"SEASON OF THE WITCH"
WRITTEN BY:
MARTIN SCORSESE
Mardik Martin
Ethan Edwards
Ah, get born, keep warm
Short pants, romance, learn to dance
Get dressed, get blessed
Try to be a success
Please her, please him, buy gifts
Don't steal, don't lift
Twenty years of schoolin'
And they put you on the day shift
Bob Dylan
Subterranean Homesick Blues
(SUPERED OVER BOTTOM OF SCREEN LIKE A TV NEWS BULLETIN)
(THE FILM IS IN COLOR UNLESS OTHERWISE NOTED.)
A darkened diffused image of a man lying on the ground. A
tree is above him. The image is more diffused on the edges.
It is black and white, and appears to be coming from a
television. The body of the man is practically totally in
shadow.
ANNOUNCERS VOICE
Ladies and gentlemen, on the new
tonight, the first actual motion
pictures of death.
A small orange fire appears in the breast of the man.
ANNOUNCERS VOICE
Watch closely, at the moment of
death.
The small orange fire fades away.
COLOR
CHARLES CAPPA JR. (CHARLIE) is 25 of Sicilain origin. He
was educated in Roman Catholic Parochial schools with one
year and a half at a Jesuit college. CHARLIE was raised
sternly in the Roman Catholic tradition but now has rejected
many of the religion's tenets. He is very intelligent and
has a sharp sense of humor. He is always well dressed. His
favorite authors are Ernest Hemingway, Thomas Hardy, and
Theodore Dreiser. He likes reading but enjoys films more.
He is very fond of the New Testament and often exchanges
quotes from it with his friend TONY.
INT. BEDROOM - NIGHT
CHARLIE has been dreaming. The dream frightened him. A
TITLE APPEARS on the bottom of the frame: CHARLIE. He gets
up to look at his face in the mirror. His room is lit by
moonlight. It is a small tenement bedroom with a fire-
escape outside.
2.
He returns to bed and as his head hits the pillow, we hear
the RONETTES singing "BE MY BABY."
CUT TO:
An 8-mm. projector whirring away.
INT. PARTY - HOME MOVIES - DAY
Opening TITLES appear over 8mm. HOME MOVIES in which
CHARLIE is shown along with his friends and family in a
celebration...a sense of "one big unending party."
During this opening segment WE SEE some of the characters
that will later appear in the story: JOHNNY BOY, MICHAEL,
TONY, TERESA, CHARLIE'S UNCLE GIOVANNI, and others. They
are all Sicilian and are members of the same Italian-
American neighborhood in New York City. (WE SENSE, from
these HOME MOVIES, that the neighborhood forces its people
to be strongly tied together in a way of life - Family,
Church, Friendship.) These HOME MOVIES were taken during
some formal and casual gatherings in which CHARLIE
participated.
CUT TO:
INT. BATHROOM IN A NEIGHBORHOOD BAR
A longhaired "freak" is about to shoot-up. Suddenly the
door opens and TONY (ANTHONY DEVENZIANO) comes in. TONY is
totally different in appearance and dress from the "freak."
He is 25, and a part time student studying liberal arts.
His father is a very powerful racketeer in a different part
of the city and owns several night club type discotheques
and strip houses on the west side of town. One of these is
operated by TONY - "TONY'S PLACE." CHARLIE is one of his
closest friends. TONY is well dressed, flippant and reckless.
He is a big drinker, liquor, wine, and even cough medicine.
TONY
What the fuck...hey!
TONY rushes over to the "freak", who is too strung out to
defend himself, smashes the needle, and slaps him around.
TONY
Not in my fuckin' place... get
out... get out!
INT. BAR AREA
TONY pushes him out the door and into the bar area. There
are a few people in the bar...mainly neighborhood guys like
TONY. A few "freaks" are in the BG.
3.
TONY pushes him out the front door.
TONY
And keep the fuck out-a-here. I
know your face.
TONY crosses over to one of the neighborhood guys by the bar
and slaps him in the back of the head knocking off his hat.
TONY
And you scumbag...what did I tell
you 'bout passin' that shit in my
place
(hits again)
...huh?
BOY
Hey I didn't do nothin'...cut it
out...
TONY pushes the BOY out of the bar also. TITLE APPEARS on
the bottom of the frame: TONY
EXT. WEST SIDE DOCKS - LATE AFTERNOON
The area is totally deserted except for two trucks parked
side by side. Two men are tossing boxes from one truck to
another and looking around furtively. MICHAEL stands nearby.
MICHAEL LONGO is 26 years old. He lives in a different
neighborhood but comes from the same type of background as
CHARLIE and the others. He runs an illegitimate bar and
dabbles in the yearly sale of firecrackers which he smuggles
in from Maryland. He also deals in contraband cigarettes
and runs a small-time "loan shark" business. He has a knack
for business but he is otherwise unintelligent.
Michael crosses over to a '58 black Oldsmobile.
MICHAEL
Hey, hurry up with that shit will ya.
MICHAEL gets in the car. Another MAN is sitting in the back.
He is also well dressed. MICHAEL takes a small lens out of
his pocket and tosses it to the MAN.
MAN
What's this? More shit...?
MICHAEL
Naw...that ain't shit...that's a
German lens.
The MAN looks at it carefully.
4.
MICHAEL
A good buy...good two shipments of
them.
MAN
Can't use it...
MICHAEL
Why...? That's a telescopic one...
it's good.
MAN
First, it ain't German...it's
Japanese...and second, this ain't
no lens...it's like a...a...an
adaptor...so you got two shipments
of Jap adaptors with no lenses.
(He laughs)
MAN hands adaptor back to MICHAEL.
MICHAEL
(disappointed)
A Jap adaptor?
TITLE APPEARS on bottom of screen: MICHAEL.
EXT. STREET - DAY
A deserted warehouse area in lower Manhattan. Prominent in
the frame is a brightly painted red white and blue mailbox,
contrasting with the drab hues of the neighborhood.
JOHNNY BOY walks down the street toward camera. JOHN
CIVELLO (JOHNNY BOY) is 23 years old. He is an only child
and lives with his mother, a divorcee. He is clean cut
looking, yet slightly radical in dress. He was expelled
from high school for vandalism and consequently spent
several months in reform school. He is reckless,
unambitious, nihilistic, and was classified a psychiatric 4-
F. He is first cousin of TERESA RONCHALI who lives next
door to CHARLIE. He has adopted TERESA'S family as his own
and spends more time with them than he does with his mother.
JOHNNY is carrying a package wrapped in plain brown paper
under his arm, and he is smiling. He drops the package into
the mailbox and keeps walking. But he is moving a little
faster now and smiling a little more.
Suddenly the mailbox explodes. Dozens of red, white and
blue fragments shower down on the street. The impact of the
blast knocks JOHNNY down. TITLE APPEARS on bottom of frame:
JOHNNY BOY.
5.
He is up in a moment. The CAMERA TRACKS with him as he
starts running. WE SEE that he is grinning - quite
literally - like crazy.
INT. CHURCH
WE SEE CHARLIE full face. Behind him is a Confessional
Booth. The church is very old, quiet, and dark. The CAMERA
ZOOMS OUT to reveal rows of Holy Candles lit in the
foreground. CHARLIE suddenly begins to speak softly and
confidentially to an unseen entity that is OFF SCREEN.
CHARLIE
(Confession)
A...As you know, I've just come out
of Confession. And as a penance
they gave me ten 'Hail Marys' and
ten 'Our Fathers'...
THE CAMERA BEGINS TO TRUCK OUT. IT MOVES AROUND CHARLIE AND
AWAY FROM THE HOLY CANDLES REVEALING CHARLIE'S PROFILE.
CHARLIE
(continued)
...Now, between you and me... You
know how I feel about such things...
'Hail Marys'...'Our Fathers'...No
imagination...
THE CAMERA HAS NOW TRUCKED BEHIND CHARLIE AND WE SEE over
his head he has been addressing a life sized statue of the
crucified body of Christ, eyes closed reclining in his
sepluchure.
CHARLIE
(Continuing)
...If I'm going to do penance at
all, I'll do it the way I think it
would be done...by me, that
is...according to my own trespasses.
You know what I mean.
This conversation of Confession will occur from time to time
in other parts of the story as CHARLIE will periodically try
very casually to justify his thoughts and actions to his
"God." The images accompanying these monologues are to be of
free association almost documentary in nature.
INT. TONY'S PLACE - NIGHT
The club is dark and noisy and smokey when CHARLIE enters.
He greets TONY who is sitting on a bar-stool. TONY directs
CHARLIE to a corner of the club where the rest of the group
is now getting boisterously drunk.
6.
CHARLIE joins in, immediately taking on the mood of the group.
The rest of the club is filled with many different types of
customers: teenagers, adults pretending to be teenagers,
sailors, male and female gays, and "the boys from the
neighborhood." The music is loud and the lights are flashing
but the strippers have not yet appeared.
DISSOLVE TO:
TONY is at the bar. He is approached by GEORGE one of the
bouncers. He seems upset about the noise that CHARLIE and
his friends are creating. TONY doesn't take GEORGE very
seriously.
GEORGE
It's ten o'clock and they're like
this. And they're just starting?
TONY smiles.
GEORGE
(continuing)
Smile...What are you smiling at?
This is a business night.
TONY
(interrupting)
George...did I ever tell you the
story about the three chickens?
GEORGE
(genuinely)
No...
TONY
Too bad.
DISSOLVE TO:
CHARLIE's zany behavior as frenetically as it occurs. There
is no particular logical sequence except that events are
suited to the rythmic pattern of the music.
1. CHARLIE and his friends dance and sing along with the
music.
2. CHARLIE picks up a billiard stick. He attempts to hit a
filled shot glass towards TONY at the other end of the
bar. He fails.
3. CHARLIE tries to pull a tablecloth off of a stranger's
table without moving the glasses or bottles. This also
fails.
7.
4. A punch is thrown at someone. A lit cigarette in the
puncher's fist creates a swift arc of light in the
darkness.
5. The Strippers finally appear on stage. CHARLIE becomes
obsessed with the Negro stripper DIANE. He shouts to
her, tosses things, and calls her names. She tries, half
amusedly to ignore him but she can't.
6. TONY drinks from a bottle of Southern Comfort, and as a
chaser swigs down Aqua Velva.
DISSOLVE TO:
CHARLIE sitting at an empty table watching DIANE, the
stripper, perform again. He stares glassy-eyed and then
begins to speak softly, continuing his Confession.
CHARLIE
Y'know...she's really good-looking...
really good-looking. I've gotta
say that again. She's really good-
looking...but she's black... You
can see that real plain.
(as an afterthought)
When you get down to it though...
there's not much of a difference,
is there?
(He waits for an answer)
Well...is there?
(He smiles and begins
chewing on an ice
cube from his half
empty glass)
Suddenly MICHAEL appears and sits down at CHARLIE's table.
He hands CHARLIE two cartons of cigarettes.
CHARLIE
Oh great...hey - Winstons?
MICHAEL
For these prices don't be particular.
That's all they had - but next week
we'll see...
CHARLIE gives him the money.
CHARLIE
OK, ok...
MICHAEL
Sell 'em if you can't smoke them.
8.
CHARLIE
No...I'll be ok for a week.
MICHAEL
You seen Johnny Boy tonight?
CHARLIE
(disinterested)
Nope...
MICHAEL
Isn't he supposed to be here
tonight...I mean...
CHARLIE
Look...I don't know. What am I
supposed to be, his keeper or
something? Yeah, he's supposed to
be here but who knows what goes on
in his head. Right?
MICHAEL
I'd like to know Charlie, it looks
like your little friend is trying
to duck me...
CHARLIE remains silent.
MICHAEL
(continuing)
...Charlie, don't you think you
should be interested in Johnny's
payments to me? I think you should
be, you know that.
CHARLIE
(quietly)
Michael, nobody's out to screw you,
I guarrantee that.
MICHAEL
I know that Charlie but look at my
side. You undersigned the loans.
You vouched for him. What happens
if this kid don't pay me? I gotta
collect from you? I don't want to
do that. I made a deal with him
not you, right?
CHARLIE
(patronizing)
You're right. You're right. Look,
I'm not gonna wind up paying his
debts. You know that.
9.
MICHAEL
I don't know that. That's what I'm
telling you.
CHARLIE
Michael, believe me. You know the
kid's a little crazy sometimes. I
vouched for him and he'll come
through. I promise. I'll talk to
him and straighten him out. Don't
worry, OK?
MICHAEL
(satisfied)
OK.
DISSOLVE TO:
JOHNNY BOY enters the night club with two friends. He has
been drinking. JOHNNY BOY'S face shows fresh cuts and
bruises. His friends approach the hat check girl and give
her their coats. JOHNNY BOY approaches her giving her his
pants instead. His friends laugh hysterically.
CHARLIE is now alone at the end of the bar. JOHNNY BOY now
completely dressed enters the bar area. CHARLIE watches
JOHNNY BOY approaching and continues his Confession. JOHNNY
BOY greets people as he passes them, and as CHARLIE speaks,
he appears to be moving in slow motion.
CHARLIE
What do you think? 'If a man have
a hundred sheep, and one of them
stray, will he not leave the
ninety-nine in the mountains, and
go in search of the one that has
strayed? And if he happen to find
it, amen I say to you, he rejoices
over it more than over the ninety-
nine that did not go astray. Even
so, it is not the will of your
Father in Heaven that a single one
of these little ones should
perish.'... Ok that's very nce but...
TONY is now behind the bar near CHARLIE. JOHNNY BOY has
reached them.
JOHNNY BOY
Drinks for everybody Tony...
CHARLIE
(interrupting)
Giovanino! Where have you been?
10.
JOHNNY BOY
(continuing)
and a double for you and Charlie
here.
(quietly to TONY)
And put it on my tab, willya?
TONY
Which one, the big tab or the
little tab?
JOHNNY BOY
Put it on the little tab so that it
balances with the big one.
TONY
(sarcastically)
Yeah, so things'll be even.
CHARLIE and JOHNNY BOY grimace. MICHAEL appears.
MICHAEL
How about me? I don't get a drink
John?
JOHNNY BOY
(feigning surprise)
Of course! A double for Michael,
Tony.
TONY mumbles.
JOHNNY BOY interrupts MICHAEL who is about to speak.
JOHNNY BOY
(continuing)
I know what you're going to say but
don't say it. These drinks are all
on the tab. I'm gonna see you this
Tuesday payday, I promise. I give
you my word.
MICHAEL
You what?
The drinks arrive. They all smile and salute each other
with their drinks.
CHARLIE
(saluting)
The queen!
11.
ALL
(drinking)
The queen!
CUT TO:
CHARLIE and JOHNNY BOY are sitting alone at a table.
