRANTICALLY to cut their hair, prune beards, and otherwise
alter appearances. As soon as one customer is done, Sheeny Mike douses him
with bay rum and pushes another REPEATER down in his place. Johnny keeps
count of the turnover.

DON WHISKERANDOS (BARBER)

Now that's eight... and how many still to come ...

He looks toward the door, where more Repeaters are lined up, waiting their
turn under close supervision.

REPEATER
I already voted once today. Cast for Tammany, by God, and Fernando Wood.

AMSTERDAM
Once? Come here and do your duty.

Amsterdam GRABS him and SLAMS him down in a chair.

CUT TO

62 INT. FAN-TAN PARLOR DAY

Amsterdam and some RABBITS BURST into the front door, frightening and
scattering all the Chinese GAMBLERS.

AMSTERDAM
(barking orders)
Line up like soldiers!

SHEENY MIKE
They got no notion what you're talking about.

AMSTERDAM
(To Johnny)
You explain their democratic right. Illl see they unterstand.

Amsterdam GRABS the nearest two CHINESE by their PIGTAILS and
HURLS them against the wall.

CUT TO

63 INT. OPIUM DEN

Amsterdam and the Rabbits PROWL the murky darkness where OPIUM EATERS lie
in bunks stacked high against the walls. The Rabbits start ROUSING and
rounding up the Opium Eaters. Jimmy Spoils SLINGS a couple over his
shoulder like flour sacks. Amsterdam SHOVES two more out the door, past an
admiring Daniel Killoran.

KILLORAN
(to Johnny)
I come to see if our counts square. You boys have made a remarkable
showing....

AMSTERDAM
Who the hell's this?

JOHNNY
He's our Tammany man.

Killoran compares his figures to the piece of paper where Johnny has been
keeping his own count.

KILLORAN
... remarkable...

AMSTERDAM
(With an edge)
Our own Tammany man. We are coming along. Happy to meet any friend of
Johnny Siroccols.

KILLORAN
Likewise. Pleasure to meet the best but one in the whole Five Points.

AMSTERDAM
Best but one? Who's better?

Killoran looks up. Johnny, standing behind Amsterdam, SHAKES his head "NO"
VIGOROUSLY. Killoran gets the message.

KILLORAN
(smooth)
Maybe nobody. But when the count's done the numbers will tell who's come
out in front.

AMSTERDAM
I'm in no race. Just pay us what you owe.

KILLORAN
Tonight. At the victory celebration.

CUT TO

64 INT. SPARROW'S CHINESE PAGODA

A Tammany victory celebration. When we last saw this place--as Amsterdam
confronted Happy Jack--the place was busy, alive. It's RIOTOUS now, jammed
to bursting with POLITICIANS, CRIMINALS, GANG MEMBERS, MORTS, WHORES,
HANGERS-ON, UPTOWN THRILL-SEEKERS, JOURNALISTS and COPS, not all of them
off duty. The SOUND of the place is a cacophony of SHOUTING, SINGING,
GAMBLING and STRANGE MUSIC--which we can't identify at first. We START
CLOSE on a huge ruby ring and we HEAR...

BOSS TWEED
(V.O.)
Read what it says there, alongside the ruby...read it out ...

... and WE MOVE OUT as a WELL-WISHER reads the Latin inscription.

64 CONTINUED:

WELL-WISHER
"Fortuna Juvat Ordentes."

TWEED
A grand victory gift from the men of Tammany. Now, tell 'em what it means,
Mayor Wood.

WOOD
"Fortune favors the bold."

TWEED gives him a resounding slap on the back.

BOSS TWEED
What do you think? Would that make a fit motto for our fair City?

WOOD
Well, I could certainly see ...

KILLORAN
(interrupting)
We've got a motto.

BOSS TWEED
what is it?
(no one knows)
Well, hell, let's get one we can remember. We're going to build a new City
hall, we better have something to put over the front door. And Mayor,
you'll make sure the Latin's right?

As Wood nods his assent, CAMERA MOVES across room...

... past the gilded CAGES suspended ten feet over the floor, where the
women and children look down at the action just below them with a mixture
of trepidation and resignation. Occasionally a REVELER will jump up to try
and GRAB one of the caged inhabitants. Still MOVING, CAMERA...

... passes a stage, where we finally SEE the source of all the strange
MUSIC we've been hearing: the music is provided by

CHINESE MUSICIANS, a woman SINGER, a DANCER and some ACROBATS. They
perform some weird, mangled Five Points version of Chinese opera. The
music and performance continues as we MOVE PAST...

... across a PEWTER FAN-TAN TABLE, where CHINESE GAMBLERS play with fierce
animation and concentration. By comparison, the Occidental types playing
beside them seem like tourists.

Everyone SHOUTS and SCRAMBLES to place bets with the FAN-TAN DEALER.

Above the Dealer is an oval opening in the ceiling, through which OTHER
PLAYERS may watch the action below. These FAN-TAN PLAYERS lean over an
elegantly carved rail, peering at the action on the table below, placing
their bets and collecting their winnings by means of a BASKET attached to
WIRES that whirrs constantly overhead. We continue to MOVE PAST...

... until we are at the door of the place, where Amsterdam, Johnny and the
Rabbits are having words with a BOUNCER.

BOUNCER
I don't know you, you don't enter.

AMSTERDAM
(enjoying himself)
Come on, what are you saying? If you don't know us now, you'll know us
tomorrow and you'll be working for us next week.

JOHNNY
(more temperate)
Daniel Killoran knows us.

BOUNCER
Oh he does?

JOHNNY
We work for him.

AMSTERDAM
The hell we do.

JOHNNY
(to Amsterdam)
Tampen down, will you?

BOUNCER
Why don't you all get the hell out of here and go fix on a story? Go on!

He SHOVES Johnny, who STUMBLES back into Amsterdam. They're both mad now,
and they step forward together toward the Bouncer...

... until Killoran intervenes.

KILLORAN
(to Bouncer)
It's all right, Nat. They're saying the truth. They gave a good day's work
for a good wage.

Killoran HANDS OVER a paper-wrapped parcel of money, which Amsterdam takes
firmly.

KILLORAN
A fine first showing. But second best.

AMSTERDAM
Second, eh? You don't say so.

KILLORAN
It's no shame to be bested by veterans. The Native Americans always sweep
the field.

AMSTERDAM
What?

KILLORAN
We count on them sure as mass comes an Sunday.

AMSTERDAM
(to Johnny, glaring)
Did you know this? Is this some scheme of yours?

JOHNNY
No, I didn't have no idea ...

AMSTERDAM
I was working the same side as the Natives? The Natives?

KILLORAN
That's only right. Bill the Butcher's our ambassador throughout the
Points, as you might say. It's deemed an honor to work with him. Everyone
knows Bill Poole, everyone fears him, everyone ...

AMSTERDAM
I sure as hell don't fear him. And I sure as hell won't stand with him, or
any who calls him one of theirs.

KILLORAN
Well, if it's matter of personal honor, the money can only be a further
insult. I have no wish to rile you further, so if you'll allow me...

He REACHES to take back the parcel of money, but Amsterdam BATS his hand
away.

AMSTERDAM
Where is he? Where's Bill the Butcher?

KILLORAN
Listen, buck. This is a Tammany night. If you and Bill Poole have matters
to settle, you can do it any other time, any other place, I don't give a
good dancing goddamn. But you do it here tonight and all the Five Points
will be down on you like the righteous wrath of heaven. or you could, as
the Book says, put away childish things. Join the celebration. Personally,
I always find the least strenuous solution the most appealing. Don't you?

Amsterdam stares at him as we...

CUT TO

65 INT. SPARROW'S CHINESE PAGODA

As a CHINESE ACROBAT TWIRLS in the air, off the stage, and lands in the
middle of the audience. The crowd is raucously appreciative as the Acrobat
does GYMNASTIC MOVES among them...

... past a table where the Dead Rabbits have settled. it is later in the
evening, and everyone has been drinking.
Amsterdam, sullen, intense, WATCHES ...

..Bill the Butcher, across the room. He is like a prince regent. Everyone
pays him court, including several uniformed COPS, TAMMANY HANGERS-ON, and
NEWSPAPERMEN. Bill receives the attention as his due....

... while Amsterdam keeps watching, contempt and hatred gleaming in his
eye. He pays attention to none of the gang around, including Jenny. Johnny
takes advantage of the situation.

JOHNNY
I got experience. It's the education I lack.

JENNY
And you heard I was a good teacher?

JOHNNY
I don't listen to talk, I figure for myself. And I figured you'd be good
at everything you did.

JENNY
That's right.

JOHNNY
And tonight I got the ned.

JENNY
And now what?

JOHNNY
Now I'm ready for you. Unless there's an arrangement between you and
Amsterdam.

JENNY
(glancing over at Amsterdam)
Not to my thinking.

JOHNNY
(needs to be sure)
Amsterdam... listen up, Amsterdam...

Amsterdam glances over at them.

JENNY
(to Johnny)
You going with me or him? It's my thinking matters here. You don't have to
ask him nothing.

AMSTERDAM
What?

JOHNNY
(makes his decision)
How's the evening passing?

AMSTERDAM
Fine. Why?

JOHNNY
(puts his arm around Jenny)
'Cause it's treating me fine too.

She gets up and starts toward the stairs to the second floor, Johnny
following her, holding her hand. As they pass Amsterdam he LEANS toward
Jenny.

AMSTERDAM
This is no game, you and me. Don't go on like it's a game.

JENNY
I said already, it's not a game. It's business.

Johnny pulls her away. As he watches her go through the crowd, Amsterdam's
gaze falls on Bill the Butcher again...

... and for the first tine their EYES MEET. Bill's eyes rest on Amsterdam,
take him all in... but DON'T REMEMBER him. He looks away as a TAMMANY HACK
steps up to pay court....

.... and a MASTER OF REVELS, center-floor, SHOUTS ...

MASTER OF REVELS
Gentlemen and gentlewomen, if you please ... we will now... raise the
cages and start the bidding!

The Crowd CHEERS and KIDS PULL on a series of ropes and pulleys to RAISE
the CAGES further above the floor until they are parallel with the
second-floor gallery of the Pagoda. WOMEN AND MEN call out BIDS even as
the cages rise through the air. Depending on their age, the Women and
children inside the cages respond to the auction with grim resignation,
trepidation or fear. A few, drugged or drunk on all-sorts, lie insensible
in their impossibly cramped space.

Johnny and Jenny make their way along the second floor gallery until she
spots a COUPLE LEAVING a room and walks inside. Johnny CLOSES the door
behind them as a BURST of APPLAUSE...

... rises from the main floor, where Bill the Butcher stands in the dead
center of the room. He slowly removes his coat and hands it to a FLUNKY.
He is wearing his battle vest underneath, and it is fully rigged with all
his butcher's implements.

The place QUIETS. KIDS swarm silently, like busy ants, all over a huge
wooden CHANDELIER, LIGHTING its HUNDREDS of CANDLES. Only the noise from
the Chinese playing fan-tan in the far corner of the room can be heard now.

The Kids finish lighting the candles and the chandelier is RAISED toward
the Pagoda ceiling, casting the whole place into a new riot of LIGHT and
SHADOW as The Butcher prepares himself.

Now the Chinese Opera DANCER steps forward and stands near Bill. He NODS.
The unsprung MUSIC begins. The DANCER starts to move, sinuously...

...and Bill, with amazing skill, starts THROWING his KNIVES. The knife
MISSES the Dancer by a hairsbreadth, landing in the floor near her foot.
She doesn't flinch. She keeps dancing. And Bill keeps THROWING...

... the KNIVES, which follow the Dancer around the room in a careful,
deadly choreography. They land just inches from where she has just been,
or will be: in a wall; a pillar; the apron of the small stage; the bar;
the barrel of all-sorts. After each knife LANDS, kids retrieve it. When
one of the KNIFE KIDS pulls the blade from the all-sorts barrel, DRUNKS
knock each other over to drink from the stream that flows from the hole.

Native Americans, meanwhile, WORK THROUGH the awed, attentive Crowd. They
AVOID Cops, Tammany Members and anyone who looks too prosperous or too
sober. But when one of the Natives SPOTS a MARGINAL CITIZEN, they GRAB his
hand and examine it as if they were telling fortunes.

Center floor, Bill pulls TWO KNIVES out, BALANCES one in each hand ...

... as a WHORE in the crowd pushes a guy who's groping her toward a couple
of Natives. Hels wearing a large RING. As soon as the Natives SEE the ring
they throw their arms around the GROPER like a long-lost pal and escort
him to Bill ...

... who THROWS both knives rapidly at the Dancer. They land on the floor,
inches from her dancing feet. She SPINS AWAY to great applause as the
Natives bring the Groper to Bill.

BILL THE BUTCHER
Evening, sir. Are you prepared to be celebrated? Are you ready to be
famous?

GROPER
How much will it cost?

BILL THE BUTCHER
Just a moment of your time. My men will assist you.

They do quite a bit more than that: they GRAB the Groper and KNOCK him to
the floor. In the crowd, one SPECTATOR turns to his companion.

PAGODA SPECTATOR
Watch this careful. I've never seen the like, not even in Barnum's Museum.

The Groper CRIES OUT as the Natives PIN HIM to the floor, SPREADEAGLED.
Bill has one weapon left... in a special pocket, inside his vest. It's his
CLEAVER. He takes it out slowly, SAVORING the moment.

The Pagoda goes QUIET. Only the gambling continues. The MUSIC dies. The
only SOUND beside the noises of the Chinese at their fan-tan is the
Groper, who HOLLERS for help as soon as he sees the cleaver.

Bill HEFTS the cleaver in his hand, feels its weight, calculates timing,
figures distance .... and starts THROWING it in the air...

... CATCHING it by the handle ... then throwing it again... higher, FASTER
and HARDER with every toss.

BILL THE BUTCHER
(in full control)
What's it so quiet for? I don't need quiet.

The Chinese opera MUSIC commences with a dissonant CRASH...

... and Bill catches the cleaver again. But EVERY TIME he throws it and
every time he catches it by its handle ...

... he also MOVES CLOSER to the terrified Groper. Now... standing
very close... he gives the cleaver a mighty toss ...

... sending it SPINNING high in the air... up past the cages ... past the
second-floor gallery, jammed with appreciative spectators ... until it
SLOWS ... seems to HANG in the air... then starts its descent...

... FALLING FASTER... towards Bill's waiting, STEADY HAND.

The Groper SCREAMS in fear. Bill SMILES confidently, holding his hand out
until ... just as smoothly, just as confidently...

... he PULLS his hand AWAY and the cleaver FALLS with terrific impact on
the SPLAYED HAND of the Groper, cleanly SEVERING it at the wrist. The
Groper FAINTS dead away as a TREMENDOUS CHEER greets Bill's amazing feat.
One of the Natives TOSSES Bill the severed hand.

Bill SLIDES the ring off the finger and TOSSES it to the Chinese Dancer.

BILL THE BUTCHER
There's for your beauty and your song.

The Dancer puts the ring on her finger and DANCES OFF. Bill TOSSES the
hand to the floor and walks back to his table. The Crowd PARTS, murmuring
compliments on his dexterity, and the Knife Kids reverently RETURN the
Butcher's implements.

Now two DOGS from the rat pit in the back room RUN through the crowd and
FIGHT FRENZIEDLY over possession of the bloody hand.

The Crowd PASSES the Groper overhead and WE SEE from ABOVE: the Groper's
unconscicus BODY being passed from hand to hand. The Crowd looks like a
wave bearing the body toward the door. The Groper's stump BLEEDS on them
as he passes overhead, sprinkling drops of blood and flesh like a moveable
sacrament.

Bill approaches his table, acknowledging the continuing adulation, and is
about to sit down when a VOICE rises above all others.

AMSTERDAM
Mr. Poole!

Bill turns, searching out the voice ...

AMSTERDAM
Bill Poole!

And SEES Amsterdam, standing at his own table. His attitude is calm,
smiling, respectful. But his eyes are demonic.

AMSTERDAM
My compliments on your exhibition, sir.

BILL THE BUTCHER
Thank you, sir.

AMSTERDAM
It was like watching a dance.
(Bill nods his thanks)
Some great grand goddamned dance. (Bill looks at him more closely)
You know me, sir.

BILL THE BUTCHER
Do I? Are you missing a finger?

Appreciative laughter from the crowd.

AMSTERDAM
No. A father.

The laughter turns a little uneasy. Bill the Butcher sizes up the younger
man.

BILL THE BUTCHER
Do you have a name?

AMSTERDAM
Amsterdam.

BILL THE BUTCHER
That's a New York name.
(suddenly smiles)
shall we drink to it?

AMSTERDAM
Indeed.
(they drink)
And to my other name. Vallon. Will you drink to that?

BILL THE BUTCHER
Priest Vallon's son?
(Amsterdam nods)
Of course I'll drink to that. Your father was a worthy man.

AMSTERDAM
Not worthy of you. Those dogs ain't worthy of you. You ain't worth what
they feed on, and what they shit's too good for you.

DEAD QUIET. Absolute. Breathless. Only the Chinese Gamblers at their
fan-tan ignore this confrontation.

BILL THE BUTCHER
What do you want, boyo?

AMSTERDAM
I got to give you something, Butcher. Something from my father.

Amsterdam PULLS OUT the piratels knife which Bill the Butcher used to kill
his father almost 12 years before.

BILL THE BUTCHER
You got the sand to draw a blade in front of me? You will make good sport.
Come ahead and give it here, you son of a bitch.

 
And Amsterdam THROWS the knife, the bright blade FLASHING OUT of his hand
like lightning.

And just as quickly the Buitcher PICKS UP his table, sending glasses
flying and breaking, using it as a SHIELD...

... and the knife THUMPS into it dead center. The Butcher HEAVES the table
at Amsterdam...sending PATRONS yelling and SCATTERING.

Amsterdam LEAPS out of the way of the table, then RUNS AT Bill the
Butcher...

... who's already coming for him. As they CLASH and GRAPPLE with each
other...

... PATRONS all over the Pagoda crowd around for a good view of the action
and start to MAKE BETS on the outcome. The odds do not favor Amsterdam.

And neither does the fight. Amsterdam fights with real blood lust, but he
doesn't have the Butcher's skill, or experience, or dispassion. He breaks
the Butcher's CLINCH... HITS him once in the face... then a second time
... and then gets FLOORED by a well placed kick. The Crowd cheers.

And, on the second floor, Jenny and Johnny come out of the room. Still
arranging her clothes, Jenny looks over the gallery rail onto the floor
below, sees the fight... and starts to RUN down the stairs. Johnny WATCHES
her go ... looks at the fight again, for a second... then follows Jenny to
the main floor.

The Butcher is on top of Amsterdam now. He HITS him upside the head with
the wood and brass handle of his cleaver. Then hits him again. AND AGAIN.

In the Crowd now, Jenny finds Sheeny Mike.

JENNY
The Butcher'll kill him if we don't do something.

SHEENY MIKE
It was Amsterdam's own doing. And it'll be our death too if we try to stop
it.

JOHNNY
(finally catching up)
That's the truth.

JENNY
The truth is you don't give a damn about him.

SHEENY MIKE
Yeah, well, if he gave a damn about us he wouldn't have called out the
Butcher in the first place.

Jenny looks at him with contempt, then STARTS into the crowd. Johnny grabs
her ARM but she pushes him off.

On the floor, Bill uses the FLAT SIDE of the cleaver to SMACK the barely
conscious Amsterdam on one side of his face... then on the other...
REPEATEDLY... until Amsterdam is barely sensible. Bill grabs him by the
hair. Amsterdam's body is slack.

BILL THE BUTCHER
What do you say? Loin or shank? Rib or chop?

The Crowd YELLS their choices. Jenny tries to PLUNGE through toward
Amsterdam, but a HALF-DOZEN MORTS and WHORES put hands on her and HOLD her
back.

BILL THE BUTCHER
Come on, let me hear you!
(the Crowd yells louder)
You're all talking at once, I can't hear you!
(a near frenzy)
I don't hear the choicest cut! The best, the vital!
(they quiet a little to listen)
The heart. I think I must have the heart!

This is greeted with the biggest CHEER of the night. The newlyelected
Mayor Wood seems to feel as if he should do something to stop the
slaughter, but Boss Tweed calms him with a single dismissive GESTURE. Even
the Boss himself is excited by the prospect of this ritual sacrifice.

BILL THE BUTCHER
Come on, look at it! You fancy yourself a gladiator, act a gladiator!
(raises his cleaver)
Watch the death blow when it comes to you. Go to hell with open eyes!

Bill the Butcher readies himself to deliver the blow... and a HAND GRABS
his wrist, STOPPING his arm.

Who would dare do this to Bill the Butcher? Bill turns, incredulous, to
look into...

... the untroubled face of Monk Eastman.

MONK EASTMAN
It's been a full evening's fun now, Butcher. It's enough.

BILL THE BUTCHER
You got nothing to do with this, Monk.

MONK EASTMKN
Well I'm the game warden, you might say. I'm telling you this buck's too
young yet. Wait till he's aged for a proper kill.

BILL THE BUTCHER
The hell.

With his gigantic strength, Monk actually PULLS the Butcher off Amsterdam
and onto his feet.

MONK EASTMKN
Just settle yourself Bill ...

... and he part SHOVES, part THROWS Bill back a good twenty feet.

MONK EASTMKN
... and let the merrymaking continue.

The Dead Rabbits have scampered forward, and they're picking Amsterdam up
off the floor. Monk looks at Jenny and Johnny, who each have Amsterdam by
an arm.

MONK EASTMAN
It was his father took me in first, and it's thanks I'm returning now.

BILL THE BUTCHER
Eastman!

MONK EASTMAN
(ignoring Bill)
This squares any debt. Get him out of here.

BILL THE BUTCHER
Monk Eastman!

As the Rabbits CARRY Amsterdam toward the door, Monk finally turns his
attention back to Bill.

BILL THE BUTCHER
I'll have you then!

