The Roaring Twenties

Eddie Bartlett:
You always said you were going to take real good care of me, didn't you George?

George Halley:
Wait a minute Eddie, I can explain!

Eddie Bartlett:
Here's one rap you ain't gonna beat!

[fires twice]

[last lines]

Panama Smith:
He's dead.

Cop:
Well, who is this guy?

Panama Smith:
This is Eddie Bartlett.

Cop:
Well, how're you hooked up with him?

Panama Smith:
I could never figure it out.

Cop:
What was his business?

Panama Smith:
He used to be a big shot.

Panama Smith:
I think you're a pretty decent guy. I like to talk to decent guys. They're hard to find.

Panama Smith:
Things have been pretty tough, haven't they?

Eddie Bartlett:
They could be tougher. A guy in the cell with me was talkin' about bumpin' himself off. Until I get around to that, I'm doin' all right.

George Hally:
I always say, when you got a job to do, get somebody else to do it.

Panama Smith:
I'm sick of watching you try to put out that torch you carry for her with a lot of cheap hooch. Who does the kid look like?

Eddie Bartlett:
Like her.

Panama Smith:
And they got a nice house.

Eddie Bartlett:
Yeah, it's a nice house if you like that kind of a house, but for me, uh, I'll take a hotel anytime. You know that.

Panama Smith:
Me too. Ain't it funny how our tastes have always run the same? Ever since the first time we met. I can just picture you living in the suburbs, working in a garden, raising flowers and kids. Wouldn't that be a laugh.

Eddie Bartlett:
Yeah, wouldn't I look cute?

Eddie Bartlett:
One thing, Lloyd. They tell me your boss is building a case against our old friend, George.

Lloyd Hart:
The case is already built, Eddie.

Eddie Bartlett:
Yeah, well, you remember what he said would happen if you ever told what you knew about him?

Lloyd Hart:
I remember.

Eddie Bartlett:
So does he.

Eddie Bartlett:
I trust my friends. [Walks off]

George Halley:
That guys a sucker. I don't trust any of my friends.

Panama Smith:
The feeling's mutual, George. They don't trust you either.

Narrator:
1929. As the dizzy decade nears its end, the country is stock market crazy. The great and the humble... the rich man and the working man... the housewife and the shop girl. All take their daily flyer in the market, and no one seems to lose. Then like a bombshell comes that never-to-be-forgotten Black Tuesday, October 29. Confusion spreads throught the canyons of New York's financial district. And men stare wild-eyed at the spectacle of complete ruin. More than 16 and a half million shares change hands in a single day of frenzied selling. The paper fortunes built up over the last few years crumble into nothing before this disaster which is to touch every man woman and child in America.

Narrator:
[Opening lines - various clips of 1930's news footages are shown] Today, while the earth shakes beneath the heels of marching troops, while a great portion of the world trembles before the threats of acquisitive power-mad men, we of America have little time to remember an astounding era in our own recent history. An era which will grow more and more incredible with each passing generation until someday people will say it never could have happened at all. April, 1918: almost a million American young men are engaged in a struggle which, they have been told, will make the world safe for democracy. [Scene switches to World War I battlefield action, somewhere in France]

George Halley:
[while running across the battlefield ablaze with an artillery barrage in progress, Eddie has just dived into a gaping shell hole for cover. He practically lands on top of another soldier who is already in the crater] Now, do you always come into a rat hole like that?

Eddie Bartlett:
What do you want me to do, knock?

George Halley:
[In the shell hole: Eddie offers a cigarette to George. He in turn takes it, and then picks out bugs that apparently infest everything] Ah, look at that. Them cooties are gettin' desperate: they're feedin' off tobacco.

Eddie Bartlett:
How much can a cootie smoke?

George Halley:
[Yet another soldier has dived into the shell hole for cover] There's ten thousand shell holes around here and everybody's gotta' come divin' into this one.

George Halley:
[In the shell hole, battle raging overhead] What's a matta' kid? Ya' scared?

Lloyd Hart:
Yes I am.

George Halley:
[Chuckles unsympathetically] No heart, huh?

Lloyd Hart:
I'm beginning to think so. At least I haven't got any heart for this. I thought this business would be over with before I got here.

George Halley:
What, are you a college kid?

Lloyd Hart:
I just finished law school.

Eddie Bartlett:
Oh, a lawyer, huh? Can you think of anything that can get us out of this hole?