CHARLIE
(refering to JOHNNY
BOY'S face)
What happened to you Flash?
JOHNNY BOY
Charlie, I swear on my mother,
you're not going to believe this.
CHARLIE
I know but let's hear it anyway.
JOHNNY BOY
I swear to God Charlie, it's the
truth.
CUT TO:
FLASHBACK
EXT. STREET - LATE AFTERNOON
JOHNNY BOY is walking along the street. It is rush hour and
the traffic is heavy. A shiny, late model car stops parallel
to JOHNNY BOY. The young boy (SAL) signals him by blowing
the horn. (Note that in the FLASHBACK, JOHNNY BOY'S face is
not bruised.)
SAL
Hey Johnny, where're you goin'?
JOHNNY BOY
Sal!... fourteen street.
SAL
Come on.
INT. INSIDE CAR - LATE AFTERNOON
JOHNNY BOY
This is some boat. Your father's?
SAL
Yeah...just had it delivered...
12.
JOHNNY BOY
Hey... you got stereo.
SAL
Yeah, I think so.
As JOHNNY BOY admires the gadgets in the car he notices that
SAL is becoming very nervous.
JOHNNY BOY
You got a speaker back there?
He turns to look for the speaker and sees a police car not
far behind.
JOHNNY BOY
(continuing)
Ah...there's a funny lookin' cab
behind us.
SAL
(nervously)
I know...I know.
JOHNNY BOY
What'sa matter...forget your
registration?
SAL
No...no. Nooo...it's just that
I...I...uh... this ain't my car.
JOHNNY BOY
Yeah, it's your father's.
SAL
Well...no.
JOHNNY BOY
You mean it's heisted.
SAL
You could say that.
JOHNNY BOY
(announcing it loudly)
This is a heisted car!
SAL smiles sheepishly. JOHNNY BOY panics.
EXT. STREET - LATE AFTERNOON
The police switch on their flashing red light and try to get
closer to them but the traffic is too heavy.
13.
SAL manages to turn the next corner at about twenty miles
per hour.
INT. INSIDE CAR - LATE AFTERNOON
JOHNNY BOY frightened now, underestimates the speed of the
car and quickly opens the door.
EXT. STREET - LATE AFTERNOON
JOHNNY BOY tumbles from the car only to smack into a lamp-
post. He has seriously banged his head and blood is running
down his face. But because of the near proximity of the
police car he is desperately trying to maintain an air of
dignity as he calmly tries to walk down the street.
END FLASHBACK
CUT TO:
INT. TONY'S PLACE - NIGHT
TONY has now joined the group sitting at the table...
CHARLIE and TONY nod in disbelief.
JOHNNY BOY
It's the truth, I swear.
CHARLIE
All right, forget it. Tony, you
got anything we can put on his face?
TONY
Yeah, in the back.
They all get up.
TONY
(continuing)
C'mon, I got something to show you
anyway.
INT. TONY'S PLACE - BACK HALL - NIGHT
They push their way through the crowd and enter a narrow
dimly lit hallway on both sides.
INT. BACK ROOM - TONY'S PLACE - NIGHT
A boy and girl are necking on a make-shift couch in the
darkened room.
14.
GIRL
(whispering)
Jimmy, I tell you there's something
in this room.
JIMMY
(murmurs)
Ahhh come on baby...willya'...cut
it out.
Suddenly the light is turned on. TONY, CHARLIE, and JOHNNY
BOY enter the room. The GIRL is startled and jumps up.
JIMMY appears bewildered.
TONY
Excuse us Jimmy, we'll only be a
moment.
TONY
S'alright Tony.
The GIRL and JIMMY sit self-consciously as TONY goes to the
medicine cabinet, takes out a few items and gives them to
CHARLIE. TONY then crosses to the other side of the room
where he removes the blanket which has been covering a large
cage. He reveals a live, young beautiful PANTHER stalking
to and fro.
The GIRL screams.
GIRL
I told you there was something in
this room.
The GIRL runs out.
Everyone else except TONY, is backed up against the wall,
frightened. The BOYS laugh nervously.
TONY
Keep quiet about this. I don't
have any license for him yet. I've
only had him a couple of days.
Nobody can feed him except me. I'm
the only one he trusts. Watch.
CHARLIE
Don't go to any trouble. We
believe you... We believe you.
TONY begins to open the cage. The BOYS are now standing on
top of the nearest pieces of furniture.
15.
TONY
(entering cage)
Really wanted to get a little tiger
Charlie, y'know...a little William
Blake and all that...
CHARLIE
Be careful.
TONY ignores CHARLIE's warning as he crouches and allows the
animal to wander onto his lap where upon he strokes the
panther gently murmuring to him.
The BOYS watch in silence.
INT. TONY'S PLACE - CORNER TABLE - NIGHT
The Italian song "Malafemina" (a tango-like rythmn) is heard
coming from the juke-box. It is near closing time and there
are only a few customers left in the club, including MICHAEL
and two gays, BENTON and SAMMY, who is getting very drunk.
CHARLIE is at the corner table with TONY and JOHNNY BOY.
CHARLIE is washing JOHNNY BOY'S face with cold water from a
basin. Some of JOHNNY'S blood has mingled with the water.
CHARLIE
I'm surprised at you Tone. I mean
you've had the place for over a
year now. Nothing different...same
old place...ordinary...flat...no
imagination.
TONY ignores CHARLIE's half-joking, drunken remarks.
CHARLIE
(continues)
For instance, the difference
between me and you is this...you
take that panther back there. I'd
put him right up here above the
bar...nice cage, you know? Nothing
ordinary in my place. What good is
it? You get robot customers. They
come in, drink beer, go to the
bathroom, and go home. No sir.
One of the BOYS more casual acquaintances is lying on the
bar, drunk. He begins to sing along with the Italian
music - but very badly.
16.
CHARLIE
See what I mean?
(pause)
A question please...'Is this what
you call living?'
TONY
(wearily)
'Take a little tip from Mack the
Knife...'
JOHNNY BOY
(interrupts)
Tony, break down and open another
bottle willya'?
A well dressed young boy enters the club. GEORGE, the
bouncer, approaches him.
GEORGE
We're closed.
BOY
I'm just waiting for Joey.
The BOY walks over to a bar stool and sits down. Nobody
acknowledges his presence.
Suddenly the DRUNK on the bar stops singing and sits up,
dazed. His sudden silence causes CHARLIE and the others to
look up at him. The DRUNK stares ahead for a minute.
DRUNK
(mutters)
I...I gotta go to the bathroom.
EVERYONE laughs.
CHARLIE
Well, go ahead, whaddaya want?
Someone to hold it for you?
More laughter. Even the BOY at the bar laughs. The DRUNK
rises, still smiling and stumbles off to the mens room.
The Big Bopper - "Chantilly Lace" in playing on the
soundtrack. CHARLIE is playing with a deck of cards.
CHARLIE
(continuing previous conversation)
This place is dead. If I had a
place...every night...lively.
JOHNNY BOY is sipping his drink and ignoring the conversation.
17.
CHARLIE
(continuing)
And I wouldn't call it TONY'S PLACE
or CHARLIE'S PLACE...
(more confidentially)
I'd call it something like SEASON
OF THE WITCH... get it?
TONY
(quietly)
You are with out a doubt the
biggest, most pretentious bullshit
thrower I know. Like to see what
kind of business you'd do.
CHARLIE
Look who's talking. Pretentious
bullshit. Who's the guy with
William Blake and the tigers, eh?
JOHNNY BOY
Will you guys shut up with the
witches and tigers. Tony, you
gonna close the place, we get out
of here, get something to eat, or
what?
TONY
We'll close up as soon as everybody
leaves.
CHARLIE
Don't forget what's-his-name there
in the bathroom.
EVERYONE laughs. JIMMY is drawing on a table top. CHARLIE
wanders over.
JIMMY
Wanna see your picture?
CHARLIE leans over. OVERHEAD VIEW shows large crude swastika.
JIMMY
Waddaya think?
CHARLIE
Not quite...but keep trying.
CHARLIE picks up the cards again.
CHARLIE
Let's have a game after we close.
18.
JOHNNY BOY
Nah.
CHARLIE
C'mon Tony, waddaya say?
TONY
No.
CHARLIE
(addressing the
entire bar)
Anybody wanna have a game?
The people in the bar do not respond. CHARLIE shrugs. The
BOY casually leaves the bar and walks to the men's room.
INT. MENS ROOM - TONY'S PLACE - NIGHT
The BOY slowly swings the door open and stares at the DRUNK
leaning over the urinal, half asleep. He takes out his
pistol and calmly shoots the DRUNK three times in the back.
To the BOY's surprise the DRUNK does not immediately fall
dead. Instead, he turns and grabs the BOY by the throat.
They struggle in the open doorway.
INT. BAR AREA - NIGHT
The Italian music is still playing. Everyone in the bar has
frozen in position as they watch the scene.
In his astonishment CHARLIE allows the cards to fall from
his hands.
The YOUNG BOY breaks away from the DRUNK and runs towards
the exit.
The DRUNK, running only on sheet determination, stumbles
along after the boy.
The people in the bar, including CHARLIE, dash behind tables
and jump behind the bar for cover.
INT. TONY'S PLACE - STAIRWAY EXIT
The BOY reaches the exit and fires at the DRUNK from the top
of the stairs. The DRUNK still follows.
EXT. STREET - NIGHT BLACK & WHITE
The BOY runs down the street and disappears into the darkness.
The DRUNK staggers out into hte cobblestone street. His
mind is gone, it is now just a physical matter of the body
being stopped by the presence of a stationary object.
19.
He staggers straight across the street at tremendous speed
smashing directly into a parked car.
EXT. TONY'S PLACE - BACK ENTRANCE - NIGHT BLACK & WHITE
Everyone (including the two GAYS at the bar) is running out
the back way.
TONY
Don't run...don't run. Everyone
split up.
EXT. STREET - NIGHT BLACK & WHITE
MICHAEL and JIMMY turn the corner and calmly walk to his
parked car. As they get into the car CHARLIE and JOHNNY BOY
turn the corner.
CHARLIE
Michael, give us a lift.
MICHAEL
OK, get in.
As they are getting into the car the two GAYS turn the
corner. One of them, SAMMY, is very drunk and is crying
hysterically. His companion BENTON is trying to calm him
down when he notices MICHAEL.
BENTON
Michael...wait.
It is obvious that MICHAEL does not want to take them but he
is also afraid of attracting any attention so he quickly
ushers them into the car.
MICHAEL
Get in, get in.
INT. MICHAEL'S CAR - NIGHT BLACK & WHITE
CHARLIE and JOHNNY BOY are in the back seat. SAMMY crawls
over CHARLIE into the back seat making apologies. BENTON is
forced into the front seat with MICHAEL and JIMMY. They
drive off, with SAMMY crying.
CHARLIE
Oh Jesus Christ...what's this.
BENTON
Sammy get control of yourself.
20.
JOHNNY BOY
Yes, you're gettin' it all over my
tie.
CHARLIE
Should I slap him?
SAMMY
(suddenly in control)
You wouldn't dare.
BENTON
I'm terribly sorry guys...It's just
that he was terribly frightened.
MICHAEL
Just keep him quiet.
JOHNNY BOY
Friends of yours Michael.
MICHAEL
Shut up.
BENTON
(sensing the hostility)
Oh...ah...I'm Benton and this is
Sammy.
CHARLIE
I can't get over the way he just
kept going at him.
JOHNNY BOY
Must have been all the liquor in him.
MICHAEL
(in Italian)
Quiet please.
He returns to English.
MICHAEL
Where should I drop you Charlie?
SAMMY
(interrupting the conversation)
Yes Charlie, your place or mine.
BENTON
Sammy.
CHARLIE
Away from the neighborhood.
21.
SAMMY
Oh Benton...look!
SAMMY leans over JOHNNY and CHARLIE to see out the window.
He begins to shout at a young boy on the street.
SAMMY
(continuing)
Hi beautiful!!! I love you.
CHARLIE and JOHNNY BOY hide their faces.
MICHAEL
Hey, shut up.
CHARLIE
Get him in.
JOHNNY BOY
What...are you kidding.
BENTON
Sammy, get in here this minute.
SAMMY
I won't...I won't! They're all
beautiful.
(shouting)
I'll suck them all...I'll suck them
all!
CHARLIE and JOHNNY BOY groan. They are still hiding their
faces.
CHARLIE
Disgraceful.
MICHAEL
Ok...that's it.
He pulls the car over to the nearest corner.
MICHAEL
Out!!!!
CHARLIE
C'mon Johnny.
MICHAEL
You getting out too?
CHARLIE
Yeah, thanks, it's ok.
22.
EXT. STREET - NIGHT BLACK & WHITE
CHARLIE and JOHNNY BOY get out of the car first so that by
the time BENTON and SAMMY are out they are already on their
way down the street. MICHAEL drives away.
SAMMY
(shouting)
Going our way?
CHARLIE
(to JOHNNY BOY)
Don't answer.
BENTON guides SAMMY the opposite way.
EXT. NEIGHBORHOOD STREET - DAWN
CHARLIE and JOHNNY BOY are walking down the street on their
way home.
JOHNNY BOY
I don't think I should go home
looking like this. You think I
could stay at your place tonight?
Your mother's not there is she?
CHARLIE
No, she isn't.
CUT TO:
FLASHBACK
INT. CHARLIE'S APARTMENT - DAY
CHARLIE lives in a typical lower east side tenement apartment.
Each room is painted a different pastel color. It is
furnished in miscellaneous styles and from the pictures on
the wall and various knick-knacks around the rooms it is
evident that this is a family apartment rather than a
bachelors pad.
CHARLIE is helping his mother pack a suitcase. Through out
the scene he is addressing her but she is never seen on
CAMERA. The CAMERA PANS following his movements and CHARLIE
directs his conversation always towards but above and beyond
it.
23.
CHARLIE
Listen, I'll be ok...it's the best
thing. You're not going to be able
to take care of Grandma out here
and still get to work, you know
that...
(pause)
Yes the place will be here, I'll
take care of it.
(pause)
Yeah don't worry about me, I'll
take care of myself.
(pause)
He moves into the bedroom taking more items out of the
drawers. The room is ver small. The paint if peeling.
Over the double bed there is a large crucifix.
CHARLIE
(continued)
No...no parties.
(pause)
I'll eat.
(pause)
Mom, look, just don't worry...ok?
END FLASHBACK
INT. CHARLIE'S MOTHER'S BEDROOM - MORNING
CHARLIE and JOHNNY BOY are lying on CHARLIE'S MOTHER'S bed
in their underwear.
CHARLIE
You'd better make a move kid. He
thinks you're trying to screw him.
JOHNNY BOY
Wouldn't bother me.