MONK EASTMAN
Come ahead, Bill. Unless you're wanting to shout me to death.

And Bill comes forward, BRANDISHING his cleaver. Monk Eastman stands his
ground, unmoving, untroubled. Everyone looks on in awe at this contest ...

... except Boss Tweed.

BOSS TWEED
(to Killoran)
If these two are going to combat, it aught to be a worthier occasion. And
more rewarding for all.

Tweed SIGNALS to Bill: STOP. The Butcher sees the signal but can't believe
it. He SHAKES his head. His blood is up. He won't stop.

Tweed SIGNALS AGAIN. Bill KEEPS COMING.

Tweed signals Killoran, who STANDS himself. And, when he stands, every COP
and TAMMANY LOYALIST in the place--a hundred of them anyway--STAND behind
Boss Tweed.

As Bill keeps coming, and Monk stands easy, waiting...

... the Natives and their ALLIES now stand, facing the Tammany crew. The
Tammany backers, dressed flush and fancy, face the scruffier, more savage
Five Points bunch: the twin factions of the criminal underworld, so
different in style and so similar in purpose, SIZE EACH OTHER UP from
opposite sides of the room.

Bill STOPS. The odds are shifting, the stakes are climbing. Even the
Chinese STOP GAMBLING. For the first time all evening the room is
absolutely STILL. Even the Dead Rabbits have turned, at the door, to see
what will happen.

Tweed and the Butcher LOCK EYES: neither blinks. Then after a moment ... a
very long moment ... a calm, bemused Tweed RAISES his glass.

BOSS TWEED
I only wanted to thank you, Bill, for the customary good job today... and
an equally bright future for us both.

Another pause. Bill does not look placated. The whole place seems ready to
explode...

... until Boss Tweed RISES to his feet, and RAISES his glass higher.

BOSS TWEED
Will you drink with me, Bill, as a friend? An honored friend.

Bill weighs the proposition... then looks to his men, NODS his head to
call them off. He GRABS a glass off a table to join Tweed's toast.

The MUSIC begins again. The gambling recommences. Patrons take their
seats. The Dead Rabbits help Amsterdam out the door.

Monk Eastman sidles up to Bill the Butcher.

MONK EASTMAN
If there's one thing I can't abide, it's fighting for free.

He takes the Butcher's glass from his hand, raises it in salute, DRINKS
DEEP and hands it back to him.

At the door of the Pagoda, a badly beaten Ansterdam starts FLAILING and
fighting by brute instinct. He HITS Jenny, and she goes down. Johnny
grapples with him as Jenny PICKS HERSELF up and struggles to help SUBDUE
Amsterdam.

JENNY
Go easy! Go easy. It's over.

JOHNNY
He knew what he was doing, hitting you.

JENNY
Let's get him up.

She grabs Amsterdam's arm and, with Johnny's help, tries to HOIST him back
to his feet.

JENNY
(Looking at Amsterdam's bloody face)
Therels too damn little of him left to know anything.

They start across Paradise Square, holding him up...

... as the rest of the Dead Rabbits join to help them... all growing
smaller in the distance against the primeval nighttime landscape of the
Five Points...

... and the Bouncer CLOSES the door.

DISSOLVE TO

66 INT. DON WHISKERANDOS BARBER SHOP DAY

Another DOOR OPENS, and Amsterdam stands on the threshold. A week or so
has passed since the big night at Sparrow's Pagoda, but Amsterdam's face
still shows the marks of Bill's beating.

Don Whiskerandos is ministering to Monk Eastman with a straight razor,
giving him a close and careful shave. Monk is thoroughly relaxed, doesn't
even glance over when the door opens, hardly reacts when Don Whiskerandos
says ....

DON WHISKERANDOS
Someone's here for you.

MONK EASTMAN
That so? What's he look like?

DON WHISKERANDOS
He looks pretty damned sorry.

MONK EASTMAN
(looks at Amsterdam)
Indeed.- Can I buy you a shave?

AMSTERDAM
No thanks.

MONK EASTMAN
Face is too sore, eh? I understand.

AMSTERDAM
No. I'm beholden enough to you as it is. I don't like to be beholden.

MONK EASTMAN
We're all even, son. There's nothing more between us.

AMSTERDAM
I'd like it if there was.

MONK EASTMAN
Are you proposing employment?

AMSTERDAM
A collaboration. The Dead Rabbits got to get strong before we make another
move. I figure you're the one to make us strong. There's a lot we can
learn from you.

MONK EASTMAN
Boyo, I'm a freebooter and a mercenary, not a teacher. I can't learn
nothing from you and I can't earn nothing from you either.

AMSTERDAM
The Dead Rabbits is going to be glorious again. We're going to reign over
the Points.

MONK EASTMAN
And Bill Poole's Natives? What will they have to say?

AMSTERDAM
Nothing. They won't have tongues left to speak.

MONK EASTMAN
Don't worry about what theylll have in their mouths. You think about what
they got in their hands.
(beat)
Listen, son... take a word from a man who was honored to fight beside your
father. Temper yourself like a sword, and pay attention to balance. Anger
spoils an edge.

AMSTERDAM
Then you say no?

Monk SIGHS and points to a huge WAR CLUB which hangs in a place of honor
above the shop mirror. It has deep marks running along its front, like
NOTCHES-

MONK EASTMAN
You see my instrument there? First notch represents two dollars and fifty
cents. That's how much I got for my first kill. There are forty-eight more
notches after it, and my fee has grown with each one. I can accommodate
you alright, but you got to afford me. So do business with me or do it on
your own.

AMSTERDAM
Everything I got is still to come. So I guess it's on my own, then.

MONK EASTMAN
Fair enough. You'll find independence a fine thing, a fierce thing.
Although I do hold money preferable to all.
(Amsterdam turns to leave)

But I'm sure we'll have news of each other.

AMSTERDAM
Bound to.

As he shuts the door of the shop, Monk Eastman gestures to Don
Whiskerandos for another hot towel.

CUT TO

67 EXT. STREETS OFF PARADISE SQUARE DAY

A large wagon bearing a Tammany banner and carrying dozens of small sacks
of coal moves slowly down the narrow street. Boss Tweed sits on the front
seat, next to the driver, as his minions HAND him coal sacks. Tweed
distributes them with a smile to the NEEDY who trot next to the wagon.

BOSS TWEED
(to the people as they grab the coal)
Tammany's here to take the chill off the winter and the weight off your
heart. It's Tammany can make this city a fit place, with the help and vote
of all you good people...

As he continues, Bill the Butcher JUMPS onto the wagon and sits down
beside him. Boss Tweed hardly gives him a glance.

BILL THE BUTCHER
You sent me word.

BOSS TWEED
We could use help here. Grab a sack.

BILL THE BUTCHER
I keep my hands clean.

BOSS TWEED
(now he looks at him)
So I've observed.

BILL THE BUTCHER
(tense)
Better be on your mark to talk like that to me. It was you stopped me at
the Pagoda. I would have cut Monk inside out.

BOSS TWEED
What if you hadn't? Think of the embarrassment. And what if you had?
Consider the waste. Next time you're in a dust-up like that, think ahead
and make proper plans. It'd be a grand source of revenue, whoever prevails.

BILL THE BUTCHER
It touches my heart how you always. have our best interests in mind.

BOSS TWEED
Our mutual interests. That's why I want you to contact Monk Eastman.
(Bill's incredulous)
I want you to extend a proposition. I want him to join US.

BILL THE BUTCHER
What?

BOSS TWEED
Oh, not Tammany, of course not. We could no more have him there than you.
But he should throw in with the Native Americans, become aware of our
Arrangement and ... well, use his influence, shall we say, to enrich us
all.

BILL THE BUTCHER
You're saying I can't do everything you need? You don't think the Natives
has been doing good and right? You think there's something more he can do
that I ...

BOSS TWEED
(interrupting)
It's none of that, Bill. None of that. His independence is like a rebuke
to Tammany. And an insult to you.

BILL THE BUTCHER
Then you should have let me have him at Sparrow's.

BOSS TWEED
I should. If I'd been confident-absolutely certain--that you would have
prevailed. Monk is an unpredictable power, and a figure of size. He needs
to be reckoned with.

BILL THE BUTCHER
He needs to be killed.

BOSS TWEED
No. He's an elemental force. Them you don't destroy. But you can contain
them and use them for the good they give off.

He hands Bill a sack of coal.

BOSS TWEED
Coal?

Bill doesn't answer. He HOPS DOWN off the moving wagon, and the Needy give
way quickly before him, then regroup and SWARM after Tweed and his coal.
The Boss continues with his Tammany spiel-enjoying all the attention--as
the Butcher watches, disdainful of Tweed but filled with angry
frustration. From his face we ...

DISSOLVE TO

68 INT. DON WHISKERA.NDOS BARBER SHOP DAY

... the incredulous face of Monk Eastman, as he looks at Bill the Butcher.

MONK EASTMAN
And this is your offer?

BILL THE BUTCHER
It's Boss Tweedls offer.

MONK EASTMAN
How do you think we'd sit as allies, Bill?

BILL THE BUTCHER
The only way we could tolerate being near each other would be stretched
out dead.

MONK EASTMAN
My thoughts exactly. Then why are you here? Because you were asked to be.
You were ordered to be. And who would order me among the Natives? You? And
would you follow my orders, even if they was being relayed from William
Marcy Tweed himself?

He EASES himself out of the barber chair. The Butcher TENSES as Monk comes
toward him.

MONK EASTMAN
Dubious and doubtful, my friend. But your offer--pardon, the offer you
bring--is the most generous that's ever been extended. I favor the terms,
if not the personalities. So let us decide the way any Native American
would appreciate. We'll do it the democratic way.

He throws open the door of the barber shop and stands there, beside Bill
the Butcher, his arm thrown carelessly around him. PASSERSBY stop in
wonderment as Monk ADDRESSES them.

MONK EASTMAN
Citizens of the Five Points! It seems the Native Americans have come to
trouble. They have grown so weak that now they seek my help. They can pay
any wage I ask. But I ask you now. Even for money, should I carouse and
conspire alongside a boyo like this with gristle on his knife and spittle
on his chin every time his cock gets hard?

Monk is beaming, the Butcher is appalled. His body tenses like a snake
ready to spring. But the people in the street just STARE- They can't
believe what they've just heard.

MONK EASTMAN
(to Bill)
There. You see. I'm afraid the people have spoken.

BILL THE BUTCHER
I'll see you again, you bog Irish bastard.

MONK EASTMAN
Well, if it's a fight you want now, Bill, remember to come back with a
bankroll.

Monk returns to the shop and the comfort of his chair. Bill GLARES at the
people in the street. One lock from him starts them moving fast. But they
do not look away from him quite so fast, or at him, either, with quite the
same fear.

CUT TO

69 INT. MISSION (FORMERLY OLD BREWERY) NIGHT

The vast main room has been changed into a dance floor and decorated for
the evening. An altar has been hung with bunting; SHIP'S LANTERNS and
CANDLES illuminate the place. The REVEREND SHADRACH RALEIGH GREETS
everyone. The room, already crowded with CELEBRANTS of all ages, grows
quiet as the Dead Rabbits, done up in their party best, show up for the
revelry.

REVEREND RALEIGH
Ah, the Native Americans, is it now?

AMSTERDAM
Are they coming?

JENNY
We don't want a ruckus, minister.

REVEREND RALEIGH
Nor do I. I intended no disrespect. I'd heard the Native Americans were
figures of the greatest prominence here.

AMSTERDAM
Indeed they are, just for the moment. Let them come. Happy to have them.
Everyone's welcome in a house of God, isn't that right, Reverend?

REVEREND RALEIGH
As all are welcome in heaven.

SHEENY MIKE
Ild like to go to heaven. Ild like to go to heaven and bite off Gabriells
ear.

REVEREND RALEIGH
You're still welcome, even with such peculiar appetites.

AMSTERDAM
But if the Natives do come, Father...

REVEREND RALEIGH
I'm not a priest, son ...

AMSTERDAM
... there's no accounting for what may follow.

REVEREND RALEIGH
I'm sure God's hand will guide us in that. Just as He guided you here at
the right perfect time, with a right perfect regent. The young lady with
the sunset hair. Miss ...

JENNY
Everdeane. Jenny Everdeane.

REVEREND RALEIGH
Miss Everdeane. Step forward, please.

Radiant and curious, Jenny joins the Reverend Raleigh in the center of the
room.

REVEREND RALEIGH
And the evening's regent chooses her evening's partner.

There is much MUTTERING about this from everyone. Someone makes a wet,
farting SOUND.

REVERAND RALEIGH
(unfazed)
Here we make only joyful noises to the Lord.

Under the instruction of the bustling Reverend and his HELPERS, the Women
skeptically stand away from the Men, who allow themselves to be arranged
into a LINE. The Reverend Raleigh escorts the delighted Jenny to a chair
that has been placed, by itself, in the center of the room. Jenny sits
down, facing away from the rest of the guests. She holds a MIRROR in her
hand.

REVEREND RALEIGH
Now. The men, please. One by one.

The first volunteer Reverend Raleigh brings forward is a reluctant Sheeny
Mike. There are RUDE COMMENTS as he leads Mike slowly to the center of the
room, coming up behind Jenny until she can see Mikels face reflected in
the mirror. She SHAKES her head.

REVEREND RALEIGH
Next Gentleman, please.

More laughing. The BOYS push out one CANDIDATE. Rejected.

Now ANOTHER CANDIDATE comes forward. And STILL ANOTHER- Jenny rejects each
with the composure of a princess.

Now it is Johnny's turn. He WALKS slowly across the big room, and stands
behind Jenny, trying to look confident. The moment is long, the room's
tense... until--just once but very decisively-Jenny SHAKES her head.

Jenny watches Johnny's face in the mirror. She stays still. Finally, he
walks back to the GANG.

Now Amsterdam starts toward the center of the room. He keeps his eyes
fixed on Jenny.

Jenny catches Amsterdam's reflection in the mirror. He STOPS. She NODS her
head. Yes. Him.

A small BAND strikes up a barely recognizable version of "A Mighty
Fortress Is Our God," arranged in waltz time. Jenny rises and holds out
her arms to Amsterdam. They start to DANCE, a little clumsily, as other
COUPLES join them.

AMSTERDAM
So you accept?

JENNY
What?

AMSTERDAM
You accept to be my mort and no one else's.

JENNY
(teasing)
No, it's just that I didn't recognize you in the mirror. You still got
some of the face the Butcher gave you.

AMSTERDAM
(going along with the joke)
It's not the Butcher, it's the dancing. It shifts my face all around.

JENNY
Maybe you'll look better later.

The Reverend Raleigh and his Helpers DASH among the dancers, distributing
LIGHTED CANDLES, which the COUPLES take and hold as they move around the
floor.

AMSTERDAM
I will if we're together later.
(she smiles)
And what about after that? After tonight?

JENNY
I chose you just for tonight. If that's not good enough I'll go with
someone else.

She takes a candle from the Reverend and holds it so the light FLICKERS on
Amsterdam's face.

AMSTERDAM
I'll have tonight. But after this don't come to me no more till you're
ready. No more.

His eyes, in the candlelight, show both his love and his Resolution. Jenny
NODS and they DANCE AWAY ...

... losing themselves now among the dancers, all moving and holding
candles. As they dance, their movement becomes SPLIT, SEQUENTIAL, a study
in motion like an old Gjon Mili photograph. Their bodies create a RUSH OF
YELLOW LIGHT ACROSS the screen like the tail of a comet.

CUT TO

70 INT- DEAD RABBITS HOUSE NIGHT

In the hallway. JOHNNY stands pressed against a door.

JOHNNY
(whispering)
Amsterdam.
(louder; hissing)
Amsterdam!

AMSTERDAM (V.O.)
Who is it?

JOHNNY
Me.

AMSTERDAM
Come on in.

JOHNNY
I don't want to come in! You come out.

AMSTERDAM
Just a damn minute.

AMSTERDAM comes to the door, half-dressed and sleepy. We see Jenny asleep
on the floor inside.

AMSTERDAM
What do you want?

CUT TO

71 EXT. PIER/DEAD RABBITS HOUSE NIGHT

Just before dawn. The streets are empty, the river is quiet. AMSTERDAM
follows JOHNNY out of the house.

JOHNNY
I'm going to fight you.

AMSTERDAM
Oh, Jesus, Johnny, I'm tired. How about sometime else?

JOHNNY
Now.

AMSTERDAM
You want to tell me what this fight's over? Is it The Butcher? Jenny?
(Johnny turns, determined)
Alright, alright. Then tell me why like this?

JOHNNY
So when I lose no one will see.

And he SLUGS him. Hard. Harder even than he thought he could. AMSTERDAM
stumbles, stunned, then pulls himself up. And CHARGES at Johnny, knocking
him down.

The two friends PUNCH, WRESTLE, BITE and PUMMEL EACH OTHER with such
extravagant energy that they soon...

... ROLL OFF the pier...

CUT TO

72 EXT. PIER DAWN

... onto the muddy ground underneath the pier. They LAND with a shuddering
SPLASH in the soggy earth, but they keep fighting ....

... as a PACK OF ORPHANS, eyes glinting like night animals, scatter like
wild beasts disturbed in their burrow.

Amsterdam has the physical advantage, and more skill. But Johnny has the
fury. All the feeling and the frustration rain out of him physically,
making the match nearly even.

The Orphan Pack watches the fight silently, showing no favoritism or
emotion, just an edge of curiosity.

Amsterdam HITS Johnny a wicked combination that makes him SINK to one knee
in the mud. But Johnny will not go down. Amsterdam, hurt himself, just
stares at Johnny in wonderment.

AMSTERDAM
Satisfied?

JOHNNY
Satisfied? It wasn't me that's been dancing and shagging all night.

And he pulls himself to his feet and THROWS a roundhouse at Amsterdam, who
half-staggers out of the way. The moment throws Johnny off balance, and he
falls in the mud again, this time on all fours. Amsterdam SINKS down
beside him.

AMSTERDAM
Enough.

Johnny won't stop: he throws a punch that Amsterdam can see coming a block
away. But he's too tired too duck; or maybe he's just fed up. He takes the
punch and FALLS on his back.

AMSTERDAM
That's it then.

JOHNNY
The hell.

And he THROWS HIMSELF on Amsterdam. It's more like he rolls over onto him
than anything, but he's on top of him now, hitting him in the face with
all he's got left in him.

AMSTERDAM
Goddamn it.

Amsterdam HEAVES Johnny off and pops him a solid SWIPE to the jaw. That
does it. Lights out. Johnny falls unconscious into the slime beneath the
pier.

The Orphan Pack keeps staring from the shadow with their ferret eyes.
Still silent. Amsterdam STRUGGLES to his feet, stops at the river's edge
to get a handful of water to revive himself. Then he looks over, sees his
unconscious friend.

AMSTERDAM
Goddamn you anyway.

He grabs Johnny's body by the shoulders and pulls him to the river's edge.
He gets some water on his hand, lets it drip over Johnny's face, washing
away a little of the blood. Not enough. He draws some more water, and RUBS
it gently onto Johnny's face.

CLOSE: on the motion of his hand. It is nearly gentle.

CUT TO

73 INT. DON WHISKERANDOS BARBER SHOP DAY

As Don Whiskerandos' hand, holding a razor, travels over the great plains
of Monk Eastman's face. His hand is shaking.

MONK EASTMAN
What's the trouble, Don?

DON WHISKERANDOS
There's someone here.

Monk bestirs himself in the chair, SEES: Bill the Butcher, standing in the
doorway.

MONK EASTMAN
It's just a man of commerce.

Monk settles back in the chair as Bill the Butcher walks into the shop.

BILL THE BUTCHER
You're right enough this time, Monk.
(to Don Whiskerandos)
Go ahead.
(the barber hesitates)
Go on with your work. I'll finish my business.

Don Whiskerandos picks up a pair of SCISSORS and NERVOUSLY starts to TRIM
Monk's hair.

MONK EASTMAN
Come out with it then.

Bill NODS emphatically at Don Whiskerandos, who is clearly terrified. Bill
nods again, almost vehemently. Don Whiskerandos SHAKES his head. Bill
GLARES at him. The Barber takes a STEP BACK. Monk opens his eyes, starts
to size up the situation.

BILL THE BUTCHER
You damn craven, do it!

Bill LEAPS forward, grabs the trembling barber's arm and pushes it toward
MONK...

MONK EASTMAN
(rising from his chair)
What the hell...

...and the scissors, held by Don Whiskerandos and pushed by Bill the
Butcher, meet Monk full in the face as he bolts from the chair. The long
scissor BLADE SINKS into Monkls right eye.

MONK BELLOWS, staggers toward Don Whiskerandos, who shrinks against the
wall. The scissor protrudes from Monk's eye as he RAGES, blinded by blood,
now reaching out for the Butcher

BILL THE BUTCHER
Your eyes was open for that alright. And you still got one to see this.

Bill the Butcher reaches above him for Monk's war club, which hangs on the
wall. He grabs tight hold of it and, with Monk nearly upon him, swings it
viciously at Monk's head. The BLOW sends the scissor FLYING out of Monk's
eye, with the eyeball still attached. It also SMASHES in the side of
Monk's face. He FALLS, still GRABBING desperately for the Butcher...

... who now stands over him, beating him incessantly with the war club.
CAVING his head in. KILLING him.

Don Whiskerandos looks at Bill in a virtual paralysis of terror. The
Butcher lets the CLUB FALL, reaches in his pocket and throws some MONEY at
the barber.

BILL THE BUTCHER
If I was you I'd use that to open in a new location. Consider St. Louis.

The enormity of what he's done is beginning to sink in. He turns to leave
the shop ... but STOPS in the doorway.

Outside, CITIZENS of the Points are staring at the fallen Monk in mute
wonder. They have just witnessed a moment in history.

Bill the Butcher surveys them all silently, then calls out to Don
Whiskerandos.

BILL THE BUTCHER
The war club.