George Halley:
Aw, he wouldn't if he could. He's one of them guys that cheer the loudest back home, and then when they get over here and the goin' gets tough they fold up.

Eddie Bartlett:
[Annoyed] Shut up...

George Halley:
I'm talkin' to him...

Eddie Bartlett:
[Talking to George] And I'm talkin' to YOU. I don't like heels or big mouths. We're all scared, and why shouldn't we be? Whaddya' think they're usin' in this war, water pistols?

Eddie Bartlett:
[Talking to Lloyd] You're all right, kid. I like guys who are honest with themselves. Stay that way.

Eddie Bartlett:
[the shelling around them has died down] Come on. Looks like it's quieted down. [the three men make their way out of the shell hole]

George Halley:
[Referring to The Sergeant, who rides roughshod over the men] Someday I'm gonna' catch that ape without his stripes on and I'm gonna' kick his teeth out.

Eddie Bartlett:
[Mockingly looking George up and down] You must be quite a guy back home.

George Halley:
[Shrugs nonchalantly] I do all right.

Lloyd Hart:
[the men are taking cover in a bombed-out farmhouse, shooting at German soldiers somewhere off-screen] When is this "armistice" they've been talking about for the past four days?

Eddie Bartlett:
That's just another rumor. This brawl's gonna' go on forever.

Lloyd Hart:
If I ever get back, I'm gonna' have a swell law office in the Woolworth Building. Have it all picked out, on the 28th floor. Can see the whole city: the Bay, Brooklyn...

Eddie Bartlett:
Whaddya' wanna' look at Brooklyn for?

George Halley:
[the men are taking cover in a bombed-out farmhouse, shooting at German soldiers somewhere off-screen. Lloyd takes aim at a German soldier, but hesitates, then lowers his rifle] Whatsa' matta', "Harvard," did you lose the Heine?

Lloyd Hart:
No... but he looks like a kid, about 15 years old.

George Halley:
- [Aims his rifle and without any hesitation shoots the young German soldier] He won't be sixteen. [Seconds later, a fellow soldier rushes in to tell them the war is over, the Armistice has been signed]

Fletcher's Garage Mechanic:
[Eddie, in his Army uniform, returns to his old place of employment - a garage - seeking to get his job back] That guy thinks he's gonna' get my job just because he's got a uniform on. He used to work here.

Fletcher's Garage Mechanic:
Yeah, those monkey's are gonna' find out what a picnic they had on Uncle Sam's dough while we stayed home and WORKED!

Eddie Bartlett:
[Eddie, in his Army uniform, returns to his old place of employment - a garage - seeking to get his job back. He speaks to his former boss] Hello, Mr. Fletcher.

Mr. Fletcher:
[Surprised to see Eddie] Why, when did you blow in?

Eddie Bartlett:
Just now. Sure good to be back.

Mr. Fletcher:
I'll bet it is. What are you gonna' do?

Eddie Bartlett:
Oh, rest up a couple of days, see a few of the boys, and then I'm ready to go to work.

Mr. Fletcher:
That's fine. Whaddya' gonna' do? Where ya' gonna' work?

Eddie Bartlett:
[Confused] Whaddya' mean, "Where am I gonna' work"? I was gonna' come back here.

Mr. Fletcher:
Sorry, Eddie, I haven't got anything for you.

Eddie Bartlett:
Now wait a minute. Maybe I'm in the wrong garage. What was that line you handed me about my job always waiting for me when I got back?

Mr. Fletcher:
Times have changed, Eddie. That boy over there's been working almost two years. Whaddya' want me to do, can him just because you came back?

Eddie Bartlett:
No... no, I couldn't ask you to do that, could I? All right... Thanks.

[after a shootout in the club, all the patrons run out in a panic and as the bodies are being carried out]

Eddie Bartlett:
Where you going

Panama Smith:
I'm looking for some excitement. There's a lull in the action

Eddie Bartlett:
[speaking to Jean Sherman] You want the Brooklyn Bridge, all you gotta do is ask for it. If I can't buy it, I'll steal it.

The Sergeant:
When you get an order in the army, buddy, you jump!

George Halley:
You mean like you did when you worked for my old man and he caught you stealin' nickels?

The Sergeant:
I ain't workin' for him now and I ain't workin' for you.

George Halley:
Yeah well you might be. I'm gonna give you a break. I'm gonna let you stand behind the bar with all your medals on and tell all the drunks how you won the war.