CHARLIE
Yeah, big man...get yourself in
more trouble. You make a fool out
of him, you're doing the same to me.
I signed for you don't forget.
JOHNNY BOY
Don't worry. I can handle it.
24.
CHARLIE
You couldn't handle shit. You just
better come through with some kind
of payment on Tuesday...anything.
Understand? Hold onto your pay-
check this week.
JOHNNY BOY
(laughs)
There won't be any this week.
CHARLIE
What do you mean?
JOHNNY BOY
Didn't show up.
CHARLIE
You sick or what? You forget what
we had to do to get you on the
trucks, stupid?
JOHNNY BOY
I don't like loading crates.
CHARLIE
You're not supposed to like it.
What gets me is your attitude.
Listen... tomorrow you show up.
JOHNNY BOY
What about your attitude...Where's
your job...eh? You talk and talk
and I go to work...what do you do?
CHARLIE
I'll tell you what I don't do... I
don't owe anybody 2,000 clams plus
interest, stupid. Show up or I
break both your arms, we understand
each other?
JOHNNY BOY
Ok, ok...take it easy. I'll show.
Tuesday I'll give Michael something.
I promise.
CHARLIE
Don't promise...just deliver.
JOHNNY BOY
Ok, now that that's over with...what
are you gonna make me for breakfast?
25.
CHARLIE
I won't wait until Tuesday. I'll
break your arms right now.
JOHNNY BOY
(rising from bed)
Listen...I'm a guest here.
CHARLIE reaches out to grab him.
JOHNNY BOY
OK...ok...I'm going.
INT. KITCHEN - CHARLIE'S APARTMENT
JOHNNY is raiding the icebox.
JOHNNY BOY
Hey...you got nothing here.
CHARLIE
(from the other room)
I could have told you that.
JOHNNY BOY
We'll get some food from my aunt's.
I'll get in through the fire escape.
She's always got something.
JOHNNY BOY leaves the kitchen and walks towards the bedroom.
INT. CHARLIE'S MOTHER'S BEDROOM - MORNING
CHARLIE
Don't do that. You'll scare Teresa
if you try to sneak in.
JOHNNY BOY is now by the window looking out at the fire
escape mischieviously.
JOHNNY BOY
Yeah...you're right. Maybe she'll
have a seizure and we can watch.
He laughs. CHARLIE hits JOHNNY BOY on the back of the head.
CHARLIE
That's not funny. You gonna be a
jerk-off all your life. Grow up.
You want something to eat from your
aunt's house you go knock on her
door, understand?
26.
JOHNNY BOY
I'm not hungry anymore. I'm going
to bed.
JOHNNY BOY gets into bed. CHARLIE goes into the kitchen to
get a glass of milk.
INT. KITCHEN - DAYBREAK
CHARLIE takes a glass of milk from the icebox. He listens
to the sounds of the neighborhood waking up and getting
ready to go to work. He leaves the kitchen.
INT. BEDROOM - CHARLIE'S APARTMENT - DAYBREAK
CHARLIE returns to the bedroom. JOHNNY BOY appears to be
asleep. CHARLIE goes to the window and peers through the
blinds. He sees in the window across the fire escape.
A SERIES OF DISSOLVES. TERESA is going through the various
stages of getting dressed.
TERESA RONCHALI is 30 years, well built, attractive and
intelligent. She is well read and quiet. The salary she
makes as a secretary in a book publishing firm practically
supports her family. She has epilepsy which has prevented
her (in her own mind) from entering into any serious
relationships with men. She has however, been having an
affair with CHARLIE for the past year. It is a well kept
secret from both families because the families regard each
other as blood relations.
CHARLIE is startled by JOHNNY BOY who is now awake and has
begun to dial the telephone.
JOHNNY BOY
(pretending to be angry)
Hello...fifth precinct? Yeah...I
want to report a disturbance. Yeah
this man and woman next door are
disturbing the peace. They're
keeping me awake all night now.
What the hell is this. What?
Well... yelling, fighting, throwing
things. Uh-huh. If they don't
kill each other soon I'm goin' over
there and do the job myself. Yes -
the address is 270 Mott street. I
think it's apartment 2-r. Yeah,
right... thanks. Look, I demand
immediate action. Never mind my
name I don't like getting involved
in things like this.
27.
He hangs up roughly and returns to his position in bed.
CHARLIE shakes his head with an exasperated smile as if this
was a common occurance. CHARLIE turns back to look at
TERESA but she is no longer in her room.
INT. TERESA'S BEDROOM
CHARLIE is dreaming this sequence. He and TERESA are both
nude. She is lying face down on the bed. He approached and
ejaculates prematurely - However, he doesn't ejaculate
sperm - instead blood. They are shocked. The blood is on
the bed, her legs, back, and his hands. Charlie cries out
in pain.
INT. HOTEL ROOM - MID-DAY
CHARLIE and TERESA are in the hotel room making love. The
sounds of traffic can be heard from the street below.
CUT TO:
They are getting dressed.
TERESA
I'd like to eat something before I
go back to work.
CHARLIE
Ok, we'll go for lunch.
TERESA
Do you have enough?
CHARLIE checks his wallet.
CHARLIE
Well...with the hotel that's ten...
fifteen...
TERESA
Here.
She hands him a few bills. He hesitates.
TERESA
Please take it.
CHARLIE
Well...
TERESA
I don't mind.
She puts the money into his hand.
28.
CHARLIE
Sure...it's not that...I mean...
TERESA
(touching his face)
It's all right.
CHARLIE
Well, if things go the way I hope
they'll go, this money business
will take care of itself.
(aside)
God willing.
TERESA
An apartment uptown? Downtown?
CHARLIE
Maybe, who knows.
TERESA
(searchingly)
Charlie...?
CHARLIE
Nobody knows anything, believe me.
She kisses him gently.
CUT TO:
TERESA is putting on her stockings. A few minutes have
passed.
CHARLIE
See if you can get your hands on
some pamphlets on laws or by
laws...or proprietorship...you
know...at your place.
TERESA
Anything specific?
CHARLIE
You know...like restaurants, night
clubs...
TERESA
(affectionately)
What is it now?
CHARLIE
Don't ask.
29.
He gives her a quick kiss on the tip of her nose.
TERESA
Alright... Hey, did you hear any
more about what happened last night?
CHARLIE
Did you?
TERESA
No.
CHARLIE
CHRIST, you should have seen it.
Unbelievable. The kid would turn
around and fire and he would just
keep coming at him like Rasputin.
That kid was scared. Not half as
much as we were though.
TERESA
It doesn't make any sense. He
wouldn't shoot him just because he
insulted a racket guy...not unless
it was personal.
CHARLIE
You missed the point. The kid's a
climber...not very bright...but if
you get down to his level to look
at it his way; he kills a guy who
insulted a big man - he gets a
reputation. He thinks he's in good
standing.
TERESA
It's still sick.
CHARLIE
Not sick...just stupid. Speaking
of stupid, your cousin last night
was feeling so good he decided to
break into your mother's house...to
get some food.
TERESA laughs at this story but her mood changes suddenly.
TERESA
You're sure he doesn't know.
He takes her in his arms.
CHARLIE
Don't worry.
30.
INT. HOTEL - BATHROOM - MID-DAY
CHARLIE enters the bathroom to clean-up. He stares at his
image in the mirror for a moment, then makes a face. He
checks the whiteness of his teeth, pulls back his hair, and
checks his complexion. The mirror image begins to speak.
The CAMERA PANS BACK to CHARLIE'S FACE. His mouth is not
moving.
CHARLIE
(confession)
Don't look at me like that, I can
see this is not going to get us
anywhere. She's a good kid, what
am I supposed to do. In a way I'm
doing her a favor...no??? How many
guys you know feel this way about
an epileptic? Don't get me wrong,
I'm no saint...not yet.
The image of CHARLIE in the bathroom intercuts with stills
from Catholic School text books - vulgar color illustrations
of parables - emphasis on Christ expelling the devils from
the posessed women.
CHARLIE
(continuing)
But I'm not like the Pharisee who
said "Oh God I thank thee that I am
not like the rest of them."...no...I
like to think of myself as the
Publican...
He strikes his breast penitently as he delivers the next line.
CHARLIE
...'Oh God be merciful to me the
sinner!' I'm not taking advantage
of her. I swear to you that if she
meets someone she'd like to marry...
Back to CHARLIE in sync.
CHARLIE
(continued)
...I'll cut out. "If Thy eye is an
occasion of sin to thee...
CUT TO:
Stills of girls, sexy pornographic nude magazine spreads.
31.
CHARLIE
...pluck it out and cast it from
thee." "Woe to the man through whom
scandal does come." I'm sure you'd
agree this is no time to get tied
down. Like the priesthood...
CUT TO:
Textbook illustration of vocations.
CHARLIE
...they don't get tied down do they?
"Have I not a right to do what I
chose? Even so the last shall be
first and the...
CUT TO:
CHARLIE in sync.
CHARLIE
...first last. For many are called
but few are chosen."
INT. RESTAURANT - MID-DAY
CHARLIE is sitting in a quiet corner of the restaurant.
This restaurant was considered an above average business
with quality and prices to match when it was first opened
three years ago. The quality has diminished but the prices
remain the same. As a result the place is dying. CHARLIE
is scrutinizing the restaurant from his corner. He picks up
a water goblet and critically examines the water spots on it.
He calls a waitress to show her the dirt on the glass. She
apologizes, cleans it with her apron, and places it back on
the table. He takes a menu.
A chubby, middle-aged man, OSCAR, approaches the table. He
is half owner of the decaying restaurant. He is in his
shirt sleeves which, along with the side of his face, are
smeared with grease and dirt. He is tired and disgusted.
OSCAR
(with a slight Jewish accent)
Hey...you're here. They told me
you're here...and you're here. How
are you?
CHARLIE
Ok, how's everything going?
OSCAR sits down next to CHARLIE.
32.
OSCAR
Don't ask...do you have any idea
what I've been doing all
morning...eh?
CHARLIE
No.
OSCAR
I was in the basement fixing the
pipes. Would you believe that?
CHARLIE
(laughing)
What pipes?
OSCAR
(mimicking)
What pipes...the ones from last
year...those pipes.
CHARLIE shakes his head in sympathy.
OSCAR
Look Charlie, you're a good boy.
Will you just tell your uncle that
I have nothing. There is nothing
to give him. No envelopes with
cash inside, no checks, nothing.
CHARLIE
That bad, huh?
OSCAR
I can't make this week's payment
and if this keeps up not next
week's either.
CHARLIE
Not next week's either...listen...you
tell that to Giovanni, not me.
OSCAR
Listen, I should wrap up this place
in a ribbon and hand it to him, you
know that. I don't need this
aggravation. I'm getting old.
CHARLIE
He'd rather have the loan payed,
you know that.
33.
OSCAR
Your Uncle's a good man...I won't
stick him. Either he gets the
money or the place and right now
he's getting the place. And tell
me why should I care? I got a
partner who's a bum, who doesn't
help out...who disappears and
leaves me with all the problems. I
should go back to Florida...I don't
need this.
CHARLIE
I don't understand, where's Groppi?
OSCAR
I should know? His wife don't even
know. Probably off with one of his
little girls...I don't know. I
tell you, if he don't give a damn,
then I don't give a damn...Why
should I kill myself?
CHARLIE
My uncle figured that this week was
bad...but about next week...I dunno.
Maybe you should speak to him
yourself.
OSCAR
What can I say?
EXT. STREET - DAY
CHARLIE is walking down the street on the lower east side.
A noisy religious street festival is being held on the block.
INT. SMALL ITALIAN CAFE - DAY
CHARLIE enters a small Italian cafe and nods greetings to
some of the people as he makes his way to the back of the
room. This cafe is a strange hybred of coffee house, candy
store, luncheonette, and meeting place for CHARLIE'S uncle
GIOVANNI and his associates.
GIOVANNI De STEFANO is sixty. He is well respected and
powerful both in and out of the neighborhood. He became a
head figure not by being introduced formally as was the
custom, but rather by fighting and killing his way into the
organization. GIOVANNI is well dressed but not a stereotype
of an old Mafioso, rather a kindly and intelligent old man.
GIOVANNI converses intermittently in Italian.
34.
A man is putting new records into the jukebox which is in
the corner of the room in the luncheonette area.
CHARLIE
(to repair man)
Is my uncle back there?
CHARLIE points in the direction of a doorway.
REPAIR MAN
Yeah, but I think he's busy now.
Hey Charlie play 463 today - for
sure.
CHARLIE
Thanks!
CHARLIE walks through the luncheonette area, past the dining
room where his uncle is in conference, to the bathroom at
the very back of the cafe. MARIO is seated with his uncle.
MARIO is forty five years old. He is GIOVANNI'S closest
associate, brought into the organization in the traditional
manner, making his early reputation through hits (murders).
He is not very intelligent but has an undying loyalty to
GIOVANNI, and is very fond of CHARLIE.
MARIO and GIOVANNI are seated with a very old man. They are
deep in their private conversation. CHARLIE passes by
unnoticed and walks into the bathroom.
CHARLIE begins to wash his hands but changes his mind. He
shuts off the faucet in order to eavesdrop on the
conversation.
INT. DINING ROOM - DAY
GIOVANNI and MARIO are calmly sipping their coffee as they
listen to the old man's nervous talk.
OLD MAN
(in Italian with
ENGLISH TITLES)
What I'm telling you is that he did
it for Mario's honor.
MARIO
But you don't understand. I knew
the kid. He was drunk. He made of
fool of himself...not me.
35.
OLD MAN
(in Italian with
ENGLISH TITLES)
Giovanni - an insult to Mario is an
insult to you.
MARIO
There was no insult.
OLD MAN
(in Italian with
ENGLISH TITLES)
The boy only did what was right.
GIOVANNI
Your son only did what was stupid.
We have enough down here without
something like that. And what for?
...Nothing...no reason. Protect
him? Why? I didn't tell him to do
anything for me. He's going to
Miami? Good...keep him in Miami
for six months...a year...a good
long time. After everything's
forgotten then I see what I can do
for him. Right now...keep him away.
INT. LUNCHEONETTE AREA - DAY
CHARLIE is seated at a table. The waitress, MARIE,
approaches and gives him his cup of coffee... The following
scene is reminiscent of a TELEVISION COMMERCIAL.
CHARLIE
Marie, are there Columbian coffee
beans in this coffee?
MARIE
I dunno.
CHARLIE
Just a second. Let me taste it.
He pauses to sip the coffee, then shakes his head.
CHARLIE
Yes, I'd say there are some
Columbian coffee beans in this
coffee, but only about 39%.
MARIE is disinterested. CHARLIE continues.
36.
CHARLIE
You see. You probably don't notice
this Marie, but Colombian coffee
beans are rich coffee beans.