The barber steels himself to CARRY the bloody club to the Butcher, who
hefts it slowly in his hands, in view of all.

He takes a knife from his vest, and CUTS the LAST NOTCH in the club. Then,
slowly...

... he steps down into the crowd, which PARTS before him. He

walks among them in regal splendor, the war club at his side, dripping
gore.

As the crowd falls back, Bill spots Amsterdam, Johnny and some of the
other Dead Rabbits, watching his every mave. He STOPS.

 
HOLDS OUT the bloody war club in front of him... straight in front of
him... POINTING IT right at Amsterdam.

BILL THE BUTCHER
I promise you, Amsterdam. I promise you.

Then he grins, turns away and walks through the crowd: prince of all he
surveys.

CUT TO

74 INT. RESTAURANT/PARK ROW

Boss Tweed reigns in the banquet room of a vast, gaslit restaurant, at a
long table overburdened with food. Seated along both sides of the table is
an array of the city's POWER BROKERS, with whom Tweed and his Tammany
MINIONS mix easily. Their attitude toward the Power Brokers is a mixture
of ribald fawning and fine condescension; the Power Brokers, in turn,
enjoy the food, and the MUSIC from a small BAND, and the DANCING GIRLS who
flirt and entertain them, while exuding the unmistakable impression of
amateur anthropologists exploring a decaying civilization.

Tweed is courting and joking with a bewhiskered HORACE GREELEY, editor of
the influential Tribune.

GREELEY
I may enjoy the bounty of your table and the pleasures of your company,
Mr. Tweed ...

BOSS TWEED
And the pleasures of the company provided you, Mr. Greeley.

GREELEY
...without the Tribune endorsing your politics.

BOSS TWEED
I suppose you can at that. Take with one hand, flay with the other.
Virtuels on your conscience, Horace, but Tammany's in your heart.

Killoran materializes at Tweed's side and whispers something quickly,
discreetly in his ear. Tweed EXCUSES himself, rises quickly and WALKS
across the restaurant floor...

... past the Band and the Dancing Giris ...

... to the swinging doors of the kitchen. As he pushes open the SWINGING
DOOR, his face has lost its humor.

CUT TO

75 INT. KITCHEN/RESTAURANT/PARK ROW

A madhouse of activity. WAITERS in black suits, vests and serving outfits
STREAM by carrying huge TRAYS of food while the KITCHEN STAFF works
double-time to keep up with the unceasing volume.

As Boss Tweed walks in, Bill the Butcher PLUCKS a piece of roasted poultry
off a tray as it's carried out the door.

BILL THE BUTCHER
I'm not good enough for your table, so I eat where I can. (takes a big
bite)
It's good, what is it?

BOSS TWEED
Pheasant.

BILL THE BUTCHER
Is that like pigeon? I killed a pigeon once but it didn't taste nothing
like this.

BOSS TWEED
You killed a bull this morning. I told you to make an Arrangement with
him, and you come back with his blood on your hands.

BILL THE BUTCHER
(chewing his food)
He insulted me. He aggravated me. I couldn't stand for that, for no one.

BOSS TWEED
You stand for anything if I tell you.

BILL THE BUTCHER
You think I should be afraid of you. You act like lightning strikes when
you talk.

As they talk, and the tension builds between them, the two men are
constantly BUFFETED by the swinging doors and the unending stream of
WAITERS.

BILL THE BUTCHER
I never was afraid of you, so don't think I was or act like I was, you
ain't earned it.

BOSS TWEED
What did you earn us, killing Monk?

BILL THE BUTCHER
Where'd you earn the right to ask that question? You raised some dust in
the streets a while back, but no more. You got power but you ain't got
muscle and you ain't got a notion what it means to be a warrior.

BOSS TWEED
I see it lost you a lot of God's sense, along with that eye.

BILL THE BUTCHER
You don't know nothing about that! It was my doing! It says in The Book,
"If thy eye offend thee, pluck it out." I followed that law with my own
knife and hand. The first I ever fought Priest Vallon, he bested me. And
when he came to bring me to death, I looked away and he watched me and he
let me go. The shame was worse than the killing. I would have cut out both
eyes if I could still have fought, but cutting just the one gave me heart.
When I killed Priest Vallon, that restored me. Now I sent Monk Eastman
over I got glory. I got all there is, and small thanks to you, squire.

BOSS TWEED
(measured, conciliatory) You need two eyes to see the depth, Bill. That's
how we help each other. If it wasn't for me would be happy enough to
plunder the Points and put the fear into people who don't know nothing
else. But Bill, I'm only saying... I'm counselinm... look in the distance.
You want to sit at my table, fine. But you must always remember who the
host is. It's not a matter of courage welre talking. It's manners.

Bill grabs another piece of food from a tray.

BILL THE BUTCHER
Howls these manners?

BOSS TWEED
Fine, if you're hungry.

BILL THE BUTCHER
I'm always hungry.

BOSS TWEED
I've always told you, Bill. There's plenty for all, and more for us
together than separate. We'll dine together sometime.

Bill the Butcher nods, appeased, and leaves, swaggering his way through
the kitchen chaos, making everyone get out of his way. Boss Tweed watches
him go, his expression changing from bemused appeasement to molten rage.

CUT TO

76 INT. RESTAURANT/PARK ROW

Later. Everyone's gone except some WAITERS, cleaning up, and Boss Tweed
and Daniel Killoran, who sit at the end of the banquet table. Leftover
plates of food have been massed at Tweedls place and, as he talks, he
PICKS from them.

BOSS TWEED
Let me put this to you, Daniel. Now that the Butcher has killed the single
most prominent figure in the Five Points--a man of myth and moment--who is
there to take his place?
(as Killoran starts to answer)
Of course. Then what do we do about the Butcher? He's too useful to be
killed, but he must be checked.

KILLARAN
It could be a police matter.

BOSS TWEED
Impossible! Any cops who might have the mettle to go against the Butcher
have blood ties to the gangs. They can't be trusted. And any cops that can
be trusted are too craven to be any use. If Bill's to be checked, it must
come from within the Points, not without.

KILLORAN
The Dead Rabbits did a proud job for elections. That Amsterdam boy has
sand.

BOSS TWEED
That so? The last time I saw him he was under the Butcher's knife looking
like a fine filet. Who else is there?

KILLORAN
Well, the Rough and Tumble Boys over to Slaughterhouse Point. There's
Country McCleesterls bunch, too, and the Plug Uglies, but there's none
that have the promise of the Dead Rabbits, or the stake, neither.

BOSS TWEED
What would that be?

KILLORAN
The boy Amsterdam has a blood feud with the Butcher. He's sworn revenge
for the death of his father, and he's got the heart to carry it forward.
He'll have the skill and power soon enough.

BOSS TWEED
Blood will make a man intrepid. Bring them along, then. Nurture the
Rabbits with neglect. Let them roam where they like.

KILLORAN
And if they roam into some portion of our own revenues?

BOSS TWEED
I'd tolerate a little trespassing if it was for a higher good and use.
They'll cross with the Natives soon enough and keep each other occupied.

KILLORAN
Bill's got to be a lot more than occupied.

BOSS TWEED
I'll hold Bill in check. If he becomes unwieldy ... well, damn it all,
Daniel, I might just have to oil up my old musket. What do you think of
that, eh?

Boss Tweed gets up from the table. A WAITER is DIMMING the gaslights,
filling the room with deep shadows.

KILLORAN
It'd be gratifying, Mr. Tweed. Even edifying.

BOSS TWEED
But poor politics, eh? Well, we musn't have that.
(as he walks away)
I do miss those roistering days, though. Oh, and bring some of that food
for the canaries.

CUT TO

77 EXT. STREET/THE BLOODY ANGLE DAY

The sharply-angled turn of Doyers Street, nicknamed "The Bloody Angle."
SOUND of a horse and cart as we see a row of UPTURNED mostly WOMEN and
YOUNG CHILDREN.

A NATIVE AMERICAN drives a cart carrying large barrels of MILK. A SECOND
NATIVE rides beside him on the seat, holding a rifle, looking impassively
at the faces turned up to him. A WOMAN holding a BABY in one arm and a
CHILD by the hand steps in front of them. They almost run her down.

WOMAN
We ain't had no milk this week.

NATIVE 2
You can have as much as you can pay for.
(to crowd)
Anyone that's got the ned, step up with your pitchers. Any not, come back
when you do.

The Woman gives her children to other WOMEN in the crowd and advances
toward the wagon. Native 2 cocks his rifle...

... and Jenny steps from the watchful Crowd.

JENNY
I got ned enough for all. See? Fair enough?

She holds her hand out as she WALKS slowly toward the milk wagon. She's
carrying a huge fistful of GLEAMING COINS. The Natives on the wagon watch
her warily...

... and are JUMPED from behind by a couple of Dead Rabbits. Amsterdam
grabs a milk pitcher from a WOMAN in the crowd, AXES open the spigot on a
milk barrel and FILLS the pitcher to overflowing. Jenny JUMPS up on the
wagon seat.

JENNY
(to Amsterdam)
What's our rate? What do we charge?

AMSTERDAM
Johnny worked it out to a nickel less than the Natives. Just till we're
established. Then we raise it a penny more than now.

JENNY
Raise it? Is that what you want?

AMSTERDAM
You say, then.

JENNY
(beat; then, to Crowd) There'll be no paying at all this day. Or this
week, neither. This is Dead Rabbits business from now on.

The Crowd scrambles for milk and the Rabbits try to keep ORDER.

JENNY
(to Crowd)
We'll take ned if you got it, now or in future. But no one will go without.

AMSTERDAM
(to Jenny)
Except us. You opening a charity?

JENNY
They'll pay us what they owe, in loyalty if not in cash. Tammany gives
coal, we give milk.

AMSTERDAM
They can afford it.

JENNY
Can't we?

CUT TO

78 INT. MOTHER JOYCE'S BORDELLO DAY

The midday sun shining through the windows makes the place look tatty and
slightly desperate: this is a place that needs low light and long shadows
to look good.

Amsterdam and Johnny are at a long bar, talking to Mother Joyce, a beefy,
wised-up woman with pornographic tattoos an both forearms.

MOTHER JOYCE
This place is so clean it's the next thing to chaste. And safe as a
convent, too.

AMSTERDAM
From the Natives, maybe. But not from us.

MOTHER JOYCE
You're saying I got to worry about your mob too?

JOHNNY
No worries at all. You throw in with the Dead Rabbits and we'll worry
about the Natives.

Across the room, Jenny is sitting talking to a few of the WHORES, one of
whom is a mixed-blood Eurasian with long black hair named Emma Loss. She
gets up lazily and heads for the bar. As she passes a DRUNK, he reaches
out to grab her. She's used to this, and she knocks his hand away. He
keeps after her.

At the bar, Mother Joyce notices Emma being hassled, but pays no
attention: her girls can take care of themselves.

MOTHER JOYCE
(to Amsterdam and Johnny)
And if someone else comes along, do I pay them too?

AMSTERDAM
You only pay us. We see you safe from everyone.

Johnny has been watching the drunk bothering Emma Loss. Without saying
anything to Amsterdam or Mother Joyce, Johnny LEAVES the bar, walks over
to the drunk and SHOVES him away.

JOHNNY
Leave off her. She don't want you. Not even if you could pay her.

EMMA LOSS
Hey, just a minute.

JOHNNY
(to Emma)
He can't pay. I can pay.

AMSTERDAM
(watching this)
Maybe I should offer Johnny as a bouncer for your busy nights.

MOTHER JOYCE
(laughs)
A bouncer! I don't know if he could bounce on a feather bed. He wants to
be a character like you, is that it?

AMSTERDAM
He's got his own ideas. Too full of Tammany, maybe, but he's a fast friend.

Across the room, Johnny is talking to Emma Loss. She NODS and starts to
LEAD him upstairs.

MOTHER JOYCE
But in my trade you go on your instincts. My instincts says to heed you,
and my memory of your father says I'm right. We'll shake on it.
(Amsterdam grabs her hand)
And have one of my best to seal the bargain. Megs!

A lanky blonde, seated across the room near Jenny, bestirs herself.

MOTHER JOYCE
Come here and show my new friend why we're worth special care.

Jenny watches MEGS move toward Amsterdam.

CUT TO

79 INT. ASSIGNATION ROOM/MOTHER JOYCE'S

Big enough to contain a half-gutted mattress supported by a rickety bed,
some worn sheets and a few GUTTERING CANDLES.

Johnny undresses as Emma sits on the bed and starts to take off her dress.

JOHNNY
You liked that old man? You would have gone with him?

EMMA LOSS
I like anyone that pays, that's all.

JOHNNY
Tell me what he wanted you to do.

EMMA LOSS
He mostly wanted comforting.

JOHNNY
I never seen hair so black. Can you take the pins out?

EMMA LOSS
It takes so long to do back up.

He sits beside her and starts slowly, almost tenderly, to remove the pins.

79 CONTINUED:

JOHNNY
Did your mother have the same color?

I don't know.

JOHNNY
(as the hair cascades over her bare shoulders)
Lie back, I want to look at you.
(his eyes glide along her body)
What's that mark?

EMMA LOSS
I always had it.

JOHNNY
(touching her lightly)
And there? Is that a scar?

EMMA LOSS
(she looks at her naked belly)
There was a baby. They cut it out.

JOHNNY
And that on your shoulder? That looks old.

EMMA LOSS
Yeah, I got that when I ...

JOHNNY
(interrupting, quiet)
I don't want to know when. Don't tell me about before or what you used to
be, I don't want that.

EMMA LOSS
What about your scars. Do you have scars?

JOHNNY
None I ever seen. Maybe you can find them.

Her hands and mouth cover his body. He closes his eyes.

CUT TO

80 INT. ASSIGNATION ROOM/MOTHER JOYCEIS

Another room. Amsterdam and Megs are undressing each other when Jenny
walks in.

AMSTERDAM
Go on. I can see you later.
Megs leaves, brushing past Jenny.

JENNY
What are you doing?

AMSTERDAM
I couldn't decline what Mother Joyce offered. It's in the interests of
business. You understand business.

JENNY
Sure I do. But there's something else I still don't understand. At
Sparrow's Pagoda, did you hit me, knowing it was me?

AMSTERDAM
Yeah. I did.

She HITS him. In the face. Hard. Not a slap. A solid PUNCH. His nose
starts to gush blood. He puts his arm under it to staunch the flow,
keeping his eyes an her.

JENNY
Meantime's over.

AMSTERDAM
Oh fine. That's fine. I'd be celebrating but I'm losing too much blood.

Jenny tears part of the sleeve from her blouse and puts it against his
nose.

JENNY
Put your head back.

AMSTERDAM
That don't work.

JENNY
Put your head back I said.

AMSTERDAM
(as she tends to him)
So why so sudden, then?

JENNY
Sudden? Every day I see you and you complain I can't decide. Now I decide,
you say it's sudden.

AMSTERDAM
It's the whore did it, then.

JENNY
Don't flatter yourself.

AMSTERDAM
It's because you're jealous.

JENNY
It's because you didn't lie about hitting me.

AMSTERDAM
Christ, I wish I had. Come here, then.

He reaches to pull her down on the bed.

JENNY
Not here. There's too much past.

CUT TO

81 INT. ROOM/DEAD RABBIT HOUSE

The room where Johnny fetched Amsterdam out for the fight. Amsterdam and
Jenny have just made love.

JENNY
It must be morning.

AMSTERDAM
I don't care, I'm not getting up.

JENNY
This is what you meant, then? It's going to be just the same from now on?

AMSTERDAM
What?

JENNY
Every morning I wake up next to you.

AMSTERDAM
Or you don't wake up at all.

JENNY
We only just started in and you're already threatening me.

AMSTERDAM
It's not a threat.
(no teasing now)
It's a declaration of love.

JENNY
I prefer my kind. This kind.

She reaches beneath the pillow and pulls out a fine DIAMOND RING, which
she slips on his finger. Amsterdam reacts with surprise, gratitude and (of
course) suspicion.

AMSTERDAM
What's this? Where'd you get this?

JENNY
You said I was the best thief in the Five Points. But I got
restless. Will you wear something I got?

CUT TO

82 EXT- UPTOWN STREET DAY

A long street of tree-shaded houses. Spacious lawns. North of the Five
Points. Considerably north. This is the first time we have been outside
the Five Points and Paradise Square. The city
rent place.

Jenny and Amsterdam stand near a residence at the end of the street.
Amsterdam, dressed in a suit, can't quite conceal his wonder as he stands
staring at the house.

AMSTERDAM
What is this place?

JENNY
My jeweler's.

She GESTURES for him to follow her and we see now that she is dressed in a
maid's outfit.

JENNY
Come on.

AMSTERDAM
I don't see nobody.

JENNY
That's the best time. They're all having lunch.

CUT TO

83 EXT. UPTOWN HOUSE DAY

At the back door of the grand house, as Jenny OPENS it slowly and glances
inside.

AMSTERDAM
You're off your head.

JENNY
(pleased, showing off)
You can wait on me a minute. Or I'll see you back in the Points if you're
scared.
(Amsterdam looks at her)
Don't worry. I know every house on this street. They all leave their doors
open. They live like they're not in New York.

She GOES IN the house. Amsterdam WATCHES through the window, sees her
going up stairs. Then he looks at the dining room, visible distantly
through an open kitchen door.

He WATCHES, fascinated, fragments of the everyday rituals of a world he's
never seen. As SOUNDS drift listlessly from the street beyond, and a light
BREEZE blows, WE SEE IN A SERIES OF DISSOLVES the serving of a meal;
SERVANTS carrying and passing plates; FAMILY MEMBERS reaching for dishes
and passing them; the LOW KURMUR of Konversation in accents he has never
heard. It's not so much that these people and their life are foreign to
him. It is as if he has stepped into another Dimension.

He loses his sense of time, and of danger. So that when Jenny TOUCHES his
arm she surprises him thoroughly.

JENNY
Come on. I might still be taken for a maid. But you're nobody's notion of
a butler.

84 EXT. UPTOWN STREET DAY

As Jenny and Amsterdam walk away from the house. She holds his arm. They
look young and full of hope, like a servant couple just over from the old
country enjoying a day off.

JENNY
The Police Commissioner lives the next street over. I was thinking of
visiting him next month, but cops don't buy goods. They keep all their
graft in cash.

Amsterdam looks at the houses with wonder that he tries to make casual.
She opens her satchel a little way, then NUDGES him to have a lock at the
swag inside.

JENNY
How's that for ten minutes?

AMSTERDAM
It's a lot to fence.

JENNY
I'm not going to fence it. I'm going to keep it and take it where no one
will recognize it.

AMSTERDAM
Where would that be?

JENNY
Somewhere west. Far west. Past the Mississippi River, somewhere into that
territory.

AMSTERDAM
That's a hard journey for a woman alone.

JENNY
You'd be with me.

AMSTERDAM
You got it all planned and straight, is that it?

JENNY
Once I said I'd be with you I wanted someplace we could be together.
Someplace better than here. What's the matter with that?

AMSTERDAM
Nothing. Except there's no place but here for me right now. I got to
settle things.

JENNY
Yeah, I know, but I'm talking about settling down, not settling debts.

AMSTERDAM
You don't have my obligations.

CUT TO

85 EXT. PARADISE SQUARE DAY

The Dead Rabbits SWEEP across the bustling square, Johnny and Amsterdam in
the lead.

JOHNNY
It's a fair day's wage. We just move the people out of the building, and
collect.

AMSTERDAM
Who from?

JOHNNY
Who owns the building.
(points)
Them.

The gang approaches a tumbledown BUILDING called Jacob's Ladder because of
the iron rungs that run straight up its front to the roof. Two
well-dressed GENTS stare at the building fretfully.

GENT 1
(to Johnny)
I'm glad you came in force. There's half a hundred people still in there.

GENT 2
Maybe more.

GENT 1
And not one's given rent the whole year.

AMSTERDAM
You live here?

GENT 1
No, no, of course not.

AMSTERDAM
I mean in the city. A ways north, I'll bet.

GENT 2
Yes. Why?

A RIFLE SHOT sounds from an upper window and a Rabbit falls wounded. They
all DUCK FOR COVER.

JOHNNY
It's not just citizens in there?

GENT 1
Of course it is.

JOHNNY
with arms?

GENT 2
From their damned gang. Some of them live there.

AMSTERDAM
Some of who?

GENT 2
The Native Americans.

JOHNNY
We didn't contract for that.

GENT 1
We'll pay extra for the danger.

AMSTERDAM
No danger. But you will pay extra.
(turns; to gang)
Let's go and greet some Natives.

Under SCATTERED RIFLE FIRE and a barrage of ROCKS, the GANG STORMS the
building, charging inside and starting up the ladder as if they were
attacking a medieval fortress. ARMS reach out from windows to try and pull
them off. The Rabbits respond with knives and PISTOL SHOTS. As they charge
inside, the CAMERA RISES to an OVERHEAD shot and we ...

DISSOLVE TO

86 EXT. PARADISE SQUARE DAY

Later. The same OVERHEAD ANGLE. BODIES litter the street everywhere. Some
dead and wounded Rabbits lie near NATIVES who have gone to their reward.
Some BUILDING RESIDENTS wander the street in a daze. JOHNNY is collecting
money from the Two Gents, who look very pleased as Amsterdam approaches
with Jenny. He's carrying a rifle he took from the building.

AMSTERDAM
(to Gents)
Alright, then?

GENT 2
Very much alright. Quite a spectacle.

AMSTERDAM
Oh really? Just the entertainment you favor, is it? Pardon me for a
moment, gents.
(he turns to Jenny)
You wanted to settle, you and me. That's so, isn't it? You did agree, did
you not.

JENNY
I did, yes.

AMSTERDAM
Good, because I didn't want to act hasty. I can never tell for sure what
you're thinking, and sometimes I'm not always sure what you're saying...

GENT 2
(interrupting)
Excuse me, we have to finish and...

AMSTERDAM
(to Gent 2)
Excuse me. We'll conclude in a moment.
(back to Jenny)
Where do you settle?