Panama:
You've been nice to me. You took a rap that I couldn't afford to take. It would have put me out of business. And I'd hate to see someone like you banging his head against a stone wall. Now the liquor business is gonna grow big and it's gonna grow fast. So get in line, buster. Hack drivers are a dime a dozen.

Eddie:
But you gotta know people.

Panama:
I know people.

Eddie:
It takes money.

Panama:
Oh, I can get it - if you start small.

Eddie:
Tell me, what's in this for you? What's your take?

Panama:
Nuthin'. That story about the guy in the cell was a sad one. I'd hate to have somebody tell me that about you.

Eddie:
Why?

Panama:
I once knew a soldier like you who went to France. He never came back. I never got over it. That's why.

Eddie:
Is that all of it?

Panama:
If you don't like that story, I'll try to think of another one.

Eddie:
That'll do for now.

Panama:
[about Jean] What's this kid got on you?

Eddie:
Oh, I don't know. Whatever it takes to get a guy like me, she's got.

Panama:
Does she know about this?

Eddie:
No, I'm gonna tell her after the show.

Panama:
You might be movin' too fast, Eddie. Sometimes you get over these things and you're sorry.

Eddie:
I don't think I'll ever get over this one.

Panama:
You're battin' out of your league, buster. You're used to traveling around with - dames like me. You sure got it bad. Suppose she turns you down.

Eddie:
Turn me down? Why should she turn me down?

Panama:
Suppose you tell me about that later.

Jean:
They seemed to like me, didn't they?

Eddie:
You're stallin' me, Jean.

Jean:
You've been awfully good to me.

Eddie:
I improve with age. You want the Brooklyn Bridge, all you gotta do is ask for it. If I can't buy it, I'll steal it. Well?

Jean:
Eddie, I don't know.

Eddie:
Whaddya mean, you don't know?

Jean:
I haven't had time to think about it.

Eddie:
You've had plenty of time. I didn't have to tell you the way I felt about you. You must have seen it in a million ways.

Jean:
I have.

Eddie:
Well?

Jean:
I don't know, Eddie, I just don't know.

Eddie:
But don't you know the way you feel about me, whether you like me or whether you don't?

Jean:
Oh, I do like you, but...I just can't tell you.

Eddie:
I know what's botherin' you. Maybe Panama was right. Maybe you and me don't play in the same league. Yeah, that's it. You don't like the racket I'm in. You don't like the people I know or the things I do. It's not me, it's what I stand for, am I right?

Jean:
Why I...

Eddie:
Yeah, I am right. Well, I'm not gonna let this stand between you and me, not the way I feel about you. I'll get out. A few more years in this business, I'll have enough dough...so we can settle down and forget all this. How does that sound to ya?

Jean:
Why, it sounds all right.

George:
[about Lloyd and Jean] I'll lay ya eight to five right now - that's kid's gonna move in on your gal.

Eddie:
I hope you know what you're talkin' about.

George:
Sure I do. Listen Eddie, I'm tryin' to steer you right. Listen, gals like her go for guys like that, you know, with all that Joe College stuff. He's gonna take her to football games, fraternity dances, all that rah-rah stuff. A kid like him can't miss.

Panama:
Calm down, Eddie. Maybe George is right. If he is, there's nothing you can do about it.

Eddie:
Shudd-up. I trust my friends. [Eddie leaves]

George:
You know, he's a sucker. I don't trust mine.

Panama:
It's mutual, chump. They don't trust you either.

George:
[about Lloyd] This guy's got enough on us to...

Eddie:
He won't talk.

George:
He better not. [to Lloyd] Now listen, Harvard. You came into this racket with your eyes open. You learned a lot and you know a lot. If any of it gets out, you go out with your eyes open, only this time, they'll have pennies on them. All right, now scram, get out of here, go on home and chase ambulances.

Panama:
Eddie, I'm gonna tell you something you won't like. Jean's quit the club, gave her notice.

Eddie:
Quit, what for?

Panama:
Do I have to draw you a diagram?

Eddie:
Now look, you're tryin' to say somethin'. Get it off your chest and say it.

Panama:
Jean's in love.

Eddie:
Well, now you're bein' full of news. Sure she is, with me.

Panama:
Eddie, this is gonna be kinda hard to take and I don't want ya to get mad. Jean was never in love with you. She went hook, line, and sinker for that Lloyd guy the minute she saw him. And she's been seeing him every time your back was turned. I tried to give you the steer, but I guess I didn't get it over. Everybody knew it but you. Now look, Eddie, as far as Jean is concerned, you've been...