Bursting with that good, deep
coffee flavor. Picked when they
are ripe to the point of perfection.
The beans of course, are protected
by the tall South American Guama
trees.
MARIE chews her gum for a moment and leaves the table.
CHARLIE'S monologue continues and gradually he falls back
into his CONFESSION. As he talks, the CAMERA PICKS UP
DETAILS of the cafe and the people in it.
CHARLIE
Then the bean pickers come down and
pick each bean by hand. Bean by
bean, all heavy with flavor. And
they load them into boxes, one box
at a time, box by box.
From time to time CHARLIE is casually glancing at MARIE who
is busy with her work.
BLACK & WHITE & COLOR
The images now move out of the cafe and the CAMERA REVEALS
aspects of the neighborhood - LIVE ACTION and STILLS:
stores, people, streets, buildings, in short; a concise
vision of the neighborhood. All this is intercut with
CHARLIE mentally stripping MARIE's clothes off with his eyes.
CHARLIE
(continued)
Like, looking at my uncle back
there. One way is the obvious;
...man outside the law. On the
other hand, instead of a breakdown
of order there is a creation of
order and instead of the breakdown
of law, there is the creation of
law...In this society which needs
new law because 'What's a crowbar
compared to a share of stock.
What's the robbing of a bank
compared to the founding of one and
what's the murder of a man to the
gainful employment of that man.'
'Do not think that I have come to
destroy the Law or the Prophets. I
have not come to destroy but to
fulfill.' ...Amen.
37.
The image culminate in aerial shots of downtown New York
City. (STOCK FOOTAGE)
CHARLIE now sees MARIE totally naked as she serves the
customers.
INT. DINING ROOM - DAY
GIOVANNI and CHARLIE are standing and talking.
CHARLIE
Uncle, how are you feeling?
GIOVANNI
Fine. Did you have a good time
last night?
CHARLIE
(quietly)
About that shooting last night...I
was there and...
GIOVANNI
No you weren't.
CHARLIE is struck silent for a moment. He listens.
CHARLIE
(embarrassed)
You're right uncle. I must have
gotten it confused with something
else.
GIOVANNI
Yes, you did.
CUT TO:
CHARLIE and GIOVANNI are now sitting at a table.
CHARLIE
About Oscar...I think he put on
this act...about the restaurant
being in bad shape and all that.
He can't make the payments...I
don't know what to make of it. He
says Groppi's run off with a girl.
I could help if you want.
GIOVANNI
No...his business is bad. But I'll
decide what to do and you...and you
just keep out of anything that
might...might...er draw attention
to you.
38.
CHARLIE
Yes...I understand...I'll be careful.
EXT. BEACH - HAMPTONS - DAY
CHARLIE and TERESA are sitting on the beach which is fairly
deserted. There are rented cottages behind them. TERESA
has a book and some papers from which she is supposed to
write a term paper for CHARLIE'S English class.
TERESA
C'mon Charlie...one more day. I'll
call in sick for work.
CHARLIE
No...we can come back in a couple
of weeks. Besides, if we're both
gone for three days it wouldn't
look right.
TERESA
Ok.
CHARLIE picks up a copy of Henry James' Portrait of a Lady
and tries to read it. He tosses it aside.
CHARLIE
Bore.
TERESA
A paper on that one too?
CHARLIE
Yeah...but don't worry about that
now. The Hemmingway one is first.
TERESA
It was nothing. I'm almost finished.
CHARLIE
Take your time. I don't care.
TERESA
I know you don't. You've been very
preoccupied lately.
CHARLIE
That's the word...preoccupied.
CHARLIE turns towards TERESA and tries to kiss her. She
playfully turns away. But CHARLIE quickly gets bored with
that and doesn't pursue her. She is confused by his actions.
39.
CHARLIE
Let's go back inside.
CUT TO:
CHARLIE and TERESA already farther up the beach, walking.
They notice a very beautiful house with limousines parked in
front of it.
CHARLIE
See that...know who lives there?
The name George Earhardt mean
anything to you?
TERESA
Sure...He lives there?
CHARLIE
No. Of course he lives there.
Would I point it out to you if he
didn't?
The house is seen from a great distance. CHARLIE'S VIEWPOINT.
There is great activity...all with a very businesslike air.
CHARLIE
That W.A.S.P. bastard.
TERESA
You're intolerable today.
CHARLIE
Watch your language.
They arrive at the cottage.
INT. HAMPTONS COTTAGE - DAY
CHARLIE and TERESA are coming in, putting down the books and
papers.
TERESA
I like it here...alone.
She caresses CHARLIE. He is still preoccupied.
TERESA
I'm going to take that apartment
uptown.
CHARLIE
Uhuh...probably a good idea. Why
don't you do it this time?
40.
TERESA
You know why...with my parents.
CHARLIE
Well you can't blame them in a way.
TERESA
(pulling away from him)
I can take care of myself. You
know that.
CHARLIE
I know...I know.
They embrace.
FLASHBACK
INT. HOSPITAL ROOM
CHARLIE'S father is the patient in the bed. The visitors
surrounding the bed are CHARLIE'S mother, TERESA, and
TERESA'S mother. The CAMERA MOVES IN CLOSER AS WE HEAR the
sounds of mechanical voices coming from the T.V. sets in the
lobby.
TERESA'S mother leans over and whispers into CHARLIE'S
father's ear.
TERESA'S MOTHER
Turridu...that's your boy Charles.
Don't you know him. Isn't that
Charles?
There is no answer. CHARLIE is embarrassed. TERESA'S
MOTHER asks again.
TERESA'S MOTHER
(continued)
Who is that?
CHARLIE'S FATHER
Che Guevara.
CHARLIE doesn't know how to react. TERESA'S MOTHER looks up
with a half smile in disbelief. The other Visitors give off
a small ripple of nervous laughter, repeating it...in
whispers.
CHARLIE looks about nervously. Through the door of the
hospital room can be seen several of the older patients
gathered around a T.V. in the hallway. They are watching
the races, the announcer's voice is blaring almost
incomprehensibly.
41.
INT. HAMPTONS COTTAGE - DAY
TERESA and CHARLIE make love.
DISSOLVE TO:
CHARLIE is getting dressed. TERESA is wrapped warmly in the
sheets - still in bed.
CHARLIE
...He must have heard the name from
those T.V.'s in the hall that were
blaring all the time. I remember
GUEVARA was in town at the time.
Must've heard it from there I
guess...but that's funny, isn't it?
TERESA
Ummmmmmmmmmmmm.
CHARLIE
Of all people. Now say the truth.
Do I look like Che Guevara. C'mon.
They laugh. He crosses to TERESA and they kiss.
TERESA
I'm sleepy.
CHARLIE
You've been running round too much.
Bet you've been forgetting your
medicine.
TERESA
The green capsules in the top drawer.
CHARLIE gets her the pills and heads out of the cottage for
a walk.
EXT. ROADWAY - HAMPTONS - DAY
CHARLIE is walking along the roadway and looking at the
different cottages. He is carrying a notebook to which he
periodically refers. He stops in front of a luxurious
cottage and checks the address on the signpost with the one
in his notebook beside which is listed the name GROPPI. He
remains standing at a safe distance from the cottage staring
at it. It looks deserted.
FANTASY
42.
EXT. ROADWAY IN FRONT OF COTTAGE - DAY
CHARLIE walks directly to the front door of the cottage and
rings the bell confidently. The door is opened immediately
which startles him. From inside the house we see GROPPI'S
back as he holds the door open. He is in a satin robe. We
can see CHARLIE'S startled face through the partially opened
door.
GROPPI
What do you want kid?
At that moment a nude girl, her back to the CAMERA appears
in the FOREGROUND. This startles CHARLIE even more.
GROPPI
What do you want?.......well?
CHARLIE
I...I'm selling encyclopedias...er
a magazines...newspapers...I'm
conducting a survey...I...
GROPPI
We don't want no fuckin' books!
GROPPI slams the door in CHARLIE'S face.
REALITY
EXT. ROADWAY IN FRONT OF COTTAGE - DAY
CHARLIE is still standing in front of the cottage. Suddenly
a little boy of about nine appears.
BOY
There's nobody here mister.
CHARLIE turns in surprise.
CHARLIE
Isn't this Jack Groppi's place?
BOY
Yeah. But he ain't here now.
CHARLIE
Know where he is?
BOY
Follow me.
The BOY leads him towards a heavily overgrown treed area.
43.
CHARLIE
How much farther?
CHARLIE repeats this question periodically as he follows the
BOY. Finally CHARLIE finds himself alone in the middle of a
dense forest with the BOY nowhere in sight. He calls out
but there is no answer. He realizes he's been had.
CHARLIE
(Confession)
Now, don't get excited.
CHARLIE is trying to find his way out of the forest.
CHARLIE
(continued)
'The stone which the builders'
reject will become the
cornerstone'...I think.
INT. ITALIAN CAFE - DAY
A loud brass band is playing "Oh Johnny, Oh Johnny, How You
Can Love" inside the cafe. They are part of a religious
festival and GIOVANNI has invited them in for drinks. In
return they are playing for him. GIOVANNI has been drinking.
The song ends.
GIOVANNI
Play it again!!!
Everyone laughs and joins in.
EVERYONE
One more time...play it again...
The band begins the song for the second time. CHARLIE
enters the cafe and goes directly to his uncle who embraces
him.
GIOVANNI
(shouting boisterously
over the music)
Take a drink!
CHARLIE
(shouting)
Ok.
CHARLIE sits next to his uncle and looks around at the crowd
in the cafe which is now singing along with the band.
GIOVANNI is smiling broadly. Loud applause follow the end
of the song and the band tries clumsily to make its way
through the crowd and out of the cafe.
44.
GIOVANNI
Hey, where you been?
CHARLIE
(smiling nervously)
Oh...around...why?
GIOVANNI
(leaning closer)
You heard what happened to GROPPI,
eh?
CHARLIE gets very nervous at the mention of GROPPI'S name.
CHARLIE
(innocently)
Who me? ...No, I don't know, not
me...all I know is...
GIOVANNI
(cuts CHARLIE off
with a gesture of his forefinger)
Our friend, Groppi, went to his
mother's house. And when he was
there...at night...
CUT TO:
DARKENED ROOM - NIGHT
An old woman is sitting in front of the television watching
JOHNNY CARSON'S TONIGHT SHOW.
GIOVANNI
(continues in voice over)
...he walks into his mother's room
where she's watching
television...and he says to her...
GROPPI has entered the room with his back to the camera.
GIOVANNI
...that he's sorry.
GROPPI leaves the frame. The old woman looks up from the
television.
OLD WOMAN
It's all right.
WE SEE GROPPI walking towards the bathroom.
45.
GIOVANNI
(voice over continued)
...he goes in the next room...
GROPPI TURNS ON the bathroom light.
GIOVANNI
(voice over continued)
...he takes a gun and puts it in
his mouth and...
GROPPI stands with the gun in his hand. He lifts it to his
head. He puts the barrel into his mouth. He pulls the
trigger.
FAST FADE TO WHITE
INT. ITALIAN CAFE - DAY
GIOVANNI
(with an Italian hand gesture)
...so...
CHARLIE is visibly shocked.
GIOVANNI
(smiling)
How do you like that, eh? He was
always a little crazy, y'know...
Groppi... a little crazy.
CHARLIE looks up to see MICHAEL, standing at the entrance of
the cafe. He waves to CHARLIE in a friendly manner. CHARLIE
waves back and GIOVANNI looks up, squinting to see who it is.
MICHAEL does not approach the table. In respect to GIOVANNI
he signals to CHARLIE that he would like to see him outside.
CHARLIE
(grudgingly)
Not now...in a few minutes...ok?
MICHAEL is surprised at being spoken to in such a curt
manner, especially in GIOVANNI'S presence because he feels
he has lost status. CHARLIE and GIOVANNI continue their
conversation.
CUT TO:
EXT. STREET CORNER - NEAR CAFE - DAY
MICHAEL
I gave him all the breaks I can give.
46.
CHARLIE
Oh Michael, look...
MICHAEL
Nevamind 'look'...This punk
bastard...I call him at work...I
say 'Johnny Boy there?'...He
doesn't even show up for work
anymore...
CHARLIE
Look...I've talked to him and I've
talked to him...what more can I
do...? Tonight at the party all
three of us get together and we
knock some sense into his head...ok?
MICHAEL
All right...but understand, I don't
like being taken advantage of. I
mean you're in there talking with
your uncle and all...This is
embarassing.
CHARLIE
We'll settle it tonight.
Two YOUNG BOYS about 15 years old walk up to CHARLIE.
BOY #1
Hey, you sell firecrackers?
CHARLIE
Firecrackers! No...no.
BOY #1
You know where we can get some?
CHARLIE
Sure, see that guy over there...
He points to MICHAEL.
CHARLIE
(continuing)
...him. He's got the best.
The BOYS go over to MICHAEL.
BOY #1
Hey - fella...you sell firecrackers?
47.
MICHAEL
Sssh! Quiet.
(He looks around)
Y'know that's illegal.
BOY #2
Well the guy over there said...
MICHAEL
(interrupting)
Yeah, yeah, never mind. You gotta
be careful.
BOY #1
We went down to Chinatown but they
don't have any.
MICHAEL
Yeah, well, keep away from those
Chinx. They don't have shit.
BOY #2
Well, we got $40, and we wanna buy...
MICHAEL
(interrupting)
All right! Quiet! For $40 I could
give you...
BOY #1
Well, I don't know if we want to
buy all $40 worth...
MICHAEL
Hey! You want good stuff, or you
want shit?
BOY #2
Well, we want good stuff.
MICHAEL
Well, my stuff comes from Maryland...
you know what that means?
BOY #1
No.
MICHAEL
That means it's good.
BOY #1
You got sparklers?
48.
MICHAEL
Yeah.
BOY #2
And cherry bombs...ash cans...and
rockets?
MICHAEL
Ok. For another $5.00 a special on
the packs.
BOY #1
No, all we got is $40.
MICHAEL
You sure?
BOYS
Yeah.
MICHAEL
Ok. Wait here.
MICHAEL goes to TONY, who has been standing in front of the
cafe with a group of boys. They talk for a minute, and go
back to the waiting boys.
MICHAEL
(to the boys)
C'mon. Get in the car.
The four of them get into TONY'S car. They drive to
CHINATOWN.
EXT. CHINATOWN - DAY IN TONY'S CAR
MICHAEL
Ok, you guys get out, and wait here
for me.
BOYS
Why?
MICHAEL
I gotta get the stuff.
BOYS
Can't we come with you?
MICHAEL
Nobody sees where I get the stuff.
That's good business. I'll be back
in thirty minutes.
49.
They start to get out.