JENNY
Amsterdam, what are you saying?

AMSTERDAM
I'm asking, where does anyone settle?

JENNY
I don't know, you mean a place, a home?

AMSTERDAM
A home yes.

GENT 1
Excuse me, but we really must conclude.

AMSTERDAM
(ignoring him)
Well, I'm saying to you then, Jenny Everdeane, welcome home.

No one sees it coming. Amsterdam FLASHES around, swinging the BUTT of his
rifle into Gent l's midsection, doubling him over and sending him
breathless to the ground. Amsterdam SPINS again and swings the butt into
Gent 2's face, knocking him cold.

AMSTERDAM
Fine place. Room enough for all.
(to Johnny)
Get them out of here.

GENT 2
They'll come back looking for you.

AMSTERDAM
With whose help? The Natives? They won't help these flourishing bastards
even for ned.
(to Jenny)
Tell any who wants they can stay. If they can't pay rent they can join the
gang. But make sure the best rooms go to us. Look around ...

JENNY
(interrupting)
I know this building.

CUT TO

87 INT. UNDERGROUND/JACOB'S LADDER

As Jenny leads Amsterdam through a narrow tunnel. The place is like a
weird catacomb: it is narrow and dank, filled with bones of dead animals,
of the two- and four-legged variety.
 
JENNY
These lead all under the Square, into the Brewery and out again from
there. They're closed off and forgotten since the Reverend opened the
mission. Pass me the candle.

Amsterdam hands Jenny a stump of candle, which she holds high enough to
see...

... that the tunnel has opened onto a small room just above the foundation
of Jacob's Ladder. It's a graveyard, memorializing gang members gone to a
better world--or worse. Trophies from many gangs--including the bones and
skulls of some Dead Rabbits-litter the place in loose ritual fashion, as
if this were a catacomb in Palermo.

Stooping low, Jenny walks to a narrow corner of the room, where several
PAVING STONES have been laid in the rough pattern of a cross. A slab of
slate serves as a headstone, and on it, in fading paint, barely legible,
is the name "Maggie Everdeane."

JENNY
We lived in this building till she lost her seamstress work and we went to
the Brewery. One day she slept so drunk she never woke and I brought her
back here. Dug this myself.
(beat)
Families. Give here what I gave you.

Amsterdam hands her a chest that looks like a small version of
Blackbeard's treasure box. She opens it and holds the candle close: inside
is the swag from all her cat burglaries. There's a lot of it, GLITTERING
with promise in the GUTTERING flame. Jenny starts to dig in her mother's
grave.

JENNY
She'll keep an eye on this for us. How about some help?

He KNEELS beside her and they dig at the grave with stones and bones.

AMSTERDAM
You trusting me with your treasure, then?

JENNY
Just take another look at it to remind you. I can always do fine on my own.

Amsterdam reaches inside the chest, pulls out a ring and SLIPS it onto
Jenny's dirt-covered finger. She KISSES him.

JENNY
What's mine is yours, is that it?

AMSTERDAM
I could use this, too.

From the bag he holds up a small GOLD CROSS.

JENNY
You making an offering to the Reverend Raleigh?

Amsterdam slips the cross into his pocket without answering and starts to
dig again.

AMSTERDAM
Are you sure we can trust your mother?

CUT TO

88 INT. HALLWAY/TAMMANY

BOSS TWEED listens to an angry BILL THE BUTCHER as they walk briskly down
a long marble corridor lined with formal portraits of former Tammany
worthies.

BOSS TWEED
The building and how many?

BILL THE BUTCHER
A dozen at least of my Natives.

BOSS TWEED
The Dead Rabbits are a wooly bunch alright.

BILL THE BUTCHER
I want at them. All of them, and Amsterdam especial. Now.

BOSS TWEED
Not just now. It's between too late and too soon. They've become a little
too prominent for comfort, but they're still too small for you to soil
your hands. The man who killed Monk Eastman pushing around a mob of
upstarts. It's practically undignified.

BILL THE BUTCHER
To hell with any of that.

Tweed stops under a grand new PORTRAIT of himself.

BOSS TWEED
Very well, and to hell as well with any plans you and I may have for
growth and change and even greater reward. You'll never advance anywhere
beyond the limited perimeter of your imagination.

BILL THE BUTCHER
I don't got to advance anywhere further.

BOSS TWEED
Got to, no. But ought to.

He hands him a fancy embossed envelope.

BILL THE BUTCHER
What's this?

BOSS TWEED
(eyes merry)
An invitation. To dinner.

CUT TO

89 INT. JENNY AND AMSTERDAM'S ROOM/JACOB'S LADDER DAY

Better by a little than their place in the old hideout. There's even a
window that throws some LIGHT an the few bits of castoff furniture in the
room... an the bed where Jenny sleeps with her face turned to the dawn
light... and an Amsterdam, who is dressing quietly in the corner. He
checks in his coat Pocket,...finds the gold cross ... and leaves. Jenny
does nat stir.

CUT TO

90 EXT. GRAVEYARD DAY

START CLOSE on: Amsterdam's hand, as he places the gold cross in a small
hole at a grave site, then covers it over with dirt.

Then WE SEE: Amsterdam is kneeling at his father's grave.

AMSTERDAM
He never had his own cross. Thanks.

Now he STANDS and TURNS. Jenny is half-hidden behind an elm tree.

AMSTERDAM
Your touch is light, but as a tracker you work awful heavy. Come ahead.
Now that I met your mother, you should come and meet my father.

As Jenny starts to WALK towards the grave, we see for the first time ...

... that we are in the country, a graveyard in an open field with an
astonishing PANORAMA of New York and the East River. (MATTE) The cemetery
is atop a hill, and the East River, busy with ferries and vessels of
trade, glistens in the near distance. Just beyond it is Manhattan Island:
low buildings, winding narrow streets, houses surrounded by open land. A
BREEZE off the river rustles Jenny's dress and blows her hair as she steps
up to the grave site, looks at the headstone and sees ...

... it is blank. No name, no date. Clean stane.

JENNY
You should finish the stone.

AMSTERDAM
It'll be finished when everything's finished. That's when helll rest. The
hand that killed him is the hand that will bury him in peace.

He holds up his open hand, covered in dirt.

JENNY
It was Bill killed him, not you.

AMSTERDAM
With my hand on the knife.

JENNY
And his hand on yours!

AMSTERDAM
And me feeling the life go out of my father! He looked at me ... he looked
at me and he swore me with his eyes. I could feel his spirit... I say I
could feel it rising... flowing through the knife like blood into my own
heart.

JENNY
You talk like he lives in you.

AMSTERDAM
I don't want him to live, I want him dead! I kill Bill and I'm free of
them both!

JENNY
You think you can be free that easy? You need your way so clear, and
you''' use anything to clear it. Anyone, too. Me, everybody, we're all
just a way for you to settle your damned ghosts.

AMSTERDAM
You're part of me now, like the gang is part of me and my father both. If
I can bring us to glory, then my father... like The Book says...my father
can enter his house justified.

As Amsterdam continues to talk we ...

DISSOLVE TO

91 MONTAGE

The growth of the Dead Rabbits, as we continue to HEAR Amsterdam speak
passionately to Jenny. We first see the Rabbits surrounding and
OVERTURNING a fire wagon; this starts as a live action scene but soon
BLEEDS into SEPIA, then freezes like an old magazine illustration.

AMSTERDAM (V.O.)
All of us is set on the same road together. The gang can have everything
they ever wanted and get me what I want while they're doing it. We're not
interfering with each other, we're helping each other. It's all the same,
we're all one together.

We CONTINUE with sepia illustrations: of Dead Rabbit morts picking pockets
and purses along a crowded Broadway; climbing onto a wagon distributing
newspapers and tossing off the occupants, taking over the route
themselves; swarming all over a merchant ship in the harbor as the captain
doles out protection money to have his cargo unloaded.

AMSTERDAM (V.O.)
We'll all have a share of the profit like we'll all have a portion of the
fame. If we come to be notorious, that only means we're strong, and if
we're strong that means we're ready.

A sepia illustration of a fire wagon rounding a corner, refurbished and
manned by Rabbits, all wearing striking uniforms with short capes called
TAMLAS. (N.B.: they will be seen wearing the tanlas from these uniforms
during all gang activity throuqhout the rest of the film. Only Johnny,
Amsterdam and Jenny do not wear them.)

The sepia illustration turns to live action as the fire wagon TEARS around
Paradise Square, SCATTERING everyone in its path, the Dead Rabbits
laughing, their tamlas FLYING behind them.

AMSTERDAM (V.O.)
And I'll know that time, know it right off when it comes. Just like I knew
you.

The live action DISSOLVES TO...

... the last image in the montage: an ILLUSTRATION of Amsterdam, a
half-decade older, turned out in fancy clothes, but with all his
fierceness intact. This is a magazine illustration, and there is a dated
headline over his picture: "Fresh Scourge of the Five Points." The date
reads "June, 1863.11

AMSTERDA.M (V.O.)
And just like that, there'll be no way of stopping till it's ended.

From this illustration, we quickly...

DISSOLVE TO

92 EXT. RIVER DAY

... Amsterdam, as he is in the picture, but in live action, SPRINGING to
his feet and YELLING at a couple of PRIZEFIGHTERS doing battle in a ring.

AMSTERDAM
Now! Finish him now!

Far up the sparkling Hudson, a RAFT floats slowly upstream. It's a huge
thing (perhaps half a city block in size) crowded with SPORTSMEN. They
form a LARGE RING around two mammoth PRIZEFIGHTERS who are brawling with
bare knuckles. Amsterdam and Johnny are among the spectators.

JOHNNY
Our man will take him in another five. What puts you in such a hurry?

FIGHTER 1 fetches FIGHTER 2 a powerful roundhouse punch that sends him
CRASHING to the deck. As soon as he hits the floor, a CARD GIRL appears
carrying a sign announcing "Round 37.11 SECONDS drag the stupefied Fighter
2 to his corner, while two BOYS minister to Fighter 1, SUCKING THE BLOOD
off his knuckles.

A GONG sounds to announce the appearance, in the center of the ring, of
the fight promoter, a florid and fulsome P.T. Barnum .

BARNUM
I want to extend thanks and admiration not only to our two combatants
today, but to their sponsors, the Dead Rabbits ...
(indicates one side of the ring)
... and the Native Americans.

He FLINGS an expansive arm toward the opposite side of the ring, where
Bill the Butcher sits with Daniel Killoran and a large group of Natives.
Amsterdam and the Butcher eye each other with all the old animosity: it's
almost ceremonial now, part of the Tradition.

BARNUM
Their generous support allows me to bring you this splendid exhibition.
With their indulgence I'd like to remind you also of the further wonders
that await you at my new Museum, located on Broadway...

There are BOOS from the crowd at such untoward commercialism.

BARNUM
... P.T Barnum's gallery of wonders from worlds natural and unnatural,
from nature and from myth!
(continued boos)
And to encourage you also in the view that new Albany ordinances
forbidding sportive violence on land shouldn't dampen your enthusiasm for
wagering. Bets down, entlegen, and you gents..
(indicated fighters)
... fists up!

The Fighters come to center ring, circle each other, then start slugging.
A flurry of punches, and Fighter 2 GOES DOWN again. As he hits the deck,
the round automatically ends and the between-rounds ritual takes place
again.

JOHNNY
Dobbs will take him this round. That'll be something. The Natives has
never lost before.

AMSTERDAM
Because there's never been a Dead Rabbit fighting before.

JOHNNY
That'll shame them thorough.

AMSTERDAM
There'll be worse than shaming. We only got the Natives in range.

It's time to squeeze the trigger, John.

The next round begins and the Fighters set to, MAULING each other
furiously.

JOHNNY
Don't push the Natives too far, Amsterdam. Otherwise it'll be Tammany
pushing back.

AMSTERDAM
That don't matter any more.

JOHNNY
It does matter, and it's going to matter even more. Tammany's the heart
and future of this city. If the Rabbits is going to keep growing, we're
going to have to throw in with Tammany some way.

The action in the ring is FURIOUS. The Crowd cheers. Fighter 1 seems about
to go down, but recovers and starts returning punishment to Fighter 2.

JOHNNY
They got that Conscription Act from Washington keeping them busy, but they
won't leave us alone forever. And the Natives is strong as they ever been!

In the ring, Fighter 1 drives Fighter 2 to the deck again, and this time
KNOCKS HIM COLD.

AMSTERDAM
(indicates Fighter 1)
You call that strong, John?

In the ring, a couple of agitated NATIVE AMERICANS are trying to get at
the Rabbit-sponsored winner. RABBITS start to RUSH the ring but Amsterdam
WAVES them back.

AMSTERDAM
(to Johnny)
This is our time now!

BARNUM
(trying to make official announcement)
The winner... gentlemen, please! ... the winner in the 39th round is the
Dead Rabbits champion, High Water Dobbs ... please, gentlemen!

The unofficial ring COMBAT continues, knocking Barnum about, as the new
champ throws marauding Natives around like empty flower sacks. Amsterdam
iumps into the fray, PUSHES some Natives away. They start for him but the
champ stands them off while Amsterdam WHISPERS to Barnum.

BARNUM
Just a moment, please, gentlemen! There's a word for us all. Amsterdam
promises ...
(Amsterdam whispers to him briefly)

... something large, something grand, something epic. The greatest these
are my own words, of course the greatest righting of the gravest wrong
ever done in the Five Points.

The crowd quiets, their sporting blood still up, curiosity engaged. Only
Johnny seems glum, concerned.

This is to be a duel not for money, but for honor! A fight to the death...

AMSTERDAM
(interrupting, emphasizing)
To the death. If he can stand up to it.

BARNUM
... on which money, I hasten to add, may certainly be wagered. The names
of the two champions are Amsterdam Vallon, here beside me, and ... and Mr.
William Poole, known to all as ...

BILL THE BUTCHER
(leaping up)
They know me by any name, you son of a bitch!

The crowd ERUPTS: this is a death match between Olympians. Only Johnny
does not rejoice. He looks at Amsterdam's face, flush with the belief that
the right moment has finally come, and he has to turn away. He walks away
from the ring as Killoran tries unsuccessfully to PULL the Butcher down
and cool him off.

BILL THE BUTCHER
(yelling)
I'll have him stretched on a spit!

Killoran is beside him now, whispering urgently. Bill the Butcher shakes
his head vehemently.

BILL THE BUTCHER
(to Killoran)
You got no more to say about this now.

92 CONTINUED:

AMSTERDAM
Come on, Bill! Let go of your Tammany wet nurse! My challenge, your terms.

KILLORAN
(to Bill)
Don't do it, you can't do it! There's the Conscription to deal with, and
elections coming, too. That's your calling now, not these ancient quarrels.

BILL THE BUTCHER
I'll do my work. But this is a shame, a public shame. It demands my
attention.
(yelling to Amsterdam)
Fine, then! Fine and welcome! Day after elections, we'll meet with seconds
on neutral ground to work out time and terms. It will be done and done.

He walks to the ring, holds his HAND out to Amsterdam.

BILL THE BUTCHER
You know this hand. Last time it was this close, it was on your throat.

AMSTERDAM
I remember it better from another time.

He takes the Butcher's hand. The duel is on.

CUT TO

93 INT./EXT. DRAFT REGISTRATION OFFICE

START CLOSE ON: money being counted out: $300. And a RECEIPT quickly
written and given. We think at first this must be a bet being made on the
duel between Amsterdam and Bill the Butcher-

But we go WIDER to reveal: an office, tables and chairs, and a line. Two
lines, in fact. One, very long, filled with young man. And the second,
very short, in which a CLERK is handing the receipt to a PROSPEROUS YOUNG
MAN.

CLERK
Your release from service, according to the terms of the Conscription Act.
Keep it somewhere safe.

PROSPEROUS YOUNG MAN
I'll keep it with me.

There is only one OTHER PERSON standen behind the Prosperous Young Man,
and he steps up quickly and hands $300 to the Clerk as the Prosperous
Young Man heads for the door...

... past the second line, which snakes out into the street, filled with
draftees who SHOUT at the Prosperous Young Man as he leaves.

DRAFTEE 1
Hey, tell your Papa to pass me three hundred dollars too.

DRAFTEE 2
Tell him if he don't we'll come get you on our way to Gettysburg.

The Prosperous Young Man HURRIES away, but spots Boss Tweed and Daniel
Killoran as he leaves.

PROSPEROUS YOUNG MAN
Oh, Mr. Tweed, I'd take the time to say proper thanks but...

BOSS TWEED
No thanks owed, son. Conscription's Federal Law, and so's the $300
exemption. You might remind your father, though, that you saw me here
today, minding that the law's strictly and equitably enforced.

The Prosperous Young Man hurries out, as the Draftees continue to holler
abuse. Boss Tweed HEADS for them, followed by Killoran.

KILLORAN
You see how much they like this damned law? Enforcing it's going to hurt
us in elections.

BOSS TWEED
It's not my law, and not my liking, either. But Washington's always
treated us with sufferance, and we must extend the same regard to them.
(to Draftees)
Boys, we are bound by honor and love of country to fight in this time of
crisis!

DRAFTEE 4
We're bound by our wallets and the emptiness in them, that's what!

BOSS TWEED
Boys, the union is in distress, our land is wounded deeply, our future is
suddenly a frail and finite thing. We must ask ourselves how...

DRAFTEE 5
Yeah, you could talk a dog off a meat wagen, Tweed. But let's see you
fight!

DRAFTEE 6
That'd be worth twice three hundred dollars to see!

BOSS TWEED
(as he backs off)
Thank you, boys, thank you for your understanding.
(to Killoran)
Holy Mother.

Tweed hustles Killoran outside, where the line of Potential draftees
snakes down the block and into Paradise Square.

BOSS TWEED
Daniel, between the blindness of Washington and the damned brass of Bill
Poole Tammany will fall like an autumn leaf. We must take what measures we
can. Attend to the Butcher. After the elections, of course. Unless you
think Amsterdam will do our work for us first.

KILLORAN
He could at that. Then he would become a fresh concern

BOSS TWEED
Not so daunting as this.
(turns to the Draftees in the street)
Boys, I've just had a word with your compatriots inside, and if you show
half the sand and a fraction of the spirit they have manifeste for joining
this great struggle...

There is a chorus of BOOS and JEEPS from the Draftees outside.

OUTSIDE DRAFTEE
Put a rope around it, Tweed, and swing in your own wind!

BOSS TWEED
Great weeping Jesus, Daniel, whatever happened to the halcyon days?

CUT TO

94 EXT. POLLING PLACE/PARADISE SQUARE DAY

Election Day pandemonium. The Dead Rabbits aren't working the repeaters
this day, but Johnny observes the action as Native Americans--identifiable
because of their long dusters--strongarm REPEATERS into the polls.

His attention is drawn to a HARRIED TELEGRAPH OPERATOR, who is being
SHOUTED at by Natives as he is inundated by pieces of paper and teetering
volumes of the voting registry. It's chaos. The poor Operator can't cope.

CUT TO

95 INT. TAMMANY HALL

It's chaos here, too. The large main room is filled with TELEGRAPH
OPERATORS receiving election returns. There is SHOUTING and CONCERN
throughout the room. Even Boss Tweed shows signs of worry.

BOSS TWEED
I swear that science will be the death of industry.

KILLORKN
The telegraph moves the voter tabulation by wire faster than we can get
the repeaters in and out.

BOSS TWEED
(losing patience)
Your role is to expedite, Daniel, not to explain.
(Killoran looks at him blankly)
Do something!

JOHNNY
If you'll allow me.

They both TURN to see Johnny standing coolly before them.

JOHNNY
There's a scheme we might try.

KILLORAN
You got no place among us, get the hell out of here however you come in.

BOSS TWEED
A moment please, Daniel. One moment.
(to Johnny)
You're a Dead Rabbit, aren't you? Friend to Amsterdam?
(Johnny nods)
And therefore no particular friend to us. What brings you here?

JOHNNY
Opportunity. Science and opportunity.

KILLORAN
You got opportunities enough among your own.

JOHNNY
I did have. But times change faster than people. Some people, anyhow. And
I like to stay with the advantage.

BOSS TWEED
Well, then, a Gentleman of foresight! Are you suggesting... or perhaps
you're even saying... that your friend and your gang may be ... well,
lagging behind the great march of history?

JOHNNY
Something like that, yeah.

BOSS TWEED
Well fine, step up to history then and tell us what you have in mind.

CUT TO

96 EXT. POLLING PLACE/PARADISE SQUARE DAY

START CLOSE ON: telegraph wire, HUMMING with the election returns. And,
below it--far below--Johnny, Killoran and a couple of TAMMANY BOYOS,
looking up at the wire.

BOYO 1
I ain't goin' up there. I got my election suit on.

JOHNNY
This election'll be over unless we get up there.

KILLORAN
"We?" This was your notion, you go up there.

BOYO 2
(looking at polling place)
Him. He looks likely, and he ain't workin'.

He points over at Sheeny Mike Kurtz, who is observing the action at the
polls.

JOHNNY
(calls to him)
Sheeny Mike, you want to make ...
(to Boyo 1)
...how much?

BOYO 1
A dollar.

JOHNNY
(to Sheeny Mike)
Five dollars? Just to help us?

SHEENY MIKE
(a bit wary)
What's the pitch, Johnny? Amsterdam wouldn't like it, working with Tammany.

BOYO 2
Well, now, if Amsterdam wouldn't like it ...

JOHNNY
(interrupting)
He knows about it. Welre working a whole new scheme. But I won't tell him
youlre helping, if that's the way you want it. And you can keep the full
five. Just start climbing.

SHEENY MIKE
(beat)
Where's the ned?

Boyo 2 hands Sheeny Mike five bucks, which he pockets as Boyo 1 gives him
a large pair of SHEARS. Mike wipes his palms on his pants and STARTS UP
the pole.

For Killoran and the Tammany Boyos, this is like a circus stunt. They
watch Mike's ascent with pleasure.