Eddie:
Shudd-up.

Panama:
Okay.

Lloyd:
The days of the rackets are over.

Eddie:
Don't you kid yourself about that. They'll always be guys tryin' to get up there quick - and I'm one of 'em. Oh, I know you take your job very seriously and I want to give you some good advice. I see by the papers that the district attorney's office is building up a case against our old friend George.

Lloyd:
It's already built up.

Eddie:
You remember what George said about what would happen if you talked?

Lloyd:
I remember.

Eddie:
So does he.

Eddie:
Yeah sure, it's his duty. It's George's duty to stop him. I'd do the same thing in George's place.

Jean:
Eddie, please, for my sake...

Eddie:
The same old story, the same old story. Any time she wants anything, she comes to me. I suppose that's all I ever meant to you anyway...Maybe a patsy once but never twice.

Panama:
Well, I don't see how it's gonna do any harm to talk to George.

Eddie:
Talk? There's only one language George understands. And do you think I'm gonna walk into an ambush just because that big, dumb, good-lookin' husband of hers doesn't know enough to keep his trap shut? You're crazy. No dice, Jean, no dice.

Panama:
Look Eddie, you've got to do something for them. She's got something to look forward to.

Eddie:
So have I.

Panama:
What?

Eddie:
I'll be up there again.

Panama:
Eddie, you're kidding yourself. The race is over. We're both finished out of the money.

Eddie:
Maybe for you, but not for me.

Panama:
It's over for all of us: you, me, and George. Eddie, something new is happening, something you don't understand.

Eddie:
I came up here to talk to you about Lloyd.

George:
There ain't nothin' to talk about.

Eddie:
I think there is.

George:
Get him out of here, Lefty....

Eddie:
Now wait a minute, George, you know that if you get rid of Lloyd, there'll always be somebody to take his place, you know that.

George:
I'll worry about that when it happens.

Eddie:
But they got a kid.

George:
Oh. Still carrying a torch for that dame, huh?

Eddie:
I suppose I am.

George:
Then what are ya beefin' about? I'm doin' ya a favor by knockin' 'em off. I want him to keep his mouth shut.

Eddie:
But he can't. Look George, there's a new kind of setup you don't understand. Guys don't go around tearing things apart like we used to. People try to build things up and that's what Lloyd's tryin' to do. In this new setup, well, you and me just don't belong, that's all.

George:
Maybe you don't. I do all right, anytime, anyplace.

Panama:
[identifying a body] This is Eddie Bartlett.

Cop:
Well, how are you hooked up with him?

Panama:
I could never figure it out.

Cop:
What was his business?

Panama:
He used to be a big shot.

Narrator:
Back in this country, the boys who had returned from overseas begin to find out that the world has moved on during the time they spent in France...Everywhere, things have changed but particularly in New York. The old Broadway is only a memory. Gone are many of the famous landmarks, for already, America is feeling the effects of Prohibition. There is a concentrated effort at readjustment to normal peacetime activities, but unemployment coming in the wake of the wartime boom is beginning to grip the country and the soldiers find their return to face - on a different front - the same old struggle, the struggle to survive.

Narrator:
And so the Eddie of this story joins the thousands and thousands of other Eddies throughout America. He becomes a part of a criminal army - an army that was born of a marriage between an unpopular law and an unwilling public. Liquor is the password in this army. And it's a magic password that spells the dollar sign as it spreads from city to city, from state to state. The public is beginning to look upon the bootlegger as something of an adventuresome hero, a modern crusader who deals in bottles instead of battles. And so, because of a grotesque situation, this new kind of army grows and grows, always gaining new recruits who care nothing about tomorrow just so long as money is easy today.

Narrator:
1924. By now, America is well-launched into an era of amazing madness. Bootlegging has grown from small, individual effort to big business embodying huge coalitions and combines. The chase after huge profits is followed closely by their inevitable partners: corruption, violence, and murder. A new and horrible tool appears - the tommy - a light, deadly wasp-like machine gun, and murder henceforth is parceled out in wholesale lots.

Narrator:
Finally comes the national referendum on repeal. Tired of years of violence, corruption, and loss of personal liberty, Americans go to the polls and overwhelmingly rout the dry forces. After thirteen years, Prohibition is dead, leaving in its wake a criminal element used to wealth and power but unable for the most part to cope with a new determination by an aroused public that law and order should once more reign.