MICHAEL
Hey hold it! Gimmie the cash.
BOYS
Uh...can we give you a check?
MICHAEL
A check? What the...hey, where you
kids from?
BOY #1
Riverdale.
MICHAEL
(contemptuosly)
Well, maybe they do that in
Riverdale, but down here we take
cash. Now, you got it or not?
They give him the money.
MICHAEL
Ok. Now wait here...and keep your
mouths shut!
The car pulls away.
TONY
How much?
MICHAEL
Not bad. $20. Here, $5.
TONY
Can you spare it?
MICHAEL
Sure.
TONY
(sarcastically)
Thanks.
EXT. LOWER EAST SIDE - DAY
The car pulls up at TONY'S PLACE. TONY yells to CHARLIE,
who is standing outside.
TONY
Hey Charlie. Get in.
CHARLIE gets in.
50.
CHARLIE
What's a'matter?
MICHAEL
Nothin'. Just stiffed those kids.
Don't want'em comin' back and
findin' you...start asking you
questions.
CHARLIE
How much?
MICHAEL
$20.
CHARLIE
Let's go to the movies...on you.
TONY
Yeah.
MICHAEL
Ok guys...have a heart. This is my
business.
BLACK & WHITE
EXT. NIGHT - IN FRONT OF MOVIE THEATER
The boys are paying for their tickets.
INT. MOVIE THEATER - NIGHT
DONOVAN'S REEF is showing. We see a brief scene from the
film which has JOHN WAYNE fighting LEE MARVIN in a big bar-
room brawl.
CUT TO:
The boys smile and watch.
CUT TO:
EXT. CHINATOWN - NIGHT BLACK & WHITE
The two boys from Riverdale are still watching on the
corner, in the dark.
INT. CHARLIE'S APARTMENT - DAY
CHARLIE is at home shaving.
51.
CHARLIE
(Confession)
You know damn well what's going to
happen tonight. I'll probably get
drunk at that party...it isn't
every day you send one of your best
friends off to war for God and
country... gotta have a party. I
mean, he's a nice kid.
CUT TO:
CHARLIE is gluing on a fake beard.
CHARLIE
(voice over)
I don't know what You think of him
but that's between You and him
anyway...I can't help feeling sorry
for him though. Has a talent but
doesn't use it...His brain. An
'Unprofitable servant who shall be
cast forth into the darkness
outside, where there will be...
CUT TO:
Television image of old women mourning their dead in India.
The images are slow motion. The news continues with more
trivial news images...(Washington investigations,
demonstrations, etc.)
CHARLIE
(continued voice over)
...the weeping and the gnashing of
teeth'...or something like that.
My talent's my brain too but I use
my talent...I'm not saying that I'm
a genius...You'll probably be the
first one to agree on that, but I
can tell the difference between the
intelligent and the stupid. Take
the army for example...
CUT TO:
CHARLIE grabbing a white robe off his bed. We don't see his
face.
CHARLIE
(continued voice over)
That's there and I'm here and
that's the way it's going to stay!
52.
INT. WEST SIDE TENEMENT APARTMENT BATHROOM - NIGHT
TONY enters the bathroom, turns on the light and locks the
door. Party noises can be heard in the background TONY is
wearing an overcoat and is dressed as a World War I "dough
boy". Atop his head is a mask, the features of which can't
be seen. He opens the coat to reveal twenty packets of red
Jello. He turns on the hot water in the bathtub and slowly
begins to empty each packet of Jello into the tub of steaming
water.
CUT TO:
LIVING ROOM & KITCHENETTE - PARTY - NIGHT
Most of the characters that were at the club the other night
are present at the party. Many of them are dressed in semi-
masquerade outfits. Some are wearing soldiers' uniforms.
One wears a sheet made up to be a Roman Toga. The girls are
in costumes also. All of the costumes are makeshift.
MICHAEL is made up as Dracula, sporting a large cape, semi
tuxedo-type suit, and a drop of blood on the corner of his
mouth. His hair is slicked back to give him a "Bela Lugosi"
look. He is showing a picture of a girl to one of the boys,
proudly proclaiming that she is his latest conquest. TONY
comes out of the bathroom and passes by. He takes the photo
from MICHAEL. Group attention focuses on TONY now. He
stares at the picture, holds it away from him, then closer
to his face, then sideways and finally upside-down.
TERESA
Oh sure! I know her Michael...In
fact, I saw her a few days ago
under a bridge in Jersey, making
out with a nigger.
MICHAEL grimaces in shock. He spits.
MICHAEL
You sure?...a nigger...Uh!...and I
kissed her.
He wipes his lips with his cape.
The guest of honor, the young soldier is very drunk. He is
attempting to open his going away presents, one of which
turns out to be a carefully folded American flag. He
attempts to open it with one great flourish. He fails
however, knocking over the glasses on the table. The group
applauds.
53.
Suddenly, the doorbell rings and everyone looks up. The
door opens and CHARLIE appears, arms outstretched, dressed
as the ressurected Christ - with white robes, fake beard and
hair, and artificial wounds. His arms stretch out wider.
The initial shock wears off and TONY greets him.
TONY
(smiling)
Hallelujah!!
CHARLIE enters in mock holiness.
CHARLIE
I have come to create order...
Scotch and water please.
They all laugh. The rock music blares as CHARLIE walks to
and fro blessing all in the room. TONY is delighted with
the scene. CHARLIE sits at the kitchen table, TONY opposite
him, and the others gather around. The party is getting
noisier. TONY gives CHARLIE a glass of ice cubes. CHARLIE
plays the part of a priest, during the Mass when the chalice
is filled with wine and water, TONY pours the scotch over
his fingers first.
CHARLIE lifts his hands to touch the bottle as a priest
would. He signifies that there is enough in the glass.
TONY then repeats the same ritual with a bottle of soda-water.
CHARLIE
May God be with you.
TONY
'And with your spirit.'
CHARLIE
(gesturing with his drink)
Salute!!!
Everyone drinks after repeating the toast. The crowd around
them begins to break up as CHARLIE and TONY begin to have
fun with each other. TONY pulls down his mask, revealing a
skeleton death face which covers his own face except for his
mouth. It completes the Dough-boy uniform quite well.
TONY
(taking on the guise
of an interviewer)
'Art thou the King of the Jews'?
CHARLIE
'Dost thou say this of thyself, or
have others told thee of me?'
54.
TONY
'Am I a Jew? Thy own people and
the chief priests have delivered
thee to me. What hast thou done?'
MICHAEL and a few of the others gather around again as they
continue.
CHARLIE
'My kingdom is not of this world.
If my kingdom were of this world my
followers would have fought that I
might not be delivered to the Jews.
But, as it is my kingdom is not
from here.'
TONY
'Thou art then a king?'
CHARLIE
'Thou sayest it; I am a king. This
is why I was born and why I have
come into this world, to bear
witness to the truth. Everyone who
is of the truth hears my voice.'
TONY leans over towards CHARLIE.
TONY
'What is the truth?'
The others around them give mock applause. TONY smiles and
nods his head to them. CHARLIE laughs. They drink. Someone
hits CHARLIE on the back of the head. CHARLIE startled,
looks up.
TONY
Prophesy to us, oh Christ! Who is
it that struck thee?
CHARLIE
I don't know, but God help him if
he does it again!
They all laugh.
INT. SAME APARTMENT - NEXT ROOM - NIGHT
CHARLIE is talking to MICHAEL. The conversation is serious.
CHARLIE has not lost his sense of humor.
CHARLIE
He said he'd be here.
55.
MICHAEL
Well, he isn't. Nice...real nice.
CHARLIE
He'll be here. Look, take this for
now.
He hands MICHAEL a twenty dollar bill from under his robe.
MICHAEL
You kiddin. The way it is now this
isn't even interest for two hours.
CHARLIE
(putting the bill
back into his pocket)
How much was the original loan again?
MICHAEL
$500. He borrowed that because he
wanted to pay off his other loans...
now, counting the interest...it's
almost $3,000.
CHARLIE
$3,000. Shit! Can we hold it at
$3,000?
MICHAEL
Charlie, this is business.
CHARLIE
(avoiding the issue)
'But I say to you, love your
enemies, do good to those who hate
you, and pray for those who
persecute...'
MICHAEL
I'll tell you who you can pray
for... Next payday, I'll be at
Tony's Place...Johnny better show
or I find him and break his
legs...and I mean it.
CHARLIE
(in the same manner)
'But I say to you not to resist the
evildoer; on the contrary, if
someone takes thy tunic, let him
take thy cloak as well...to him who
asks of thee, give; and from him
who would borrow of thee do not
turn away!
56.
MICHAEL
(exasperated)
He could at least show some respect
and show his face, even if he
doesn't have the money...
CHARLIE
(more serious now)
'Amen I say to thee, thou wilt not
come out from it until thou hast
paid the last penny.'
MICHAEL
You said it.
A loud scream is heard from the bathroom.
CUT TO:
APARTMENT - BATHROOM - NIGHT
Someone shoved a nude girl into the bathtub which is now
filled with congealed red jello. The boys are laughing and
shoving each other about roughly. CHARLIE comes out of the
next room and walks along in a Christ like manner through
the madness, his arms outstretched. One boy kneels and
kisses the hem of his robe and CHARLIE blesses him. There
is a great deal of pushing and shoving going on inside the
bathroom and near the doorway. CHARLIE promises to save the
sinner as he pushes his way through. He helps the girl
remove the jello from her body and helps her out of the
bathtub. It is obvious that she is quite stoned. She
caresses him and they find themselves kissing. The others
storm into the bathroom and grab CHARLIE.
EVERYONE
Blasphemy!...The anti-Christ!
Crucify him!!
They drag CHARLIE into the next room where, amidst all the
shouting and laughing, the other members of the party are
placing firecrackers on model airplanes, simulating their
own "dog fight". They are flying the planes out the open
window.
CHARLIE takes everything in stride trying to shout a few
lines over their laughter.
CHARLIE
'Father...forgive them...for they
know not...what they do...'
The doorbell rings and TONY answers it. It is TERESA and
she looks very worried.
57.
TERESA
Charlie...? Charlie here...?
CUT TO:
BLACK & WHITE
EXT. STREET - NIGHT
CHARLIE and TERESA dash from a tenement doorway. CHARLIE is
still in beard and wig but his robes are open so they give
the effect of being a bulky overcoat.
TERESA
(frantically)
The building on the corner. That
one! He's been on the roof a half
hour now!
CHARLIE
Now don't get excited. Don't get
excited!!
It is very late and the streets are deserted. At the corner
of the building in question, a few of JOHNNY BOY'S friends
cling to the wall for safety. When they see CHARLIE and
TERESA they call out.
FRIENDS
Charlie, stay there...He's crazy...
He's got a 22.
TERESA gets up against a wall. CHARLIE sends her down the
block and she leaves reluctantly.
CHARLIE
Johnny it's me, Charlie.
JOHNNY BOY can now be seen silhouetted against the moonlight
on the tenement roof. He has a gun in his hand.
JOHNNY BOY
Don't come any closer!!!
CHARLIE
Cut it out stupid. It's me.
JOHNNY BOY fires a shot into the air. CHARLIE clings to the
wall with the others. A moment later he makes a quick run
for the doorway of the building across the street. He
enters the building that leads to the roof.
BLACK & WHITE
58.
EXT. TENEMENT ROOF - NIGHT
CHARLIE has reached the roof.
JOHNNY BOY
Charlie...pssst. Over here.
He laughs with glee.
CHARLIE
What are you...crazy?
He slaps JOHNNY BOY on the back of the head.
JOHNNY BOY
Hey...don't do that...I'm only
scaring them.
CHARLIE
Stupid bastard...you get your
cousin half-sick over this.
The boys below are still clinging to the walls of the
building. JOHNNY is oblivious to CHARLIE'S statement.
JOHNNY BOY
Watch this.
He takes out a home made firecracker consisting of glass
cigar tubing filled with gunpowder and a waxed fuse stick
through the top layer of cork. He lights it.
CHARLIE
What the fuck...
JOHNNY BOY tosses it over the building and it blows up in
mid-air. The boys below rush madly away. Lights go on in
the tenements around them. The explosion was quite loud.
CHARLIE
Let's get out of here.
JOHNNY BOY
(laughing)
Did you see them run!
BLACK & WHITE
EXT. CEMETARY - NIGHT
CHARLIE and JOHNNY BOY are sneaking over a fence in an old
cemetary which is part of their neighborhood. It surrounds
their church and dates back to the beginning of the 19th
century. No one is buried there any longer.
59.
It is very quiet and dark. They sit and rest. CHARLIE is
still in his makeup.
JOHNNY BOY
I swear to God Charlie...my arm
still hurts from the car
accident...that's why I didn't go
to work. I swear it.
CHARLIE
(angry)
That's not going to help.
JOHNNY BOY
I'm going to work this week...I
mean it.
CHARLIE
It's impossible for you to catch up
on the loan now...the interest is
going up...$3,000...do you realize
that, flash?
JOHNNY BOY
I'm sorry Charlie...I didn't mean it.
CHARLIE
Big deal...in the meantime, it's
done...I'll still try to help you
out...You know that...but you gotta
show some effort...some respect...
understand?
JOHNNY BOY
Charlie, you know the best way to
take care of this whole mess.
CHARLIE
How?
JOHNNY BOY
(coaxing)
If you had a little talk with your
uncle...if anybody can do it, he can.
CHARLIE
That'll help you out fine. That's
the best way for you, not for me!
I swear to God, I'll rip you open
if my uncle ever hears a word about
this. You understand? I don't
care what happens, he doesn't find
out.
(MORE)
60.
CHARLIE (CONT'D)
I don't get involved with anything,
you understand that? Nothing! I'm
clean as far as you know...right?
JOHNNY BOY
Yeah, take it easy. Will you relax.
CHARLIE
That's what I get for getting
involved. Look, on pay-day at
least show up at Tony's Place to
meet him, ok? This way he doesn't
think that you're trying to screw
him. If you show good faith and
save his face maybe we can talk and
he'll take off the interest or make
different payment arrangements or
something... understand? I'm not
asking I'm telling you!!
JOHNNY BOY
I understand.
JOHNNY BOY closes his eyes. CHARLIE looks at JOHNNY BOY and
then looks at the cemetary in the moonlight. It seems
totally apart from the city with the sirens and cars far in
the distance.
CHARLIE stands and unravels his robes, preparing to take
them off. He projects the image of Christ delivering a
sermon. Music and laughter in the distance catches his
attention. The lights and the music are coming from the top
floor of a tenement building where a Puerto Rican family is
having a party. The sound echoes through the streets.
Decorations are hanging and blowing away through the open
windows. As CHARLIE watches a fight break out over one of
the girls. Screams are heard. People run up and down the
fire escape.