Sheeny Mike is quite pleased with himself as he nears the top of the pole.
He turns to look at Johnny and the Tammany group below. A couple of
SPECTATORS have stopped to watch as well.

Mike gets to the top of the pole, REACHES OUT--STRETCHES OUT-toward the
telegraph wire with the shears...

... strains... reaches ... MAKES THE CUT.

On the ground, Johnny looks relieved. The Boyos offer a partmocking round
of applause.

In the spirit of things, Sheeny Mike TURNS to acknowledge the applause.
Just briefly. But long enough so he's distracted. He sees the upturned
FACES fill suddenly with fear, and he TURNS when he HEA.RS a sharp, odd
WHISTLING NOISE.

A LIVE TELEGRAPH WIRE is coming at him. He doesn't even have time to
scream. The wire hits him, whipping around him as JOLTS OF NT leap through
his body and he FALLS to the ground.

CUT TO

97 EXT. PARADISE SQUA.RE DAY

HANDS pick up the lifeless body of Sheeny Mike and start to carry it
off... past Amsterdam and Jenny, who stand on one side of it, watching...
and Johnny, who is on the other.

JOHNNY
He was working a Tammany job, Tammany will see to him.

AMSTERDAM
He wasn't Tammany. Not like you.

JOHNNY
He made the right choice.

AMSTERDAM
You don't know what you're saying! You killed one of our own. One of your
family!

JOHNNY
(slowly)
I didn't know he was going to die, Amsterdam. And don't tell me what's my
own and what isn't. You're not my family. And I swear, I swear on the
Virgin Mother's eyes ... I know what I'm doing, Amsterdam. It's you that's
always been blind.
(they look at each other)
I'll say my farewells.

Johnny KNEELS down beside Mike's body, brushes the hair from his brow.

JOHNNY
You still smell like drink.

He nods to the Rabbits to carry the body on and, as he RISES a half-dozen
NEWSBOYS DASH into the square, carrying fresh copies of the Tribune and
crying...

NEWSBOYS
New Tammany victory! Fernando Wood elected to third term! Tammany ticket
prevails by narrow margin! Boss Tweed vows
Armageddon for crime!

JOHNNY
(looking at Amsterdam and Jenny)
Can't you hear the future?

He walks away from the gang, through the rushing Newspaper Boys.

CUT TO

98 INT. SPARROW'S CHINESE PAGODA

The place has been cleared out for a war council: Amsterdam with a couple
of Dead Rabbits, and Bill the Butcher with a few Natives. They sit at a
round poker table with a green felt top.

JIMMY SPOILS
We say the Square is the place. Let Barnum sell the tickets for a share of
the price...

NATIVE SECOND
(interrupting)
A small share.

JIMMY SPOILS
And the Rabbits and Natives will split the majority portion equal.

NATIVE SECOND
Who works the crowd?

AMSTERDAM
Nobody. This is a day of honor. No pickpockets, no lush-rollers, nothing.

BILL THE BUTCHER
I'll cut their hands off. After the fight.

NATIVE SECOND
We got to fix positions for everyone so there won't be no other fighting.
I know for fact the Roach Guards has sworn blood against the Black Birds,
and the Forty Thieves don't tolerate the Chichesters.

As these delicate negotiations continue, the only two outsiders in the
place, Mother Joyce and a Bartender, are listening intently on the far
side of the room.

BARTENDER
Amsterdam will make the Butcher a fine banquet.

MOTHER JOYCE
My ned's on the boy. He's got the youth, and he's got the hunger.

BARTENDER
Is he so hungry you'll put up a hundred?

MOTHER JOYCE
Two.

CUT TO

99 EXT. PARADISE SQUARE DAY

OFFICIALS stand on a high wooden platform facing a JEERING CROWD. Banners
announce a "DRAFT LOTTERY." OFFICIALS are preparing to draw the first
numbers as Boss Tweed gives out with a speech.

BOSS TWEED
Your honor... yes, and the law of the land... lies in the balance. The
Conscription Act of 1863 was handed down by President Lincoln himself ...

CROWD MEMBER
(shouting)
If Lincoln signed it, then let Lincoln fight!

CROWD MEMBER 2
It's an army of the poor fighting for a bunch of rich slackers!

CROWD MEMBER
Tammany's been our voice, let Tammany pay the exemption for all!

A YOUNG MEMBER of the crowd steps forward as Boss Tweed turns to look at
those backing him on the platform: Killoran, a CAVALRY OFFICER in fancy
dress ... and, out of sight of the crowd, Johnny Sirocco. Their
expressions are not reassuring.

YOUNG CROWD MEMBER
Your first payment, m'lords.

The Young Crowd Member hurls a STONE through the front window of a nearby
store. The CROWD cheers and runs to sack the store, and others SURGE
toward the platform. Johnny'and Killoran grab a fearful Tweed and rush him
to safety. But the Cavalry Officer stands his ground with sword and
pistol. He SHOOTS.

That STOPS them. But only for a fractured, eerie moment. Then they jump on
the Cavalry Officer, PULL him to the ground, begin to KICK and BEAT him.

CUT TO

100 EXT. STREET/JACOB'S LADDER NIGHT

A building burns at the end of the street, spreading a silhouette of smoke
and flame in the air...

... as a LION CHARGES down the street, growling, scattering RIOTERS in its
wake. It's a mad, frightening sight, like a fulfillment of the Biblical
prophecy produced by P.T Barnum, whose Museum is burning in the distance.

SCREAMS, YELLS, CURSES and GROANS. CRIES of pain and fear as RIOTERS jump
out of the way of the wild animal, then course up the street toward
Broadway burning in the distance.

From ABOVE, on the roof of Jacob's Ladder, Amsterdam and Jenny watch the
madness below.

AMSTERDAM
(watching lion)
That must be the vanguard of Barnum's army.

JENNY
This city will burn like Gomorrah.

AMSTERDAM
Then we'll take what we can before it gets too hot.

JENNY
I think it's past that already.

AMSTERDAM
It'll never come to that. These people ain't gang-led and they have no
purpose.

They'd rather die for themselves than the army, that's the purpose. What
would you do?

AMSTERDAM
Fight better and not get so mad. They're only doing what they should have
done years ago. Why'd they ever think there was another way to live?

JENNY
They believed what people told them, that's all.

AMSTERDAM
What people is that? The Reverend at the mission? Boss Tweed? Daniel
Killoran? People like Johnny Sirocco?

JENNY
You believed Johnny.

AMSTERDAM
Hell.

JENNY
And I believed you.

AMSTERDAM
I ain't done nothing different than what I told you, Jen.

JENNY
I believed what you said abaut being with me, with me alone. But you lied
to me. It's not me alone, it's just you and Bill Poole. Youlre so
blood-blind you can't see nothing else, not even this!

AMSTERDAM
I don't care a fine damn about what they want! It's what I want! They
won't dare harm the Points, that's all I care about! Let them turn the
rest of the city into hell! It's another country anyway.

JENNY
It's not a country for me, Amsterdam. I don't know about you. Will you
come with me?

AMSTERDAM
Not now.

JENNY
Now is when I'm going. Will you come?

AMSTERDAM
I don't want all this fighting to go to waste, Jen. I want to come out of
it with something. And I got to be waiting for the Butcher.

CUT TO

101 INT. UNDERGROUND/JACOB'S LADDER

Jenny digs out her treasure from her mother's grave, throws open the box,
starts to GRAB all the swag she can and hide it on her person... in her
pockets, under her clothes, anywhere. She takes as much as she can, but
she has to travel fast.

CUT TO

102 EXT. STREET NIGHT

Beginning a swift series of scenes that are like a laudanum nightmare.

The street is JAMMED with people fleeing and people fighting... as Jenny
forces her way through, trying to escape.

A small mob starts to ATTACK a house where a TERRIFIED FAMILY stands in
the doorway.

FAMILY MAN
We're with you, don't harm us!

MOB MAN
Show us your spirit and come out with us then!

MOB WOMAN
And put a candle in the window to show you're one with us! Every light is
a flame against the draft!

The WIFE begs her husband not to join the mob, but they PULL HIM out into
the street. The Mob Woman hands the Wife a candle, then runs back to join
the mob.

Jenny starts to cross Paradise Square now... tries to cross, anyway... and
passes the stand where Tweed delivered his speech that very morning. She
sees: the Cavalry officer. Several MOB WOMEN have revived him with water.
He has been beaten terribly, but as he MOANS and starts to regain
consciousness, the MOB WOMEN fall upon him with fresh fury, KICKING and
HITTING his helpless body. They BREAK his bones with rocks and TEAR OFF
the fancy braid of his uniform to hang around their necks.

Now a SECOND MOB RUSHES toward the first from the opposite side of
Paradise Square. Chaos. Jenny is buffeted wildly. It's like being in a
whirlpool. She grabs a LITTLE GIRL whose face is bruised and blaody but
whose eyes shine wildly.

JENNY
What is it?

LITTLE GIRL
Cops has everything closed to the north, and the militia's coming.

CUT TO

103 EXT. STREET/FIVE POINTS NIGHT

As Jenny presses her way through the mob-devoured streets. She sees: MEN,
WOMEN and CHILDREN attacking a small group of BLACKS.

BOY
My Daddy don't have to die for you! Why should he fight and die for you?

Jenny looks ahead, sees: the river, in the distance. And flames. She runs
forward, STUMBLES. Some of the swag FALLS to the street. She SCRAMBLES to
pick it up as Rioters rush by her.

CUT TO

104 EXT. PIERS HUDSON RIVER NIGHT

MATTE: The surface of the water looks like a mirror made of flame. The
piers are BURNING. The docks are ash.

SAILORS battle a MOB for possession of a small rowboat. As they fight, the
boat starts to DRIFT. Jenny spots it, RUNS for it

... but so does ANOTHER GIRL. Younger than Tenny--20 maybe, Jennyls age
when Amsterdam fell in love with her. They both get to the boat at the
same time. Each grips it by a gunwale, and they STARE at each other like
two jungle beasts over a kill.

JENNY
I'd kill you for this.

The Girl lunges at her with a knite, and Jenny SHOOTS. The GIRL slides
into the flame-reflecting Hudson as if she drowning in a pit of lava.

Jenny climbs into the boat and frantically starts to row. We stay CLOSE on
her ... working the oars clumsily, furiously ... moving the boat across
the water, trying to get away from the city...

... and we go WIDER now. A huge line of IRON--like the side of a
glacier... bisects the frame, then starts to move. Jenny
turns, SEES it. It is ...

... the looming hull of an ironclad war ship (MATTE). It LOBS cannon fire
into the city, setting off tremendous explosions.
Jenny TURNS back for the shore...

... as cannonballs land, devastating rioters.

CUT TO

105 EXT. SHORE/RIVER NIGHT

MATTE: Police and MILITIA push the rioters back toward the river like
rats. A cannanball EXPLODES in their midst...

... injuring many more cops and militia than rioters. The rioters rally,
RUN over the bodies of fallen cops and soldiers. Now the advantage is
theirs; cops and militia are in retreat.

Jenny climbs up on shore and joins the mob as it presses back inland.

CUT TO

106 EXT. DOYERS STREET/THE BLOODY ANGLE NIGHT

Further from the docks. Shells still exploding in the distance. Jenny
moves with the marauding mob, recognizes Doyers Street. She splits away
from the mob, moves stealthily into the street known as the Bloody Angle.
And STOPS.

Weird shadows dance on the walls of the buildings. SMOKE and EERIE LIGHT.
The angle is lined with lampposts. And from every lamppost dangles the
BODY of a black man. Or woman. Or child. Some are still smouldering.

At the base of a lamppost, a group of RIOTERS have cut open the hog-tied
CORPSE of a black man and are pouring oil into it. One of the Rioters sees
Jenny, grins and holds out the TORCH he's holding. She shakes her head and
starts to BACK out of the alley.

The Rioter touches the torch to the oil in the wound of the corpse. The
body IGNITES in flame. The RIOTERS pull on a rope and the body rises,
burning, to the top of the lamppost ...

... where its awful shadow joins all the others in the madhouse
refractions on walls all up and down the street. On the street, as the
flames dance and the bodies burn, rioters DANCE and SING. Walpurgis Night.
From these mad SHADOWS, we...

DISSOLVE TO

107 EXT. ROOF/JACOB-S LADDER NIGHT

... the face of Amsterdam, stepping out of the SHADOWS of the roof. There
are flames in the distance. The whole gang is assembled, facing him as he
speaks.

AMSTERDAM
No we ain't going to fight, but we can take something for ourselves out of
this.

JIMMY SPOILS
I want to know who hung them bodies in the Bloody Angle. I want to address
who done it.

AMSTERDAM
Five thousand people in the street done it! Boss Tweed done it! Abe
Lincoln done it! There's nothing you can do about any one of them but stay
with us. You'll have a little of your own back.

JIMMY SPOILS
How's that?

AMSTERDAM
These riots are a gift. They...

... he PAUSES just for a moment as he sees a hand on the last rung of the
outside ladder leading to the roof: it's Jenny, returning.

AMSTERDAM
... they've made everything clear, as you might say.
(to Jenny)
Are you with us, then?

JENNY
Until I can get out. I'll go with you...
(straight at Amsterdam)
...meantime.

AMSTERDAM
Good. We're going for the Armory at Canal Street.

JIMMY SPOILS
The Armory! We'll have to beat the militia to get there.

AMSTERDAM
There's a way through the lines. Jen, did you see the cops and militia?

JENNY
I can show you from here where they are. I doubt they'll get to the Armory
in force before midday tomorrow.

AMSTERDAM
We'll get there first. We'll take everything we can carry, and destroy the
rest so no one else has the use of it, the militia, the Natives, nobody.
Then we'll turn to real business. We'll go down to the Battery.

JIMMY SPOILS
Why, we going to take a sail to Europe?

AMSTERDAM
No. But we could, after this. We're going...
(slowly, savoring this)
...we're going to take the banks. The government banks.
(awed silence from all)
Are we not?

JENNY
(beat; steps forward)
Seems we are.

One by one, then in small groups, the entire gang FOLLOWS her. They are
uncertain, reluctant, even frightened at the audacity of the scheme. But
they stand with Amsterdam.

CUT TO

108 INT. MAIN ROOM/TAMMANY HALL NIGHT

The crowded main room of Boss Tweed's domain, jammed with anxious
POLITICOS and OFFICIALS, as well as a harried group of TELEGRAPH OPERATORS
who receive news of the riots from all over Manhattan. There is a huge map
of the city against one wall: the place has been converted from a
political princedom to an operational headquarters. Johnny Sirocco and
Bill The Butcher are there. Other guests include the GOVERNOR, Mayor
Fernando Wood, and a badly shaken Horace Greeley.

GREELEY
They attacked me! I had every sympathy for them at first...

BOSS TWEED
Too much sympathy, Horace. Writing these riots were a rising against
"unjust laws and unsuitable law-givers." The shame!

GOVERNOR
I suspended the draft at noon but the mobs only grew more virulent. It is
a criminal rising of the lowest class, of the Gangsters and rabble who
have been allowed by Tammany to run lawless!

BOSS TWEED
It was Tammany and the rabble that elected you, Governor. And it's Tammany
and the gangs who'll stop it. Isn't that so, Bill?

BILL THE BUTCHER
(nods at Johnny)
I won't say nothin' in front of him. Who knows what business he's here on?

BOSS TWEED
He's here on our business and my invitation. He's already been of great
help. What's the opposition strength, John?

To answer, Johnny yanks back a CURTAIN drawn across a high window. The
view, looking downtown, is one of almost continual ILLUMINATION-- every
place the eye falls, CANDLES burn in sympathy for the rioters.

JOHNNY
Each candle is against you, gents.

MAYOR
"Against you," sir? Don't you mean "us".

JOHNNY
(diplomatic)
Some of us come from those people, Mayor. I'll not deny they still claim
part of me.

MAYOR
Which part? Perhaps your heart.

BOSS TWEED
Gentlemen, I'm sorry you find it necessary to question the loyalty of my
friend here, and by extension, my own judgement. So as proof ... John,
where will the mob go? What will the gangs do?
(Johnny is uneasy about answering)
Go on, tell them what you told me.

JOHNNY
There's no telling about the mob. Or the small gangs. But the Dead Rabbits
... if I was Amsterdam...

BOSS TWEED
(interrupting)
As indeed you nearly was. Were.

JOHNNY
... if I was ... I'd figure to take the Rabbits to the Armory.

BOSS TWEED
Would you agree with that, Bill? Wouldn't you do the same? If you were
fighting against the militia instead of beside them?

BILL THE BUTCHER
Beside them? What are you talking... ?

BOSS TWEED
(interrupting)
You will have to fight beside them to take the Armory. It cannot fall into
unfriendly hands.

BILL THE BUTCHER
I can't stand with the militia against the people. I could never work the
Points no more if I did.

BOSS TWEED
We're all of us swept up in a great tide of events, Bill. Have you learned
to swim?

From Bill's face, struggling to make sense of this, knowing Tweed's right
but not wanting to believe it, we ...

DISSOLVE TO

109 INT. MAIN ROOM/TAMMANY HALL NIGHT

... Johnny's face, as Tweed talks to him. It is later, and the Butcher has
left. The activity is still frantic all around, but Tweed speaks in
unhurried tones.

BOSS TWEED
I'm sure that Bill will do his usual splendid job. But after that ...
well, I'm afraid he's grown away from us.
(Johnny looks puzzled)
He shows distressing signs of... shall we say, free-thinking. Crime
flourishes in chaos, and these riots could encourage Bill to overstep
himself. He no longer inspires in me the same trust... well, that you
might. If you can prove yourself further.

109 CONTINUED:

JOHNNY
You already said in front of everyone you trusted me.

BOSS TWEED
In vital things. Would I be talking to you now otherwise? Vital things,
but small things. Are you equal to greater responsibility and opportunity?

JOHNNY
Such as what?

BOSS TWEED
Ridding me of Bill the Butcher.
(Johnny is startled)
He may question your loyalty to me, but Bill would never believe you had
the sand to go against him. He'd never expect it. Do you have the sand?

From Johnny's face, struggling to make the right answer, we...

DISSOLVE TO

110 INT. JACOB'S LADDER

... Ansterdam's face, as he looks up from preparing a brace of pistols for
the next day's scheme.

AMSTERDAM
Let him in.

Johnny enters the common room of Jaccb's Ladder, where the Dead Rabbits
have gathered to ready themselves. As they work over their weapons and
prepare battle dress, Johnny walks through their midst. They do not
acknowledge him... except for Jenny.

JENNY
Did you miss us, John?

JOHNNY
Not a bit.

AMSTERDAM
(rising to meet him)
Are you here to spy?

JOHNNY
I don't have to spy.

Amsterdam leads Johnny off to a shadowy corner of the room where they can
talk privately.

JOHNNY
(as they walk)
I know what you're doing. I told Tweed what you're doing.

AMSTERDAM
You don't know what I'm doing.

JOHNNY
You're going after the Armory.

AMSTERDAM
Am I now? Why do you think that?

JOHNNY
'Cause that's what I would do, and you and I think alike.

AMSTERDAM
No more. And it don't seem worth a visit to tell me something you already
think I'm doing.

JOHNNY
There's something else alright. Tweed's arranged to kill Bill the Butcher.

AMSTERDAM
(disbelieving)
Who could Tweed get to do that?

JOHNNY
One of his own.

AMSTERDAM
There's no one around him...

JOHNNY
(interrupting)
Listen, it don't matter who, it's going to be done, that's all! Tweed
ain't going to wait around
for you and Bill to settle yourselves. I'm telling you so you have a
chance.

AMSTERDAM
Chance of what?

JOHNNY
A chance... a chance to do what you want. Bury the Butcher, draw what
blood you got to. But you better make speed. The Natives will move on the
Armory too.

AMSTERDAM
And what's any of it mean to you?

JOHNNY
It means whatever's left of friendship, I don't know. There's still part
of me here. I don't
want to see you lose everything in your life at once.

AMSTERDAM
I'm going to lose nothing.
(beat)
If you believe me, you can stay.

JOHNNY
I got to go.

He turns so Amsterdam can't see his face and LEAVES-

JENNY
So Tammany's going to kill the Butcher. That puts you and Tweed on the
same side. Does that make the path clear enough to suit you?

From Amsterdam's face, trying to work out all the new angles, we...

DISSOLVE TO

111 INT. NATIVE AMERICAN HIDEOUT

... Amsterdam's face, full of resolve, staring unblinking as ...

... the barrels of two dozen RIFLES SURROUND the edges the screen, boxing
Amsterdam in, as if his head were in a frame.

And Bill the Butcher gazes at him with astonishment. We are, for the first
time, in the Natives' lair, a house hung with American flags of all shapes
and vintages, some of them torn by battle, others by years of weather and
use. Some of them go back to the early days of the republic. There is not
an inch of wood or wall space to be seen for all the stars and stripes.

BILL THE BUTCHER
Murder Me? No one's going to murder me.

AMSTERDAM
Then you better learn to fight locking over your shoulder, Bill, because
that's the only way you'll ever see it coming.

BILL THE BUTCHER
I don't believe it, and I don't believe it's you telling me. You got no
reason to care about any danger to me.

AMSTERDAM
One reason. You're my kill, Butcher. No one else is going to have you, not
Tweed, not Tammany, not those pigs in the street. No one--not even you,
Bill--will ever take the pleasure of your death away from me. I'd do
anything to keep you for my own, even if I have to protect you.

BILL THE BUTCHER
You protect me? Get out of here and go to hell.

AMSTERDAM
Fine, so long as I pass you on my way.

BILL THE BUTCHER
Maybe I'd believe you more if I knew who was talking to you.

AMSTERDAM
Someone I credit.

BILL THE BUTCHER
That means nothing to me. None of this means nothing to me because I am
Tammany. Without me and my Natives they're nothing but a bunch of old
horses at a trough.

