Terry meets and is smitten by the murdered Joey Doyle's sister Edie (Katie in the book), who has shamed "waterfront priest" Father Barry into fomenting action against the mob-controlled union. Father Berry convinces Runty Nolan (in the book, Kayo Duggan in the film) to testify after Father Barry's promise of unwavering support. Duggan is killed when Friendly get’s word of Runty’s agreement and his body thrown in the river. See the scene above with Karl Malden giving the speech when Runty/Kayo is pulled from the river. As Father Barry says, “In his mind the river and Johnny Friendly were one, endlessly dangerous and never sleeping.” Silent partners, as it were.
"I could have been a contender."
Terry, tormented by his awakening conscience, increasingly leans toward testifying. Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job, and finally threatens him by holding a gun up against him, but recognizes he has failed to sway Terry, who places the blame for his own downward spiral on his well-off brother. In one of the most famous scenes in film history, Terry reminds Charley that if it had not been for the fixed fight, he “could’a been a contender.” Charley gives Terry a gun and advises him to run. Friendly has been spying on the situation, so he has Charley murdered, his body hanged in an alley as bait to get at Terry. Terry sets out to shoot Friendly, but Father Barry obstructs that course of action and finally convinces Terry to fight Friendly by testifying.
On The Waterfront: A Novel bares many differences from the film. Mainly, the film is centered on Terry Malloy, Marlon Brando’s character, and is told almost entirely from Terry’s point of view. The novel, on the other hand, is narrated by Father Barry, and though Terry Malloy is a main character, he is but one of many. Schulberg cited that the reason for doing this stems from the two “art forms” being very different. “Film is an art of high points. It should embrace five or six sequences, each upping the tension and mounting to a climax. In film,” he continues, “there is no room for multiple points of view, for ‘digressions’ into complicated, contradictory character traits or an exploration of social background.”