CHARLIE has pulled off the robe. He now removes the beard
and wig and has become himself again. He leans over to find
JOHNNY BOY fast asleep on a tomb.
CHARLIE
'Could you not, then, watch one
hour with me?'
He wakes JOHNNY BOY up.
CHARLIE
'The spirit is willing but the
flesh is weak.'
61.
They leave.
INT. OSCAR'S RESTAURANT - NIGHT
CHARLIE is sitting in the corner. The restaurant is in the
same condition that it was the last time he was there.
While CHARLIE waits for his uncle in his semi-private
corner, a handful of old Mafiosi, invited by GIOVANNI, sit
at another table. GIOVANNI enters with MARIO. The old
Mafiosi are greeted first. They rise and kiss GIOVANNI on
the cheek. CHARLIE is very impressed at their respectful
showing. The waitresses and everyone else in the club treat
them all like royalty.
CUT TO:
OSCAR approaches the table where CHARLIE, GIOVANNI, and
MARIO are seated and greets them warmly.
OSCAR
Put the menus away. I, personally
do the cooking tonight.
GIOVANNI
Fine...that's why I'm here.
MARIO
Calamari?
OSCAR
Capozelle, Calamari...anything you
want...
GIOVANNI
(pouring wine)
Drink.
DISSOLVE TO:
INT. OSCAR'S RESTAURANT - LATER IN THE MEAL
OSCAR sits.
OSCAR
Giovanni...er...can I talk?
Refering to CHARLIE.
GIOVANNI nods his head yes.
OSCAR
About the place, Giovanni...
62.
GIOVANNI
...I know all about it. We'll
discuss it later.
OSCAR
(continuing)
Our arrangements about the place
haven't changed, have they? I
mean...
GIOVANNI
(good-naturedly)
No, no, not at all...look, we leave
it the way it is for now, we talk
later, understand?
OSCAR
(somewhat relieved)
Sure, Giovanni...I understand.
I'll bring the clams now.
DISSOLVE TO:
INT. OSCAR'S RESTAURANT - DURING DINNER
CHARLIE is visible awed by GIOVANNI and MARIO'S confidence
and power. He is behaving as if he were at a job
interview...very formally. CHARLIE had often had dinner
with his uncle but this time the conversation is more
pointed. Their conversation is mostly in ITALIAN WITH
ENGLISH TITLES. They are discusssing GROPPI'S suicide.
CHARLIE
I really couldn't believe it when
you told me, you know that?
GIOVANNI
Well, he was always a little
crazy... he puts a gun in his
mouth...
(he smiles)
...like your friend...comme si
chiama...Henning? Heming?
CHARLIE
Hemmingway. Killed himself. I was
more upset about that than about
Groppi, that's for sure.
GIOVANNI
(laughing to MARIO)
You know, this boy over here, once,
long time ago, tried to enrich my
mind...so he gives me a book by
this Hemin fella...to read, so I
read it.
63.
CHARLIE
Wasn't a book...was a short story.
MARIO
What was it?
CHARLIE
(embarrassed)
Nothing.
MARIO
No, c'mon...Y'know, I read.
CHARLIE
(muttering)
"Francis Macomber."
MARIO
Wha?
THE CONVERSATION IS NOW ENGLISH.
CHARLIE
(softly)
"Short Happy Life of Francis
Macomber."
MARIO
Oh yeah...didn't read it but I saw
the movie...Gregory Peck...pretty
good.
GIOVANNI
Yeh, Mario over here, he reads a lot.
IN ITALIAN.
GIOVANNI
Surprised?
MARIO
I like this Harold Robbins...
CHARLIE
(politely)
Oh yes, he's pretty good.
GIOVANNI
What I don't understand is why you
have to go to college to read these
books that you're gonna read anyway.
64.
CHARLIE
It's only a couple of courses...just
for the draft.
MARIO
Charlie, couple of courses isn't
enough to get you student deferred...
I mean if they wanted to draft you,
you would've been drafted by now.
CHARLIE feels that it would be better not to pursue the point.
GIOVANNI
What Mario's trying to tell you,
Charlie, is that you're wasting
your time with those "couple of
courses" ...you don't need them.
There are a lot of things that can
be taken care of...you know what I
mean?
They all laugh.
DISSOLVE TO:
They become aware of the T.V. set which is on in the rear of
the back room where they are dining. The news is
on...politics, society, and war.
GIOVANNI
These politicians...they talk nice.
CHARLIE listen attentively, but obviously has heard
GIOVANNI'S philosophy before.
GIOVANNI
(continuing)
...but it's the same thing, all the
same...they're in there by having
something on somebody...and when
that doesn't work...they fight...Our
life has honor...we have no show to
put on because we do what we have
to do. They know where to come
when they need us. I realize this
during the war...World War II...Vito
Genovese... during WWII he worked
with the government, taking care of
the docks...
CHARLIE
What did he do?
65.
GIOVANNI
What did he do? He was there...
that's what he did.
MARIO
In the fifties when the communists
started in with this country and
they tried to clean them out, we
offered to do it for them...but
they didn't want us to...so we kept
out of it.
CHARLIE nods.
GIOVANNI
(to CHARLIE)
I told this...the same thing to
your father thirty years ago...I
told him what to do...but he didn't
listen.
INT. OSCAR'S RESTAURANT - COFFEE
The conversation turns to more direct topics while they have
their coffee and ainsette.
GIOVANNI
You're still around with that kid
Johnny Boy...last night with that
gun...Don't get mixed up with them.
This Johnny Boy, you know, he's
named after me...
(sarcastic)
nice, eh? This Johnny Boy is like
your mister Groppi...a little crazy.
It's nice you should help him out
because of his family and our
family but watch yourself...Don't
spoil anything.
CHARLIE nods, feeling very uneasy.
GIOVANNI
(confidentially)
His whole family has problems...his
cousin, the girl who lives next
door to you...
CHARLIE
Teresa.
GIOVANNI
...The one who's sick, right? In
the head.
66.
CHARLIE
No, she's got epilepsy.
GIOVANNI
Yeah. That's what I said, sick in
the head.
CHARLIE nods.
GIOVANNI
Her mother and father come to me
and ask advice...she wants to
leave...get her own
apartment...worries them sick...what
am I gonna tell them? Lock her up?
CHARLIE
What do they expect you to say?
GIOVANNI
Who knows? It's not hard to figure
out what she'll wind up like. When
the respect for parents breaks
down, that's bad...you know I'm
"cumpari" with them...so I take an
interest. You live next door, keep
an eye open...but don't get involved.
CHARLIE
All right.
MARIO
Why don't you take a look around
the place if you want?
CHARLIE
Oh, that's ok...I've been in and
out of this place fifty times.
GIOVANNI
Well, maybe you missed something?
CHARLIE
(catching on)
Oh yeah, that's a possibility.
CHARLIE heads for the kitchen.
CHARLIE
(confession)
...looks good...things look good,
if I may say so myself. Don't you
agree? Unless there's something
You know that I don't know?
CUT TO:
67.
INT. OSCAR'S RESTAURANT KITCHEN - NIGHT
CHARLIE is examining the kitchen closely. A black cook is
working hard, taking a piece of meat off the grill. He
carefully prepares a dish.
COOK
Hi Charlie.
CHARLIE smiles and moves in closer to the grill. The cook
is sweating and mopping his brow.
COOK
(continuing)
Man, it's hot as Hell in here,
every day like going through Hell
in here.
CHARLIE moves in closer and the COOK continues preparing the
food.
CHARLIE
(smiling)
Hot as hell...You're not the only
one going through Hell kid.
COOK
Maybe so...but at this pay it ain't
worth it...that much I can tell you.
CHARLIE hasn't been listening to the COOK. He has become
fascinated with the flames on the grill. They remind him of
an old device from his Catholic School days. CHARLIE brings
his hand forward and closer to the fire, testing the pain of
the "Fires of Hell."
CHARLIE
(Confession)
'If thy hand is an occasion of sin
to thee, cut it off. It is better
for thee to enter into life maimed
than having two hands to go into
hell, into the unquenchable fire.
'Where their worm dies not and the
fire is not quenched.'
CHARLIE'S hand touches the flame. He winces. Music in.
INT. TONY'S CAR (NEW CADILLAC CONVERTIBLE-TOP UP) - DAY
CHARLIE, JOHNNY, TONY and JIMMY are driving along in TONY'S
car. As they talk, a derelict takes advantage of a red
light to wipe their windshield.
68.
TONY rolls up the window and rolls the car forward a bit to
force the derelict out of the way.
TONY
Is it near Sullivan Street?
JIMMY
No - by Bedford.
TONY
Oh - you gotta show me. I always
get lost in the village.
CHARLIE
Next time, bet with your own kind.
JIMMY
The number was 235 - I bet it
combination.
CHARLIE
It'll be OK - I know those guys.
They won't stiff you.
JIMMY
I bet 235. Because I dreamt of my
grandfather - and when he died, the
number of the funeral parlour was
235 - so when I dreamt...
JOHNNY BOY
Yeah, yeah - enough.
They arrive at the bar.
JOEY
Hello Charlie, you canonized yet?
CHARLIE
No - not yet - just blessed.
CUT TO:
Boys are in mid-discussion.
JIMMY
On Friday, the 25th--I placed it
with Sally--
JOEY
(being distract)
I never heard of it.
69.
CHARLIE
Oh Joey, really...we're all friends
here--let's cut the bullshit.
JOEY
(begins to chuckle)
...Well...
(to JIMMY)
you got a good friend here--come to
think of it, I do remember now.
JOHNNY BOY
(under his breath)
Scumbag--
TONY
(nudging JOHNNY BOY)
(under his breath)
Shut up.
JOEY
(making excuse)
Well, Friday's are busy--a mistake
can be made y'know. Have another
drink.
CHARLIE
Whatever, just lets settle this and
it's all forgotten.
JOHNNY BOY
I don't forget nothin.
JOEY looks at JOHNNY BOY but decides to let it pass. CHARLIE
gives JOHNNY BOY a dirty look. Music is playing on a juke
box. Several girls stand nearby listening to both the music
and the discussion. JOHNNY BOY looks over at them and then
at JOEY.
JOHNNY BOY
Lower the fuckin music--I can't
hear nothin.
JOEY
The girls like it loud.
JOHNNY BOY
Girls? You call those skanks girls?!
JOEY, his friends, and the girls all look up. JOEY'S
attitude changes.
70.
JOEY
(to CHARLIE)
What's the matter with this kid?
JOHNNY BOY
I feel fine--nothing wrong with me.
CHARLIE
Keep your mouth shut.
JOHNNY BOY
You tell me that in front of these
creeps?
JOEY
We won't pay...
JIMMY
Why? We just said...
JOHNNY BOY
(interrupting)
We won't pay...because this guy
(pointing to JIMMY)
is a...mook.
JIMMY
But I didn't say nothin.
The fellows look at each other bewildered.
JOEY
(to JIMMY)
We don't pay mooks!
Nobody knows what a mook is. JIMMY'S attitude now changes.
JIMMY
(angrily)
A mook...I'm a mook...
(pauses)
What's a mook?
CHARLIE can no longer control the situation as tempers rise.
JIMMY
You can't call me a mook!
JIMMY swings at JOEY. A fight breaks out. JIMMY, CHARLIE,
TONY and JOHNNY BOY are beaten. CHARLIE, not badly hurt
manages to calm everything down. The police arrive to break
up the fight. People look iin as the two cops walk into the
bar. The boys stop fighting immediately as they see the
cops.
71.
In fact, they treat CHARLIE and the others as friends--
helping them up off the floor, dusting off the clothes, etc.
The police search everyone. When they ask who started it--
what happened, etc. everybody including CHARLIE and the
others cover for everyone else. "It was a joke officer"
"He's my cousin" "We were just kidding," etc.
The cops nod. "Play nice now" and leave.
Everyone apologizes to each other. They drink again.
JOHNNY BOY doesn't say a word--just stares.
JOEY
We were gonna pay you Jimmy, we
just don't like being moved in on.
CHARLIE
C'mon -- I'm movin' in on you?
Let's have another drink and forget
about it.
They drink again. JOEY gives JIMMY the money, JIMMY goes to
count it.
JOEY
Don't count it...it's all there.
JOHNNY BOY
(sarcastic)
Count it.
JOEY
Hey, c'mon - no bullshit - friends.
JOEY extends his hand. JIMMY and CHARLIE shake. JOEY
extends his hand to JOHNNY.
JOHNNY BOY
Don't fuckin' touch me - scumbag.
CHARLIE and the others "Oh no."
CHARLIE
Shut up stupid.
He is interrupted by a flying fist. The fight breaks out
anew. They barely make it to the door. JIMMY is out first,
with his cash. They run down the street. The west side
boys don't chase them but stand by their bar shouting after
them.
JOHNNY is laughing as he runs. CHARLIE yells at him.
72.
CHARLIE
You got some mouth!
JIMMY
Johnny, you're a real jerk-off.
JOHNNY BOY
(laughing)
What're ya hollering? You got your
money.
They reach the car. TONY heads in first behind the wheel.
TONY
(about to take off)
Fuck youse all.
The others jump in.
CHARLIE
You got no honor Tony. Charge!
The car starts off.
Garbage and garbage pails are tosses after them as the boys
take off.
INT. TONY'S PLACE
CUT TO:
A LONG-HAIRED ROCK GROUP
The lead guitarist holds his guitar out like a machine gun
and strums frantically on it swinging it back and forth at
the audience and then at the rest of the group. As he does
so, the rest of the group falls "dead" over their instruments.
The number is over and they all get up. The place is empty
except for CHARLIE, TONY, and a few others, all of whom have
been listening to the band. They applaude.
CUT TO:
INT. TONY'S PLACE
CHARLIE is talking to the leader of the group.
CHARLIE
No, really, I liked it...thought it
was great.
BOY
Thanks.
73.
CHARLIE
What are your plans?
BOY
Well, we're here for about two
weeks, then whatever else comes
along... we're still working on our
album and...
CHARLIE
Great...great...listen, I'm very
interested in you guys because I'll
be opening a new club myself soon...
uptown...and maybe we can work
something out...
BOY
Sounds good.
CHARLIE
Of course, 'The Season of the
Witch' won't be ready for a while
yet but we have to keep in touch.
CUT TO:
INT. TONY'S PLACE - PHONE BOOTH
CHARLIE is calling TERESA. The rock group is taking a break
before their evening performance and they can be heard
breaking up the session in the background. TONY and the
others are getting the tables ready.
CHARLIE
Teresa?...Yeah, Charlie. Listen,
I'm looking for your cousin. Yeah,
well today's Tuesday, payday. I
haven't seen him all
day...no...well, have you got any
idea where he is? I know it's
early yet but I'm just getting
worried that's all...