AMSTERDAM
You join with me and we fight against Tammany, fight them back and out of
the Points. Then you and me can settle. But if you don't join with me,
then there won't be no settlement because you'll be murdered in the street
and the whole Points will be mine.

BILL THE BUTCHER
I relish the thought... just the thought... of cutting you up and opening
you wide. So if just thinking about it gives me such pleasure, imagine how
I'm going to enjoy doing it.

AMSTERDAM
Why don't I make it easy for you, then.

He TURNS his back on the Butcher and starts to walk out, through the
entire gang of Natives.

AMSTERDAM
Same as you're making it easy for Tweed.

He keeps walking... through the Natives ... dozens of ancient enemies
glowering at him.

BILL THE BUTCHER
Amsterdam!
(Amsterdam looks around)
Don't be like your father. Don't make it too easy.

Amsterdam struggles to keep his temper. But he turns and keeps walking
through the enemy camp as we...

DISSOLVE TO

112 INT. JACOB'S LADDER

....Amsterdam walking. But this time, he is WALKING among his gang. All
the Dead Rabbits are assembled, weapons ready. Jenny is beside him. Then
Jimmy Spoils. Then a few others.

As the group passes, others STAND and walk with them...

... until the whole gang is rallied...

... and bound for the passageway in the corner of the room that leads
under the building.

DISSOLVE TO

113 INT. BASEMENT

As Amsterdam and the gang heads through the catacomb-like basement, past
the graves, into a tunnel. Torchlight GUTTERS all around. Their steps echo
like repeated rifle shots.

DISSOLVE TO

114 INT. TUNNEL

The whole gang MARCHES down a tunnel under the Old Brewery. Except for
Amsterdam and Jenny, they all wear their tamlas. Many have marks and gang
insignia on their faces. All of them have weapons. A lot of weapons.

Frightened FACES--people seeking shelter and safety from the riots--appear
in the darkness, then vanish like ghosts.

As the Rabbits walk, they summon memories of the first fight, that same
march through the tunnels when Amsterdam marched beside his father.
Amsterdam's face gives little away. But perhaps he is remembering that day
too.

DISSOLVE TO

115 INT. TUNNEL

The last tunnel.. Shreds of light from a door in the distance. Amsterdam
walks up to the door and--just as Monk Eastman did years before--KICKS it
down. Dim dawn LIGHT FLOODS the tunnel as the Dead Rabbits step out.

CUT TO

116 EXT. CANAL STREET DAWN

The first thing we see is an ELEPHANT, who trumpets fearfully at the
sudden sound of the sattere door. The gang stops, wary of this huge
refugee from Barnum's Museum, but the animal is more frightened of them.
It hurries on down the street...

... revealing behind it a group of several dozen RIOTERS who carry a huge
American flag and a long wooden plank bearing the legend "No Draft." They
stare at the Rabbits with something near reverence.

AMSTERDAM
Where's the Native Americans?

RIOTER
Ain't seen them. Ain't here.

AMSTERDAM
And the militia?

RIOTER
There's a detachment coming on from two streets over. The rest is still
north of here. What are you after?

Amsterdam POINTS to a formidable building a block away: the Armory. It
looks like a fortress.

RIOTER
The Devil himself couldn't take that place.

AMSTERDAM
That's why he sent us.

CUT TO

117 EXT. STREET NEAR ARMORY/ DAY

The DETACHMENT of militia proceeds warily towards the Armory. They are a
young, uncertain-looking outfit; their COMMANDER looks like an upstate
farm kid. He tenses and his eyes widen as he sees Jenny walking toward
him, carrying a BOY in her arms.

JENNY
(crying)
Help me. Oh please help me. He's shot, we need a doctor, please help.

DETACHMENT COMMANDER
Miss, we ain't a medical outfit. The main unit's ten minutes behind us,
they'll have...

He doesn't get the chance to finish. Jenny DROPS the Boy from her arms and
shoots the Detachment Commander once, cleanly...

... as the Boy roles into a prone position and FIRES two shots into the
stunned Detachment...

... while the Dead Rabbits SWARM from every doorway along the street,
FIRING GUNS and brandishing weapons.

It's over in seconds. The Detachment has hardly gotten off a shot. Every
one of them lies dead or wounded in the street...

... as the Rabbits CROUCH over their bodies.

CUT TO

118 EXT. ARMORY DAY

A rifle emplacement manned by a dozen GUARDS- They stand anxious post in
front of the Armory. Each window is barred and fortified, and the front
door is massive. But the tension in the Guards' faces eases a little when
they see ...

... the Detachment of militia heading towards them down the street. Some
of the Detachment are wearing bloody uniform jackets; several are being
carried. The Detachment, unrecognized by the Guards, is made up entirely
of Dead Rabbits.

AMSTERDAM
Help us, we got wounded!

GUARD 1
We can't leave the post.

AMSTERDAM
Open the damn doors then! We're bad hurt!

GUARD 1
Where's the others?

AMSTERDAM
Just behind us! But I got our major here wounded so bad half his guts is
out!

Guard 1 SIGNALS for the doors to be opened to the Armory as the Detachment
draws close to the emplacement.

GUARD 1
God, it's good to see you!

AMSTERDAM
Likewise.

Ainsterdam SHOOTS him where he stands as the Rabbits OVERWHELM the
emplacement.

AMSTERDAM
(shouting)
Move fast! We got to get out with everything we can before the militia
gets here!

As the Armory Guards return fire, the Boy Jenny carried in the previous
scene RUNS for the telegraph pole and starts to CLIMB. A SHOT makes the
wood fly inches from his face...

... as the Rabbits storm into the Armory, FIRING wildly.

The Boy reaches the top of the telegraph pole and CUTS the wire. He
shinnies back down the pole as the wire SWINGS ineffectually in the air
and we ...

DISSOLVE TO

INT. Y HALL/MAIN ROOM 119

..a telegram, held in Killoran's hand. He passes it to Tweed.

KILLORAN
It's from the Armory Guards. That's the last before the wire went dead.

BOSS TWEED
(reading, furious)
If the Rabbits are already at the Armory, where the hell is Bill and the
militia?

He THROWS the telegram onto the floor, where it joins a whole SEA of
yellow telegraph forms. They are shin-high; there must be thousands of
them.

KILLORAN
They got to be near.

JOHNNY
So long as they're near, it's alright. The Rabbits can take the Armory,
but they can't hold it. If Bill can get into position, he can make sure
they don't get out.

BOSS TWEED
Alright then, John, you pray to any God you choose that's the fact of it.
If Bill thinks he can best the Natives, that is your opportunity. That is
your moment.
(Johnny hesitates)
Are you a Bible man? The Book says in Revelations, "I saw a new heaven and
a new earth." If the hand of God's not on you to fulfill that prophecy,
then the hand of Tweed will be. Go on and God bless.

Johnny looks like he is about to say something, but he stops; looks at
Tweed a moment longer; then nods acknowledgment and leaves.

GOVERNOR
I don't believe he can do it, Tweed.

BOSS TWEED
Oh, I think he can. Whether it's one man against another or a mob against
the city, the mathematics remain the same. You never enjoyed the
enlightenment of poverty, did you, Governor? If you had, you'd know you
can always hire half the poor to kill the other half.

CUT TO

120 EXT. ARMORY DAY

A TREMENDOUS VOLLEY of GUNFIRE, as if to illustrate the Tweed theory of
class warfare. Bodies fall in the street. Bodies fall from the Armory. The
building is under siege by the main unit of the MILITIA and by Bill the
Butcher and the Natives. The Dead Rabbits are trapped.

Johnny SNAKES through the Native American lines, over dead bodies, moving
towards Bill, who he sees a hundred yards away...

... running over corpses of comrades and enemies toward the MILITIA
COMMADER. As SHOT WIDENS, the carnage is revealed. Bodies of Natives, in
their uniform dusters, and Rabbits, in their tamlas, lie side by side in
the street.

120 CONTINUED:

FIRING continues from both sides as the Butcher shouts at the Militia
Commander.

BILL THE BUTCHER
We move now and we can drive them out! We press them and they'll break!

MILITIA COMMANDER
I can't spare the men or stand the risk! We stay fast and smoke lem out!

BILL THE BUTCHER
Tweed put me in charge of this! I say we move, and by the crucified Christ
we will move!
(turns to his men)
Native Americans, come with me! Any militia that wants to live upright
instead of die hunkered down, come with us!

Bill STALKS through the lines, rallying the men. And Johnny starts to
FOLLOW.

BILL THE BUTCHER
We'll show you gladiators' greatness! Come on!

The men start to JOIN the Butcher; even some militia fall in. Johnny SLIPS
through the men gathering near the Butcher. He's closer to Bill than ever.

Bill starts to mount their BARRICADE. There is MOVEMENT and commotion all
around him as Natives and militia fall into rough formation. It threatens
to obscure Bill from Johnny's view. Shield him.

He has to make his move. NOW. He DRAWS a revolver as militia and Natives
pass in front of him... he AIMS ... he's anxious, confused ... his HAND
shakes ... he fires... too soon! ...

... and HITS a Native, who falls dead. Right near Bill.

The Butcher turns in the direction of the shot, SEES Johnny. Their eyes
lock. Johnny FIRES again ... WINGS Bill ...

... and Bill SHOOTS him. Johnny FALLS with the first shot. Bill's above
him now, looking down at him.

BILL THE BUTCHER
Was it Tweed or your friend put you to this?

JOHNNY
Tweed.

Bill SHOOTS him again, point blank. Johnny screams.

BILL THE BUTCHER
You'd lie to save your friend.

JOHNNY
(in terrible pain)
No. There's no friends for me.

BILL THE BUTCHER
Me the same. Pity us both.

He EMPTIES his revolver into Johnny.

BILL THE BUTCHER
(to his men)
Hold your fire!
(toward the Armory)
In there! Hey in there! I want to talk to Amsterdam!

The Militia Commander is aghast at this proposition and starts forward,
gun in hand. But a Native STOPS him.

Amsterdam's face APPEARS in a front window of the Armory.

AMSTERDAM
Go on, then, talk.

BILL THE BUTCHER
You and me.

AMSTERDAM
(beat)
Come ahead then. And bring my friend's body.

Bill the Butcher SLINGS Johnny's body over his shoulder as easily as if it
were an empty sack of flour...

... and starts walking thraugh the lines toward the Armory. The Militia
watches in disbelief, the Natives in confusion. The Dead Rabbits keep the
Butcher in their sights. But no one fires. No one moves.

And Bill the Butcher enters the front doors of the Armory.

CUT TO

121 INT. ARMORY DAY

As the Butcher is admitted through the huge doors which clang SHUT quickly
behind him. It's a scene of devastation inside-dozens of dead and wounded
everywhere. And enough rifles and munitions to sink Manhattan island.

Bill the Butcher stands dead center in the middle of the Armory floor as
Amsterdam walks toward him. The Butcher DROPS Johnny's body in a heap at
his feet.

BILL THE BUTCHER
Your friend made different friends lately.

AMSTERDAM
Tammany's put us all in the same place. You want to get out alive?

BILL THE BUTCHER
It don't matter to me. I got enemies outside, enemies in here. The militia
can move on me anytime. You could drop me before I get to the door.

AMSTERDAM
I don't want to lose you so easy. You'll never get past the militia unless
you come with the Dead Rabbits.

BILL THE BUTCHER
You'd lay aside what's between us?

AMSTERDAM
I'm not forgetting where I put it.

BILL THE BUTCHER
If you do, I'll remind you.
(he turns, leaves)

AMSTERDAM
What's your call, Bill?

BILL THE BUTCHER
I'm considering where's my better chance.

He walks to the doors. The Rabbits guarding it don't make a move. He OPENS
it himself and strides out into the street.

CUT TO

122 EXT./INT. ARMORY DAY

Bill walks alone toward the Native/militia lines.

From inside... from every window ... the Dead Rabbits watch him.

The sun is high, but the street is eerily quiet. There are FARAWAY SOUNDS
of battle, but here there is only the sound of distant, unheard
conversation between Bill, the Militia Commander and some Natives.

Amsterdam WATCHES intently.

The Butcher and the Militia Commander argue, but we still can't hear what
they're saying. There is still no sound...

... until, SUDDENLY, we see the Militia Commander's face. Huge. EYES WIDE
with surprise as we HEAR the thunderclap of a SHOT.

Bill the Butcher has just gutshot the Militia Commander.

As if the shot were a signal, the Natives TURN on the militia. It's
hellish, close-quarter combat. Guns fired inches from enemies who had just
been allies. Knives, swords, bludgeons, kids with dead-rat blackjacks,
women with hob-nailed wooden planks, attacking better-armed but totally
stunned soldiers.

Bill the Butcher falls back toward the Armory, the Natives following him.

Inside the Armory, Amsterdam turns to his own greatly diminished gang.

AMSTERDAM
Go ahead them, give them cover! Give them some damn cover!

The Rabbits are so stunned to be fighting on the same side as their sworn
enemies that, even with Amsterdam's order, no one makes a move. It's
Amsterdam who FIRES the first shots. And that unleashes a great VOLLEY
from the Armory...

... toward the militia.

The Butcher and the Natives are closer to the Armory now... and the Armory
doors start to open...

... when a MILITIA LIEUTENANT SIGNALS ...

... and MILITIA on the surrounding roofs, waiting for this moment,
suddenly open fire...on the Natives below and on the Rabbits on the roof
of the armory. Many drop in the street and fall from the Armory roof...

... as the Armory doors SWING WIDE to admit the Natives. As they run or
stagger inside, the Rabbits start to close the doors. Some Rabbits are cut
down by the fire from the rooftops. Other Natives never make it to the
doors. And a few are shot...

... when the doors close before they can get through.

CUT TO

123 INT./EXT. ARMORY DAY

The Dead Rabbits keep firing, but they have sustained grave losses. The
Butcher looks around at the Natives who have made it inside with him: he
has perhaps one-quarter of his original strength.

BILL THE BUTCHER
Well, it seems like between us we got two mobs that might make a gang.

AMSTERDAM
Whose gang might it be?

BILL THE BUTCHER
Not William Tweed's.

Jimmy Spoils and a crew of Natives PUSH a cannon toward the rear of the
Armory.

AMSTERDAM
Which way you pointing that?

JIMMY SPOILS
Any way you say. One direction could let us out, the other will let them
in.

BILL THE BUTCHER
They got to come in if we're going to fight them.

AMSTERDAM
Who do you want to fight, Bill?

Amsterdam MOTIONS toward the rear wall and Jimmy swings the cannon around.

Everything surrounding them is MOVEMENT and COMMOTION as the remaining
members of both gangs TAKE whatever weapons they can carry from the Armory
stockpile...

... and Jenny steps forward with a torch, LIGHTING the fuse of the
cannon...

... which ROARS and BLOWS a huge hole in the rear wall of the Armory.

AMSTERDAM
(to Bill the Butcher)
See you in the street.

The gang members RUSH for the opening, carrying whatever they can manage.

Outside, the MILITIA LIEUTENANT hears the cannon blast... sees no damage
to the front of the building... and SIGNALS for a frontal ASSAULT on the
Armory.

HIGH ANGLE FROM ABOVE, CAMERA MOVING as the militia CHARGES ... following
them forward, then moving ahead to the Armory

... SHOOTING straight down inside (no roof or ceiling) as the Gangs HURTLE
through the still-smoldering hole in the wall ...

... and drop twenty feet to an alley below...

... where militia on the roof try to pick them off. As the militia presses
closer from the front, gang defenses start to fall back inside the Armory.
Everyone wants to get through that hole.

Amsterdam, Jenny, Jimmy Spoils and some of the other gang nembers are
carrying TORCHES. Jenny HANDS a torch to the Butcher. Amsterdam MOTIONS
them all toward the back of the Armory.

But he stays behind. Just for a moment. He BENDS over the crumpled body of
Johnny Sirocco, ARRANGES it, folding JOHNNY'S HANDS across his chest.

AMSTERDAM
You'll have a warrior's funeral anyway, John.

He STANDS and RUNS for the hole in the wall, where Jenny and the others
stand waiting.

He TURNS, takes a last look inside the Armory. The militia is BATTERING
DOWN the front doors. Then he raises his TORCH over his head... and HURLS
it through the air. Jenny and the others do the same.

His single torch BLAZES a path of light across the screen. The others,
JOINING it, make a fiery CONSTELLATION.

CUT TO

124 EXT. REAR OF ARMORY/STREETS BEHIND ARMORY DAY

As Jenny, Jimmy Spoils, Bill the Butcher and Amsterdam HURTLE through the
hole into the alley below...

... and start to run through the withering GUNFIRE of the militia on the
roof...

... getting away... just barely away.

As Jenny runs, her swag drops and FALLS from under her clothes. She TURNS
to pick it up but Amsterdam PULLS her on....

... and just away from the titanic EXPLOSION of the Armory. The CONCUSSION
throws some of the militia from their perches on the roof. It sends a
fountain of FLAME and RUBBLE high into the sky. It is VOLCANIC in its
brilliance and intensity. The sky turns BLACK with powder, BLAZING ORANGE
with flame.

In the small streets BEHIND THE ARMORY, many gang members are CRUSHED by
debris or burned by FIREBALLS breaking off from the central flame.

The Armory is gone. Much of the surrounding area is gone with it.

On the ground, everything is smoke, flame, dirt, death, confusion, Corpses
everywhere. Gang members and kids running all over, desperate. It looks
like the last day of mankind on earth.

Bill the Butcher HELPS a couple of fallen Natives, then SEES through the
smoke and flame and storm of ash ... Amsterdam.
Coming towards him.

BILL THE BUTCHER
We're finished, all of us.

AMSTERDAM
But you and me ain't settled.

BILL THE BUTCHER
We got the same now, a full share of nothing. There's nothing to settle.
There's nothing left.

Amsterdam takes a weapon from his pocket, OPENS it for the Butcher to see:
it is the pirate's knife which the Butcher used to kill Priest Vallon.

AMSTERDAM
Then let's start over.

Bill the Butcher looks tired, sorrowful. He BURIES his face wearily in his
arms. And for a moment we think he has given everything up. Amsterdam
MOVES toward him, through the smoke. The Butcher does not even look at
him. Of all the things he could do, this is the one that Amsterdam could
not anticipate and does not know how to reckon.

AMSTERDAM
Look at me. Look at me!

But the Butcher will not obey. Amsterdam HESITATES.

And it's at that moment the Butcher LOOKS UP... in a FLASH... a pistol in
his hand, a grin of triumph on his face... and shoots. Amsterdam goes down.

The Butcher THROWS ASIDE his gun and takes out his CLEAVER... walking
through the smoke ...

... and past gang members who FLEE the explosion around them... toward
Amsterdam.

BILL THE BUTCHER
Don't look away, Amsterdam. You wanted this so long.

A HAZE of ash and gunpowder BLOWS across the Butcher's face, making him
look like a phantom... but making the ground where Amsterdam lies
indistinct. For just a second.

But time enough. A WOODEN PLANK filled with NAILS cuts through the haze,
catching the Butcher across the middle. He goes down howling...

... and Amsterdam, wounded in the leg, kneels before him. Then SPRINGS at
him, pinning him like some crazed lover. The CLEAVER flies from the
Butcherls grip.

The two men STRUGGLE desperately. But the gang members FLEEING around them
pay no attention. This great epic combat, this tremendous blood feud, has
been reduced to its essence: it is a street fight. But a street fight to
the death.

WE WATCH Amsterdam and the Butcher struggle from street level, the fight
often obscured by the legs and feet of the gang members RUSHING past.
These two ancient antagonists could be anyone. Anyone at all.

The Butcher is atop Amsterdam now, iron hand? at his throat...as
Amsterdam's hand rises, holding the pirate's knife... searching for the
strength ... and the place... for one final blow ... the Butcher's fingers
TIGHTEN ... Amsterdam's hand moves ... and the pirate's knife DRIVES HOME
right into the Butcher's stomach: the belly of the beast.

The Butcher bellows. Amsterdam FLIPS him over, starts to SLIT him up the
front, but the knife cannot cut the pelvic bone. Amsterdam puts his knee
on the Butcher's throat, PINNING HIM.

AMSTERDAM
Don't look away.

And he SLAPS his hand over the Butcher's one good eye, so he can't see the
death blow, EXTRACTS the knife...and PLUNGES it like a stake into the
Butcher's heart.

He takes his hand away. All the Butcher can see is Amsterdam's face as his
EYE starts to roll back in his head at the approach of death.

BILL THE BUTCHER
Thank... thank God I died a true American.

And he dies. There is no triumph in Amsterdam's face. Only pain, and
satiation. He SEES: the CLEAVER, on the ground a few yards from him. And
Jenny, staring at him. Amsterdam GESTURES for the cleaver.

JENNY
(quietly)
Get it yourself.

Amsterdam tries to get up. He can't. So he CRAWLS through the mud... for
the cleaver. Grabs it.

DISSOLVE TO

125 EXT. CEMETERY DAY

The headstone of Priest Vallon. Now it has an inscription, which Amsterdam
is finishing. He uses the handle of the Butcher's cleaver for a hammer,
the blade of the piratels knife as a chisel. WE SEE the inscription:
"Priest Vallon/ 1814-1844/ New York City... of

The blade BREAKS on the final letter. Amsterdam sits back an the ground
near the grave. Behind him across the river (MATTE), the fires of the
riots still burn.

JENNY
You'll have to come back to finish.

AMSTERDAM
Maybe I'll leave it.
(beat)
Are you leaving?

JENNY
I'm going west.

AMSTERDAM
Well wherever you go, you got to go back through the city. so we're going
the same way for a while.

He starts to STAND, STUMBLES to one knee.

AMSTERDAM
Help me, will you?

She looks at him... a lingering moment ... then goes to him.

JENNY
Give me your hand.

She HELPS him up, puts his arm over her shoulder... and they start to walk
away together through the graveyard toward the burning island beyond.

The CAMERA pulls back.... and as Amsterdam and Jenny WALK AWAY the SKYLINE
OF NEW YORK starts to take shape before us. TOWERS of steel and concrete
start to rise.

