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Mean Streets (1973) movie script

by Martin Scorsese, Mardik Martin, Ethan Edwards.

More info about this movie on IMDb.com
	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


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