TERESA
Charlie...I've got to see you. I
want to talk...
CHARLIE
Honey, I can't talk now...I've
gotta run, bye.
TERESA
But...
74.
CHARLIE
I'll see you later.
He hangs up.
CUT TO:
INT. TONY'S PLACE - DRESSING ROOM
CHARLIE can see the Negro stripper, DIANE, down the hall, in
her dressing room. She is putting on her makeup. CHARLIE
is still very attracted to her. He enters her room.
CHARLIE
Diane, how are you feeling?
DIANE
(coldly)
Fine.
As CHARLIE continues to talk to her she undresses and begins
to get into her first costume. CHARLIE feels slightly
uncomfortable.
CHARLIE
You know Diane...I've been wanting
to talk to you for a while
now...er... a...
(she is undressing)
aside from all that joking around
we do out there...when you're
on...I... a...I really...think that
you're a terrific performer...
DIANE
Fine.
CHARLIE
No, I'm serious...You're really good.
DIANE
I know.
CHARLIE
In a little while...I'm gonna have
the opportunity of opening my own
place...not here...much nicer than
this...uptown...sort of nite-club
and restaurant and everything.
DIANE
That's nice.
75.
CHARLIE
I was thinking maybe you'd do very
nicely for the place.
DIANE
Stripper?
CHARLIE
No...no stripping...as the hostess.
DIANE
Hostess?
CHARLIE
Yeah, you know...you greet the
people...see them to their tables...
well...it'll be different though...
Listen...why don't we get together
and talk after your show tonight.
DIANE
Chinese food?
CHARLIE
Ok. Chinese. We'll meet on the
corner of 6th Avenue and Waverly
Place after you finish.
DIANE
Why not here...Ok nevermind...6th
Avenue and Waverly.
CHARLIE
Bye.
CUT TO:
EXT. TONY'S PLACE - NEAR ENTRANCE
CHARLIE bumps into MICHAEL and a friend as he is leaving.
MICHAEL
Be seeing you and Johnny tonight...
here...right?
CHARLIE
We'll be here.
MICHAEL is sarcastic. He points to the parked car in front
of him.
MICHAEL
I tell you, Charlie. If that kid
doesn't show up tonight...
76.
MICHAEL'S plan is seen on the screen as he speaks.
MICHAEL
...I'm gonna find him, drag him
down here, tie one of his legs to
that Ford bumper over here...
JOHNNY BOY is dragged to the car and MICHAEL'S friend ties
his leg to the car.
MICHAEL
...and his other leg to that
Chrysler over there.
JOHNNY BOY'S other leg is tied to the Chrysler.
MICHAEL
...and bam!!!
We see a close-up of a foot slamming down on the gas pedal,
twice. One car heads for the West Side--the other to the
East Side. Tires screech and exhaust fumes fill the air.
All three laugh.
CHARLIE
Look, Michael, I'll get him here.
What do you want me to do, kill him?
MICHAEL
Whatever.
CHARLIE leaves.
CUT TO:
INT. CHARLIE'S APARTMENT
CHARLIE is on the phone trying to locate JOHNNY BOY. TERESA
is pacing back and forth nervously in the background.
CHARLIE hangs up.
CHARLIE
Are you sure he didn't say anything
to you about tonight?
TERESA
For God's Sakes...I told you
before...nothing.
(she moves closer)
Charlie, I can't stay in here too
long at this hour...will you please
listen to me?
77.
CHARLIE turns and smiles at her. He kisses her because he
doesn't feel like listening. TERESA is too preoccupied to
respond. CHARLIE turns.
CHARLIE
(muttering)
...that sonofabitch.
CUT TO:
EXT. NIGHT - BLACK AND WHITE
JOHNNY BOY walking through Greenwich Village looking around
as if being chased.
CUT TO:
INT. CHARLIE'S APARTMENT
CHARLIE is kissing TERESA who is still very upset.
TERESA
But Charlie...it's uptown and it's
perfect. It's big enough for two
people...she's going to get out by
the end of the month. If you don't
act right away, it'll go in no time.
What do you think?
CUT TO:
EXT. STREET - NIGHT - BLACK AND WHITE
JOHNNY BOY is making his way back to the apartment by
sneaking along the sides of the buildings in the darkened
street.
CUT TO:
INT. CHARLIE'S APARTMENT
CHARLIE tries to make love to TERESA out of his nervous
energy and impatience at waiting so long for JOHNNY BOY.
TERESA is rejecting his attempts.
CUT TO:
EXT. STREET - NIGHT - BLACK AND WHITE
JOHNNY BOY imagines he is being followed and dashes into the
door of a nearby building and up the stairs.
CUT TO:
78.
INT. CHARLIE'S APARTMENT
CHARLIE is doubly frustrated by TERESA'S rejection of his
attempts at lovemaking because of his concern for JOHNNY BOY.
He becomes sarcastic and abrupt.
TERESA
Don't you realize what that
apartment means?
CHARLIE doesn't answer. TERESA continues.
TERESA
Do you? For both of us. Think...
after a while you might even be
able to move in yourself.
CHARLIE laughs. TERESA is visibly shaken but CHARLIE cannot
be bothered.
CHARLIE
Are you serious? Me move in with
you. You crazy?
CUT TO:
EXT. ROOFTOP - NIGHT - BLACK AND WHITE
JOHNNY BOY is silhouetted against the moonlight. He makes
his way quietly over the roofs of the tenements and climbs
down CHARLIE'S fire escape.
CUT TO:
INT. CHARLIE'S APARTMENT
CHARLIE
(continues)
Teresa, get these ideas out of your
head...I've got enough on my hands
right now...with that bastard
cousin of yours. You wanna move?
Go ahead. By all means! But keep
me out of it...I've got nothing to
do with it...you
understand...nothing.
CUT TO:
CHARLIE'S WINDOW
JOHNNY BOY is at CHARLIE's window. Through it he can see
TERESA lying on the bed in tears and CHARLIE pacing back and
forth across the room.
79.
He is still talking loudly, JOHNNY BOY doesn't seem to pay
any attention to the fact that TERESA is in CHARLIE'S
bedroom. He opens the window and jumps in, smiling
sarcastically. TERESA and CHARLIE are startled. CHARLIE
grabs JOHNNY BOY by his coat collar.
CHARLIE
Where were you? Answer me, you
sonofabitch! Where were you?
TERESA is frightened and rushes towards CHARLIE. JOHNNY BOY
reacts to the scene with uncontrolled laughter. CHARLIE is
outraged and slaps him across the face but JOHNNY continues
to laugh. TERESA screams.
CHARLIE
(to Teresa)
Shut up!
JOHNNY BOY
(to Teresa)
Yeah, Teresa, shut up! We don't
wanna get Charlie here in trouble,
do we?...We love Charlie.
CHARLIE flings JOHNNY BOY against a wardrobe, letting go of
his collar.
CHARLIE
You had me going crazy!
TERESA is crying. JOHNNY goes into the kitchen and CHARLIE
follows. TERESA stays in the doorway.
CUT TO:
INT. KITCHEN - CHARLIE'S APARTMENT
JOHNNY BOY takes a drink of water from the sink as he talks.
CHARLIE is calmer now; calm enough to realize that JOHNNY
has figured out his true relationship to TERESA. He tries
to protect himself.
CHARLIE
Your cousin here was getting sick,
worrying about you. We've been in
here calling...
JOHNNY BOY
Oh, that's too bad, Teresa...
CHARLIE is embarrassed and TERESA is afraid.
80.
JOHNNY BOY
(continues)
Well kids...have the bans been
announced yet?
CHARLIE
Don't be smart.
JOHNNY BOY
I'm not smart...I'm stupid, remember.
I'm so stupid that you have to look
out for me, remember?
TERESA is crying.
JOHNNY BOY
Don't be upset Teresa. You have to
understand Charlie, here...he gives
of himself to help others...
TERESA
I'm going to go home.
JOHNNY BOY
No, you stay.
CHARLIE
Johnny, I swear to God, if you open
your mouth about any of this...
JOHNNY BOY
(angry)
Me? I wouldn't say a word to my
aunt and uncle...or even your
uncle, Charlie...
TERESA makes it to the door and opens it quickly. JOHNNY
BOY grabs her to keep her from leaving. CHARLIE rushes
towards them and pulls JOHNNY BOY away. By now, they are
halfway down the hall.
JOHNNY BOY
(shouting)
Charlie...I always wondered about
her...what happens when she comes?
Does she get one of those fits? Eh?
That would be something to see...
JOHNNY BOY is interrupted by CHARLIE'S fist as it lands a
solid punch on the right side of his hand. TERESA screams
and rushes to separate them.
81.
JOHNNY BOY
You rat bastard!! Don't hit me
again!!
CHARLIE stops.
JOHNNY BOY
I think I will fuckin go see your
uncle right now...he'd be interested.
CHARLIE rushes JOHNNY BOY towards the stairs. They bump
into TERESA, slamming her against the wall.
CHARLIE
Go ahead! Go on! And we'll see
what happens to you without me.
TERESA is terrified that JOHNNY BOY will really go to
CHARLIE'S uncle.
TERESA
No...no...don't.
TERESA falls, hitting the stairs with a thud. She lies
there moaning and tossing her head. CHARLIE and JOHNNY BOY
go to help her.
CHARLIE
What do I do? You know anything
about this?
JOHNNY BOY steps over TERESA to go down the stairs. He turns.
JOHNNY BOY
I don't know...she's your girl...I
gotta go.
CHARLIE is furious. JOHNNY BOY points to TERESA who is
getting worse.
JOHNNY BOY
Hate to miss the floor show, though.
CHARLIE lunges out at JOHNNY BOY shoving him halfway down
the stairs. He has gotten hold of his coat so that JOHNNY
BOY can't leave. Neighbors from downstairs open their doors
and come up the stairs. CHARLIE, in complete panic, tries
to put something into TERESA'S mouth while holding JOHNNY
BOY at the same time. He shoves his hand into her mouth
trying to pry it open but she bites into it. CHARLIE
screams as the blood streams out. He lets go of JOHNNY BOY.
82.
The neighbors take over. One woman appears to know how to
administer aid to TERESA.
CUT TO:
INT. CHARLIE'S BUILDING - STAIRS
JOHNNY BOY is halfway down the stairs by now. The neighbor
takes care of TERESA. While CHARLIE dashes down the stairs,
CHARLIE grabs JOHNNY in the ground floor hallway.
EXT. STREET - NIGHT - BLACK AND WHITE
In the deserted factory section of Manhattan, JOHNNY BOY and
CHARLIE stand next to a corregated metal garage door.
CHARLIE smashes JOHNNY BOY against the door sending
resounding echoes into the street.
CHARLIE
You crazy bastard! What are you
trying to do, ruin me?
JOHNNY BOY is not fighting back anymore. He is on the verge
of tears. CHARLIE smashes him against the door again--again
the crashing sound reverberates in the empty street.
CHARLIE
You...
Again, JOHNNY BOY is thrown up against the door.
CHARLIE
You threaten me with my uncle?
After what I'm doing for you?
JOHNNY BOY
What you're doing for me isn't
worth it...believe me!
CHARLIE slaps JOHNNY BOY and pushes him against the door
again.
CHARLIE
Then don't show up tonight and see
what happens.
CHARLIE stops. He digs his hands into JOHNNY'S pockets but
he can't find anything.
CHARLIE
How much have you got for Michael
tonight?
83.
JOHNNY BOY
I only got eight bucks on me.
CHARLIE stares at JOHNNY BOY for a moment then puts his hand
into his own pocket and pulls out three ten dollar bills and
three ones.
CHARLIE
Here, take twenty bucks. With your
eight that makes twenty-eight bucks
you give Michael. I keep the
thirteen for the weekend. Maybe
we'll eat some Chinese food later.
JOHNNY BOY doesn't take it. CHARLIE forces it into his hand.
CHARLIE
Take it. I'm doing it for you,
stupid!
JOHNNY BOY
No you're not...
CHARLIE, calmer now, is feeling ashamed.
CHARLIE
Oh, cut it out, will ya?
JOHNNY BOY
Charlie, twenty-eight bucks is
nothing. The only way to do it is
through your uncle...think about it
will you?
CHARLIE
NO!!! What do you think I am,
crazy???
JOHNNY BOY
No, I just want to help myself,
that's all.
CHARLIE
Come on.
He tugs JOHNNY BOY along.
CUT TO:
INT. TONY'S PLACE - BAR
TONY
You're over an hour late. Michael
said he'll be back later, though...
84.
CHARLIE takes a drink. JOHNNY BOY sits at the bar. The
place is beginning to empty and the show is over. CHARLIE
takes TONY aside.
CHARLIE
Watch this kid for me. I have to
go someplace but I'll be back soon
to get Michael and him together.
Don't even let him go to the
bathroom.
He turns to JOHNNY BOY.
CHARLIE
Don't you move!!!
JOHNNY BOY
(sulking)
I'll be here. Don't worry.
JOHNNY orders a drink.
CUT TO:
INT. CAB - NIGHT - BLACK AND WHITE
CHARLIE gets into the cab.
CHARLIE
6th Avenue and Waverly Place, fast
please.
The cab takes off. They soon arrive at their destination.
CAB DRIVER
Where do you want me to stop?
CHARLIE leans back into the seat and peeks out the window.
CHARLIE
No...don't stop...just pass real
slow, OK?
CHARLIE looks out the window and sees DIANE, the negro
stripper. She is standing on the corner waiting for him.
CHARLIE nods his head for the driver to stop.
CHARLIE
Stop here.
(he hesitates)
No...what am I...crazy??? Take me
back to where you picked me up.
85.
CAB DRIVER
(sighing)
Ok.
The car drives away, passing DIANE who is on the corner.
CUT TO:
INT. TONY'S PLACE
CHARLIE is back inside the club.
JOHNNY BOY
Back so soon.
CHARLIE
Mind your own business.
TONY sets up drinks for them and pours them into shot glasses.
CHARLIE strikes a match and lights each glass... little blue
flames dance along the rims of the glasses.
TERESA
Hey, cut it out. Will ya?
He blows out the flames. CHARLIE moves to the other and of
the room with his drink.
CHARLIE
(confession)
You can see things aren't going too
well for me at the moment. My
willpower and powers of persuasion
are not what they usually are today.
My ability to control events and
situations are wanting. I know. I
know...what can I say...I offer
this as part of my penance.
A young couple, two of the few people left in the place, are
having a hushed quarrel at the end of the bar. The boy
leaves for the men's room.
CHARLIE
(to Tony)
Who's the girl?
TONY
Jewish...
CHARLIE
How do you know?
86.
TONY
Look at her.
CHARLIE
She don't look Jewish.