As the SUN begins to descend, we see, in outline, the familiar
contemporary SKYLINE of New York. As the SUN FALLS, the outline of the
city becomes grander still, until, in the late afternoon light, it gives
off an almost SPECTRAL GLOW...

... which SHINES for a last moment on the now-aged headstone of Priest
Vallon, its inscription unfinished.

As, in the distance, the sun SETS an New York and the city grows still and
black in the wash of impenetrable darkness.

............

Источник

«Банды Нью-Йорка»
Упрощённый сценарий

ДЭНИЭЛ ДЕЙ-ЛЬЮИС со своей ВАТАГОЙ РАСПИЗДЯЕВ готовится схлестнуться с ЛИАМОМ НИИСОНОМ и его ВАТАГОЙ РАСПИЗДЯЕВ. Камера тычется в лица банды НИИСОНА, заставляя зрителя запомнить эти одухотворенные морды, чтобы позже сравнить их с обрюзгшими физиономиями предателей.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Сегодняшнее поколение американцев считает, что их прошлое наполнено

великими личностями и свершениями. Но на самом деле все крупные

города, такие как Нью-Йорк, выросли на крови тех, кто пытался

управлять ими.

ЛИАМ НИИСОН

Крови, ага. А также на кишках и прочих внутренних органах. Не

забудь про языки и глазные яблоки.

Начинается МЕСИВО, снятое по образцу художественного фильма «Антикиллер». МОЛОДОЙ ЛЕОНАРДО ДИКАПРИО наблюдает за процессом со стороны. И тут ДЭНИЭЛ ДЕЙ-ЛЬЮИС убивает его отца, ЛИАМА НИИСОНА.

МОЛОДОЙ ЛЕОНАРДО ДИКАПРИО

Неееет! Ты не можешь умереть, Лиам Ниисон!

ЛИАМ НИИСОН

(кашляя, Дэниэлу Дей-Льюису)

Возьми мальчика и обучи его всему. Он — тот, кто привнесет Баланс в Силу.

(испускает дух)

МОЛОДОЙ ЛЕОНАРДО ДИКАПРИО

Я клянусь убить Дэниэла Дей-Льюиса, после того как в будущем

вотрусь к нему в доверие и начну испытывать симпатию!

ПЯТНАДЦАТЬ ЛЕТ СПУСТЯ. НЬЮ-ЙОРК.

ЛЕОНАРДО ДИКАПРИО подрос, возмужал, отрастил длинные волосы и выглядит сильно настороженным, почти как АВТОР УПРОЩЕННОГО СЦЕНАРИЯ РОД ХИЛТОН.

ЛЕОНАРДО ДИКАПРИО

А еще я обзавелся дурацким ирландским акцентом, который проявляется

у меня по делу и, чаще, без дела.

ГЕНРИ ТОМАС

Здравствуйте, мистер Дикаприо. Я тот самый маленький мальчик,

что помог вам в детстве. Теперь я готов послужить вашим проводником

по Нью-Йорку.

ЛЕОНАРДО ДИКАПРИО

Хм. Эй, ты ведь Эллиот из «Инопланетянина», да?

ГЕНРИ ТОМАС

(с затаенной обидой и злобой)

Нет. Я Джонни Сирокко. Я вор в Нью-Йорке образца девятнадцатого

века.

ЛЕОНАРДО ДИКАПРИО

А разве не ты хотел стать порнозвездой когда вырастешь?

ГЕНРИ ТОМАС

Нет, это был Скот Шварц. Тьфу! Проехали. Я собирался кратко ознакомить

тебя с нью-йоркским ассортиментом банд. Настолько кратко, насколько

это вообще возможно. Итак: тапыфа апад емь еки мвт оплоцйу тыешк

лвыофа. Вроде, никого не упустил.

ЛЕОНАРДО ДИКАПРИО

Спасибо большое. А где живет человек, убивший моего отца?

ГЕНРИ ТОМАС

В лавке мясника. И когда ты туда заявишься, не забудь ненавязчиво

обратить внимание на его подручных, некоторые из которых раньше

были друзьями твоего папаши.

ЛЕОНАРДО заявляется к ДЭНИЭЛУ ДЕЙ-ЛЬЮИСУ

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Приветствую вас. Очень рад встрече с мистером…

ЛЕОНАРДО ДИКАПРИО

Э-эээ… Доусоном. Джеком Доусоном.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Очень приятно, мистер Доусон. А теперь заинтересуйте меня, побив

в схватке моего отвратного лысого подручного.

Леонардо ПОБИВАЕТ.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

(продолжает на одном дыхании)

Отлично. Позволь принять тебя под мою опеку как своего собственного

сына. И если я случайно покажусь тебе симпатичным, просто напомни

себе, что я расист и убийца. И мои нелепые усы — прямое тому

подтверждение. Я заметил, что ты пытаешься отрастить свои собственные?

Очень мило.

ЛЕОНАРДО ДИКАПРИО набирается сведений о Нью-Йорке девятнадцатого века, прослушивает краткую лекцию о его политической и социальной системе, коррумпированности власти и ассортименте грехов, что невыводимым пятном лежат на прошлом всей американской нации.

И заодно встречает КАМЕРОН ДИАЗ

КАМЕРОН ДИАЗ

Я воровка, как и ты, но я не пытаюсь очаровать ЗРИТЕЛЕЙ В ЗАЛЕ

с помощью какого-то там акцента. Короче, трахни меня, Лео Ди.

ЛЕОНАРДО ДИКАПРИО

Ну… Эээ… Я даже не знаю. Говорят, ты тут со всем городом

перетрахалась.

КАМЕРОН ДИАЗ

И вовсе не со всеми! Твоему дружку Генри Томасу я, например,

даже не отсасывала. Он ведь снимался в «Инопланетянине». Это

мой любимый фильм, я смотрела его сотни раз, и перепихнуться

с кумиром моего детства — я считаю это кощунственным. И потом,

я слышала, что он пресыщен сексом. Ведь он — порнозвезда.

ЛЕОНАРДО ДИКАПРИО

Нет, это Скот Шварц.

КАМЕРОН ДИАЗ

Тьфу! Проехали. Трахаться-то будем? Очень надеюсь, что ты окажешься

не хуже Дэниэла Дей-Льюиса.

ЛЕОНАРДО ДИКАПРИО

Да я этого расиста одним левым!

Происходит ПЕРЕТРАХ. Но, как вы можете догадаться, ДЭНИЭЛ ДЕЙ-ЛЬЮИС сделал их влегкую, переспав с тремя дамами одновременно. Чем и заслужил приз зрительских симпатий.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Сегодня годовщина того дня, когда я убил Лиама Ниисона. Мне очень

не хватает этого храброго противника. Ведь по сути мы были очень

похожи, просто по иронии судьбы разошлись во взглядах. Я очень

уважаю его и дело, за которое он боролся.

ЛЕОНАРДО ДИКАПРИО

О, Господи, что за засранец. Сейчас-то я его и убъю! Можно, было,

конечно, гораздо раньше, но после его монолога это будет куда

как драматичнее и соплевыжимающе.

Он пытается убить ДЭНИЭЛА ДЕЙ-ЛЬЮИСА, но ЛАЖАЕТСЯ.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Ага! Ты и есть тот самый Дикаприо! И почему тебя пихают в каждый

фильм, в котором следует развивать сюжет, а не смазливых персонажей?

ЛЕОНАРДО ДИКАПРИО

В любой исторический период зрителю и обществу нужен миленький

парнишка.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

В твоем отце было больше чести. У него не хватило бы совести

на удар со спины. Но тем не менее ты облажался. А я жестокий

убийца, помнишь? Усишки мои видишь?

ЛЕОНАРДО ДИКАПРИО самопровозглашается главарем СТАРОЙ БАНДЫ ЛИАМА НИИСОНА. Далее следует серия невразумительных стычек, ненадолго прерываемых выборами Брендана Глиисона.

ЗРИТЕЛИ В ЗАЛЕ

Нам уже не кажется, что купюры в кино это зло.

Сюжет наконец-то снимается с якоря и начинает неспешно перебирать конечностями дальше.

ЛЕОНАРДО ДИКАПРИО

Давай вернемся к тому, с чего начинался этот фильм.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Верно. Убъем друг друга завтра, как тебе?

Банды встречаются как и раньше — стенка на стенку. Но в дело неожиданно вмешиваются власти, в ход идет оружие. ВЗРЫВАЕТСЯ ВСЕ.

ЛЕОНАРДО ДИКАПРИО

Дэниэл Дей-Льюис, ты убил моего отца и я должен бы убить тебя.

Но месть застлала мне глаза и только сейчас я увидел, что главный

враг для нас обоих — это политики и богатая знать с их реформами.

ДЭНИЭЛ ДЕЙ-ЛЬЮИС

Это верно. Богатеи — причина всех жизненных проблем.

ЛЕОНАРДО добивает ДЭНИЭЛА ДЕЙ-ЛЬЮИСА и принимается оплакивать всех невинно павших в уличных беспорядках. Всех, кроме отвратного лысого подручного — он конкретно отсасывает.

На экране старый Нью-Йорк неспешно превращается в Нью-Йорк сегодняшних дней. Патриотическая музыка играет на фоне.

ЗРИТЕЛИ В ЗАЛЕ

О, как мы гордимся, что мы американцы! Теперь мы прониклись нашей

великой и ужасной историей, узнали кровавую правду и глубину

коррумпированности политиканов. С-Ш-А! С-Ш-А!

Переводчик: Павел Минский

Источник

Ирландцам никогда не было легко. Столетиями они страдали на родном острове, а когда голод прогнал их за океан, они вновь попали под власть англичан, переименовавших себя в американцев. Как ирландцы ответили на этот вызов судьбы? Они поселились в трущобах Нью-Йорка, создали мощные бандитские группировки и приобрели такое влияние, что начали определять городскую политику. Обо всем этом в 2002 году рассказал в размашистой криминальной драме мэтр голливудского кино Мартин Скорсезе. Его эпическая лента называлась «Банды Нью-Йорка».

Историю Нью-Йорка можно при желании рассказать как историю волн иммиграций и подпольного мира, который привозили с собой или создавали на месте свежеиспеченные американцы. Мартин Скорсезе вырос в Нью-Йорке во времена, когда Америка «переваривала» итальянских мигрантов и их мафию. В дальнейшем это обеспечило сюжеты для некоторых его фильмов. Но когда маленький Мартин бродил по бедным кварталам Нью-Йорка, он видел следы иного католического народа – здания, церкви, могилы ирландцев. И Скорсезе еще тогда, в детстве, заинтересовался, каким был Нью-Йорк, когда все боялись не итальянских, а ирландских гангстеров.

Центром притяжения ирландской бедноты и бандитов в XIX веке был район Манхэттена под названием «Пять углов». Он был построен в первой половине столетия как район для зажиточных горожан. Однако для сооружения «Пяти углов» пришлось осушить большой пруд, и эта сложная работа была произведена недостаточно качественно. Вода продолжала скапливаться на улицах и в земле, и жители района лишь в самую сухую погоду не утопали в грязи на немощеных тротуарах. Кроме того, повсеместно образовывались большие затхлые лужи, в которых жили комары. Для среднего класса такая жизнь была невыносима, и зажиточные горожане вскоре сбежали из «Пяти углов». Их место заняли массово, десятками тысяч прибывающие в Америку ирландцы, которые бежали от Великого голода в середине XIX века. Этот голод был отчасти вызван британским гнетом, а отчасти – массовым заболеванием и, соответственно, катастрофическим неурожаем картошки, которая была основной едой ирландцев.

Так квартал, который должен был радовать глаз, быстро превратился в пугающие трущобы. В то время во всем западном мире лишь бедные кварталы Лондона могли соперничать с «Пятью углами» по скученности населения и по концентрации нищеты, преступности и всевозможных пороков.

Помимо прочего, это был первый в истории Америки настоящий расовый «плавильный котел», потому что в «Пяти углах» селились не только ирландцы, но и чернокожие, которые в штате Нью-Йорк получили свободу в 1827 году. Прежде представители разных рас держались в США наособицу, но жители «Пяти углов» были слишком бедны, чтобы жить раздельно. Они могли позволить себе лишь крошечные уголки в переполненных доходных домах, порой переоборудованных из индустриальных зданий, и у них не было никакой возможности диктовать, кто будет жить рядом. Кстати, именно благодаря этому зародилась чечетка, которая соединила ирландские и африканские танцы.

Уровень преступности в «Пяти углах» был таким, что, как считается, ни один день не обходился без убийств, а прочие преступления никто особенно не считал. Еще хуже дело обстояло с медицинским уходом. В «Пяти углах» регулярно свирепствовали эпидемии, которые порой распространялись на весь город и вызывали ненависть к жителям района. Впрочем, их и без того было за что не любить. А многие ньюйоркцы ненавидели ирландцев просто потому, что те были иностранцами и католиками. Кроме того, ирландцы плохо знали или вовсе не знали английский. Основным языком мигрантов был ирландский, непонятный для англичан.

Разумеется, это была идеальная почва для организованной преступности. Ирландцы сбивались в банды, чтобы отбиваться от урожденных американцев, «крышевать» торговлю (прежде всего спиртным), делить сферы влияния… И по возможности грабить зажиточные районы, когда в городе начинались массовые беспорядки и полиция теряла контроль над ситуацией. Также банды в демократической стране, легко дающей иммигрантам право голоса, оказались мощным агентом влияния на выборах. Благодаря ирландским избирателям и ирландским бандитам в 1867 году членом Конгресса от штата Нью-Йорк стал Джон Моррисси, который был долгое время известен как боксер и главарь ирландской криминальной группировки. Он пришел к власти благодаря заработкам в игорном бизнесе. Интересно, что, даже будучи патентованным подонком, Моррисси жаловался на размах коррупции в Нью-Йорке и прилагал усилия, чтобы ее обуздать.

Десятилетия спустя, в первой половине XX века, изучением бандитской истории Нью-Йорка занялся журналист Герберт Эсбери. Он прославился как автор скандальных, зачастую разоблачительных статей об американском обществе. В 1928 году Эсбери опубликовал объемный труд под названием «Банды Нью-Йорка: Неформальная история подполья», который в основном был посвящен противостоянию американских и ирландских бандитов в XIX веке. Эта книга до сих пор считается обязательным чтением для любого, кто интересуется историей Нью-Йорка.

Мартин Скорсезе этой историей живо интересовался, и в 1970 году 28-летний постановщик впервые прочел «Банды Нью-Йорка». Книга его поразила и захватила. Эсбери описывал столь колоритные типажи, что они так и просились на экран. Но о создании фильма на основе «Банд» Скорсезе тогда мог только мечтать. В начале 1970-х ему было трудно найти деньги даже на скромный малобюджетный проект, а «Банды» требовали воссоздания давнишнего Нью-Йорка, который за сто лет практически исчез. Сохранились лишь отдельные здания того времени, да и те заметно изменились.

Скорсезе не забыл о книге Эсбери, но оставил ее до лучших времен. Лишь в 1979 году, после съемки знаменитых картин «Злые улицы», «Таксист», «Нью-Йорк, Нью-Йорк», «Бешеный бык», режиссер решился купить права на исследование Эсбери. Тогда он надеялся, что главную роль в экранизации сыграет его тогдашний любимый актер Роберт де Ниро – даром что он итальянец, а не ирландец.

Немногим ранее у Скорсезе были шансы найти средства на задуманную постановку, но Голливуд в то время как раз перестал доверять большие деньги артхаусным режиссерам и начал вкладываться в мейнстримное эскапистское кино вроде «Звездных войн». Рубежным событием стало фиаско вышедшего в 1980 году эпического вестерна Майкла Чимино «Врата рая». Картина о противостоянии мелких фермеров и крупных агробизнесов в Америке 1890-х собрала всего 3,5 миллиона долларов при бюджете в 44 миллиона долларов. Это был нокаут для карьеры Чимино, только-только прославившегося с мощной военной драмой «Охотник на оленей», и чувствительный удар для ближайших коллег постановщика вроде Мартина Скорсезе. Сценарий «Банд Нью-Йорка», который сочинил Джей Кокс, бывший кинокритик и будущий соавтор «Титаника», пришлось убрать в долгий ящик и годами никому не показывать.

Не сдавшийся Скорсезе повторно попытался заинтересовать крупные студии «Бандами» в начале 1990-х, после выхода его популярных лент «Славные парни» и «Мыс страха». Но тогда ничего существенного у него не вышло. Лишь когда в 1997 году «Титаник» Джеймса Кэмерона приплыл к рекордным сборам и в Голливуде решили, что дорогостоящие исторические эпопеи вновь стоит снимать, «Бандами» заинтересовался Джо Рот, тогдашний председатель правления Walt Disney Sudios.

Рот поначалу согласился вложить деньги своей команды в «Банды», но затем осознал, что с «семейным» диснеевским брендом задуманная Скорсезе жестокая взрослая лента никак не сочетается. Поэтому после долгих обсуждений и переговоров проект был переведен на студию Miramax, в распоряжение Харви Вайнштейна – того самого, которого недавно многие женщины обвинили в сексуальных домогательствах. Вайнштейн и прежде не считался человеком вежливым и церемонным, но Скорсезе он очень уважал, и работа с мэтром была для него воплощением давней мечты. По крайней мере, поначалу. Основным инвестором «Банд» стала американского компания британского продюсера Грэма Кинга Initial Entertainment Group, которая в дальнейшем работала со Скорсезе над лентами «Авиатор», «Отступники», «Хранитель времени».

Сценарист Джей Кокс увлекся «Бандами», потому что его дед был нью-йоркским полицейским и собирал газеты и книги о давнишней преступной жизни. Когда Кокс превращал документальное исследование в художественное повествование, он вдохновился песней Брюса Спрингстина Thunder Road, где были слова «молись напрасно о спасителе, который восстанет с этих улиц», и решил, что главным героем ленты будет «уличный спаситель» – молодой ирландский бандит, который объединит и возглавит ирландских преступников, чтобы отвоевать свое место под солнцем Нью-Йорка. Соответственно, главным злодеем картины станет влиятельнейший американский гангстер, пытающийся подмять под себя ирландцев из «Пяти углов».

У обоих персонажей были реальные прототипы. Прототипом главного героя по имени Амстердам Валлон стал уже упомянутый гангстер и политик Джон Морриссси (хотя у Амстердама и Джона не так уж много общего), а прототипом злодея Уильяма Каттинга по кличке Билл Мясник стал Уильям Пул, в самом деле известный как Билл Мясник, потому что он держал мясную лавку. Пул был лидером американской криминальной группировки в Нью-Йорке и политического движения, известного как «Партия незнаек». Странное название объяснялась тем, что эта организация возникла как тайное общество, и ее члены изначально по уставу должны были отвечать «не знаю» на сторонние вопросы об обществе. «Незнайки» были ярыми противниками католицизма и мигрантов-католиков, преимущественно ирландцев.

Между прочим, «Незнайки» помогли прийти к власти президенту Линкольну, и он никогда официально против них не выступал, хотя в частной переписке признавался, что терпеть их не может. Он с иронией писал, что скорее эмигрирует в «честную» деспотию вроде России, чем смирится с режимом «незнаек», которые на словах демократы, а на деле выступают за массовую дискриминацию белого населения.

Как и основанные на них персонажи фильма, Моррисси и Пул были злейшими врагами. Это не было секретом – их вражда постоянно освещалась в прессе. Закончилось все тем, что люди Моррисси застрелили Пула в баре на Бродвее. Убийцы были арестованы, но суд их оправдал, хотя вина преступников была очевидна. Да здравствует коррупция и криминальное давление на правосудие! В фильме бандитская вражда показана куда романтичнее и героичнее, поскольку Скорсезе и Кокс с самого начала планировали кино в духе вестернов, а не неприглядное реалистичное повествование, где все кажутся жрущими друг друга мерзкими пауками.

Кстати, обратите внимание на слово «застрелили». В фильме преступники преимущественно сражаются холодным оружием, что напоминает о средневековых баталиях, но на деле бандиты в XIX веке в основном погибали от пуль. Огнестрельное оружие было довольно дорогим, но для гангстера оно было незаменимо, и его старались иметь. Впрочем, тогдашние бандиты действительно отлично орудовали холодным оружием и голыми руками. Моррисси и Пул славились как боксеры, и многие их подельники участвовали в рукопашных поединках.

Пул был убит в 1855 году, но в фильме смерть Билла отнесена к 1863 году, чтобы гангстер погиб на фоне масштабного бунта, который произошел в Нью-Йорке, когда во время Гражданской войны Линкольн объявил о принудительном наборе в армию. От воинской повинности можно было откупиться за 300 долларов, что было неприкрытой дискриминацией бедняков. Поэтому в Нью-Йорке начались погромы и беспорядки, которые пришлось подавлять армии.

Для доработки сценария и подготовки к съемкам Скорсезе привлек в качестве соавторов Стивена Зэйллиана («Список Шиндлера») и Кеннета Лонергана («Анализируй это»). Лонерган в дальнейшем стал режиссером и получил сценарный «Оскар» за семейную драму «Манчестер у моря».

Как мы уже отмечали, изначально Скорсезе хотел снять в главной роли Роберта де Ниро. Рассматривались и другие кандидатуры, включая Малкольма МакДауэлла. Однако к концу 1990-х все они отпали по возрасту. Зато появилась новая яркая звезда – герой «Титаника» Леонардо Ди Каприо. Скорсезе с большим интересом следил за карьерой молодого актера, так как видел в нем «звезду поколения» калибра де Ниро. В свою очередь, Ди Каприо тоже стремился поработать со Скорсезе, причем именно над «Бандами Нью-Йорка». Проект заинтересовал его еще в начале 1990-х. Когда в 1997 году «Банды» с помощью Рота наконец-то сдвинулись с мертвой точки, Ди Каприо немедленно вписался в проект, и Вайнштейн его получил уже со звездой на борту.

Поиск актера на роль колоритнейшего Билла Мясника был не менее важной задачей. Если бы лента снималась раньше, то американского гангстера могли бы сыграть Уиллем Дефо или постаревший де Ниро. Но в конце 1990-х у Скорсезе был другой актер на уме – британский ирландец Дэниел Дэй-Льюис, которого он в 1993 году снял в исторической романтической ленте «Эпоха невинности».

Для режиссера было очевидно, что Дэй-Льюис превосходно справится с ролью, но в то время эксцентричный актер взял продолжительный отпуск от работы в кино и театре, чтобы… освоить профессию сапожника! Британец не горел желанием отрываться от своего хобби, но Скорсезе он не мог отказать. Дэй-Льюис очень уважал голливудца до съемок «Эпохи», и он не изменил своего мнения после того, как лента провалилась в прокате. Сейчас Ди Каприо утверждает, что это он убедил Дэй-Льюиса сниматься в «Бандах», но больше похожа на правду традиционная версия, согласно которой актер вернулся в кино после уговоров Скорсезе.

Как обычно в своей карьере, Дэй-Льюис подошел к работе над ролью с одержимостью фанатика. Он даже научился профессионально рубить мясо, причем с помощью нескольких мясников, одного из которых актер выписал из Лондона. В свою очередь, цирковые артисты научили Дэй-Льюиса мастерски метать ножи. Естественно, актер также штудировал все материалы, которые только мог найти, о жизни в Нью-Йорке XIX века и о тогдашних бандитах и трущобах. При этом он постоянно слушал песни Эминема, в которых он чувствовал браваду Билла.

Женщины играли значимую роль в «Пяти углах», и в сценарии нашлось место для главной героини. Это рыжеволосая красотка Дженни Эвердин, карманница и мошенница, которая входит в банду Билла, но влюбляется в Амстердама. Звезда «Все без ума от Мэри», «Ангелов Чарли» и «Шрэка» Кэмерон Диас в то время была на пике славы, и ей поручили перевоплощение в Дженни.

Британский мэтр Джим Бродбент сыграл Уильяма Твида по прозвищу Босс – одного из влиятельнейших и богатейших закулисных политиков Нью-Йорка XIX века. Твид опирался на голоса ирландцев, чьи представители тесно с ним сотрудничали, и он противостоял попыткам протестантов ущемить права католиков. В конце концов он умер в тюрьме, куда его посадили за колоссальную для того времени коррупцию. Говорят, он в общей сложности украл у налогоплательщиков 200 миллионов долларов – в деньгах середины XIX века! Правда, есть альтернативная точка зрения, согласно которой Твид воровал скромно и пал жертвой своих политических врагов, которые раздули из мухи слона.

Британский ирландец Лиам Нисон из «Списка Шиндлера» и многих других знаменитых лент сыграл в картине небольшую, но значимую роль. Он изобразил отца Амстердама, известного как «Священник» Валлон. Этот персонаж погибает в начале фильма от руки Билла Мясника, и в дальнейшем Амстердам не только отстаивает права ирландских бандитов, но и мстит Биллу за отца.

Джон К. Рейли сыграл полицейского Джека Малрени, который прежде был ирландским бандитом. Также бандитов-мигрантов сыграли Брендан Глисон, Генри Томас (повзрослевший герой «Инопланетянина») и многие другие. Особо отметим не особенно известную английскую актрису Кару Сеймур, потому что она изобразила реальную бандитку по кличке Мэгги Адская Кошка. Кстати, ирландские женщины не только сражались наравне с мужчинами в массовых разборках, но и создавали собственные женские банды, которые были боевым резервом мужских группировок. У некой Энн Уолш по кличке Боевая Энни во второй половине 1800-х было несколько сотен подчиненных, вооруженных дубинками!

Почему банда Валллона в фильме носит странное название «Мертвые кролики»? Это реальное название, возникшее в результате языковой путаницы. В переводе с ирландского языка и нью-йоркского сленга XIX века dead ráibéad значит «здоровенный громила». Если говорить по-английски и не знать, что могут значить эти слова, можно понять их как dead rabbit, «мертвый кролик». Судя по всему, это не было самоназванием банды Джона Моррисси, но именно так его ирландских бандитов называла пресса того времени. Считалось, что это самые жестокие парни в Нью-Йорке.

Мартин Скорсезе обожает снимать Нью-Йорк в Нью-Йорке, но в случае «Банд» это было невозможно. Трущобы XIX века давно исчезли, и их можно было лишь построить с нуля, как декорации под открытым небом. Для этого грандиозного строительства была выбрана знаменитая итальянская студия Cinecittà, которая располагается в Риме. Cinecittà была построена по приказу Бенито Муссолини, чтобы у великой итальянской нации было столь же великое фашистское кино. Но по иронии судьбы Cinecittà наиболее известна как студия, где после войны снимались многие масштабные голливудские ленты. Ее даже в определенный момент прозвали «Голливуд на Тибре». Впрочем, на ней работали и итальянские мастера – в частности, Федерико Феллини.

Как творец с итальянскими корнями, Скорсезе всегда был очарован Римом и итальянским искусством, и он с готовностью согласился построить свой Нью-Йорк в Риме. Это был настоящий город в городе, с десятками зданий разного достатка, от роскошного офиса Твида до жилья нищих мигрантов. Итальянский художник-постановщик Данте Ферретти опирался на фотографии, рисунки, описания старого Нью-Йорка, но многое было попросту придумано – из-за недостатка сведений или по художественным соображениям. Скорсезе хотел, чтобы его Нью-Йорк сам по себе производил сильное впечатление, а не просто был исторической подложкой для персонажей. В итоге удалось почти не использовать компьютерные декорации. Даже гавань Нью-Йорка была построена на берегу водоема на территории студии. Зато слон в фильме был компьютерный – Скорсезе не нашел в Италии дрессировщика с подходящим животным, и Джордж Лукас любезно предоставил своих аниматоров для изображения нужного толстокожего.

В работе над картиной участвовали эксперты по старому Нью-Йорку. Огромным подспорьем стала колоссальная коллекция бытовых артефактов (более 850 тысяч!), найденных археологами во время раскопок в «Пяти углах». К несчастью, эта коллекция хранилась в подвале Всемирного торгового центра, и она была уничтожена во время терактов 11 сентября 2001 года. Ферретти, Скорсезе и их коллеги успели изучить эти залежи исторических ценностей, а вот нынешним исследователям приходится полагаться на фотографии, съемки, описания и в некоторых случаях слепки.

Понятно, воссоздать нужно было не только внешний вид города, но и его население. В Италии были доступны только местные статисты, и пришлось попотеть, отбирая тех, кто был достаточно светлокожим и светловолосым, чтобы сойти за ирландца или англичанина. Издержки съемок за границей!

Как обычно при создании костюмного кино, огромное внимание было уделено воссозданию или придумыванию нарядов XIX века. Менее обычным было то, что Скорсезе попытался воссоздать акценты и сленг того времени. Для каждого из ключевых персонажей был придуман уникальный акцент, отражающий его жизнь. Скажем, Билл Мясник говорит как урожденный житель Нью-Йорка, Амстердам – как ирландский мигрант, долгое время проживший среди американцев, а в акценте Дженни чувствуется лишь небольшая толика ирландскости, поскольку она хоть и приплыла с матерью из Ирландии, но рано осиротела и жила почти исключительно с американцами. Все это учтено Тимом Моничем – видным голливудским экспертом и преподавателем всевозможных диалектов английского языка, от американских до африканских.

Пока картина снималась в Италии, Харви Вайнштейн ждал результатов в Америке. Его воодушевление сменилось негодованием, когда съемки затянулись (основная работа шла с конца августа 2000 года до середины апреля 2001 года) и когда бюджет вырос с изначально согласованных 83 миллионов долларов до 100 миллионов. Когда же режиссер представил продюсерам монтажную версию продолжительностью 3 часа 40 минут, у Вайнштейна «выбило пробки». Его прежнюю обходительность со Скорсезе как рукой слизало, и продюсер высказал все, что думает, в самых грубых выражениях. Вайнштейн всегда был сторонником экранной краткости, а постановщик предложил ему тягучее кино, которое лучше бы смотрелось, если бы его нарезали на куски и показывали как мини-сериал, по серии в день.

Тем временем случились теракты 11 сентября 2001 года. После них выпускать в прокат картину, в финале которой Нью-Йорк становится полем боя, было невозможно, и премьеру перенесли с декабря 2001 года на лето 2002 года. Это дало возможность Скорсезе как следует подумать над новым монтажом и сократить ленту почти на час, до 168 минут. Причем режиссер заявил, что не будет делать более полную версию для видео, потому что окончательный киновариант его целиком устраивает, а вырезанные сцены картине не нужны. Что ж, ему виднее. Чтобы продюсер не так сильно переживал из-за перерасхода бюджета, Скорсезе и Ди Каприо вернули по семь миллионов долларов из своих гонораров. Эти средства пошли на перемонтаж и прочую подготовку к прокату.

Доведение монтажа до ума потребовало дополнительных съемок, и небольшие фрагменты снимались вплоть до октября 2002 года. Соответственно, премьера была повторно перенесена на 20 декабря 2002 года. Это увеличивало шансы фильма во время «оскарной» гонки, так как чем ближе ко времени голосования лента выходит, тем она свежее в памяти членов голливудских гильдий. Вайнштейн хотел, чтобы картина вышла еще позже 25 декабря. Но на этот день была назначена премьера «Поймай меня, если сможешь» Стивена Спилберга с Леонардо Ди Каприо, и продюсера убедили, что двум картинам с одной звездой лучше слегка разминуться в прокате. Кроме того, «Банды Нью-Йорка» не очень подходили для рождественского релиза.

В итоге «Поймай меня, если сможешь» стал полноценным прокатным хитом, а «Банды Нью-Йорка» собрали 194 миллиона долларов и при бюджете в 100 миллионов долларов едва окупили затраты. Зато картина была номинирована на 10 «Оскаров». Правда, ни одной статуэтки создателям ленты не досталось. Даже Дэй-Льюис не получил награду, хотя потрясающе сыграл Билла Мясника.

Критики приняли фильм неоднозначно. С одной стороны, у картины было много сильных сторон, включая ту же игру Дэй-Льюиса. С другой стороны, в целом она получилась слабее, чем безупречные шедевры Скорсезе вроде «Таксиста» или «Славных парней». Казалось, что эпоху, которая редко попадает в объектив, можно было отразить мощнее и выразительнее. Довольно очевидным минусом постановки был Леонардо Ди Каприо, напрочь проигравший напору Дэй-Льюиса и утонувший в его харизме.

Тем не менее со своей главной задачей «Банды Нью-Йорка» справились. Они талантливо мифологизировали малоизвестный период истории мегаполиса и стали яркой, запоминающейся частью его экранной криминальной летописи. Возможно, кто-нибудь когда-нибудь снимет лучший фильм о том времени, но пока «Банды» уникальны и более чем достойны внимания. Важно лишь не использовать их как историческое пособие. Это не байопик, и в фильме много отступлений от фактов.

Источник

Драматургия: 30 лет от идеи до съемок, «гамлетовский сюжет» и трехактная структура

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Мартин Скорсезе, будучи уроженцем Нью-Йорка, многие годы хотел снять масштабный фильм об истории родного города. В 1970 году молодой режиссер познакомился с книгой Герберта Осбери «Банды Нью-Йорка», в которой на документальном материале исследовалась малоизвестная криминальная жизнь «столицы мира» в XIX веке. С тех пор экранизация этой книги стала мечтой Скорсезе. Это, однако, требовало и большего опыта, и внушительного бюджета. Лишь спустя три десятилетия, в конце 1990-х, обстоятельства сложились благополучно для запуска проекта.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Над сценарием фильма работал Джей Кокс (он также был сценаристом Скорсезе на «Эпохе невинности» и «Молчании») и несколько других авторов. Текст начали готовить еще в середине 1970-х годов, когда предпринимались первые попытки запуска. Позже Кокс отмечал, что столь длинный период работы был даже необходим картине из-за ее многогранности.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

В фильме Скорсезе для себя выделял несколько ключевых проблематик. В глобальном плане на примере столкновения уличных банд, а также конфликтов общества и государства, он хотел показать процесс зарождения демократии в Америке. Как говорит сам режиссер по поводу важности этой темы: «Если бы демократия не утвердилась в Нью-Йорке, она бы не утвердилась нигде». Другой слой картины связан с характерным «гамлетовским сюжетом» — главный герой, Амстердам, движимый жаждой мести, сближается с убийцей собственного отца, «Мясником» Биллом.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

При этом картина имеет классическую трехактную структуру. Первый акт включает экспозицию (открывающий бой банд «коренных» и иммигрантов и гибель отца главного героя), завязку (повзрослевший Амстердам возвращается домой, чтобы отмстить) и первый поворотный пункт (Амстердама принимают в банду «коренных»), создающий новую для героя жизненную ситуацию. Ключевые моменты второго акта — центральный поворот (Амстердам спасает «Мясника»), усложняющего действие, и второго поворотного пункта («Мясник» узнает, что Амстердам — сын его врага, но вместо убийства лишь изгоняет его из банды). Третий акт связан с попыткой главного героя возродить банду иммигрантов и все-таки отомстить за отца.
В кульминации пересекаются сюжетные линии: схватка банд и двух главных героев происходит на фоне общественных беспорядков. Так Скорсезе эффектно связывает личную трагедию главного героя и эпическую историю целого города. Связь эта дополнительно подчеркивает эпилог, переносящий действие из прошлого в современность. Вся история сопровождается характерным для Скорсезе приемом — закадровым голосом, добавляющим ощущение субъективности и одновременно легендарности описываемым событиям.

Кастинг: фанатизм Дэй-Льюиса и диалекты

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

В фильме задействован звездный актерский состав: Кэмерон Диаз, Джон Си Райли, Лиам Нисон, Брендан Глисон. Но остановимся на ключевых антагонистах. Если с Леонардо ДиКаприо проблем у Скорсезе не возникло, — актер был рад впервые поработать со Скорсезе (в итоге «Банды Нью-Йорка» стали началом их длительного сотрудничества), — то с Дэниэлом Дэй-Льюисом пришлось повозиться. Артист известен своим крайне щепетильным отношением к выбору ролей. Достаточно заметить, что «Банды Нью-Йорка» стали для Дэй-Льюиса первой работой после пятилетнего перерыва. В итоге актер согласился на съемки потому, что ему понравилось работать со Скорсезе в «Эпохе невинности». Впрочем, и герой «Мясник» Билл его тоже увлек.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Как и всегда, Дэй-Льюис полностью отдался погружению в своего персонажа. Кэмерон Диаз рассказывает, что актер не играл, а круглосуточно весь период съемок находился в образе. Он в том числе обучился навыкам мясника и часто проводил досуг в мясной лавке, а говорил исключительно с необходимым для фильма акцентом (а после съемок еще два месяца избавлялся от него).

Вообще акцентам в картине уделялось большое внимание (поэтому смотреть ленту стоит с субтитрами). Большинству главных героев придумали свою манеру речи. Например, герой Леонардо ДиКаприо говорит не просто на ирландско-английском диалекте, но и с примесью американского английского, поскольку родился он в Ирландии, но почти всю жизнь прожил в США. Чтобы восстановить диалекты нью-йоркцев середины XIX века, авторы тщательно исследовали поэзию, песни и газетные статьи тех лет.

Декорации: старый Нью-Йорк в современном Риме

На съемках фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Съемки «Банд Нью-Йорка» заняли восемь месяцев с сентября 2000 года по апрель 2001 года и почти целиком проходили в декорациях, возведенных в Риме на крупнейшей итальянской студии Чинечитта (исключением были только двухдневные досъемки батальных сцен в Нью-Йорке). Художник-постановщик Данте Феретти, уже работавший со Скорсезе на ряде картин, начал с подготовку с подробного изучения исторический литературы. На основе исследований Феретти подготовил эскизы, технические чертежи и макеты. Это позволило понять реальные масштабы декораций, и что именно необходимо построить для съемок.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

За пять месяцев под открытым небом возвели три квартала из нескольких десятков зданий общей площадью больше полутора квадратных километров. Также была построена гавань с двумя полноразмерными кораблями, часть Бродвея, несколько масштабных интерьеров, в том числе старая пивоварня, китайская пагода и церковь. Некоторые интерьеры сконструировали так, что в них при небольших изменениях можно было снимать несколько разных мест.

Декорации часто бесцветны, что, по мнению Феретти, показывает Нью-Йорк как пространство, в котором не было места надежде (по этой причине, кстати, и эскизы художник выполнял в сепии). Оператор картины Михаэль Балльхаус замечает, что глобальный масштаб декораций позволял обращаться с ними как с натурой — снимать можно было с любой точки и в любом направлении. А многие актеры говорят, что благодаря декорациям им почти не нужно было играть — они и так ощущали дух другой эпохи. Всего, по словам Феретти, декорации воссоздали 30% города, который мы видим в кадре. Остальное в виде графики разрабатывала студия ILM. Всего в фильме 45 CG-шотов города.

Костюмы: гротеск и «плохой вкус»

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Один из самых ярких элементов картины — костюмы. Как и полагается в историческом проекте, приступая к созданию костюмов, авторы обратились ко всему массиву данных: от картин и фотографий до документов и описаний той эпохи. Задача осложнялась тем, что большая часть героев — представители низших сословий, а информации о костюмах бедноты сохранилось гораздо меньше, чем о костюмах людей состоятельных.

Следуя принципу исторической достоверности, авторы не обошлись и без художественного переосмысления. Художник по костюмам Сэнди Пауэлл признается, что отдельные элементы одежды специально обострялись, чтобы придать действию ощущение гротеска. Например, костюмы банды коренных собирали из подчеркнуто контрастных фактур и цветов — так герои становились похожи на маргинальных денди, претендующих на превосходство над окружающими. Костюмы Дэниэла Дэй-Льюиса специально делались приталенными и длинными, чтобы подчеркнуть его и без того внушительный рост в 1,88 метра. Большинство представителей высших сословий одеты в «плохом вкусе», чтобы обозначить, что это не аристократия, а нувориши. Всего же из-за обилия персонажей для картины было сделано с нуля порядка семи тысяч костюмов.

Визуальное решение: Рембрандт, динамичная камера и зум-объективы

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Оператором «Банд Нью-Йорка» выступил Михаэль Балльхаус, для которого это была уже шестая совместная работа со Скорсезе. В качестве визуального референса авторы использовали сборник живописи Рембрандта. Скорсезе хотел добиться контрастного изображения с доминирующими приглушенными серыми и коричневыми оттенками с вкраплениями ярких цветов. Особую атмосферу кадру придавал дым, который постоянно поддерживали на площадке. Во-первых, это помогало сделать цвета чуть менее насыщенными, а во-вторых — соответствовало исторической достоверности, поскольку в середине XIX века в Нью-Йорке или окрестностях все время что-нибудь горело.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

В фильме много ночных сцен, и снимать их было сложно. Чтобы имитировать лунный свет, команда Балльхауса специально сделала софтбокс площадью 7,6 квадратных метра. Вместе с источниками света и другим необходимым оборудованием конструкция весила 1800 кг, и перемещали ее по площадке двумя кранами, что, разумеется, занимало много времени. Помимо этого в ночных сценах авторы использовали естественный свет от газовых ламп и свечей, подготовленных художниками.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Технически сложным был кадр в начале пролога — «взгляд Бога», когда камера резко поднимается над Манхэттеном, демонстрируя масштаб города. Хотя 90% городского пейзажа сделаны в CG, камеру все равно необходимо было поднять достаточно высоко, чтобы дать панораму декораций. Команда Балльхауса разработала систему рига и крана, позволившую поднять камеру на высоту более 45 метров.

В фильме много динамичных кадров, и Балльхаус говорит, что специально старался снимать так, чтобы ни один план не был статичным: «Изображение всегда находится в движении». При этом съемка часто велась многокамерным способом, а на площадке одновременно могло находиться до восьми камер. Вполне в стилистике Скорсезе в фильме присутствуют эпизоды с изменением скорости действия, чтобы подчеркнуть драматизм момента. Для этого использовалась скорость съемки 30 или 32 кадра в секунду.

Кадр из фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Снимался фильм преимущественно на объективы с переменным фокусным расстоянием Zeiss Variable Primes. По словам Балльхауса, его не только устраивает качество изображения этих линз, но и привлекает возможность в любой момент приблизить или отдалить объект с помощью зума. Также оператор работал с объективами Zeiss Ultra Prime, Angenieux 5:1 zoom и Cooke 10:1 zoom, изображение которых показалось ему не слишком современным и соответствующим историческому материалу.

Обложка: на съемках фильма «Банды Нью-Йорка» (2002) / Фото: Miramax

Источник

Plot[edit]

Cast[edit]

Production[edit]

Writing[edit]

Set design[edit]

Rehearsals and character development[edit]

Filming[edit]

Post-production and distribution[edit]

Soundtrack[edit]

Historical accuracy[edit]

Release[edit]

Reception[edit]

Box office[edit]

Critical reception[edit]

Top ten lists[edit]

Accolades[edit]

See also[edit]

References[edit]

Further reading[edit]

External links[edit]

Plot[edit]

Cast[edit]

Production[edit]

Writing[edit]

Set design[edit]

Rehearsals and character development[edit]

Filming[edit]

Post-production and distribution[edit]

Soundtrack[edit]

Historical accuracy[edit]

Release[edit]

Reception[edit]

Box office[edit]

Critical reception[edit]

Top ten lists[edit]

Accolades[edit]

See also[edit]

References[edit]

Further reading[edit]

External links[edit]

СКАЧАТЬ

Драматургия: 30 лет от идеи до съемок, «гамлетовский сюжет» и трехактная структура

Кастинг: фанатизм Дэй-Льюиса и диалекты

Декорации: старый Нью-Йорк в современном Риме

Костюмы: гротеск и «плохой вкус»

Визуальное решение: Рембрандт, динамичная камера и зум-объективы