TONY
Sure she is. She's always in here
with some different guy. You know
the way they are.
CHARLIE approaches the girl.
CHARLIE
I love you.
The girl looks at him, first embarrassed, then annoyed.
CHARLIE
(smiling)
Ever since that first day I saw you
at the convent with the nuns,
playing volleyball, I couldn't help
myself.
GIRL
You Italian?
CHARLIE
Yeah why?
GIRL
You don't look it.
The girl laughs. Her boyfriend comes out of the men's room.
He has her coat in his hand.
GIRL
(to the Boy)
Fuck off.
BOY
(stunned)
What do you mean?
(he looks at CHARLIE)
...let's go.
GIRL
You go...I'm staying.
BOY
Let's go!
87.
CHARLIE reaches over and grabs the GIRL'S arm tightly. She
looks up, startled, and the boy appears to be frightened.
CHARLIE
It's obvious that the girl doesn't
want to accompany you, isn't it?
BOY
Look fella...this is private...
CHARLIE
Nothing's private...
The GIRL is really scared now.
GIRL
I'd like to leave.
CHARLIE won't let go of her arm. She tries to pull away but
his grip tightens.
CHARLIE
Whether she wants to or not...she's
not going.
BOY
Let go of her.
The GIRL is in tears.
GIRL
Stop it...you're hurting me.
CHARLIE
Take her away from me...I mean
physically take her away from me.
He is holding her so tightly that she is doubling over in
pain. The BOY, although he is scared, lunges at CHARLIE.
There is a brief scuffle which TONY breaks up.
CUT TO:
EXT. TONY'S PLACE - BACK ALLEY - BLACK AND WHITE - NIGHT
JOHNNY BOY is lifting the lid of a garbage pail. He takes
out a brown paper bag and opens it. He takes a small .22
pistol from it and puts it inside his jacket, then replaces
the bag in the garbage pail.
CUT TO:
88.
INT. TONY'S PLACE - BAR AREA
MICHAEL has entered the club. The BOY and GIRL are gone.
TONY is with CHARLIE and JOHNNY BOY, whose return went
unnoticed.
MICHAEL
What's it gonna be? I was here
tonight...you kept me waiting for
over an hour.
MICHAEL has two friends with him.
JOHNNY BOY
Hello, Michael. I've got something
for you...not much...but...
CHARLIE
He has about twenty-eight bucks...
it's all he has on him.
MICHAEL
Better than nothing.
JOHNNY BOY takes out a ten dollar bill and hands it to him.
MICHAEL
Where's the rest?
CHARLIE
Yeah, where's the rest?
JOHNNY BOY
I bought a few rounds of drinks
while waiting.
CHARLIE is stunned.
MICHAEL
(angry)
Twenty-eight bucks is enough of an
insult...I was gonna take the
twenty-eight bucks because of
Charlie here...but ten bucks!
MICHAEL takes the ten dollars, crumples it and flings it
into JOHNNY BOY'S face. JOHNNY BOY picks it up and slowly
smooths it out. He sets it on fire as he talks.
89.
JOHNNY BOY
You make me laugh, Michael...you
know that? I've borrowed money all
over the neighborhood and never
paid it back...so I couldn't borrow
anymore from them...so who's the
only jerk off left that I can
borrow from without paying
back...YOU. Because that's what I
think of you...Jerk off. I fuck
you where you breathe!
MICHAEL lashes out at JOHNNY BOY with the back of his hand.
JOHNNY BOY tosses the flaming bill at MICHAEL and quickly
pulls out his .22 pistol. Everyone is shocked.
CHARLIE
(muttering)
You're really crazy.
MICHAEL
You're not going to use that gun,
Johnny.
JOHNNY BOY doesn't answer but holds the gun straight at
MICHAEL'S face. MICHAEL turns to go, defying JOHNNY BOY.
His friends follow. When he reaches the doorway, he turns.
MICHAEL
You don't have the guts to use
that...be seeing you Charlie, Tony,
and of course you John...be seeing
you.
They leave.
JOHNNY BOY is still frozen with the gun in his hand, pointing
it at mid-air. CHARLIE slams JOHNNY BOY across the face
with his fist. TONY takes the gun from his hand.
CHARLIE
You stupid bastard! Never pull a
gun unless you intend to use it.
He hits JOHNNY BOY again.
TONY
(holding gun)
...No bullets in it.
CHARLIE hits JOHNNY BOY again.
90.
TONY
Get out of here before this really
goes up.
CHARLIE
Hide the gun. Throw it away.
Anything. Listen, I gotta borrow
your car...I think we should take a
ride...away from here for the
night...you know what I mean?
TONY
(reluctantly)
Ok...but go to a movie first or
something...not good to be driving
around right away. You know you
can't do much for him now...it's
out of your hands.
CUT TO:
SCENE FROM "TOMB OF LIGEIA"
A young girl is in her room with her maid. The maid is
helping her dress. Eerie music creates a frightening
atmosphere. CHARLIE and JOHNNY BOY watch nervously affected
by the film's mood. The theatre is a 42nd street one with
lots of sleeping drunks.
Suddenly, the maid's face begins to contort as if she's
seeing something horrible. The audience is on edge. The
young girl sees the maid and shouts "What is it?" - but the
maid only sneezes.
CUT TO:
EXT. NIGHT - TONY'S CONVERTIBLE - BLACK AND WHITE
CHARLIE is driving. JOHNNY BOY is beside him in the front
seat. The top od the car is down and CHARLIE is driving
with no particular destination in mind.
JOHNNY BOY
I think we should see your uncle.
CHARLIE
No.
JOHNNY BOY
This can't be settled any other way
now...I'll take full blame.
CHARLIE
Forget it.
91.
JOHNNY BOY
What are you going to do? Hide me?
CHARLIE
Good idea.
JOHNNY BOY turns away and tunes in the radio to a loud rock
song.
CHARLIE
(confession)
I guess you could safely say that
this evening has been so far very
unimpressive as far as my efforts
are concerned...more unproductive.
Now, I'd like to know what you do,
for an encore, Lord? I know
penance is penance but this is
something else.
JOHNNY BOY opens his eyes.
JOHNNY BOY
What are you talking to yourself???
He turns up the radio.
CHARLIE
(sarcastic)
Go ahead! Play the radio...play
music...you're going to a party...
louder! Go ahead. Louder. A
party. Lots of fun.
A black sedan has been driving along parallel to CHARLIE'S
car, unnoticed by CHARLIE. Otherwise the street is deserted.
The car begins to drive CHARLIE off the road.
CHARLIE
Hey, what is this guy, crazy?
CUT TO:
EXT. NIGHT - BLACK AND WHITE
BLACK SEDAN - MICHAEL AND ANOTHER BOY.
VOICE
Now, now's the time!
CHARLIE turns his head to look. JOHNNY BOY looks up. They
fire the gun.
CUT TO:
92.
FULL COLOR SHOTS
A barage of bullets (5 gunshots) hit CHARLIE'S car. CHARLIE
is hit in the hand. JOHNNY BOY has been hit in the throat.
He stands up and leans over the windshield of the car,
spewing blood onto it and into the wind. He is screaming.
The black sedan turns onto another street.
CUT TO:
TONY'S CONVERTIBLE
CHARLIE is so shocked that the car is completely out of
control. It goes screeching along the street, swerves, and
slams into a fire hydrant, breaking it off and causing water
to shoot out onto the sidewalk, car and street. CHARLIE has
been thrown from the car. He kneels in the street holding
his wrist. He is on the yellow letters "FIRE LANE." JOHNNY
BOY lies against the side of a building--still. CHARLIE
goes to the curb and sits there holding his bleeding hand.
The police arrive with their guns drawn.
CUT TO:
EXT. NEIGHBORHOOD STREET
Back in the neighborhood, the religious fiesta is ending.
The singers on the bandstand are singing the last song of
the evening, "Vincino Amare." A crowd of elderly Italian-
Americans stand below the bandstand and listen. There are
four singers, their voices projected through a PA system.
MUSIC:
CONTINUES THROUGH ALL CUTS.
CUT TO:
TERESA'S ROOM
TERESA is in bed, asleep. The music can be heard echoing in
the background.
CUT TO:
EXT. STREET CORNER
CHARLIE is still sitting on the curb holding his injured
wrist. The ambulance and the police are going about their
business. A crowd has gathered.
CUT TO:
GIOVANNI'S LIVING ROOM
93.
GIOVANNI is watching the Late Late Show on T.V. (Car
explosion scene from "The Big Heat"). Aside from the light
of the screen, the room is darkened.
CUT TO:
ALL NIGHT VILLAGE LUNCHEONETTE
DIANE is alone, sipping coffee.
CUT TO:
EXT. STREET CORNER
The police are standing around CHARLIE with open notebooks,
questioning him. He doesn't answer. JOHNNY BOY'S body is
being taken into the ambulance.
CUT TO:
TONY'S PLACE - MEN'S ROOM
TONY is relieving himself. He washes his hands.
CUT TO:
NEIGHBORHOOD STREET
The last song of the festival is ending now. As the singers
come to a stirring climax they wave and shout in Italian.
SINGERS
Good night...Good night...thank
you...good night!
The band plays a few bars of "Home Sweet Home." The singers
throw kisses to the dispursing crowd. People who have been
watching the festival pull down the blinds of shades and go
in.
CUT TO:
MICHAEL'S CAR - PARKED
MICHAEL'S car is parked in a deserted area on the docks. He
has his head in his hands. The BOY with him says nothing.
CUT TO:
STREET CORNER
CHARLIE is still in shock, sitting on the curb.
The police are still walking around in a businesslike manner.
94.
CHARLIE stares down at his feet. The wrecked car is being
pulled away.
CHARLIE is being put into an ambulance. He is muttering to
himself and seems shocked and bewildered.
CUT TO:
INT. POLICE STATION - DAY
Early morning. A door in the far corner of the room opens.
CHARLIE is motioned through by a cop, who shuts the door
immediately behind him. There is an unnaturally loud
clanging sound that echoes in the room. CHARLIE looks
around, still a little dazed, and spots MARIO standing over
by the door. MARIO has made no move to greet him. He just
stands there watching. CHARLIE walks over to him, sensing
something a little ominous.
CHARLIE
My uncle didn't come?
MARIO says nothing, just nods at him to step outside.
CHARLIE goes out into the street. MARIO follows.
CUT TO:
EXT. STREET - DAY
There is practically no one on the street. The early
morning light makes everything a clammy grey. CHARLIE waits
at the bottom of the steps.
MARIO
(pauses for a moment)
Giovanni says now he done enough.
He got you outta jail. Now...
(reaching in pocket)
he wants you outta the way.
MARIO hands CHARLIE an envelope containing an airline ticket.
MARIO
He says use it. Don't sell it. He
says he'll see you. Someday. Maybe.
CHARLIE stares at the ticket in his hand. MARIO is obviously
uncomfortable.
MARIO
(abruptly)
Things worked out rotten kid. Sorry.
CUT TO:
95.
INT. CAR - DAY
TONY'S car. He is driving CHARLIE to the airport. A
suitcase can be seen in the back seat.
TONY
Where to?
CHARLIE
(preoccupied)
Kennedy.
TONY
(trying to be jolly)
I know, I know, stupid. I mean
where you goin'?
CHARLIE
It's an open ticket. I can go
anywhere up to $350.
TONY
So?
CHARLIE
(edgy)
So I'll send you a postcard from
wherever. If I get there.
TONY
Nervous?
CHARLIE
Yeah.
TONY
You flew before?
CHARLIE
No.
CUT TO:
CHARLIE'S face - slightly upset.
CHARLIE snapping seat belt in car.
CUT TO:
STOCK SHOT: airplane exploding BLACK AND WHITE (FANTASY)
CUT BACK TO:
CHARLIE in car - more upset.
96.
CHARLIE
(irritated)
Hey, come on...
TONY
Take it easy. I only asked because
maybe I could, you know, let you
have a little something.
CHARLIE
Yeah, well thanks, but I got enough
to hold me. My mother can send me
some. I don't know.
TONY
How about Teresa? I could talk...
CHARLIE
(trying not to be impatient)
Listen, I appreciate it, but I'll
handle it myself. I'll write.
TONY
And say what?
CHARLIE
I'll say that I'm travelling.
CUT TO:
EXT. AIRPORT - DAY
The TWA terminal at Kennedy. TONY'S car pulls up to the
curb, CHARLIE gets out, waves away help from an idle porter,
and pulls his suitcases out of the back seat. TONY leans
across the seat toward him.
TONY
Listen, try a place with some sun.
Swimming pools. Palm trees. Girls
in little French bathing suits.
CHARLIE
(smiles)
Thanks for the ride.
CHARLIE breaks away from the handshake and grabs TONY
affectionately behind the neck.
CHARLIE
Take care of that tiger.
97.
TONY
(correcting him)
Panther...
CHARLIE
Panther! Same thing...
TONY
Hey...no more good times like
before. Until you come back.
CHARLIE
Sure. And you're gonna take the
vows next Tuesday, right.
TONY
(laughs)
Yeah, I'm gonna worry about you, too.
TONY gives CHARLIE'S hand a last slap, then gets back behind
the wheel.
TONY
See you.
CHARLIE nods and watches the car pull away. Then he picks
up his bag from the sidewalk and walks into the terminal.
CUT TO:
INT. TERMINAL - DAY
The place is huge and there is a lot of bustle and excitement.
CHARLIE is noticeable because he is the only member of the
crowd who walks slowly, without any apparent mission or
destination. He makes his way toward the large flight board
that looms over the whole room. Loudspeakers announce
planes to and from every part of the world. On the flight
board, the origins and destinations of the days flight spin
and change every moment. He passes the insurance machines
and almost stops - more upset than before. A businessman
calmly pays for insurance. (Muzak is heard) CHARLIE
continues on past a novelty shop where some plastic crosses
and St. Christopher medals hang alongside the stuffed toy
dogs and flight bags. He looks at the cross.
CHARLIE
I don't know what to say to you...
The ticket desk is under the flight board. CHARLIE eventually
works his way over to the desk, drops his bag on the floor
and stands staring at the board. He sees the names of
dozens of cities flashing before him. As he watches, a
pretty ticket clerk speaks to him from behind the desk.
98.
CLERK
May I help you?
CHARLIE stares at the flight board in dismay and indecision.
He apparently does not hear her.
CLERK
Sir, may I help you?
CHARLIE hears her this time. He reaches into his jacket
pocket and pulls out the ticket which he passes across to
her. The clerk starts to open it to check the destination.
CHARLIE
(questioning, challenging)
Where can I go?
The question is unusual. The clerk looks up. CHARLIE stare
back at her with a quality that is almost defiance.
CUT TO:
QUICKLY TO BLACK - MUSIC IN